Aesop Rock / Cage and Blockhead

Written for PLAY Magazine

Aesop Rock, Cage and Blockhead

Joshua Valocchi

Saturday brings an underground hip-hop show of arguably epic proportions to the Starlight Ballroom. Aesop Rock, easily defined as one of the true godfathers of the modern-day independent hip-hop movement will be flanked by fellow Definitive Juxtaposition (Def Jux) labelmate Cage and beatmeister/producer extraordinaire, Blockhead.

Although Aesop Rock is technically headlining this gig, it’s really tough to rate any one of these three above another. In fact, Blockhead – although the least known among the trio – may roll into this show with more cred than either MC. As part of the Ninja Tune crew, Blockhead is quietly staking his claim among the backpackers as the next in line to occupy DJ Shadow’s coveted throne. For the uninitiated, Shadow is pretty much regarded as the ultimate crate digger and beat maker in the hip-hoproduction world. Blockhead is creepin’ up on him, though, with every release he touches.

Aesop Rock shouldn’t require too much introduction to anyone who’s kept even a lazy eye on the hip-hop scene over the past few years. From his daring and provocative early releases, “Float” and “Labor Days,” Rock has been considered a pioneer of independent hip-hop. His recent collaborations with visual artist Jeremy Fish and his film score for McSweenys have merely solidified Rock’s reputation as a trailblazer.

His newest release, “None Shall Pass,” just hit the bins last week and is already receiving acclaim from critics who seem to be tripping all over themselves to heap accolades upon this latest gem. Production duties for “None Shall Pass” were deftly handled by none other than the aforementioned Blockhead and the album was released on El-P’s revered Def Jux label.

Def Jux also happens to be the new home to Cage, who released last year’s “Hell’s Winter” through the label. Although not as outwardly vicious as his earlier releases, “Hell’s Winter” still holds its own on the anger scale. The difference here is that as opposed to turning his anger inward, Cage lets it fly in all different directions here, hitting targets from his father’s abuse of heroin, to his experiences growing up in an orphanage. The most heavily tread tracks on this hatred highway, though, is good ol’ Uncle Sam.

Apparently Cage is somewhat unhappy with our government as of late – and who can blame him? Here we are – as a nation – embroiled in what is looking more and more like an unwinnable war and we're left with a hip-hop artist to stand up and tell us what's what?

“If the opposite of pro is a con then look beyond this, the opposite of congress must be progress,” he chides in “Grand Party Crash,” a collaboration with Jello Biafra from “Hell’s Winter.”

At least Cage owns his anger – and rightfully so. But do we really need someone like Chris Palko (as he’s known to the Feds) to point out the painfully obvious? Have we sunk so low as a people to rely upon an angry white wordsmith to light that requisite fire under our collective ass?

Whatever.

Sound the alarm.

If You Go:
Aesop Rock, Cage and Blockhead
Sat., Sept. 8, 7pm. $16. Starlight Ballroom, 460 N. Ninth St. 866.468.7619. www.r5productions.com