NYC’s most under-rated rapper is back
again with the 63 minute, 14 track, ‘None Shall Pass’,
the follow up to 2005’s ‘Fast Cars Danger Fire and
Knives’ EP. Ever since Aesop’s 1997 self-released
‘Music For Earthworms’ album, his unique lyrical
talent has been evident. Production and arrangement skills have
also steadily been improving resulting in some wonderful beats
in ‘Bazooka Tooth’ and ‘Fast Car..’
albums.
‘None Shall Pass’ is Aesop’s 5th album proper
and production duties are shared by Aesop (5trks), Blockhead
(7trks), EL-P (1trk) and Rob Sonic (1trk). Immediately, one
can rest comfortably in the knowledge that Aesop has not toned
down his ridiculously intricate and impenetrable rapping style
for a shot at the mainstream. Lyrics are spit out at a disgustingly
brisk momentum which will provide hardcore fans with months
and months worth of deciphering. Luckily though for more casual
fans, the lyrics ride the beats beautifully with certain words
stretched and syllables accentuated. The odd bars that do penetrate
the high tempo verbage usually provide knowledgeable and authoritative
repartee which motivates the listener to dig deeper and ‘connect
the dots’.
The arrangements and production values
on ‘None Shall Pass’ provides an excellent backdrop
to the perfectly delivered lyrics. The beats are crisp, multi-dimensional
and provide a slightly off-kilter, paranoid energy that perfectly
complements the lyrics. When describing the beats, the word ‘freshness’
comes to the forefront of ones mind. A myriad of styles are implemented
from neo-funk to blues to psychadelica. There is a notable use
of live instrumentation which may rub some the wrong way, but
the deep dark dense production values coupled with the looseness
of the live instrumentation works a treat. Tracks like ’39
Thieves’ provide an ethnically rooted melody drenched in
twinkly neon electronica and underpinned by pounding corpulent
beats. The move to San Fran doesn’t seem to have affected
the dark-twitchyness of his output. The self-produced ‘Citronella’
is a prime example, the track being underpinned with an ominous
and cavernous bass and beat exercise whilst the lyrics are delivered
in a deep overbearing voice. ‘Five Fingers’ is a perfect
example of Aesop in cruise control. A driving and subtley catchy
trip-hop melody augmented by beefy hiphop beats, electronic guitar
and soul samples which is rode expertly by Aesop who switches
tempo with precision in order to insert energy and time to reflect.
It is obvious that Aesop still has passion for what he raps and
this forthrightness and vigour really makes for an enjoyable listener
experience.
This is the strongest hip-hop release of 2007 since EL-P’s
highly consistent ‘I’ll Sleep When You’re Dead’.
It’s a dense and mystical beast which requires multiple
spins during which time you’re favourite track will constantly
change. If you’ve shown any interest in Aesop’s previous
releases or in the releases of innovative hip-hop labels like
Def Jux or Babygrande then this is worth you’re while. Kanye
vs 50 Cent, please, I know what I’ll be bumping to. (AM)
For fans of: EL-P, Cage, Chief Kamachi,
Atmosphere
Click
to buy None
Shall Pass
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