Aesop Rock – None Shall Pass
Aesop Rock certainly could not have been born with a more unsuspecting name; but Ian Matthias Bavitz was born in 1976 and to your surprise he wasn’t born with the two-pack a day, two bottles of whiskey voice he communicates with today. Aesop may be two parts politics, but when it comes down to what the man has to say he has a gift for speaking the truth. Those so inclined to call themselves fans have most likely been treated to his previously unknown albums; Music For Earthworms, Appleseed, Float and Labor Days — which led to the seven song “Daylight EP”; that catapulted him into the forefront of New York underground. These are precious gems, handle carefully.
On the strength of what had become a movement in the dregs of New York’s hip-hop scene, this new underground was a breeding ground for fresh, young, raw talent whereas the mainstream was a marketplace that had millions of outlets, all marketing the same brands, same styles, but with a slightly different spin on each individual. It seemed like only a matter of time until Aesop would end up working with Definitive Jux; a relatively small boutique label in NY that had just opened its’ doors in ’97. In just five years, Aesop had started his semi-professional career, pushed out five albums (give or take an EP) and by 2003 he was ready to release his first nearly major release, Bazooka Tooth.
No Jumper Cables
In no way am I trying to persuade you to believe that Definitive Jux, the label that’s just turned 10 this year, is major in any way, but that his release propelled them forward like many other Def Jux artists at the time (Lif, El-P, CannOx) into the mouths of critics and the watchful eyes of the consumer.
Make sure to listen to some new Aesop here (it’s from his people; Web Sheriff step-off); “Citronella” and “None Shall Pass” from None Shall Pass and head over to The Smoking Section to read what he told Gotty about the new album.