Aesop Rock - "None Shall Pass"
"Pass that buttery gold / jittery zeitgeist / whither by the watering hole"
This is the type of album this project was meant for. A throwback album that I recall enjoying, but never giving the whole album the quality time it deserves. The commute today was casual enough that I could cruise along in minimal traffic and sunshiny weather, and listen to an album that warrants real attention.
This album was released in 2007, and by that point, New York City’s Aesop Rock had been making music for the better part of a decade, with his first recorded material coming out in 1997. This album though, was something of a breakthrough in that it reached beyond underground New York rap circles and into the suburban Midwest where burgeoning weirdos like yours truly were itching for music beyond what could be found on the radio.
I fell in love with the single, the title-track “None Shall Pass”, and moreso, Aesop Rock’s mythos as a different kind of rapper. The beats weren’t made for commercial radio. The rhymes reached beyond the stereotypical subjects that invoke pearl clutching and tsk-tsk’ing. The literary techniques and rhyme scheme mattered more than album sales and charting. When it comes to rap, Aesop Rock, is off the charts.
The question for me then is, what makes me qualified to write about an artist and album that is so complex and dense with literary value? This has generally been nagging at the back of my head for sometime now- a qualifiable Imposter Syndrome. I know what music I enjoy and I can generally articulate why, but beyond that— my knowledge of music theory is lacking, I don’t practice enough to be proficient at any one of several instruments, and heavens know I don’t have anywhere near perfect pitch. The best I can hope for, then, is to stay out of my own head on this one and let the music do the talking.
where did i get this album?
Some albums in the chest have a story behind where I picked them up, like last week’s “Close Strangers” by Aaron Lee and the Love Vigilantes. Others are a little fuzzier in my memory. There are certain albums where I can’t recall a time where it wasn’t always on my shelf in my childhood bedroom or in the chest.
This one came out in 2007, right about the time my musical taste’s were diverging from white bread radio rock and blog-friendly indie, into more diverse territory. I probably picked this one up from the Borders on Washtenaw (RIP) on a whim because I maybe read about it on Stereogum or Pitchfork, or was curious about the album artwork. I was blown away by the title track, almost immediately ripping it to my computer and putting it into regular rotation on my iPod. But I wasn’t ready for the rest of the album and never gave it much real attention. It just became another album on my shelf.
However! There is a moment from college that sticks out to me. A friend (hi Bill) was driving me back to my place off-campus sophomore year. We cruised around town in his metallic black Mazda 3 late one evening. He had “None Shall Pass” in the sleeve above the driver’s side visor and put it in the CD drive. He skipped around for tracks that he liked— I don’t recall which in particular— but I noticed he never played the title track. “Hey” I said. “put on track 2, None Shall Pass”.
“Umm,” he replied. “I was saving that one for the drive home alone.”
I could tell this was the song that resonated with him. There is no feeling in the world like driving at night, blasting your favorite tune at full volume. He wanted that moment for himself, and I don’t blame him. He obliged me though, and skipped to the best song on the album.
what is the deal with this album?
Aesop Rock raps like there isn’t enough time left to say it all. He comes out furiously with wordplay, allusion, and metaphors that consistently leave my head spinning. If anything, there is too much jammed into any one song to drive to because he fully commands your attention. Despite the fact that I only ever gave the title track repeat listens, this album demands multiple plays because you’re sure to miss lyrics and motifs that aren’t just clever, but literary in quality.
The beats are bombastic, skittering, and atmospheric. They sounded like nothing else at that time are still uniquely Aesop Rock. The beats are big and heavy, but tread lightly enough to give space for Aesop to showcase his distinct rasp. On some standout tracks, DJ Blockhead gets a chance to showoff his skills on the 1’s and 2’s by scratching through 30-second outros that showcase the beat.
This album is definitively Aesop Rock’s, but it’s also the product of collaboration. Label exec and guest producer El-P (now of Run the Jewels fame) takes a turn on track 10, “Gun for the Whole Family”, and a surprise verse from John Darnielle of Mountain Goats fame brightens up the album’s 9-minute closer “Coffee”. Only two others get guest verses— Breeze Brewin and Cage, on “Getaway Car”— and honestly, this album doesn’t need much additional help.
the bottom line
This is an album you should listen to. I can talk your ear off about the imagery and atmosphere this album creates, but you should take it for a drive. You can’t help but pick up on little moments in each song that paint a picture, but don’t dwell too long, because you don’t know what you’ll miss if you’re stuck in your own head.
Artist: Aesop Rock
Album: None Shall Pass
Label and Year: Definitive Jux, 2007
Standout Track: #2, “None Shall Pass”
Queued Up: Against Me!’s punk-rock statement of purpose “New Wave”