Saul Williams Niggy Stardust Rar Download

Saul Williams – The Inevitable Rise and Liberation of Niggy Tardust! Fader Label (7/8/08) Industrial rock / Hip-hop / Spoken word In case you hadn’t noticed, one Mr. Trent Reznor has been a busy man as of late. Since his band Nine Inch Nails’ 2007 release, Year Zero, Reznor released a remix album of it, called Y34RZ3R0R3MIX3D, split up with longtime record label Interscope, founded his own imprint under the name of The Null Corporation, released the moody instrumental collection, Ghosts I-IV, and then the full-length album, The Slip, this past May, by way of a free download (and later as a physical release, available in stores July 22). And that’s all within the past 15 months. Sangeetha Bala Padam English Book Pdf. But showing once again that he can still shine without taking the center stage (see previous contributions to albums by Marilyn Manson, Prick, A Perfect Circle, El-P), Reznor recently took the production helm (and brought along his good buddy and producer Alan Moulder as well) of The Inevitable Rise and Liberation of Niggy Tardust!, spoken-word artist/emcee Saul Williams’ latest album.

The Inevitable Rise and Liberation of NiggyTardust! Is an album by Saul Williams, produced and co-written by Trent Reznor. Some of the songs on the album contain. Listen free to Saul Williams – The Inevitable Rise and Liberation of Niggy Tardust. The album was available for purchase or free download at NiggyTardust.com. Oct 17, 2007 Welcome to the Shroomery Message Board! Produced an album for Saul Williams. What do you guys think of the Niggy Tardust album?

Williams toured with Nine Inch Nails in 2005 and 2006, and would subsequently remix two tracks for Y34RZ3R0R3MIX3D, after announcing on tour that Reznor would be producing his upcoming album. Fatxplorer Serial Port. Niggy Tardust! Was originally released earlier in the year just as Nine Inch Nails released the aforementioned Slip—as a free download for either 192kbit/s or 320kbit/s MP3s, with a fee of five dollars for a CD-quality FLAC download. The Trent influence is immediately detectable from the opening seconds of the album opener, “Black History Month”, which is anchored by abrasive, throbbing chaos that will give your speakers a nice workout while setting a dark, Tricky-like tone for the set.

Add the production and mixing prowess of Moulder (Depeche Mode, The Jesus and Mary Chain, My Bloody Valentine, A Perfect Circle, The Smashing Pumpkins), and we’re good to go. Williams channels Ol’ Dirty Bastard and Trent Reznor himself in what is definitely an intriguing way to kick off the album. “Convict Colony” contains Trent on backing vocals again, as the track has a lot of the same garage-infused feel as Nine Inch Nails more recent work. Williams sings: “I was born in a convict colony / And I was torn from the land that mothered me”. A lot of rappers take a crack at singing on their albums, but not many of them are able to channel Jimi Hendrix while spitting lyrics that would make Chuck D proud. Previous releases have shown that Williams likes to write material that challenges the listener, with themes ranging from afrocentricity to politics to making fun of other artists (50 Cent is one particular target in this set) for things other than simply being wack or a bitch.

Seeing how Nine Inch Nails has embraced a more politically aware tone over the past few years, one would be remiss not to point out that perhaps Williams had a similar effect on Reznor, creatively, as Reznor has had on this album (although it may have been the mutual interest in the same matters that brought them together; I don’t really feel like hunting down that info right now, because this album demands my undivided attention). Williams was rubbing elbows with Zack de la Rocha in 2004, at the same time that Nails was releasing With Teeth, so there is some evidence of the former. The character of Niggy Tardust (an obviously play on David Bowie’s Ziggy Stardust, who, incidentally, may be one of the whitest characters ever) is likely a metaphor for consumerism that has not only watered down hip-hop and its original message, but has turned fans of the genre (and William does still love h.e.r.), in its current form, into nothing more than sheep. Said sheep, while thinking that they’re supporting and/or contributing to the flourishing of the African-American culture, are really just stuffing the pockets of the fat-cat CEOs, who have turned said wack rappers into puppets (nope, not going to go there with the minstrel metaphors, because I really don’t have to).

And speaking of the aforementioned Chuck D, he shows up in the form of a sample on the break-beat-laden “Tr(N)igger”, which serves as a scalding audit of the black community that Bill Cosby and Barack Obama wouldn’t be able to do without causing a veritable PR nightmare. It shoots down the professional “victims” while calling on the community to start a real revolution. A cover of “Sunday Bloody Sunday”, which is pretty good and considerably true to the original while bringing in enough to make it interesting, carries on the tone of the album as one U2’s early rebel songs. Williams sounds a lot like Trent in the first few bars, but soon he breaks out on his own. Watching the alongside the track takes it a step higher, from a good track to a great one. And yes, this was directed by Trent Reznor, as I was able to tell immediately after seeing the quick scene with the cockroach. As I mentioned earlier, the title track takes a crack at one Curtis Jackson likening him (and the whole lot of other, even shittier, mainstream rappers) to nothing more than bloated pawns of mass consumerism.