Aesop Rock w/ Rob Sonic and DJ Big Wiz
1026 Spring Garden St.
Philadelphia, PA, 19123
Doors 8:00 PM / Show 8:30 PM
This event is all ages
Aesop Rock w/ Rob Sonic and DJ Big Wiz
Responsible for all but revolutionizing the entire face of underground hip-hop in the early portion of this decade with a slew of potent and influential releases such as 2000's Float LP and 2001's monumental Labor Days LP to his most recent EP, 2004's Fast Cars, Danger, Fire and Knives, Aesop Rock (aka Ian Bavitz) has proven that resting on his past laurels is all but forbidden. Following his Fast Cars EP, Aesop defied convention and collaborated with visual artist Jeremy Fish on "The Next Best Thing", a short story posing as children's book documenting the cathartic process taken to overcome a creative block. He also scored original music for two short films, "Fishtales" directed by Jeremy Fish, and "Walleyball," released by McSweeneys Wholphin series. Early 2007 saw the release of Aesop's unique and invigorating "All Day", a 45-minute continuous mix commissioned by Nike+ for their Original Run series created specifically to enhance a runner's workout with varying changes in tempo and instrumentation. Constantly finding new ways of innovation goes hand in hand with the dense verbosity and ethereal stutter-funk that codifies Aesop Rock's output, and None Shall Pass is no exception.
Created over a 2 year period following his last release, None Shall Pass unravels retrospectively, documenting not only much personal change Aesop experienced over these years, but also scenes and stories indicative of all ages of life. This album touches on the experiences all humans encounter as they reach the age of adulthood: being judged independently, moving to a new place, the relationships that one builds with others no matter how big or small. Snapshots of life from all viewpoints are brought to the forefront here; "39 Thieves" tells the tale of high school mischief, "The Harbor is Yours" embodies the viewpoint of a children's story, "Fumes" examines the ever too common story of relationships gone sour due to drug abuse. Forgoing the typical stance of braggadocio everpresent in underground and mainstream hip-hop alike, Aesop Rock investigates and examines himself and others on this album, likening the title phrase to the inevitable judgment that everyone must encounter by their peers based solely on their actions.
Production on None Shall Pass also is a vital strong point, with the majority of production duties handled by Aesop's longtime partner Blockhead, labelmate and friend Rob Sonic and Aesop confidently producing a large portion of his own tracks, not including a trademark dystopian banger by Def Jux label-head El-P ("Gun For The Whole Family") and features the Mountain Goats' John Darnielle on the album closer "Coffee". DJ Big Wiz also has a large presence on the album, appearing on 13 out of 14 tracks and offering a devastating rebuttal to those that say the art of scratching is dead. The duality of Aesop's hectic stream-of-thought coupled with the complex production on this album makes no exception to Aesop Rock's consistent pedigree, blazing a trail far ahead of his peers with an album that will be followed for years to come.
Past critical acclaim on Aesop Rock:
"Aesop Rock is indie rap's surrealist, a spewer and sneerer given to oblique code and artfully jumbled syntax. His voice is a bassy, agile instrument that rhymes "evil" gracefully with "amoeba." -BLENDER
"Even among the hip-hop heavies who record for his local label, Def Jux, rapper Aesop Rock manages to stand out thanks to a vulnerable storytelling style that's all too rare among the genre's tough guys." - NEW YORK MAGAZINE
Beaus$Eros, the seventh full-length from indie rap trailblazer Busdriver, forgoes the lightening-speed rhyming that defined his style in favor of a diverse, off-kilter brand of pop and post-hip-hop. Called "...as technically impressive as an MC can get" by Pitchfork and others, Busdriver has made his most personal and avant-garde work yet with Beaus$Eros. Focusing on a devastating break-up and personal failure, the album is buttered in stirring melodies and complex vocals. In step with Busdriver's recent work with forward-thinking producers Flying Lotus, Modeselektor, Nosaj Thing and others, the production on Beaus$Eros takes root in beat music, lush IDM, and sythpop.
Inarguably one of the premiere risk takers in modern indie rap, Busdriver has been a fixture in the scene for ten years, releasing compelling left-field rap albums on taste-maker labels like Mush, Big Dada, Alphapup, Polyvinyl and Anti-. Performing and collaborating regularly with acts likes The Roots, CocoRosie, Aesop Rock, The Glitch Mob, Deerhoof, the beatmakers of Low End Theory and more, his place in the network of left-leaning musicians is as unique as it's ever been.
Up-and-coming Belgian production wiz Loden doctors every moment on Beaus$Eros as the album's only producer. Without ever physically meeting or speaking live, the two manage an electric synergy that usually comes from years of working together. Loden's Hindenburg-sized beats push Busdriver's croons and spat thoughts into difficult-to-label territory. Think Bjork's Post filtered through the sensibility of Outkast's The Love Below with outsider artist goals hidden in every measure. Beaus$Eros is the colorful sum of his wildly adaptive voice in music and proof that he still reigns over entire undiscovered worlds to which his loyal following is now invited.
Possessing a hyper-literate, intellectual style of rapping augmented with dizzying elocution that would tongue-tie even the fiercest auctioneer, Busdriver is eclectic and eccentric enough to cite vocalese jazz singer Jon Hendricks as a primary influence. Born Regan Farquhar, the Los Angeles MC was introduced to hip-hop culture early -- his father wrote the screenplay to one of the earliest films focusing on hip-hop, Krush Groove. He began rapping at age nine, releasing his first record at age 13 with his group, 4/29, named after the 1992 L.A. riots. By the mid-'90s, Busdriver was a regular at the Project Blowed open mic, where he would meet future collaborators and underground luminaries like Aceyalone, Abstract Rude, and Freestyle Fellowship. And shortly after, the vinyl did flow.
Busdriver guested on upward of 20 singles, and by 2001 he could no longer be contained by guest spots, releasing his first full-length, Memoirs of the Elephant Man. There were just as many detractors as supporters for his singular style, which was so densely packed it made his chosen name seem a reference for multiple-personality disorder, and the lo-fi production also left more listeners scratching heads than nodding them. His next album, This Machine Kills Fashion Tips (2002), continued in a similar manner before being trumped by better production and more focused rhymes on Temporary Forever the same year. Joined by another West Coast avant-garde MC, Radioinactive, and the breezy, fractured pop of electronic producer Daedelus, Busdriver released yet another odd puzzle piece in 2003, The Weather. Fear of a Black Tangent followed on Mush in 2005. After moving to Anti-/Epitaph, the rapper issued RoadKillOvercoat, which featured production from Nobody and Boom Bip. His second Anti- release, Jhelli Beam, appeared in 2009. In 2010 he put out a full-length mix tape of unreleased gems and illegal remixes called Computer Cooties. It was released as a free album.
2010 saw Bus toiling over a new album that will shock fans and confuse the unconverted into unwilling servitude. It is called Beaus$Eros and will be released in February 2012 on Fake Four.
$17.00 - $19.00