I believe that “Martyr Loser King” proposes a new kind of body- one which is distinctly Afrofuturistic. Music has always been the connection to other worlds, to different and better realities, and has extended the body beyond the crude, physical self. Williams, though, allows his limbs to hyperlink into other worlds, he becomes, not a body, but a dissenting supercomputer. His insistence is that the the cyborg has already arrived. That to wear earbuds and wield an iphone doesn’t merely change what you're doing, but where and who you are. Those people walking the street plugged into earbuds and with a vacant look in their eyes. Is that stare the face of laziness and stupidity? Or are they seeing double? The cyborg is the site of oppression, developing countries mine the metals, Chinese factories put them together, rich kids use them to reinforce their white privilege, and the climate pays the price for the addiction. But Williams sees that the cyborg is also a site of dissent, and that the more logic circuits we put in ourselves, the more we desire a bug in the system.
This cyborg, far from making reparations for the past, has only served to create alternative forms of dissent. This schizophrenic new world is not the digital Shangri La of science fiction novels. Middle fingers are still raised and Burundi is still impoverished. This album does not claim perfection, rather Williams has ignited a new digital superhero, whose power is doubled vision and whose motto is #blacklivesmatter.