Vogue magazine called the 2010s the decade when hip-hop’s wardrobe became more openly receptive to femininity. The thorny process of queering and reconceptualizing the unstable heteronormative image of Black hypermasculinity in African American popular culture neither begins nor ends with pioneering rapper Young Thug — yet he could have become its most important representative, if not for his own reluctance and conservative impulses holding him back.

godless god, the new album by A Place Called Hell, feels like a new beginning. The duo, made up of rapper Monzy The Terrible and producer Dylan Land, switched up their sound and dove head first into a mix of hardcore riffs and punchy raps. For seasoned fans, this change didn’t come out of nowhere. Tastes of Monzy’s metal musings were already present on their breakthrough last album, No Shimmering Heaven. But while Heaven only teased the sound, godless god puts it at the forefront. Shortly before the Halloween release of their latest album, I sat down with Monzy to talk about the album, their perspective on death, and bonded over our mutual love of The Body.

I listen as I am told. I listen as I say. DONT TAP THE GLASS. To answer to Tyler (and all other authors) with his own title so that they do not forget our privacy and the freedom to perceive and experience as we wish. DONT TAP THE GLASS will forever be a record of a time Tyler, The Creator wanted to move and invited us to join him. Whether we join in the dance while listening loudly or take away our own values and meanings from the work will be our free decision, beyond all manifestos and instructions.

It is highly likely that many will attempt to interpret the rollercoaster life of the artist formerly known as Kanye Omari West (now Ye). His life’s trajectory may have already been foreshadowed by Orson Welles in his film Citizen Kane (1941). And thirteen years earlier, Sigmund Freud contributed to this task by analyzing the personality of Fyodor Mikhailovich Dostoevsky.

In the essay Sunmundi & Sasco – Contacting [a late-stage internet memento], we analyze the album Contacting, its dystopian bleak vision woven with postmodern digital skepticism and tears shed over a commodified society. [contacting à communication à community]: finding strength and love through human connection. “A disservice to death’s orbit and a wine-spilling smile aimed at the bright now.”