Most Helpful Customer Reviews
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Aesop Über Alles!, 27 Sep 2004
There's a thread running through most of the Definitive Jux catalogue that some would unreservedly label 'futuristic'; especially concerning Cannibal Ox, Mr Lif, El-P's own recordings and this, Aesop Rock's most confident outing to date. Long established as an indie rapper de rigeur, Rock has made a significant departure in Bazooka Tooth from the orchestral sounds he was wont to use in 2001's Labour Days. What is so neglected in many assessments of Rock's work is his inherent love and unabashed defence of hip-hop culture. Take for instance, the video for single 'No Jumper Cables', in which Rock stands by graffiti artists as modern 'cave-painters', who are misunderstood as much as they are mistreated by local authorities. In 'Easy' he tells of spending a night in a cell for a 'sticker in a phone booth', and of narcotic squad's astounding inefficacy in producing results: 'Your trained professionals demonstrate forty-one shots over par!'. Use of a low end Pro-Tools recording system aside, this record is no more or less 'futuristic' than most other hip-hop releases, the difference lies only in Rock's own aspiration towards a strong identity; an identity which is set in cast iron on Bazooka Tooth.Perhaps one of the finest and most underrated of songs on this album is 'Cook It Up', which effortlessly summarises and far surpasses any of the string-laden hip-hop releases gracing mainstream radio in the last three years. This track proves that Rock, often deemed an unfathomable miserablist, is capable of more potent funk and far greater humour than many of his mainstream peers; 'I dream of Jeannie, and f*cking her obscenely/But Jenny could be Jeannie so easily if she let me!'. Anyone bemoaning Definitive Jux as well as Rock as a pretentious and de-humanising label could be nought but powerfully silenced by this track. The rapper's own greatest strength, however, lies in the intelligence of his rhymes and cadences. Rock's capabilities as a social commentator leave many of his peers, regardless of genre, standing. The argument 'less is more' relies on a superfluity of detail, but in Rock's case, almost every sentiment from beginning to end has been carefully considered, and is more than worthy of inclusion on the record. Indeed, it makes the Godspeed You Black Emperors of the world seem positively gormless by comparison. The presentation of the lyrics, though intense and initially difficult, is not only a testament to Rock's virtuosity in his field, but wholly justified by the relevance of its content. In light of the sluggishness of Cannibal Ox (though apparently still together) to produce a new record since 2001's Cold Vein, Bazooka Tooth will be a welcome addition to any fan of Definitive Jux releases - an addition which, on many counts, surpasses the Cold Vein in versatility and conception. Its nearest match would be El-P's own Fantastic Damage, but Aesop Rock's identity prevails and asserts itself beyond this natural influence. Fans not only of hip-hop, but of socio-political music would love this record, and take stock of other artists whose aspirations towards the same level of skill and professionalism are blown out of the water by it.
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1 of 3 people found the following review helpful:
5.0 out of 5 stars
Aesop Über Alles, 27 Sep 2004
There's a thread running through most of the Definitive Jux catalogue that some would unreservedly label 'futuristic'; especially concerning Cannibal Ox, Mr Lif, El-P's own recordings and this, Aesop Rock's most confident outing to date. Long established as an indie rapper de rigeur, Rock has made a significant departure in Bazooka Tooth from the orchestral sounds he was wont to use in 2001's Labour Days. What is so neglected in many assessments of Rock's work is his inherent love and unabashed defence of hip-hop culture. Take for instance, the video for single 'No Jumper Cables', in which Rock stands by graffiti artists as modern 'cave-painters', who are misunderstood as much as they are mistreated by local authorities. In 'Easy' he tells of spending a night in a cell for a 'sticker in a phone booth', and of narcotic squad's astounding inefficacy in producing results: 'Your trained professionals demonstrate forty-one shots over par!'. Use of a low end Pro-Tools recording system aside, this record is no more or less 'futuristic' than most other hip-hop releases, the difference lies only in Rock's own aspiration towards a strong identity; an identity which is set in cast iron on Bazooka Tooth.Perhaps one of the finest and most underrated of songs on this album is 'Cook It Up', which effortlessly summarises and far surpasses any of the string-laden hip-hop releases gracing mainstream radio in the last three years. This track proves that Rock, often deemed an unfathomable miserablist, is capable of more potent funk and far greater humour than many of his mainstream peers; 'I dream of Jeannie, and f*cking her obscenely/But Jenny could be Jeannie so easily if she let me!'. Anyone bemoaning Definitive Jux as well as Rock as a pretentious and de-humanising label could be nought but powerfully silenced by this track. The rapper's own greatest strength, however, lies in the intelligence of his rhymes and cadences. Rock's capabilities as a social commentator leave many of his peers, regardless of genre, standing. The argument 'less is more' relies on a superfluity of detail, but in Rock's case, almost every sentiment from beginning to end has been carefully considered, and is more than worthy of inclusion on the record. Indeed, it makes the Godspeed You Black Emperors of the world seem positively gormless by comparison. The presentation of the lyrics, though intense and initially difficult, is not only a testament to Rock's virtuosity in his field, but wholly justified by the relevance of its content. In light of the sluggishness of Cannibal Ox (though apparently still together) to produce a new record since 2001's Cold Vein, Bazooka Tooth will be a welcome addition to any fan of Definitive Jux releases - an addition which, on many counts, surpasses the Cold Vein in versatility and conception. Its nearest match would be El-P's own Fantastic Damage, but Aesop Rock's identity prevails and asserts itself beyond this natural influence. Fans not only of hip-hop, but of socio-political music would love this record, and take stock of other artists whose aspirations towards the same level of skill and professionalism are blown out of the water by it.
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0 of 1 people found the following review helpful:
3.0 out of 5 stars
Bazooka Tooth Baby!!!!!, 14 Oct 2004
This album is raw beyond words. Almost sparten beats and gritty lyrics mingle and meld until your ears are stomped on. Everything vies for your attention here - from the electro buzzes, stuttering drum beats and the almost unitelligable garble coming from Aesop himself - sometime slimy, sometimes funny and sometimes downright scary."That sexy style you got/i really dig it/ the way you havent made eye contact with me once in 10 minutes" Hard to describe - suffice to say that for anyone whos heard the term 'back-packer rap' and wondered what it was, this is probably the finest example you'll ever hear. For anyone else into rap, this just might to your head from the monotonous gangsta/hoes/bling-bling sound thats become the norm nowadays. ps: the star rating - I'd probably rate it as 3.5 - 4 stars depending on my mood.
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