Aesop crack

There is a vocal and powerful sect of music listeners who believe that a musician's career begins and ends on the first album, that nothing will ever taste so good as the first sip. And while many emcees have peaked on the first album, the same can't be said for Aesop Rock.

His debut, Music For Earthworms , functions well enough as a showcase of his lyrical ability, but little else. Aes was a talented emcee at the beginning of his career, but his flow had room for improvement -- a few times here, Aes loses track of the beat, and not in the arty-and-on-purpose-way he does on later records.

His vocal tone, a bit nasal and clogged, comes off one-note compared to the versatility he'd develop later. A monotonous delivery isn't a problem when it's juxtaposed with interesting beats, but Music For Earthworms shows its age there as well. The beats are minimal in terms of layering and melody -- this style makes an interesting prelude to Labor Days , but lacks the intimate details Blockhead wove into that record.

In fact, this independent release is so rough that one track, "Live On It's endearing, but feels unfinished. The most notable thing about Music For Earthworms is its rarity -- the album was only ever issued on CD-R and has long been out of print, making it a hot collector's item.

Illegal downloads are common enough, though, and those interested in digesting this album can do so, but it's not as necessary as his later work. Or put it this way: Aes has re-issued every one of his older releases except his debut, maybe for good reason.

Of all Aesop Rock's albums, this one is the most unique, though far from the best. Aes wrote this ugly duckling in collaboration with singer-songwriter Kimya Dawson of the Moldy Peaches.

Opinions on the album will likely hinge upon how much an individual likes Dawson's music. Personally, I can't stand her. Her observations on life feel mundane in the extreme, her quirkiness is cloying, and her voice grates on me. Dawson's sound dominates Hokey Fright , with Aes' production filling out her arrangements. It makes for an interesting listen when taken as a fusion between folk music and hip-hop but some songs work better than others.

For example "Bats," the highlight of the record, strikes a good balance between Dawson's jangle and Aesop's smoother groove. Lyrically, Aes and Dawson share some common ground -- both find deeper significance in the mundane moments of everyday life, and they share a pitch-black sense of humor.

Their sensibilities work well on songs like "Organs," which comments on the inherent kindness of organ donation. Trouble is, Aes just works better as a prophet of doom than a court jester. Fans of Dawson and her ilk will like this release more. While there's no official confirmation, it's easy to imagine that Fast Cars is what became of all the beats Blockhead produced for Bazooka Tooth.

The instrumentals on the EP might make for a remixer's delight, even if Aes' lyrics are looser and goofier than those on Bazooka Tooth. Aes offers a more relaxed flow in this set of tracks than either record flanking this EP, although he does pull some real gravitas out of his chest for "Food, Clothes, Medicine. Fast Cars, Danger, Fire And Knives was released during a pivot in Aes' career, between one of his oddest releases and one of his strongest, and out of all his EPs it feels the least like a cohesive piece and more like a very short B-sides collection.

Maybe that's why the disc came styled as a circus sideshow pamphlet -- it feels more like an oddity than an essential release, even if track-by-track it contains some strong material. Both records are louder, more exuberant creations than anything else in their respective discographies. Aesop has collaborated with a who's-who of underground hip-hop luminaries, including El-P, Vast Aire of Cannibal Ox, and Slug from Atmosphere, but he frequently outshines his guests, who can match his lyricism, but not the manic quality of his delivery.

Aes found his perfect foil in Sonic, who had shown up twice on his previous album, None Shall Pass. Sonic writes more straightforward rhymes than Aes, but can equal his partner's syllables-per-minute. The chemistry between the two is palpable: They emulate prime-era Beastie Boys as they trade barbs on "Grubsteak," a short-but-sweet laser blast of a song that sets the peppy tone for the remainder of the record.

Sometimes the proceedings run too chipper, such as on "Breakdance Beach," which throws only the same irritating hook over and over without so much as a weave or a dodge. It's the closest thing to a filler track on any Aesop Rock record. Songs like "Meter Feeder" and "Mailbox Baseball" walk the line between big hooks and lyrical content better.

Aes has made no bones about including Hail Mary Mallon songs as part of his repertoire, even if it's not part of his solo work. Sonic has toured with Aesop frequently since his comeback, and the two often incorporate multiple tracks from Are You Gonna Eat That? Hopefully it will boast some more intellectual content than this tasty, but saccharine, album.

On his second self-released piece of music, the Appleseed EP, Aesop Rock began his longstanding habit of releasing prolonged EPs shortly after major albums. Most of these stopgap releases feel like short B-sides collections cobbled together from whichever songs didn't make the cut of the preceding record. Appleseed , though, marks a huge step forward from Aes' debut LP. It is on this EP that Aes begins to slip and slide through bars -- he's not yet the preternatural emcee he would later become but that side of him begins to show its face.

In that synchronous moment, Appleseed goes from a pretty-good EP to a fascinating piece in Aes' music history. During the final track, "Odessa," Aes manages to hit his stride for the full length of a song, rolling l's and popping p's over new age flutes and jangling guitar lines.

It's the first essential listen of his catalog. Appleseed also offers a glimpse into what might have been. More than any other release, it sounds as though it was intended to be a part of the traditional New York hip-hop scene, especially on "Dryspell," with its Ornette Coleman sample.

It's a great track, but it's also the most traditional-sounding song Aes ever wrote. Most notably, Appleseed marks Aes' first collaboration with instrumental trip-hop artists and producer Blockhead. The two would collaborate many times over the course of Aes' career, and Blockhead's hypnotic and multilayered approach to hip-hop production was arguably as instrumental to Aes' notoriety as his vocal skill, at least at the start.

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