Billy Woods: A Master of Modern Rap’s Darkest Corners
In the expansive landscape of contemporary hip-hop, few artists command the consistent critical acclaim and profound respect enjoyed by Billy Woods. As one half of the acclaimed duo Armand Hammer and through a formidable solo discography including records like
Hiding Places and Maps, Woods has cemented his legacy with a string of stone-cold classics. While his work has never shied away from the shadows, his latest offering, Golliwog, plunges listeners into his darkest, most unsettling sonic journey to date.
The A24 Aesthetic: Horror Beyond the Jump Scare
Golliwog is not your typical horrorcore album. Forget the slasher aesthetics and shock tactics often associated with pioneers like Geto Boys, Gravediggaz, or the theatricality of Insane Clown Posse. What Billy Woods has meticulously crafted here is less Blumhouse, more A24 – a masterclass in psychological tension and existential dread rather than cheap thrills.
The album’s opening track, “Jumpscare,” initially plays with expectations. It begins with the evocative whir of a film reel, a creepy music box melody, and the chilling line: “Ragdoll playing dead. Rabid dog in the yard, car won’t start, it’s bees in your head.” This sets a scene ripe for conventional horror tropes. Yet, by its conclusion, the track devolves into a cacophony of voices and unidentifiable screeches, culminating in what feels like a profound mission statement from Woods himself:
“The English language is violence, I hotwired it. I got a hold of the master’s tools and got dialed in.”
Crafting Unease: Production as Psychological Warfare
Throughout Golliwog, Woods leverages his producers not for fleeting scares, but to build an pervasive sense of unease. “Waterproof Mascara” transforms a woman’s sobs into a haunting rhythmic motif, while Kenny Segal on “Pitchforks & Halos” conjures the aural equivalent of a serial killer’s chilling POV shot. DJ Haram’s production on “All These Worlds are Yours” leans into early industrial sounds reminiscent of Throbbing Gristle, a stark contrast even to other tracks like “Golgotha,” which marries classic boom-bap drums with the mournful brass of New Orleans funeral horns.
Lyrical Dissection: Juxtaposing the Personal and the Global
This dense, at times fragmented, production serves as the perfect canvas for Woods’ unparalleled lyricism. He masterfully juxtaposes the intimate horrors of personal struggle with the sprawling, real-world atrocities of oppression and colonialism. Lines like “Trapped a housefly in an upside-down pint glass and waited for it to die” evoke a visceral, almost cinematic dread.
On “Corinthians,” Woods seamlessly transitions from a boastful declaration to a stark warning about turning a blind eye to global suffering, specifically referencing the genocide in Gaza:
“If you never came back from the dead you can’t tell me shit
Twelve billion USD hovering over the Gaza Strip
You don’t wanna know what it cost to live
What it cost to hide behind eyelids
When your back turnt, secret cannibals lick they lips”
Golliwog showcases Woods’ most deft lyricism, balancing raw confrontation with philosophical depth, and weaving together threads of horror with profound human emotion. It is a challenging yet essential listen, solidifying Billy Woods’ position as a singular voice in contemporary music. Golliwog is available now on Bandcamp and all major streaming services.
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