There are people that live for music like this. The word for it is unique. If you are listening to this stuff, you obviously know a thing or two about underground rap. Underground hip-hop can often times be repetitive and sloppy too. Although the lyrics are always on the forefront in rap music, there is a lot to be desired when it comes down to the production. Obviously, there are going to be a lot of people that won't, or can't get into this record due to it's complexity. Aesop's lyrical delivery is too much for some people on it's own, let alone the production. That's why "Labor Days" and "Float" worked so well. Blockhead's genius production, although minimal, complimented Aesop's complicated flow brilliantly, making it much easier to focus on the lyrical content. "Bazooka Tooth" on the other hand, is a bit different. The production is often referred to as futuristic, since there are so many electronic sounds, bits, and quirks to it. Now, the music moves just as fast as Aesop does. His lyrics can be very difficult to pick out of the unforeseen production, which obviously frustrates some listeners. I for one, recommend listening to this album in headphones. The more you listen to, and pick apart music like this, the easier it is experience their artistic vision. You have to be a fan of progressive music of all kinds to appreciate this music. You'd probably enjoy this record more than most, if you can appreciate trip-hop, house or techno music. I also like this music a lot because of my love for progressive rock music, such as Yes, King Crimson, Emerson, Lake & Palmer, and Pink Floyd. If you are always looking at music as a progression, then you should appreciate the unique approach Aesop Rock has taken to improve this commercially decaying genre.

This album is definitely heavy on collaborative efforts. The album was recorded and mixed by Nasa, El-P being the executive producer/performer ("We're Famous"). We also catch glimpses of Mr. Lif ("11:35"), Camp Lo ("Limelighters"), P.F.A.C. ("Cook It Up"), Blockhead (producer on "Cook It Up", "Babies With Guns", and "11:35"), scratching by DJ Cip One, and DJ paWL, and additional spots featuring Cannibal Ox, S.A. Smash and Murs. Standouts include "Easy," "No Jumper Cables," "Limelighters," "We're Famous," "The Greatest Pac-Man Victory in History," "Babies With Guns," and "11:35".

Keep an open mind, find traits about the album you like and expand them. Keep listening, and remember, a good pair of headphones can be your saving grace for understanding this album a little better. I absolutely love this album after about 4 listens. The album gets even better with each listen, and when given the chance, it will reward you beyond belief.

First things first: you have not heard this album until you've blasted it full volume in NYC traffic. Hip-hop does not get more New York than this album. I don't know what people are saying about the production on this album, but it really showcases Aesop's evolution as a composer. He should release an instrumental album. He produces all but four songs on this album, and it is really amazing. Admitted, the lyrics are not as good as Labor Days, but the production is incredible. Blockhead also holds his own, with three incredible tracks including "The Greatest Pac-Man Victory in History," which only uses sounds mixed from the classic Pac-Man video game (besides the drumline, of course). The only track that isn't a standout is Super Fluke. So just buy the album, cause it's worth it, punk.

I have been a Def Jux fan for over two years, taking up every single album (even S.A. Smash), every "outside collaboration" (from "Urban Renewal Project" to a rare mixtape track where El-P is imitating Missy Elliot), and while I still can dislike Def Jux (again, see S.A. Smash), I still enjoy it to some degree or another. Aesop Rock is no doubt one of my favorite artists of all time ever. And, like many, people was greatly looking forward to "Bazooka Tooth" and hoping for the best ...

... and was very surprised at first. Initially I thought that Aesop Rock would be learning from Blockhead (who will be releasing a solo instrumental record through Thirsty Ear on the side of his Def Jux work) instead of El-P (who also is releasing a jazz album through Thirsty Ear). So, initially I was very jarred by the whole experience. "What is this? Why are things so complex now, unlike the orchestral brilliance of before?" Sans the more easily accessible tracks (like the still-phenomenal "11:35", an AR instant-classic, and "No Jumper Cables" a near dance-driven beat that I heard almost four months earlier), my initial listening was fairly disappointing.

Then I gave it another try.

Then another.

This happened with Badly Drawn Boy's "Have You Fed the Fish?". First listens: complete let-downs. "You do Hour of Bewilderbeast and About A Boy only to come up with THIS?!", but a month later, it didn't leave my CD player.

While a month hasn't passed, the small moments of the album come alive. Much like El-P's masterpiece "Fantastic Damage", it's very intimidating, and, like the Avalanches' near-perfect album "Since I Left You", there's so much going on, multiple listens are required to decipher it all. The jarring opener "Bazooka Tooth" later comes to be quite pleasant, as does the excellently dark "Easy" (opening line: "Cameras or guns: one of y'all is gonna shoot me to death"). I still have a few items to settle with the album ("N.Y. Electric" and "Limelighters" primarily), but I must say that I greatly enjoy the multi-layered multi-faceted album that we have today. From the phenomenal conclusion of "Mars Attacks" to the small things like the "Honeycomb Interlude" at the end of "Freeze", it works. Oh, and the infinitely-repeatable "11:35". Yes, it's good enough to deserve two mentions :-)

TO SURMIZE: If you hate this album at first, I can't blame you. I did too. I thought my Ace Rizzle was gone. But then I simply realized what was actually happening instead of what I was expecting, and quite frankly am very easily pleased with the results.

Def Jux (again) rules!

"Bazooka Tooth" isn't as accessible as the previous Aesop Rock releases, but the growth of his style and evolution as an artist is still well worth a listen. Hardcore fans of "Labor Days" might have a hard time adjusting to the new sound. Both the beats and lyrics are more abstract and experimental, and unconforming to the earlier Aesop Rock sound, so it takes a few listens to fully appreciate the new type of creativity present in this album and understand the whole "Bazooka Tooth" philosophy hidden inside. Recommended, but be patient and give it a chance.

Very good. Aesop Rock already created Labor Days. You can always play that CD/record again if you want to hear that sound. Bazooka Tooth is different and better. Nothing on it is simple: the production is reminiscent of a room full of broken electronics that coincidentally sounds like something to which you can rap. Ace Rock does just that with words that have no obvious connection to anything resembling a theme. Don't be fooled, though, there is an essay lurking below the surface. Many of the ideas expressed here can only be revealed after repeated listenings. In fact, some songs seem to change depending on how you approach them. A prime example of this is the song "The Greatest Pac-Man Victory In History," which has at least two layers of meaning. Bazooka Tooth, while not as sonically sophisticated as El-P's best, has a more straightforward "street banger" feel. I like this a lot.