Billy Woods has established himself as a towering figure in the music scene, boasting one of the highest batting averages with his remarkable discography. His work spans solo projects like Hiding Places and Maps, as well as his collaborations with Elucid under the name Armand Hammer. With numerous acclaimed albums to his credit, Woods has cemented his reputation for creating profound, thought-provoking music. However, his latest endeavor, Golliwog, ventures into even darker territory, offering his most intense work yet.

Contrary to conventional horrorcore records that rely on slasher motifs and shock value, akin to those by the Geto Boys, Gravediggaz, and Insane Clown Posse, Woods’ Golliwog crafts a more sophisticated horror narrative. Here, the experience is akin to a riveting A24 film rather than a predictable Blumhouse production.

The album sets the stage with its opening track, “Jumpscare,” which begins with the evocative sound of a film reel starting up, followed by a haunting music box and a chilling line: “Ragdoll playing dead. Rabid dog in the yard, car won’t start, it’s bees in your head.” While these elements suggest typical horror tropes, the album delves deeper, transforming into a psychological exploration. Voices intertwine with mysterious screeches, culminating in Woods’ profound declaration.

Throughout Golliwog, Woods enlists his producers to create an environment of tension rather than relying on superficial frights. “Waterproof Mascara” ingeniously incorporates a woman’s sobs as a rhythmic component, while “Pitchforks & Halos,” produced by Kenny Segal, embodies the chilling perspective of a serial killer. DJ Haram’s work on “All These Worlds are Yours” evokes the industrial essence of Throbbing Gristle, contrasting sharply with tracks like “Golgotha,” which blends boombap beats with the soulful tones of New Orleans funeral horns.

The album’s intricate, occasionally dissonant production complements Woods’ lyrics, which juxtapose real-world atrocities such as oppression and colonialism with haunting imagery reminiscent of Bring Her Back. In one instance, he paints a picture of entrapment with the line, “Trapped a housefly in an upside-down pint glass and waited for it to die.” Later, he shifts seamlessly from boasting to delivering a poignant warning about the overlooked genocide in Gaza on the track “Corinthians.”

Golliwog showcases Woods at his lyrical best, weaving together themes of confrontation, philosophy, horror, and emotion. For those eager to experience this compelling work, the album is available on Bandcamp and major streaming platforms, including Apple Music, Qobuz, Deezer, YouTube Music, and Spotify.

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

The record features some of Woods’ deftest lyricism, balancing confrontation with philosophy, horror with emotion. Billy Woods’ Golliwog is available on Bandcamp and on most major streaming services, including Apple Music, Qobuz, Deezer, YouTube Music, and Spotify.