Eminem is a walking contradiction, at once meticulous and utterly messy, both in character and in lyric. His politics are complicated, his rhymes often puzzling. The illustrious Marshall Mathers has without a doubt left behind a prickly portfolio that ranges from aggravating dark male anger to poppy bops to at times mind-bending twists of verse. He is, by most measures, one of the greatest and most problematic hip-hop artists of his era. Eminem has since more or less fallen out of the zeitgeist, nowadays reserved for workout playlists and the occasional surprise appearance on shuffle.
When I first listened to all-female Japanese trio Paranoid Void, I learned of the existence of math rock. At first, it did not sound fun, as anything having to do with math is just not fun to me. Math rock, though, is a genre holding some similarities to post-rock that utilizes unconventional time signatures, rhythms and dissonance. Paranoid Void, composed of members Meguri, Yu-Ki and Mipow, is unlike most music I have listened to, and it became evident that the trio put endless effort into their first full-length album, Literary Math. On Paranoid Void’s website, the band describes Literary Math as a “three-dimensional composition of the sound and words that the female sensibility unique to women creates.” Additionally, on the album’s release date, the band published a blog entry explaining what they wanted the album to convey.