MartyrLoserKing

It pulls from rock, punk, noise, industrial, hip-hop, and even African tribal music. Lyrically the album is among the first to take this kind of look at hacker culture as well as how the definition of the artist and art have changed in the digital age. Regardless of genre, this may well end up being one of the best and conceptually most important albums released this year.

MartyrLoserKing may not just be one of Saul Williams' best, but it could also find itself among the most important albums of this year.

This smart, jagged, contemplative work makes you wonder if Williams could wring amazing stuff out of Bennington too.

Williams has offered much to admire, and even more to contemplate. [Mar 2016, p.119]

Williams remains the data-age Gil Scott-Heron plus a collaborator who elevates, as Reznor, and now Warfield, have both upped their game in the presence of such a radiant creative force.

Williams isn’t here for you to simply digest his art and move on. He wants it to stick to you, to stay in your heart, mind and soul, the same way it does with him as the artist. And MartyrLoserKing accomplishes just that without question.

The often elliptical lyrics are both penetrating and hypnotic--the sounds of words are as vital as their meaning.

It's heady stuff to dive into, and Williams isn't particularly concerned whether listeners sink or swim, so long as they get wet.

Williams doesn’t rely on heavy-handed sloganeering, and is more than capable of a light touch, administering impressionistic yet prescient lyrics that are indicative of his beginnings as a spoken word poet.

MartyrLoserKing doesn’t necessarily rise or fall on Williams’ ability to clarify his thoughts into a clear, memorable hook.

A darkly impassioned mix of hip hop, art rock and electronics that connects to indigenous street music as well as to Gil Scott-Heron, The Ruts and TV On The Radio. [Feb 2016, p.84]