Grade: A-
Ever since the death of Shakespeare 410 years ago, art lovers across the globe have been actively searching for the bard of each generation.
The transcendentalists had Walt Whitman. Baby boomers had Bob Dylan. Our parents had Bruce Springsteen.
The question raised now is who can be crowned the Shakespeare of our generation. Fiona Apple, Frank Turner, Ed Sheeran and Kendrick Lamar have been named as possibilities.
But let me introduce a fifth candidate, who makes a habit out of flying underneath the mainstream radar: hip-hop artist Aesop Rock.
Now, with a name like that, how can you not be the lyrical incarnation of the Bard of Avon?
Beyond that, Rock manages to truly embody the bizarre poetic finesse of the New York underground scene, which was crafted by Grandmaster Flash and perfected by the Notorious B.I.G.
With albums like “Labor Days,” “None Shall Pass” and “Skelethon,” Rock managed to not only stick to these roots but also prove mainstream rap doesn’t necessarily equal prestige.
Rock’s newest studio release, “The Impossible Kid,” is perhaps his most personal record yet as it explores themes of art, isolation, anxiety and death.
Accompanying this record was a 48-minute video for the entire album directed by Rob Shaw. The video was a shot-by-shot remake of the horror classic, “The Shining,” using small figurines in lieu of actors.
This artistic addition provides a different touch to the record, and it’s quite surprising just how well “The Impossible Kid” syncs up with this strange rendition of Stanley Kubrick’s film. It can be spooky at times, as it should be.
Given the album explores the same themes of isolation, art and mental illness the film does, it’s really no wonder there are certain tracks on the album that sound as if they were specifically made for the scene they’re paired with.
The fourth track, “Dorks,” plays when Jack Torrance’s son is told about his powers. The scene reflects how the son feels different from others, just as the song reflects Rock’s alienation from other hip-hop artists.
“Supercell” is the first sign of the album’s insanity, and it seems only fitting it plays during the famous twin ghosts in the hallway scene. The myriad of allusions to ghosts only enhances this.
By the time the album reaches the 12th track, “Lazy Eye,” there is really no returning from this cataclysmic acid trip. Again, this is suiting given it matches when you see Jack Nicholson’s character go completely mad.
Beyond the music video, there are some pretty outstanding tracks on this LP.
It would be a crime not to mention my favorite track “Kirby,” which he wrote in honor of his cat Kirby.
“Shrunk” is perhaps one of the funniest tracks on the entire record and perhaps one of Rock’s funniest songs since “Ruby ‘81” on his previous record.
The lyrics of “Shrunk” tell a story about a man visiting a female psychiatrist. Not wanting to express his emotions, the man bickers and banters with the psychiatrist throughout. Despite this, he still makes another appointment at the end of the song.
One lyric that particularly stands out in the song is “She said, ‘When you start getting all expressive and symbolic, it’s impossible to actualize an honest diagnostic.’”
This returns to my statement earlier about Rock being the new bard. It’s the norm for Rock to write lyrics so articulate and enigmatic that it requires listeners to be more attentive.
Unfortunately, this virtue is equally capable of being a vice. Deciphering Rock’s lyrics can be like putting together a puzzle made of million pieces, and when you finish, it still doesn’t create a coherent image.
Perhaps an interpretation of this lyric then is Rock uses this tactic in order to prevent others from trying to understand who he actually is. The openness of “The Impossible Kid,” however, perhaps suggests he is a little more willing to open up now.
Beyond this, there really isn’t much to complain about with this album. The transition between “TUFF” and “Lazy Eye” is sloppy, and while Rock’s producing on this LP isn’t terrible, it simply isn’t as good as the producing by Blockhead on previous releases.
Regardless, this is a pretty solid hip-hop record, and I would like to see it nominated for Best Rap Album next year at the Grammy’s. The hip-hop world has simply gone too long without some true artistry.
Austin Faulds
afaulds@umail.iu.edu | @a_faulds9615
