The MC Paul Barman-friendly raps flipped by Aesop on his acclaimed 2001 Labor Days release generally didnt register on most hip hop traditionalists scales. And Bazooka proves that hes even less interested in appeasing the boom bap crowd. On “Were Famous”, Def Jux label head El-P and Aesop go after the, ahem, critics who might not view their futuro sound collages as legit hip hop. El-P raps “I laugh at critics claiming, ‘Hip-hops over’/ F*** you, hip-hop just started.” T [Read More...]
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There are people that live for music like this. The word for it is unique. If you are listening to this stuff, you obviously know a thing or two about underground rap. Underground hip-hop can often times be repetitive and sloppy too. Although the lyrics are always on the forefront in rap music, there is a lot to be desired when it comes down to the production. Obviously, there are going to be a lot of people that won’t, or can’t get into this record due to it’s complexity. Aesop’s lyrical delivery is too much for some people on it’s own, let alone the production. That’s why “Labor Days” and “Float” worked so well. Blockhead’s genius production, although minimal, complimented Aesop’s complicated flow brilliantly, making it much easier to focus on the lyrical content. “Bazooka Tooth” on the other hand, is a bit different. The production is often referred to as futuristic, since there are so many electronic sounds, bits, and quirks to it. Now, the music moves just as fast as Aesop does. His lyrics can be very difficult to pick out of the unforeseen production, which obviously frustrates some listeners. I for one, recommend listening to this album in headphones. The more you listen to, and pick apart music like this, the easier it is experience their artistic vision. You have to be a fan of progressive music of all kinds to appreciate this music. You’d probably enjoy this record more than most, if you can appreciate trip-hop, house or techno music. I also like this music a lot because of my love for progressive rock music, such as Yes, King Crimson, Emerson, Lake & Palmer, and Pink Floyd. If you are always looking at music as a progression, then you should appreciate the unique approach Aesop Rock has taken to improve this commercially decaying genre.
This album is definitely heavy on collaborative efforts. The album was recorded and mixed by Nasa, El-P being the executive producer/performer (”We’re Famous”). We also catch glimpses of Mr. Lif (”11:35″), Camp Lo (”Limelighters”), P.F.A.C. (”Cook It Up”), Blockhead (producer on “Cook It Up”, “Babies With Guns”, and “11:35″), scratching by DJ Cip One, and DJ paWL, and additional spots featuring Cannibal Ox, S.A. Smash and Murs. Standouts include “Easy,” “No Jumper Cables,” “Limelighters,” “We’re Famous,” “The Greatest Pac-Man Victory in History,” “Babies With Guns,” and “11:35″.
Keep an open mind, find traits about the album you like and expand them. Keep listening, and remember, a good pair of headphones can be your saving grace for understanding this album a little better. I absolutely love this album after about 4 listens. The album gets even better with each listen, and when given the chance, it will reward you beyond belief.
I’ve read an awful lot of reviews of this album, but there aren’t any on this site. First, I’m undeniably a fan: “Labor Days” was a brilliant album, and I think this one might be more so. Second, when I bought this album, I didn’t know what to make of it: I wasn’t sure where it fit into the pantheon of good-to-great hip-hop albums. I’ve listened to it now a bundle of times — probably twenty or so hours worth — and I’m pretty sure it’s in the top 20 hip-hop albums of the past few years, even if it’s only the third- or fourth-best on Def Jux (and I’m not even sure it’s that — it might be better than “Labor Days” though I’m not sure it is…. Here’s why:
First, if you don’t like El-P, this probably isn’t the album for you. Ace Rock didn’t just record an album of “Lucy” songs — which would have pleased a lot of critics of his (if you want that, go listen to Slug’s old stuff). He always was a little angry, and he finally got his beats to line up with his words. It’d be hard to be a New York rapper with all of the chaos of the last few years; it’d be hard to write “Apartment 6B” if you had to tour; it’d be hard to stay with the same producer if what you were trying to do was in part artistic (which it really appears to be). He’s pushing limits; he’s breaking boundaries. In doing so, he put down a great album BUT it takes a lot of listening to to get that.
Second, I suppose I like Aesop Rock for different reasons than do other people. It seems like most of the people who hate this album like when he tells stories. It’s never seemed to me that he was a story teller — sometimes certainly — but he’s always been better compared to other rappers at twisting phrases — the five to fifty word images that revolve around themselves. There are storytelling rappers: Mr. Lif does great with it on his label; Michael Frente of Spearhead’s done it his whole career; Boots from the Coup is pretty amazing at it to. This guy’s not doing that, though. He’s doing what he does — his thing, and he’s pretty fantastic at it. Buy this album. Maybe it’ll calm him down.