Initial Thoughts on Saul Williams, and Fountain Square Music

There are certain elements you can predict when told that the new Saul Williams recording (The Inevitable Rise and Liberation of Niggy Tardust!) will feature Trent Reznor production. Williams' aggressive, confrontational delivery is a natural match to Reznor's abrasive electronic style. The songs themselves demand attention to (almost immersion into) their lyrics, so much so that the abrupt stylistic differences (a reworking of U2's "Sunday Bloody Sunday" and a rather obvious Public Enemy sample) almost break the spell of this album. This is a dense album, and I get the feeling it's going to take a few listens to really decipher it. It's coming off better to me than "Amethyst Rock Star," the other album of his that I own. The songs are more cohesive and approachable without losing any of the artistry I'd expect from such a lauded wordsmith. It also seems weird to say for a digital release, but they put a lot of care into this release - the liner (can you say that for a file?) notes are complete and contain some great artwork, and the files themselves sound great.

Since it's First Friday this weekend in Fountain Square, there's a lot of music to be heard, especially if you're a rockabilly fan. Mandy Marie and the Cool Hand Lukes tonight at Big Car Gallery and Bigger Than Elvis Saturday at Radio Radio. Tonight's Radio Radio offering is a much more folk-oriented bill featuring headliner Romantica. I can also recommend locals My Special Purpose (more indie rock than folk) on that same bill, though their lack of a bass player saddens me slightly.