Saul Williams seems to bleed expression.  Whether it’s on paper, screen or wax, he has something to say.  Not too sure if calling him “poet” would serve properly, especially considering how versatile he is and how malleable the genre of poetry has become.  Without doubt, he is an artist and has always managed to take those who pay him mind on some type of journey through politics, culture or our current state of being.  The question is, with his latest album, The Inevitable Rise and Liberation of Niggy Tardust, do we still want to go on that ride?

Williams has not made that easy for us to decide.  Tracks like “Black History Month” and “Break” are laced with fractured drum pattern programming and exaggerated overlapping vocals that vehemently disagree.  As a result, the listener becomes the victim of this painful discordance.  However, a cover of U2’s “Sunday, Bloody Sunday” is delivered through a powerful and strained melody appropriate for this tale of violence’s curse.  With a voice direct and firm enough, it warrants attention.  “No One Ever Does” is a clear and passionate struggle to find our truth, our love.  This is a meeting of minimal sounds that couldn’t have been arranged more effectively.  “Raw” pairs octaves in a vocal style closely related to TV on the Radio’s Tunde Adebimpe and Kyp Malone.  In essence, this is a bedtime love letter told without the clutter of music, just a pulse and a sentiment of honesty.  “Scared Money” is the Saul we know and love - the poet supreme standing tall behind a hard hitting boom bap, a dusty horn loop and an authoritative tone.  SLAM ready and complete. The man-in-the-mirror anthem, “Tr(n)igger”, utilizes a Chuck D sample to remind fans that no matter how far Williams chooses to branch out, he still loves H.E.R. and will continue to champion its legitimacy as a voice of the people.

Williams has chosen an interesting approach to Niggy Tardust. Although his roots are clearly still strong in hip-hop, a heavy industrial sound rings throughout the album.  Trent Reznor’s hand in the production is blindingly apparent.  In fact, one could wonder exactly how far Williams was willing to take the Nine-Inch-Nails influence before the blatant thievery alarm in his head was triggered.

This album is far too multi-dimensional to be categorized.  Actually, its dynamic range may be what keeps listeners from immediately latching on.  The highs and lows are extreme in both directions and that can be jarring.  It’s somewhat of a sonic acid trip.  The levels on which this album can be enjoyed are blurry, but still present for the open-eared.  This is not an album for those in search of a quick lift.  If you sign on, understand that this is a long scenic trek through the galaxy.  Bring a snack.  Get comfortable.