Sunday, December 30, 2012

Updated links coming soon!

I've heard the rumblings. Mediafire is all but crashing and burning. Most of the links for more well known albums are now being denied and redirected. Over the next week or so I'll be switching the links over to a different service.

I had just fucking switched to Mediafire too.

Monday, November 26, 2012

Gigan - Gigan EP

1. I.S.O. (In Serch Of)
2. Power (Feat.Megalon)
3. Live Wire (Orig Ver)
4. Brooklyn, Brooklyn
5. Queens Day
6. Crazy World

Trying to pick any single member of the massive Monsta Island Czars crew as my favorite has always been near impossible for me, but it's a dilemma I enjoy furrowing my brow over none-the-less. Is it Rodan with his amazingly detailed, over the top visuals? Maybe Megalon with his rapid-fire, machine gun flow? I suppose the most obvious answers would be MF DOOM, who easily has one of the most impressive Discogs in Hip Hop history. Or maybe, just maybe, after only one single EP, from way back in 2002 none the less, it's Gigan. Most MIC/MF DOOM fans are probably familiar with Gigan from his guest appearance on DOOM's King Geedorah album, Take Me To Your Leader. Gigan had, in my humble opinion at least, the absolute best song on the album with "Krazy World". He not only spit some fairly spectacular bars, but he also did something I've yet to hear any other MIC member do to this day (DOOM included) -- he made an honest to goodness brilliant chorus. It still stands as one of the best choruses I've ever heard from an underground mc, and Gigan's half rapping/half singing flow made it clear as day that he was ready to branch out and start a brilliant career, possibly somewhere beyond his humble underground beginnings.

Only his career not only never took off, but Gigan himself seemingly fell off the face of the earth.

Sure, he had a few verse on MIC's debut album, Escape from Monsta Island, and he also turned up a few times on X-Ray's Monsta Mix series, but really after 2003 dude went completely AWOL, and as of 2012, has yet to release anymore music. With "Krazy World" being one of my all-time favorite songs though, I felt like I needed to dig deep and see what else I could unearth from dude. Thankfully I ran across this gem. With less than 50 copies known to exist, and with it being self pressed and sold strictly at shows during the 2001/2002 era, it goes without saying that this probably didn't reach the ears of too many listeners. It really is a shame too, because Gigan more than proves on this that "Krazy World" was no fluke. In fact, the opening track "I.S.O. (In Search Of) easily rivals the greatness of his King Geedorah song, and features another fantastically catchy hook.

In fact, Gigan proves himself to be an absolutely superb mc throughout this EP's short 6 tracks. Effortlessly shifting from female oriented tracks (the aforementioned "I.S.O."). to immediately going in to an absolutely head spinning cypher session with fellow MIC brother Megalon. Lyrically Gigan can be fairly abstract, even by MIC standards, but his more down to earth, easily digestible flow more than make up for it. Production comes courtesy of MF DOOM and X-Ray. DOOM laces "Live Wire" (which would later appear on Monster Mixes Vol. 1), and "Krazy World" (which would also later appear on King Geedorah's Take Me To Your Leader). "Krazy World is far and away the standout as far as production is concerned, not that it's noticeably better than any of the other beats here,  it just sounds so radically different from the utter darkness that the rest of the album is shrouded in. X-Ray laces the rest of the album with some absolutely magical moments. "Power" for example almost brings to mind a ol' fashioned western showdown, which perfectly suits both Gigan and Megalon.

It really is a shame that Gigan vanished shortly after this release, because to be perfectly honest he's probably the most skilled songwriter in the whole MIC camp. Given the right production he could have crafted an absolutely phenomenal album. Thankfully we at least got a glimpse of what could have been. Gigan's sole EP stands neck and neck with any other MIC release, and is an absolute must for hardcore fans.

Hell, even casual listeners might wanna take a shot on this one.

-Gigan is a great MC, and his songwriting stands as some of the best the underground has to offer
-He got laced with some really dope beats from X-Ray and MF DOOM
-It's short and sweet. Every track is essential

-Some of these songs would pop up on later releases, which somewhat lessens the impact

Overall - 4/5

Thursday, October 4, 2012

Aesop Rock - Appleseed

I very much doubt  Aesop Rock was feeling much pressure when recording the follow up to his stellar 1997 debut, Music For Earthworms. The album was self pressed and released, and I can't imagine it ventured far outside of his inner circle. This was long before Aesop was one of the most prominent figures in the Underground Hip Hop scene, and as such he was free to create at his own pace, and without any expectations bearing down upon him. The two years between releases though were crucial ones for Ace. He seemingly had a falling out with the producer of his first lp, Dub-L, and a full 4 years before he was pissing off his fans by manning the boards behind 2003's Bazooka Tooth, Aesop was crafting his own beats on 6 out of the 8 songs presented here.

Admittedly, as a long time fan, Aesop's production is probably the most interesting thing about this ep. That's not to say that his rapping is lacking, it's just that there's very little evolution from what we heard on Music For Earthworms, and what we would later hear on Float. This is our first glimpse at Aesop as a producer though, and considering how big a role his production would play later in his career (producing for himself, and others), it serves as an important piece of his history. Fans of his later self-produced material will probably be shocked to learn that Ace's early production really didn't sound all that different from fan favorite, Blockhead. In fact, Blockhead contributes one beat to the ep, and you would be hard pressed to pick it out from Aesop's own production. They both relied heavily on world-music, jazzy samples, and you could probably safely assume that the work Blockhead would become famous for on Float and Labor Days, had its fair share of input from Aesop.

Regardless of who influenced who, it's a sound that works exceptionally well for Aesop, and even 15 years in to his career, it's still something fans clamor for. Aesop's production here isn't as fully fleshed out or realized as Blockhead's would later be, but all thing's considered it's still fairly impressive to have such a complex lyricist also crafting equally dope beats. The lone beat not produced by Aesop or Blockhead comes courtesy of Omega One, who outside of producing for Aesop also fully produced an album for the underrated mc Lodeck titled, Postcards from the Third Rock. He brings his own flavor to the production on "Sick Friend", but its dark, dingy atmosphere ensures it fits in snugly with the rest of the album.  The song also features some of Aesop's most clever lyrics. My personal favorite being:

"I choked when the cage bird sings, it stings
Springs me out delirium to stitch them clipped wings"

The song is followed by "Hold The Cup", and the Blockhead produced "1,000 Deaths", both of which feature outstanding beats and stand as my two favorite cuts on the album. "Blue In The Face" is one of the weaker productions here, though it does feature some interesting sampling, the beat never quite gels together. What it does have though is Aesop at the top of his game, dropping bars that will have your rewind button (remember those?) worn out in no time.

"I put my hook in the pond, I put my worm In the hook
I put my trust in the worm that he'd bring me something to cook
I felt a tug on my line and I lugged a trash can on my pole
with a note from the worm attached that read, "Thanks for nothing asshole!"

"Odessa" is the last track on the ep and features the only guest vocals courtesy of Doseone, but while the beat he and Aesop share is fairly dope, the mixing of the actual song ruins any fun to be had. Doseone's vocals are simply mixed too low, and when contrasted with Aesops loud, booming voice it just comes awkward and hard to listen to. A fairly amateur mistake, but a costly one no less. Over the course of this ep you're sure to find something you enjoy, and while it's a shame that not every track was a hit, the highlight more than make up for it. Plus you get to hear Aesop's earliest production. That should entice most any fan. It's not his greatest work, and his later ep's would come to eclipse it, but it's still an important and vital piece of his legacy. Definitely worth revisiting

-It's interesting hearing Aesop's earliest production, plus it's pretty dope
-Aesop has some of his funniest, and wittiest lines here
-It's short and fairly accessible. I've always felt Ace worked better on ep's

-Not a lot of growth as far as his style is concerned
-Not every beat is a winner
-The mixing on "Odessa" is bad. Doseone's vocals are mixed way too low

Overall - 3.5/5

Thursday, September 27, 2012

Aesop Rock - Music For Earthworms

I've always thought that one of the most impressive aspects of Aesop Rock's musical career was that he had arrived a nearly fully formed artist on his debut album in 1997. Especially considering how unique and genre defying his style of rapping really is. Admittedly I was a bit late to the Aesop Rock party, only vaguely hearing about him in 2000 during the release of his Mush Records debut album Float, and not finally sitting down to really listen to him until his 2001 Def Jux classic Labor Days, but I found it was better late than never and I was immediately hooked. Working backwards from Labor Days I was shocked to see that while the production became more sparse and spare, Aesop himself remained relatively untouched. In fact I was damn-near picking my jaw up off the floor when reaching his debut lp and found that while Ace's style might be slightly more defined on later releases, his was still spitting with the same 1-in-a-million vocal tones, and rapping with a flow that belongs to him and him alone. In music, and Hip Hop especially it can take an artist a handful of releases to truly find their voices and become comfortable in their own skin, but Aesop seemingly knew exactly who he was and how he sounded best; years before he even knew if people would listen to him.

In truth if this were just about any other artist this probably wouldn't be that big a deal, but this is Aesop Rock we're talking about here. One of the single most unique individuals in Hop Hop; if not music as a whole. He was blowing minds with his deep, croaking voice long before Lil Wayne ever began experimenting with different vocal tones, and delivering lyrics so complex that literally 15 years after his debut fans STILL haven't deciphered everything he's saying. The fact that he had this twisted insane persona figured out before he even had an audience leads me to believe it's not a persona at all; Aesop Rock is just a weird, talented, one-of-a-kind motherfucker.

Listening to Music For Earthworms in 2012 still proves to be a unique and exciting endeavor. All these years later and this album still sounds like nothing else that's hit the market. Long before Aesop's name would become synonymous with soon-to-be longtime producer Blockhead, he found a fairly perfect foil in underrated producer Dub-L. L is probably best known for his later work alongside DJ JS-1, but it was on Music For Earthworms that he would make his debut to the world, producing every track here (excluding the radio freestyles). As a long time Aesop Rock fan it's interesting to find that Dub-L has all but been written out of the Aesop Rock lore, especially considering he essentially created the blueprint for the production landscapes Aesop and Blockhead would later use to sky-rocket to Indie Fame, but for whatever reason the two had a falling out and as a result this would be the only time L would contribute production to an Aesop Rock album.

It's a shame really because while Dub's production lacks the infectious Jazz samples that Aesop and Blockhead would master, he still understood Aesop's style very well and crafted production that perfectly suited him. The beats are dark and creepy; sounding almost like the soundtrack to the worst nightmare you've had. Like most Underground Hip Hop created in the 90's it's very firmly rooted in the house that RZA built, and really he doesn't do a whole lot to put his own stamp on the sound, but he still executes it very well, and considering it was his first production available for mass consumption it's quite the achievement. Aesop is the main attraction here though and you're made well aware of it from the opening track "Abandon All Hope"

"Is a love such as that which I exhibit for my practice

The factor which then amalgamates debates with straight-jackets 
And robes. Huddled in brackets that blacken the average globe
Xenophobe, loathe to modify the fly, feel this...
I carve a notch in my wall for every stall
every fifth mark slants diagonal to symbolize your downfall"

Before you can even catch your breath or digest the dense 5 minute lyrical barrage though you're thrown head first in to the albums next highlight. To this day I'm still not exactly sure how Aesop managed to get the Legendary Percee P to feature on his debut album (TWICE!), but I'll be damned if the two don't make an absolute perfect pairing. The most shocking part though? Aesop actually manages to outshine the absolutely stellar Percee P verse over the haunting vocal samples on "Wake Up Call". Ace drops some of the best one liners of his career and offers the best quotables of the album

"Are you fat cats or lab rats?"

"My mic stabs white flags and drag trembling

Devil skin-wearers through the terrors of compliance
Once the day turns night, senoritas suck the woody like termites
And wonder how they got labeled dick-hungry damsels in distress "

The other Percee P collaboration is "Coward Of The Year Remix" which features a surprisingly catchy hook and may be the most radio friendly, traditional track Aesop has ever made. Both mc's stand on fairly even ground this time around and display absolute mastery on the microphone. The only real true sign here that this is Aesop's debut comes in the form of his songwriting; namely the hooks. A good majority of them are simply oddball, interesting samples that are looped. This is a fairly common tactic used by many amateur artist when getting their start in the Underground, and while it can create some great songs and add to the atmosphere, more often than not it's used to mask the lack of songwriting experience and can come across somewhat lazy and stale.

The only other hint that this is an debut, and possibly the only real flaw on the album, is obviously the "Live On 89.9FM Nighttrain". It's a live, on-air recording from a rap cipher that featured Aesop along with a number of other artist. Thankfully only Aesop's parts are featured here, but it doesn't change the fact that the poor radio quality hurts the flow of the album, and the fact that Aesop recycles his verse from "Wake Up Call" is crippling, especially when positioned so close to that track. It's somewhat baffling why Ace decided to just drop that song right in the middle of the album and essentially ruin the momentum he had created. It would have much better been served as a hidden bonus track tucked away at the end of the lp. As it is though it sticks out like a sore thumb, and being perfectly honest could have been done without completely. 

Amateur missteps aside the album is still a pleasure to listen to, and longtime fans would be doing themselves a favor by tracking this down. True it does borrow heavily from the Wu-Tang sound, and essentially the production sounds like many other albums from that time period; especially New York albums, but Aesop himself is so startling different it almost doesn't even matter. As soon as his vocals touch the beat the song is transformed in to something you've never heard before. It's not the perfect debut, and Aesop would release better albums later in his career. But as a debut lp? It's impressive to say the very least. It's no wonder that Aesop would remark a full 5 years later on his 2002 Daylight Ep: "(So why they blaming you for the cats that sleep while the earth turns?)/Yeah I had em' up all night praying I'd re-release Music For Earthworms"


-Aesop is a fully formed, impressive mc right from the get-go
-Percee P on two songs!
-The album is vintage New York


-The production isn't anything you haven't heard before
-"Live On 89.9FM Nighttrain" is sorely misplaced and ruins the albums momentum
-The songwriting is somewhat weak and sample driven hooks are used to mask it.

Overall - 3.5/5

Wednesday, September 12, 2012

Aesop Rock - Fast Cars, Danger, Fire and Knives

1. Fast Cars
2. Number Nine
3. Zodiaccupancture
4. Holy Smokes
5. Winners Take All
6. Rickety Rackety (Featuring. Camu Tao, El-P)
7. Food, Clothes, Medicine

After years of being able to "do no wrong" in the Underground Hip Hop scene, Aesop Rock found himself in a very unfamiliar situation after the release of his 2003 album Bazooka Tooth.  While the album was both a critical and commercial success, it sat as a fairly lofty disappointment for longtime fans. People had come to expect a certain sound from Aesop, and on Bazooka Tooth he challenged just about everyone's perception of what he and his music were. Before Bazooka Tooth the status-quo had always been jazz infused production created with longtime collaborator Blockhead. It had been the sound Aesop had been defining and refining since his very first lp in 1997; Music for Earthworms (which was fully produced by Dub-L, but still laid the groundwork for the sound in general). On Bazooka Tooth Aesop decided to forgo any Blockhead productions and instead handled the the majority of it himself. And while truth be told that album has aged really, really well, at the time it was an absolute shock to hardcore fans and not at all what most wanted out of the Aesop brand.

Possibly looking to make amends with his fans Aesop released 2005's Fast Cars, Danger, Fire and Knives, and split the production evenly between himself and Blockhead in what I can only assume he hoped would be a win/win situation. Ace had found himself in a fairly tricky situation; Bazooka Tooth had by far been his best selling album at this point, so he couldn't just outright abandon that sound at the risk of losing any new fans he had picked up. By splitting production duties with Blockhead he could in theory give old and new fans alike what they wanted. The problem was that people often forget that Blockhead did indeed have production credits on Bazooka Tooth (2 to be exact) and that his own sound was evolving just as fast as Aesops. So for anyone hoping to rediscover that vintage 2001 jazzy feel should probably check their expectations at the door. So in essence we have an ep nearly fully produced by two people (Rob Sonic contributes one beat) that sounds as if it was only handled by one person. Aesop and Blockhead are near indistinguishable.

This isn't necessarily a bad thing though as it does lend a very cohesive feel to the short 7 song ep. Though to be completely honest I feel like this is probably the weakest production that either artist had turned in thus far. None of it is bad by any means, but most of it seems to serve no other purpose than to be there for Aesop to rap over. I couldn't point to any one piece of production as a standout. The beats are fairly funky and industrial, but they lack that jazzy melodic feel that made the early Aesop albums go down so smoothly. It does firmly build on the foundation laid with Bazooka Tooth though and fans of that album are sure to be happy with it's continuation.

The real star here though (other than the booklet. More on that later) is of course Aesop Rock's lyrics. He really pushes himself as a lyricist here and cooks up some absolutely amazing imagery. The two standout cuts here are easily "Holy Smokes" and "Winners Take All". The former finds Aesop focusing his rage at the hypocrisy of organized religion. He also sheds light in to his past and his forced Catholic upbringing, which he very obviously holds quite a bit of resentment for.

"Just a little bruise in the back of the pews
Acting amused with a mask and them Vatican blues
For in the eyes of the organization I was raised in
Aes' is just another cynic-brick in Hell's basement
Cubicle adjacent to the killers and rapists
For what? Drugs and fucking, It's part of growing up"

It's another glimpse in to the mind and history of one of Hip Hop's most enigmatic artist, and an appreciated one at that. Most artist either shy away from religious topics, or embrace it blindly and unquestionably, so it's refreshing to see an artist of this caliber stand up and voice his honest opinion. Hate or Love it. "Winners Take All" on the other hand features a hook that's half tongue-in-cheek satire, half dead serious critiquing

I have landed safely. I have not received my papers
I have zero natural enemies. I don't know my location
I have no training in reconnaissance, combat or colluding
I'm calling for my orders, over (STRAP ON A HELMET AND START SHOOTING!)

As is often the case it's hard to tell exactly what Aesop's intentions are here. One second the song seems like nothing more than a storytelling vehicle for Ace to paint around his Bazooka Tooth character. Seemingly having fun portraying him as the over the top war hero so often depicted in blockbuster Hollywood movies. Other times it's a chilling and all too real look at what the young men and women of this country are facing on a day to day basis. Really the two interpretations work hand in hand together, showing how movies and media have romanticized war and how our youth are being brainwashed in to taking action and facing these horrors.

Or maybe Ace was watching the history channel and thought it would be fun to write...who knows?

The rest of the ep features topical and surprisingly down to earth concepts for Ace to use as fodder. None of the tracks here are bad, and all are worthy of addition to Aesop's excellent discography. I just feel like these probably aren't the cream of the crop. It's refreshing to see Ace touch on such important and serious topics, but sonically it lacks the whimsy and fun that his past releases had. The real highlight of this package though is the mini-book that comes with it. All the original pressing featured a book titled "The Living Human Curiosity Sideshow" that fits snugly inside the slip-cover surrounding the slim cd case. The book features every lyric Aesop has ever written for all his albums starting with Float, and ending with this ep. Sadly it doesn't include Music for Earthworms or Appleseed, which as a long time fan is disappointing, but it's still an absolutely incredible item that is a must own for fans. Being able to sit down and really read Aesops lyrics, accurately written at that, none of that "badly written Internet forum interpretation of what they might be" is a treat and worth the price of admissions alone.

It should be noted that later pressing do not include the book, and instead include the absolutely stellar track "Facemelter". If you have to pick one version though, the book is the way to go. The extra song is nice, but worst comes to worst it can be downloaded. The book on the other hand is one of kind.

-Aesop touches on some fantastic topics that focus on real world issues at the time
-Lyrically he's in top form
-The book the comes with the initial pressings is a must own. Worth the asking price of the ep alone
-Blockhead is back

-Some of the weaker beats Aesop and Blockhead have turned in. Sonically it's really not all that interesting
-Sounds even messier than Bazooka Tooth

Overall 3.5/5

Monday, September 10, 2012

Aesop Rock - Bazooka Tooth

1. Bazooka Tooth
2. N.Y. Electric
3. Easy
4. No Jumper Cables
5. Limelighter/Flunkadelic Interlude
6. Super Fluke
7. Cook It Up
8. Freeze/Honeycomb Interlude
9. We're Famous
10. Babies With Guns
11. Greatest Pac-Man Victory in History
12. Frijoles
13. 11:35/Ketamine U.S.A. Interlude
14. Kill The Messenger
15. Mars Attacks

Aesop Rock had a lot to live up to with 2003's Bazooka Tooth. His last release (Labor Days) in 2001 was widely considered to be an instant classic. Seemingly overnight Aesop found himself basking in the Independent scenes limelight, and just as quickly he managed to form himself a fairly sizable fan-base. Fans that no doubt were expecting nothing less than another classic from their newly appointed Underground hero. Sadly this wasn't to be. Bazooka Tooth was, and still is often looked upon as the album where Aesop "really started to go a little too far left".  Ace had already been a decidedly abstract artist to begin with, but on Bazooka Tooth he takes his quirky weirdness not to just another level, but another planet altogether. For a lot of people it was simple the straw the broke the camels back. At times it almost feels as if Aesop went out of his way to make the absolute least accessible album he could produce. Though to be fair I feel that some of the blame lies with the fans. People who were constantly looking to see what new radical direction Rock would push himself in. He essentially found himself in a lose/lose situation. He could either rest on his laurels and be accused of sounding stale, or he could push the envelop and risk alienating his ever growing fan-base. 

When discussing Bazooka Tooth the main criticism is almost always going to be the production. Aesop had handled some of his own production in the past, but the majority of it was left to longtime collaborator Blockhead, who would create the jazzy backdrops that would come to define much of Aesop's early career. On Bazooka Tooth though both Blockhead and his Jazz samples are casualties of Aesop's new-found creative independence, as he's given a meager 3 tracks to flex his masterful talent on. Instead we find the majority of the production is handled by Aesop himself, and true to form it's just as abstract and crazy as his vocal styling would lead you to believe. The nearest comparison to what Ace is doing on this album is probably Def Jux label head EL-P (who also laces one track here). Aesop's production styling is much less urgent and dire as EL-P's though, and instead seems to focus on finding a comfortable groove built around his oddball samples. 

At the time of its release it literally sounded like nothing else on the market, and to be perfectly frank it freaked a lot of people out; myself included. With no point of reference or anything to compare it to it was simply just too much to take in. Very rarely do I feel like i'm hearing a record that's ahead of its time, but lo-and-behold Aesop delivered just that. It wasn't until Aesop expanded his catalog with two more self produced releases in 2007 and 2012 that I realized just how ahead of the curve he was. In the years following Bazooka Tooth we would see countless Underground artist jock the production style that Aesop had essentially created here.

So it doesn't sound quit as crazy in 2012, but it's still something that needs digested much more slowly, and preferably in chunks. Like many of Ace's releases it's not going to be an album you sit and listen to front to back and understand immediately. Still Aesop is as talented an mc as ever, and on tracks like "Mars Attacks" his witty sense of humor comes through perfectly. The song details the story of Martians invading earth, and in true Aesop fashion it has an absolutely comical, yet dark ending. "We're Famous" also warrants mention if for no other reason than the fact it features what may very well be the greatest Hip Hop verse ever written. the EL-P produced track starts with the mc/producer spitting an absolutely mezmorizing verse that serves as both a love letter to Hip Hop, and a diss track to rival Esoteric.

"Hold it sacred, living it for the culture

Told ya plainly, protected it from the vultures
That's why I always get respect from true soldiers
While half of the critics claim it every year: "Hip hop's over."
FUCK YOU, hip hop just started
It's funny how the most nostalgic cats are the ones who were never part of it
But true veterans'll give dap to those who started it
Then humbly move the fuck on and come with that new retarded shit"

It's such a powerful and monstrous performance that the Aesop Rock verse that follows it almost isn't worth mention. "11:35 also has an interesting concept that finds Ace and Mr. Lif sharing the track and telling stories about multiple people and events, all of which are happening on the night of January 31st, at 11:35pm. Elsewhere on the album it's the little bits and pieces of Aesop's verses that are sure to make fans smile. For example on the albums Intro/Title song "Bazooka Tooth" we find Aesop declaring "Oh my God/Journalist around the world are officially critiquing my first 8 bars". My favorite lyrics on the album though are tucked away in the final moments of "Babies With Guns"; in the closing seconds we hear Aesop taking a break from all the zany madness and giving a heartfelt tribute/goodbye to RUN DMC legend Jam Master Jay:

"Grey Sky The day I

Got the phone call Jam Master Jay died
So no, I'll probably never write another Daylight
Because the stingers tend to cling more than the portable hay-rides
It adds it up when a pioneer fall
In comparison to your ninety-nine bottle of beer wall
There's banana peels in your hamster wheels
Hand-cannons in your shoe box. Please
Mine's got Adidas. Rest in peace"

Moments like this are where Bazooka Tooth really shine. Many songs as a whole are slightly less memorable than what was found on Labor Days, but the random quotables sprinkled throughout more than make up for it. It's hard to knock an artist for wanting to experiment and grow, but sometime you need someone there to reel you in and keep you grounded. I think that by removing Blockhead from the equation Aesop was given free reign to run wild and let his ambition get the best of him. In 2003 this probably seemed like a bad thing, but as is often the case with music the test of time is where real merit is proven, and Bazooka Tooth has passed all its test with flying colors. It has not only held up well and aged beautifully, but actually sounds better today then it did 9 years ago. 

Well played Mr. Rock. Well Played


-Aesop is still a phenomenal mc.
-On "We're Famous" EL-P drops one of the greatest verse ever written.
-Some interesting concepts strung throughout.
-The production aged very well
-How dope is that album cover? Wow. Aesop always has such amazing artwork. This is probably my favorite.


-It's also an absolute shock considering what came before it. the jump from Labor Days to this is so abrupt. 
-At the time of its release it scared the hell out of me. Haha

Overall - 4/5

Sunday, September 2, 2012

Quick Update

As you can tell I've been back working on the blog and updating it with some new albums. The switch over to a new template kinda screwed up the looks of some of the other post, so I realize the site isn't much to look at now, but I am working it out.