Aesop Rock - "None Shall Pass" - Def Jux (2007)

It’s been two years since Aesop’s last release, the excellent but brief “Fast Cars, Danger, Fire and Knives” EP and four since his last full length LP, 2003’s“Bazooka Tooth”; but the wait was definitely worth while. As experimentation has increased over the last few years in underground hip-hop (most noted within the Def Jux camp itself, with head honcho El-P branching out and teaming up with everyone from Trent Reznor and Chan Marshall of Cat Power for his recent album “I’ll Sleep When You’re Dead”); it’s nice to hear that Aesop (nee Ian Bavitz) has stuck with his proven formula of futuristic production and head-scratching rhymes on his latest opus.

The new album features strictly in-house production from Def Jux power players El-P and Rob Sonic as well as Aesop Rock himself on a few joints. Title track “None Shall Pass” sounds like a mash up of a xylophone loop and a high-pitched soul sample ala Kanye West. While the strange beat lulls the listener into a repetitive head-bob, Aesop spits the chorus, “I will rejoice in your fall from grace/ When I came to the sky like/None shall pass”. What exactly Aesop is referring to is anyone’s guess. The beauty in it is no one should really care, because it simply sounds great.

“Getaway Car” is a track that brings to mind a Starsky and Hutch car chase scene through the streets of San Francisco in the 1970’s; however this car is driven by Aesop, Breeze Brewin and the very underrated Cage (semi-famous for being name dropped repeatedly and hated on by a certain “other” white rapper who turned out to be a bit of a big deal. Any guesses?) Breeze Brewin, Cage and Aesop each take turns spitting fire over the blaxploitation beat that sounds like an outtake from “Fishscale” and just begs for a Ghostface cameo.

The album does have a bit of a dark and claustrophobic feel to it, just check “Gun For The Whole Family” featuring El-P for a perfect example, which sounds like a paranoid nightmare recorded on a DAT tape. El-P nods towards Trent on this industrial-tinged banger that has him and Aesop sounding tighter than ever together.

Although he spends the majority of the album caught up in his own complex rhymes and double metaphors, it is refreshing to hear Aesop inject some shameless humour at the beginning of “The Harbour Is Yours” where you hear a “REMIX!” shout that would sound more at home on a DJ Clue Mixtape, followed by some sarcastic laughing.

“None Shall Pass” proves to be yet another fine release from one of the hottest indie hip-hop labels around (Def Jux) and Aesop’s latest effort follows in the hot footsteps of Cage’s “Hell’s Winter” and El-P’s “I’ll Sleep When You’re Dead”. If “None Shall Pass” is any indication, we can all rest assured that the Def Jux label will keep pushing out fresh and forward thinking music that will carry listeners into the next decade of the new millennium and beyond.

Rating: 8.5/10

To see this review posted on AllHipHop.com click here: http://allhiphop.com/blogs/reviews/archive/2007/08/28/18488650.aspx

Yesterday's New Quintet - "Yesterday's Universe" - Stones Throw Records (2007)

Yesterday’s Universe (Stones Throw) by Yesterday’s New Quintet, an experimental/jazz collective headed by underground uber-producer Madlib, is a record that offers both a musical glimpse into the future and also a glance into the past. With this album, Madlib has compiled appealing instrumental tracks by the various artists and groups that work together under the Yesterday’s New Quintet moniker, resulting in an exciting mish-mash of experimental, free-form and acid jazz topped off with a Hip-Hop sensibility.

The tracks on this album take the listener through a sonic tour of Madlib’s leftfield taste in music; as each track is slightly stranger than the other, however the common thread that holds the album together is eccentricity. The Young Jazz Rebels’ “Slave Riot” sounds like a Mad Max post-apocalyptic rendition of a Medeski, Martin and Wood jam session. With the off kilter drumming, menacing bass and sci-fi sound effects, this tune gives you an idea of what jazz could sound like in the year 2050.

The Jazzistics “Martin, Marcus and Malcolm” provides a more traditional flow that would not be out of place being played in the background at your local Starbucks or martini lounge. Another track that has an old, throwback feel similar to vintage John Coltrane (Madlib namedrops him frequently) is “Umoja (Unity)” by The Jahari Massamba Unit. The track has a relaxed, airy vibe that is created with light drumming and breezy saxophones bouncing off one another. The track leaves a smile on your face, plain and simple.

The only track on the album that at a first listen, would make one realize that Madlib was actually involved in this project is “Sunny C (California)” by Ahmad Miller. The track would fit perfectly onto the forthcoming Madvillian project as you can almost hear Doom spitting over the blunted beat.

If you are looking for to expand your musical tastes and take a break from the mundane commercial rap currently flooding the market, then give “Yesterday’s Universe” a quick listen. Madlib (as the head of Yesterday’s New Quintet) puts together an album that simultaneously gives a brief jazz history lesson and also a peek of what may lay ahead in this exciting musical form. This album may not be for every rap or music fan (much like a lot of the music released on the Stones Throw label); but at the very least Yesterday’s Universe will open a door wide open for you. It’s up to you however, if you want to step through and explore.


Rating: 3.5/5

To see this review posted on AllHipHop.com click here: http://allhiphop.com/blogs/reviews/archive/2007/07/23/18298646.aspx

Video: "Stronger" by Kanye West

http://www.kanyewest.com/?content=video_stronger

Whether or not you are fan of Kanye West, you definitely need to check out this new video for the the single "Stronger" which is on his forthcoming album "Graduation" which is set to drop on August 21st. The video helmed by legendary music video director Hype Williams, is a treat for the eyes; and obviously the ears as well.

The video can be compared to a mini-motion picture as it is a visual feast that allows us to watch Kanye travel through what looks like Toyko in pursuit of a beautiful woman, whom we only see gyrating at some futuristic club. While in pursuit, Kanye grows "stronger" from his introduction at the beginning of the video in a strange space pod/chamber (Ala Keanue Reeves waking up the first time in the Matrix) as he seeks out this bombshell. Let's not tell Kanye's new fiancee about this...it will be our little secret. We are assuming that Kanye's feelings for this woman grow "stronger" for her the more he searches. We even see him escape a hospital where he is laid up with some unknown illness; and he is so "strong" that he manages to get by and away from a SWAT team which has been sent in to neutralize him.

The whole video has a futuristic, Japanamation look to it; heck Kanye even name-drops "Akira" which is one of the most revered Anime films of all time. It reminds me of a hip-hop "Blade Runner" except instead of a young Harrison Ford running through a dark, depressing futuristic cityscape; we have a stylish young rapper bobbing and weaving through a kaleidoscope of colours and bright lights.

The video even features a cameo by the two members of Daft Punk; a electronic-music duo hailing from Paris, France. What makes this song and video so exciting is that Kanye bases the entire beat and the chorus from a sample of Daft Punk's track "Harder, Better, Faster, Stronger" their big hit off the "Discovery" album which was released back in 2001. The fact that Kanye is pushing the boundaries of hip-hop and pop music in general with this track, tells us that West is not sitting back on his heels and believing his own hype. He is trying to make important and interesting music, no matter what anyone thinks. Whether he is influenced by Daft Punk or Willie Nelson is irrelevant; with Mr. West we know that the end result of these strange influences will be a dope song and dope video to go along with it. Check it out and enjoy!

STONES THROW RECORDS 10th ANNIVERSARY SHOW, Monday, October 30th, 2006, The Phoenix Concert Theatre, Toronto, ON, Canada

Stones Throw Records, an indie hip hop label based in Los Angeles, California recently made its Toronto stop on the "Chrome Children" tour on Monday night. Run by an eccentric musical genius named Chris Manak (also known by his DJ alter ego Peanut Butter Wolf), Stones Throw Records has been releasing some of the most cutting edge hip hop, soul, R & B and avant-garde music during its decade plus existence.

The label is home to numerous intriguing artists such as Madlib, Madvillian (with MF Doom), the late production wizard J Dilla and Peanut Butter Wolf himself. This recent tour to promote the release of their CD/DVD entitled "Chrome Children" (which was made with the help of the Adult Swim portion of programming on the Cartoon Network) was a tour that was highly anticipated by all of those in attendance. I checked out the Madlib/Quasimoto show back in June 2005 and based on that blunted performance I wasn't expecting a pyrotechnics-filled display with spot-on renditions of Quasimoto's "The Unseen" and Jaylib's (Dilla and Madlib's side project) "Champion Sound"; however I definitely was surprised at the quality of the show that myself and hundreds others forked out $30 + GST for!

First off, this tour was dubbed the "Chrome Children Tour" which lead one to believe the show would feature artists whom had dropped gems on that album. Everyone from Wolf, Madlib, Dudley Perkins, Roc C, Oh No (Madlib's younger brother) and Dilla protege Guilty Simpson were expected to perform. The gig started with a warm-up set by J Rocc, followed by a confusing and disjointed performance by world music/MC Aloe Blacc. After that we were treated to some solid throwback hip hop courtesy of underground New York legend Percee P (who I might add could not be found at the beginning of his set as J Rocc yelled at him from the stage to "Stop trying to sell your damn CDs and get your ass on stage!"). Local Toronto-area hip hop mainstay Maestro Fresh Wes also stopped by during the concert to drop a better-than-expected freestyle. Is it just me or can we now refer to Maestro as "The Original Hip Hop Vampire"? I have seen Maestro at almost every hip hop show I have been at since 2000 and he always seems to get himself up on stage to try to remind us all about who he once was. Maybe we could call him Maestro Fresh WAS....just some food for thought.

After Percee P, Wolf spun a brief set of typical Stones Throw mish-mash. Some old cuts with the deceased but not forgotten rapper Charizma, who Wolf originally started making music with ages ago; some Dilla and other oddities that he dug deep out of his crate. In between sets, J Rocc kept the flow going with snippets of unreleased Dilla tracks which I personally CANNOT WAIT to hear in their entirety, once (if ever) they are released.

Finally, Madlib took to the stage for the finale. He came on wearing a wacky baggy, blue checkered suit with matching kicks; to a chorus of yelps and shouts (myself included) yet he never really seemed to deliver. Madlib is often referred to as "eternally-blunted" and this description proved fitting as he laboured through Jaylib standouts like "The Red" and "The Official" with a lukewarm and sloppy mic presence. Madlib is one hell of a producer, but he definitely needs to ante up on the mic skills. After roughly 30 minutes of this, the show concluded with J Rocc shouting at us "That's it folks, they're kicking us out of here!"

As I shuffled out of the Phoenix, I wondered to myself what this show would have been like had Dilla been there. One can only dream. If the Stones Throw crew could duplicate live, the sounds they put on wax, then this show would have truly been something. Hopefully this show didn't disappoint J Dilla, like it did me.

TOOL - Sunday, June 24th, 2007, Copps Coliseum, Hamilton, ON, Canada

Hamilton, Ontario's nickname of "Steel Town", should officially be changed to "Metal Town" if the sights and sounds emanating from Tool's show at Copps Coliseum on Sunday night were any indication. Tool must have wanted to play in a venue that was the polar opposite of their last shows in Southern Ontario ( two sold-out performances at Toronto's Hummingbird Centre last summer); because the show on Sunday reminded me that while music may change over the years, the people that listen to it may not.

The first time I experienced the live Tool experience was almost 13 years ago at Toronto's Concert Hall (Masonic Temple) in support of their latest release "Undertow" and it left quite the impression both on me emotionally and physically. I experienced a real "metal" show for the first time. Surrounded by raging lunatics with long hair, I stood at the edge of the mosh pit and watched bodies smash willingly into one another as the sounds of blistering guitar and bitter screaming filled my ears. I was officially "rocked" I left that show knowing that there was no better rock band on Earth than Tool.

Well over a decade had passed since that show and here I was standing yet again amongst a mass of long-haired lunatics and other rock fans from all walks of life, ready to be impressed by one of rock music's most exciting live tickets. All of us gathered there at Hamilton's biggest and dingiest hockey arena were expecting to have our minds and eardrums blown. Plain and simple.

Tool, a progressive rock/metal outfit hailing from Los Angeles, California have been blistering ears since 1992 when they burst on the scene with their first EP "Opiate" which featured such memorable titles as "Jerkoff" and "Cold and Ugly". The raw, furious sound captured on their first release was more comparable to standard metal and punk; whereas through the years they have evolved into quite possibly the most interesting and unpredictable bands in rock today.

"10,000 Days" (2006), their most recent release, follows in the lyrical tradition of their previous albums; 1993's "Undertow", 1996's "Aenima" and 2001's "Lateralus". Lead singer Maynard James Keenan continues his obsession with pain, despair, anger and the inevitable demise of the state of California either by a natural disaster or self-destruction.

Sonically, Tool have steadily improved on the sound of each of their previous albums, thus culminating in a stellar live show. The set that Tool treated approximately 17,000 faithful too was one that proved to be not only an experience for the ears, but the eyes as well. After approximately 4 minutes of continuous and ominous feedback, Tool, (led by Keenan, guitarist Adam Jones, bassist Justin Chancellor and drummer Danny Carey) took to the stage to thunderous applause and screaming. They immediately rolled into cuts of their latest disc which warmed up the crowd for the third track "46 & 2" (off the Aenima CD and also one of their most popular tunes). The menacing guitar and bass coupled with Maynard screaming the chorus "Stepping through my shadow...crawling out the other side....46 & 2 just ahead of me..." had the place going berserk. Add to this the twisted images of carnival freak shows and strange Egyptian symbols flickering across the stage and on huge screens behind the stage; and you had a true Tool moment.

The band performed mostly material from their two most recent releases, then brought the show to a close with the title track off their current release, "10,000 Days". After battering the audience for over 2 hours, the group then all bowed and thanked the audience for coming to see them. They then all embraced at the centre of the stage (which is a Tool post-show ritual) and exited the stage. It was quite the sight to see 4 men who had just finished venting their frustrations musically, turn and show their audience and each other such respect and admiration.

It is evident that during the 13 years since I last saw Tool live, they have matured both as musicians and as humans. However, the show in Hamilton reminded me that Tool fans do not change. There will always be those rabid fans that can't wait to get to the show to hit the mosh pit or to punch someone in the nose. Yet, as long as Tool keep making the type of music that was played on Sunday night, there will also always be those of us who are simply looking for the perfect live rock experience.

"Young Folks" (Single) - Peter Bjorn and John - Almost Gold (2007)

I have yet to hear the full album from this 3 piece outfit based in Stockholm, Sweden; however I cannot get enough of the lead single "Young Folks" off their new album entitled "Writer's Block". This breezy, catchy song (also referred to as the "Whistle Song" by certain hipsters; not to be confused with the Ying Yang Twins' slimy crunk anthem "Whisper Song") is as infectious a summer single as there is. Although this album was released on North American shores in February 2007; so far this is the quintessential summer tune right now.

The song kicks off with some simple whistling which combines with some steady 60's influenced drumming and wistful lyrics sung by a young man hoping that a young girl that he likes, likes someone like him. Sound simple enough? Well it is. There is no need to look further into the lyrics. Just sit back, relax and doze off daydreaming about that special someone you have your eye on. Who knows, maybe that person is looking for someone just like you!

The song structure and melody bring to mind the lazy, hazy days of summer during the 60's when everyone from the Mamas and the Papas and Simon and Garfunkel were ruling the airwaves while war raged on in other parts of the world. Something so simple as a basic pop song with a great melody can make someone forget about all of their troubles and enjoy a few minutes of pure musical bliss.

Unfortunately, there are still problems all across the globe, in our cities, towns and our own backyards. Thankfully, simple throwback pop music like "Young Folks" is just the type of song we need to make us forget about everything else going on around us and allow us a haven to retreat to ponder other important things that require our immediate attention....like whether or not that person that we long for would want to be with someone like ourself.

The Weirdness - The Stooges - Virgin Records (2006)

You know that awful taste you have in your mouth when you wake up? Similar to your tongue feeling like the lining of the bottom of a birdcage? Awful isn't it? Well let's just say that The Stooges' (featuring 3/4 of the original lineup) new album "The Weirdness" is the aural equivalent of that. It leaves a bad taste in your mouth, but one that is strangely enjoyable.

Everybody's favorite cracked-out grandpa-lookalike Iggy Pop and Asheton brothers Ron (guitar) and Scott (drums) have reunited in 2007 (with the addition of grizzled punk vet, bassist Mike Watt) after a 34 year hiatus to remind us all what punk rock really is: dirty, grimy brief songs that leave you reaching for a bar of soap. The Stooges left a dirty skidmark on rock and roll's underwear during their brief time together from the late 1960s until they flamed out in 1973. This album sees them return to their familiar sonic snarl with the help of famed rock producer Steve Albini (Nirvana, Jon Spencer Blues Explosion, Jesus Lizard).

"The Weirdness" combines old, grimy, 70s-style punk rock with some rockabilly and British garage rock flavour to create one of the most enjoyable punk rock albums in recent memory.
With song titles like "Trollin", "My Idea Of Fun" and "She Took My Money", it is easily understood that Iggy and the boys don't want us to listen to diatribes on government corruption and and world peace. They want us to know that no matter your age (Iggy Pop turned 60 recently!?) cruising the streets looking for trouble and women, randomly harming people for amusement and complaining about being taken advantage of by an evil woman while inebriated; are all things that any red-blooded man should enjoy revelling in. When Iggy shouts the chorus of "My idea of fun/Is killing everyone" on the track "My Idea Of Fun", it almost makes you want to get out your seat and get outside and join Iggy in "a bit of the old ultra-violence".

If you're looking for a 40 minute escape from the mundane and aren't afraid to feel dirty all over, then the new release by The Stooges "The Weirdness" is just what you need. As Iggy reaches retirement age, let's hope that he doesn't lose that bitter edge that he's had for over 4 decades. Hey, wait a minute....isn't the food supposed to be horrible at retirement homes? That should piss Iggy off enough for at least another album's worth of material shouldn't it?

Rating: 3.5/5