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Battles | Gloss Drop
CD Reviews
Aesop Rock
None Shall Pass | Definitive Jux
By
RICHARD BECK
|
August 28, 2007
AESOP ROCK, NONE SHALL PASS
" alt="photo of 'AESOP ROCK, NONE SHALL PASS'">
3.0
Stars
“It’s rain of the razor laser/Day of the cloudy howdy/Flight of the shelter melter/You can bow without me.” Sometimes I don’t have one goddamn clue what misanthropic underground hip-hop king Aesop Rock is talking about. But most of the time I want to rewind and figure it out: “There is a hole in front of the shovel/A shovel in front of the brawn/Six million guerrillas for whom the graves yawn.” It’s a sardonic, cynical brand of conscience rap, where all that’s left is to realize that capitalism is everywhere and you’re screwed. Aesop’s preference for boring “live” beats tends to hit somewhere between the Roots (“Getaway Car”) and Linkin Park (“None Shall Pass”), but that hardly matters: it’s his delivery that commands the attention here. The man bends his intonation like an ax slayer in a blues band, and he sounds as if he were eating his rhymes even as he spits them out. Bloggers have been signaling approval for Mountain Goats’ John Darnielle’s phoned-in cameo on “Coffee.” Makes perfect sense.
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In a move that’s sure to be copied by other indie labels, the underground hip-hop imprint Definitive Jux recently created what it’s calling “The Pharmacy” or “DJRx,” an on-line store that mimics the amazon.com/iTunes model.
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In the home of Slaine, Esoteric, Sullee, Bomshot, Lyrical, and about 10,000 other pale MCs who can hang with brothers of all shades and styles, the notion of prolific whiteboys is hardly novel.
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Like basketball, hip-hop offers a way out of the inner-city cycle of violence and poverty.
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On his sophomore effort, local rapper Daniel Laurent bares his soul and offers good advice to young kids without sacrificing his street cred.
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I’ve been listening a lot this week to Proof’s second album, Searching for Jerry Garcia (Iron Fist Records). It reminds me, ominously, of Makaveli and Life After Death .
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It was an uncomfortable moment when Yo! Majesty took the stage — what, after all, is the quorum necessary for a show to go on when one-half of a hip-hop duo isn't there?
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ARTICLES BY RICHARD BECK
PLUCK AND DETERMINATION
| March 09, 2010
People have always thought that Joanna Newsom was indulgent. At first, it was about her voice — the kind of nasal yelp that usually keeps a performer from getting on stage at all. Then, on her second album, it was about her vocabulary and her instrumentation.
SONG OF HERSELF
| August 05, 2009
"Listen, I will go on record saying I love Feist, I love Neko Case. I love that music. But that shit's easy listening for the twentysomethings. It fucking is. It's not hard to listen to any of that stuff."
DJ QUIK AND KURUPT | BLAQKOUT
| June 15, 2009
LA hip-hop has two threads, and DJ Quik pulls both of them. The first is g-funk, a production style that relies on deep, open grooves and an endless parade of funk samples.
FLIPPER | LOVE
| May 26, 2009
Flipper formed in San Francisco in 1979, and they're remembered three decades later because of a song called "Sex Bomb" that's one of the funniest pieces of music I've ever heard.
ST. VINCENT'S ACTOR GETS A RUN-THROUGH
| May 26, 2009
There were not one but two clarinets on stage at the Somerville Theatre on Tuesday night, and that gives you some idea of how intricate Annie Clark's chamber-pop compositions can be.
See all articles by:
RICHARD BECK
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