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(Definitive Jux / Creative Vibes)
The buzz surrounding NYC MC and producer Aesop Rock became a full-blown roar when he released ‘Labor Days’, his first album for extremely respected US hiphop label Definitive Jux in 2002. With both significant sales and attendant critical acclaim, ‘Labor Days’ was the sound of Aesop Rock shifting from being a highly respected ‘undie’ artist with four independently-released records under his belt, to one of the most highly-touted figures currently moving in the waters of independent US hip hop.
Aesop’s inclusion alongside fellow Def Jukie Mr. Lif on the most recent Big Day Out festival tour, as an act in the Hot House was also another recent reminder of just how much his profile and fanbase has steadily grown. Apparently one of the main reasons for the extended gap between new records (with the exception of the masterful ‘Daylight’ EP) is because Aesop went into ‘virtual seclusion’, refusing offers of collaborations and live shows, so that he could concentrate on crafting a worthy follow-up to ‘Labor Days.’
If the story’s true than it’s certainly been worth the wait for the listener – ‘Bazooka Tooth’ is to these ears one of the strongest and most meticulous (both in terms of rhymes and production), not to mention just plain slamming US hip hop albums of the past year.
Opening with drawled rhyming over slowed down rock beats and plucked ukele, title track ‘Bazooka Tooth’ sudden snaps halfway into rhythmic focus over a clanking loop of sampled pots and pans and feathery scratching from DJ Cip One. It’s typical of the sheer attention to detail and intricacy present on all of ‘Bazooka Tooth’s’ tracklisting.
hWhile these tracks would punish the bass-bins of any groovy hip hop ride, there’s a multitude of levels of sample manipulation, looping and programming on there that will definitely satiate and occupy the most headphone obsessive. Particularly notable is the fact that Aesop is solely responsible for more than half of the production and beats on ‘Bazooka Tooth’, alongside input from Blockhead and El-P (on the collaborative track ‘We’re Famous’).
‘N.Y. Electric’ features an Indian sounding loop and almost dancehall oriented beats, and sounds like it could be a knowing reference to recent Bhangra crossover hits by the likes of Panjabi MC, but gets knocked sideways by some unexpected saxophone and debauched skat-rhyming from Aesop. ‘Cook It Up’ is a hilarious collaboration with P.F.A.C. and Blockhead that documents the date from hell through the perspective of the freaky obsessive guy and also manages to rip the piss out of the Loverman RNB persona at the same time.
The only overarching concept here seems to be that ‘Bazooka Tooth’ is some sorta projection of the more unpleasant elements of Aesop’s personality – a nefarious alter-ego perhaps? If there are clues here, they’re veiled, as on ‘Freeze’; “They’re like – what’s up with the name / I tell ‘em Ya’ll made Bazooka Tooth, I was about to ask the same.”
‘We’re Famous’, with vocal and production input from Def Jux label co-founder El-P, melds booming bass and loping snares with 80s analogue synths in a tough style typical over the man behind the earth-shaking ‘Fantastic Damage.’ ‘Babies With Guns’ rides an almost ragga-style juddering bass rhythm, while ‘Frijoles’ is one of the absolute highlights of this set and features a blink and you’ll miss it cameo from NASA while delivering judgement on the more narrow-minded within hiphop. “Isn’t it strange how it’s a fad to bite your idols when the whole reason you liked them is because their shit wasn’t recycled?’
Recent radio hit collaboration with recent tour buddy Mr. Lif “11:35” is also here – a savage indictment on the destruction of simple human dignity through drugs, immigrant exploitation, prison and the increasing starkness of modern life, gritty territory also explored by Lif on his recent ‘I Phantom.’
‘Bazooka Tooth’ is packed with productions and beats typical of the extremely high standards currently set by the other artists in the Def Jux stable, and Aesop’s own productions on this album easily equal of those touched by the hand of Blockhead or El-P. Not as confronting and relentless as El-P’s classic ‘Fantastic Damage’ or as elliptical and oblique as Cannibal Ox’s ‘Cold Vein’, ‘Bazooka Tooth’ sits easily alongside those greats and is the sound of a dextrous artist fashioning a furrow that is definitely his own.
Can’t wait to hear whatever’s next – but there’s a tonne here to keep you busy.
