Ever since I first heard Pacific Drift: Western Water Music Vol. 1, I knew that Nobody was a unique talent. He is one of the hardest artists to pin down, connecting musical genres like psychedelic, house, R&B, and West Coast hip hop, with nothing ever sounding out of place. He works with a subtle touch and extensive musical vocabulary that rewards upon repeated listens. His last album was Blank Blue: Western Water Music Vol. 2, a continuation of work done on the first volume in 2003, which was as gentle as the name implies. From the first few seconds of One For All Without Hesitation, it was obvious that Nobody was embarking in a different direction.

On this project, Nobody employs Auto-Tune throughout the whole album. Normally, I side with Jay-Z on the whole “Death of Auto-Tune” issue, but it works extremely well here. At first I was hesitant about the idea, but it grew on me. It shares a sonic similarity to Kanye’s recent work, but without the exceess baggage surrounding it, so I can enojy it on it’s own merits. I think it helps to have the Auto-Tune not being used on hooks with questionable lyrics. It also helps that it blends into the musical palette that Nobody works with. This album works as a set of songs that could be pumped through a roller disco’s sound system and as a contemplative listen on headphones in the bedroom.

Aside from a guest spot from Nocando, this album is all Nobody, from the drums to the vocals and everything in between. It’s the first time he’s helmed all the instruments since 2005’s And Everything Else…. He once again has given us an album that refuses any sort of simple categorization. If you haven’t listened to him before, you might not think that psychedelic pop from the ‘60s would blend so well with electro-boogie from the ‘80s or house music from the ‘90s or hip hop from the ‘00s, but it all fuses together seamlessly. I haven’t been able put this album down since I picked it up, and I’m probably only halfway to full comprehension of this record.