story by Rachael Liberman
photo by Kathryn Frazier

Underneath the current of Jacob the Jeweler hip pop lies an army of talent with a more humble agenda. Instead of buying studio time to list off all their material possessions or sexual conquests, these emcees are paying more attention to social commentary and creative delivery. While the mainstream hip hop community struggles to justify half its content, independent labels are getting more and more attention for scouting out raw, deserving talent. Whether he likes it or not, Ian Bavitz is part of this critically acclaimed wave. But you've probably only heard of him under his industry alias: Aesop Rock.

From the moment Labor Days hit the market, it was easy to predict that Bavitz's dramatic, pulsing sound had some staying power. Not only was he signed to Definitive Jux Records, one of the major forces in NYC hip hop, he was also introducing a unique delivery that was completely original. His most recent release, Fast Cars, Danger, Fire and Knives exudes the same amount of energy as his debut, proving that celebrity laziness is something he knows nothing about.

BAVITZ'S INNER VIEW "If I am going to touch on something, like a topic that's hot in society or something that I think is relevant to speak on, I try to do it from the view of a common man as opposed to making some grand political statement. Politically-based music is either really good and heartfelt or really awful and overdone."

"I was trying things out; different patterns, different flows, different ways of delivering words," he said. "I try to do that with every record. You can't have a successful record and then make the same record again. I don't know if [Fast Cars is] more like Labor Days or more like Bazooka Tooth - I think it's a step away from both to a degree. I try to do that each time, subconsciously and consciously. It kind of evolves itself."

Recognizing the fact that his machine-gun delivery makes it extremely difficult to follow his lyrics, Bavitz provided his listeners with an 80-page book of lyrics as part of the "media package" for his new release, spanning his career.

"I came to the label with the idea and they were really open to it from day one," he said. "I immediately regretted it when I finally began transcribing the first song. I realized, 'God, this is going to take forever.' There are some songs on my first record that I haven't heard in four or five years."

And although it seems like his lyrical metaphors are hidden political statements, he denies having premeditated ideas on preaching in his songs. "If I am going to touch on something, like a topic that's hot in society or something that I think is relevant to speak on, I try to do it from the view of a common man as opposed to making some grand political statement. Politically-based music is either really good and heartfelt or really awful and overdone."

His tour for Fast Cars starts in late March, which is something he has mixed feelings about. "I hate it. I like doing shows and meeting the people that buy the records, but going away for weeks at a time is physically and emotionally straining," he said. "I've kind of tricked myself into handling it somehow."

Aesop Rock :: Metro :: April 6.