Aesop Rock - Float

Amongst the thousands, millions even, of hip-hop artists who have blessed and/or tortured our ears since the genre's beginning in the '70s, none have ever been quite like Aesop Rock. Ian Bavitz, the man behind the unusual stage name, is one of the most formidable, diverse and generally mind-bending artists across the board of rappers, and producers for that matter, what with his complex vocabulary, cartoonish and bouncy musical style, abrasive vocal delivery that's certain to turn some potential fans away, and most importantly, a way of writing things that do make sense eventually, but often only after hours of deciphering down how each individual word fits into the sentence. It's almost difficult to explain how Aesop Rock writes - often in these incredibly confusing diatribes that, when rapped to you at speed, feel like they may as well have been the warblings of a madman. What is perhaps the most incredible moment of an Aesop Rock album listen is when you sit down at the end, find the lyrics transcribed somewhere, and spend hours, days even, working out what the hell they all mean. 

Because I'm sure absolutely everyone does that. Right?

Aesop Rock has, deservedly, breached many people's top ten lists, and while these days he has a fan base to rival some of the biggest in the underground, back in 2000 he was just getting started. Whilst he had two projects under his belt ("Music For Earthworms" and "Appleseed", both of which I'll track down someday, and hopefully review too - it's a pity they're so damn hard to find in physical form), the man wasn't lucky enough to get someone to help distribute his music until his third effort, Float, released as the new millennium struck. Float, sometimes considered his proper debut studio album, was a bit of a behemoth, spanning 20 tracks and 70 minutes total, which seemed rather bold for a fledgling artist in Bavitz' position - even with the help of established underground powerhouses Slug (of Atmosphere, obviously) and Doseone, as well as Vast Aire, one half of (at the time) up and coming underground duo Cannibal Ox. 

And when you consider Aes' confusing pen game, teamed with the slower, darker production styles found across this album (courtesy of Aes and his main producer at the time, Blockhead), it's difficult to imagine that Float could be capable of keeping the listener's ears engaged throughout it's runtime. It obviously did something however, as Aesop's career would only expand and become even bigger and better from this point on. 

It seems that Float was the last stepping stone before greatness when you consider what came after it, but today I want to look back, and see if Float is due a little more appreciation from the hip-hop heads as it's own body of work. Let's get into it!

1. Float (prod. Aesop Rock)

Over a minimalist self-produced beat, Aes takes a couple minutes to introduce himself to all the new fans that the record label bought him, and it's not half bad, even if the production especially sounds very skeletal compared to most of his instrumentals. But I think that's the point - the beat is supposed to serve as little more than a metronome here, and it's the rhymes that are entirely the focus of the listener's attention. And it's a good thing that the vocals are clear on here, as some of them are very difficult to comprehend. On even this very short song, it's very easy to lose the narrative, and I'm sure new listeners to Aes will be confused almost immediately. "Fire ant with a hunger pain gut be gone / belong to something civil, saint, 'cause this Rembrandt paints on" he spits, prior to the memorable "some present impressive lung, some truly learn what a death chant is". Where some Aes lyrics take much coming back to, some do stick out immediately, something I really noticed going through his catalogue. My conclusion here? Not bad. Yes the track's instrumental doesn't sound fantastic, but Aes' lyrics are truly great, and as a short precursor to the record, it is highly intriguing. We're off to a good start. 

2. Commencement At the Obedience Academy (prod. Blockhead)

I mean, where the hell do I start? We're two songs in to Aesop's major label catalogue, and already I'm overwhelmed. The lyrics on here, while occasionally very potent and thought-provoking, are just as frequently confusing as all hell. For every "clocked in in '76 and haven't clocked out ever since", there's a "pupil turned pedagogue, benediction to my dream / beaming a billion bottle rockets off the golden mezzanine". I mean - the fuck? This man is completely insane. But as I said before, it's something I like about Aesop. He forces you to come back to his music, just because you need to know what the song was about, and to gain that knowledge many repeat listens are required. And also, you just want to come back because it sounds good. Blockhead's production on here is eerie and menacing, and while initially it seems a little too off kilter, when those hard drums come in it all starts to make sense. This beat is great. And as for the rapping, it's truly extraordinary - this is a fantastic song. 

3. Big Bang (prod. Aesop Rock)

Is Aesop Rock the first rapper to ever use the word "pedagogue" in two songs on the trot? Yes, almost certainly. "Big Bang" is this album's most popular track, and it's for a very good reason, as this song is weirdly incredibly catchy - at least when Aes' rapid fire flows in the chorus come in. This beat is a bit more high energy than most of the drearier (in a good way) instrumentals that litter this project, with it's most notable feature being this recognisable violin sound that is goofy, creepy, and brilliant all at the same time, especially during the aforementioned chorus - and Aesop Rock makes us know that it's his by rapping over it absolutely perfectly, dropping bar after bar with brilliant enunciation. "I don't really believe in God, but God I'm scared to death of God, I swear to God I never meant to spill these beans" is one of my favourite lines on the entire record. In fact, this could be the highlight of the album - the instrumental, lyrics, and unique flows certainly put it in high favour. Fucking sick track. 

4. Garbage (prod. Aesop Rock)

Aesop Rock attempts to "strap on the blinders and walk directly into the frenzy" with this one, according to the liner notes at least (the booklet gives a short, esoteric description of each individual song's concept, which is helpful), which perhaps explains why this song isn't nearly as upbeat as the previous track - it does offer an almost apocalyptic sound, only if the apocalypse setting was in a circus. There's something weirdly jovial about this instrumental, but I do like it a lot - the drums are the most normal out of any song so far, which leaves a little more room for Aesop's vocals, and thereby making this surprisingly easy to listen to. Of course, a good drum pattern doesn't always make for a good song, but thankfully, it's Aesop Rock we're dealing with here, who cooks up some sick narratives about the people whom he left behind or fell out with before becoming a rapper on a (small) record label. At least that's what I interpret a lot of this is about - I said it was a little easier to decipher, but it still isn't a cakewalk. And the man inevitably sounds great over this beat too. Brilliant tune, and one of this album's underrated gems. 

5. I'll Be OK (feat. Slug) (prod. Blockhead)

Probably the most unusual song on this LP - not for Aesop Rock's performance, which is actually one of my favourites so far... but because of everything else. I mean, what the hell was Slug trying to do on this one? Was he paid to make sure Aes looked as good as possible? Because frankly, the guy sounds like a gimmick of himself on this track, and that's coming from someone who really likes Slug as a rapper. Also, the harmonica in this track is really weird, and frankly the instrumental does not fit the vibe of this album at all. If this was a solo Slug song I'd probably say it was pretty poor, but it's very easy to revisit this, as Aesop Rock murders his verse on here, somehow managing to make the beat sound pretty great too. That part when he says "there's a storm outside my tenement" and the beat breaks down somewhat is simply musical perfection. It really lifts the song to a different level - yes this is far from perfect, but it could also be a whole lot worse. 

6. Breakfast With Blockhead (prod. Blockhead)

A musical interlude, which sets the tone for the next portion of the album. That's all. 

7. Basic Cable (prod. Blockhead)

Aesop's observations on the negative impacts that television has had on society since its inception, something that he's actually discussed multiple times in his career (the back cover of Labor Days even depicts him sat in front of one). This song stands out as being more obviously thematic than a lot of the other songs on here, but even then Aesop frequently comes with some weirdly worded bars anyway. For me, perhaps the main standout of this one is the incredible dark and creepy instrumental that backs Aes' cautionary verses - those violins teamed with the dusty drums make for something unlike what Aes would experiment with again, and it's a very interesting sound. Overall, one of the best tracks yet. 

8. Fascination (prod. Aesop Rock)

Like the last track, this one also largely stands out in the Aes catalogue because of the production, but more so because it sounds like a No Limit Records throwaway, with a slight abstract twist to cater to Aes' style of rapping. It's very odd, with the cheap sounding drums and tuneless bass hits making me wonder if Mystikal is about to come in with a guest performance, but it does admittedly kind of work - the sound has a different vibe to it that's a nice break from the darker, occasionally orchestral sounds found on songs either side of this one. Thematically, this track is all about how much Aesop enjoys his own music, which is just something that no-one's ever discussed in their raps before... but because it's Aesop rapping here, he does do it in a way which makes it seem at least somewhat humble (even if he does start the second verse with the line "and everything I touch magnificent"). You probably wouldn't catch the current Aesop making a song like this, but as it stands, I really don't think this one is too bad at all. In fact, it's quite good. 

9. Oxygen (prod. Blockhead)

Seriously, seriously great. Blockhead provides Aesop with another violin-tinged instrumental, but even with some other beats that had this element earlier on in the tracklist, it's quite obvious that this one stands out as the best. The violins, along with the echoed vocal samples, come together to make for one of the strongest instrumentals on the entire LP, and one of the best in Aesop's entire career, dare I say it. This one is worth coming back to just for that beat alone. However, there are other elements that I definitely enjoy about this one, all to do with Aes' performance. As well as a hilarious back-and-forth bridge in the middle, this one contains one of the longest verses on the whole album, and it's completely hypnotic how Aes rides the instrumental - you almost forget that he's saying words at all, as it's just too easy to get lost in the flows here. Remember, on Float the man is just starting his career, but on this track it's as if he's had decades to hone his immeasurable skill. This might be the best cut on the whole record. 

10. Skip Town (prod. Omega)

Omega One's only contribution to the cause today comes in the form of an instrumental that feels a hell of a lot more light hearted than anything else we've heard so far, save for perhaps the oddly goofy music on "I'll Be OK". That doesn't mean the track suffers though, as while it does kind of break apart the moody, dreary vibe the last three tracks were going for, it's still a fun banger that probably could have done fairly well as a single too, especially given the rather catchy chorus on here. Not only that, but this song also features my favourite lines across the whole album: "I interviewed the sun, he said the future's looking bright / I interviewed the rain, he claimed the sun's truly an asshole!" Classic. 

11. 6B Panorama (prod. Aesop Rock)

I'll be honest, this is the first miss on the album for me. And I don't mean to offend anyone when I say this, but occasionally, when he leaves behind the abstract poetry and raps in a more straightforward manner, Aes can come across as kind of corny - and here, in this one verse wonder that lasts a mere two minutes, it feels like Aesop is forcing a concept that has no true message behind it other than "wow look at all the things happening in the city". And it's weird that this doesn't work, because there were many straightforward raps on Integrated Tech Solutions, and I really liked all of them. Here however, it just feels uninteresting, and the instrumental ain't anything to write home about either. Still, at least it's short. 

12. Lunch With Blockhead (prod. Blockhead)

Another musical interlude, which sets the tone for the next portion of the album. That's all. 

13. Spare a Match (prod. Blockhead)

After a couple more light hearted instrumentals, we're back to something darker here, even if the violins don't seem to be making a return. This Blockhead instrumental is pretty haunting nonetheless, and Aes uses it to discuss the difficulties he faces in finding the few people who can actually help him in life, especially being as weird as he so says he is - and remember, the guy had a major breakdown not too long after this album, so obviously that help was something he needed. The track also features a rather harrowing chorus, where the phrase "to live and die as a brick, brick, brick in the wall" is repeated, showing how while Aes might be the "most distorted orchid in the patch", he's still doing better than most of society, whom fit in their place as an unremarkable brick in a dull and lifeless wall. It's one of the darker tracks on the record overall, but the way it's written, and the way it sounds, make for something very compelling too. What a track. 

14. Attention Span (feat. Vast Aire) (prod. Blockhead)

It's interesting how on this album it's always the guest that goes first, before Aesop drops his verse. Perhaps he wasn't as convinced that everything he touched was magnificent as he claimed. Even if Aes is clearly the better rapper on this track, I do find it refreshing when Vast Aire comes through with a verse - and not just because he actually raps normally, unlike whatever the hell Slug was trying to do on "I'll Be OK". No, Vast Aire's verse is dope without being overly abstract at all, making it a lot easier to understand his message here (the message being "I'm a better rapper than you, also your wife sucked me off"). Yes, the contrast between Aesop's thematic and poetic verses with bars like "your girl was on my dick like she was teething" is strange, but I think it kind of works - and predictably Aes kills it anyway (also proving how he can rap well over any instrumental - this horn heavy concoction differs entirely from most of the other shit we've heard so far on Float). This isn't a personal favourite or anything, but it is highly entertaining nonetheless. 

15. How To Be a Carpenter (prod. Aesop Rock)

"Documenting those who demand the product before considering the process" is how the CD booklet describes this song, which is a pretty interesting concept... would potentially be more intriguing if I understood what the fuck Aesop was saying in half of this song, but whatever. After the past few self produced instrumentals had some issues, I'm pleasantly surprised at this one having another incredible, slightly dramatic but also eerie as fuck beat that seems to indicate this as one of the most important tracks on the whole album - and while this song has less quotables than most of the others, I still find those interludes where Aes gives his carpenter apprentice a strong talking to, to be hilarious as fuck. 

16. Prosperity (prod. Aesop Rock)

Over an instrumental that sounds like a new and improved version of the one we heard on "Fascination", Aesop discusses longevity by "honourable means", and it's at this point in the album where we really start to feel its length. Realistically, this album had no hope of being a true classic, when it is so long and has so many songs that, while good on their own, do have quite a similar sound. This instrumental, with its deep bass and jazzy background horns, feels like it blends in with a lot of what's around it, and while it is great it doesn't exactly stand out. On its own, however, I will commend this song - the rapping is pretty top tier, and when the bassline switches up during the second verse it starts to sound especially good. Overall a good song, but this album is beginning to get a bit long in the tooth. 

17. No Splash (prod. Blockhead)

Man, I really do love Blockhead, but goddammit this beat sucks. The main melody is incredibly annoying, and the drums just feel abrasive next to it. This isn't even Aes' best performance - he actually sounds kind of subdued for a lot of it. I'd like to think it's just that this album has gone on for too long at this point and I'm nitpicking, but nah - this might just be Aesop's worst song ever.

18. Drawbridge (feat. DoseOne) (prod. Blockhead)

Really, really weird. I am aware that DoseOne was a member of highly regarded group cLOUDDEAD, but this is the first time I had ever heard him on a song, and... the fuck? Why does his voice sound like that of a bird from a 1960s Disney film? I mean, Aesop Rock has a unique voice, but compared to this guy he may as well be Gunna. While DoseOne does his best to try and fuck up this dope ass Blockhead instrumental, Aes makes sure things go over smoothly, with a fantastic performance on this track that makes you forget about the last song entirely. This song is nothing to blast from the rooftops, but it's certainly not bad either. 

19. Dinner With Blockhead (prod. Blockhead)

A final musical interlude, which reminds the listener of the tones set throughout this album. That is all. 

20. The Mayor and The Crook (prod. Aesop Rock)

Aesop ends the album fittingly, with this commentary on how people in society tend to fuck each other over, and maybe if the criminals and those in power slay each other, we can build a new society that is  far more productive than it is now. Well, at least that's what I got from it. From tracks 16 through 18 I tend to lose a bit of hope in this record, but if there's one thing I can be sure of it's that this track will turn those negative feelings around, as it is truly fucking great. Aesop is a phenomenal rapper as always, and here he cooks up a fantastic chorus and brilliant instrumental to go alongside it - the latter probably being one of the best on this whole record for me. "The Mayor and The Crook" would be topped by Aes countless times on later, superior releases - but on Float, it definitely stands as one of the best and most well thought out tracks on the entire LP. Although that sudden cut out at the end is a little irksome. 

While Float has little poor moments across it's hefty 20 track runtime, it still stands out as one of the weakest efforts in Aesop Rock's catalogue, without doubt - and that's including the longer projects he's been dropping recently, as it seems he's learned how to better sustain interest over such a period. Yes, in terms of minutes Labor Days is barely shorter than Float, but at the same time it offers much more variety in sound and song structure - while Float oftentimes feels like many different takes on the same song, with different lyrics and instruments, but very similar flows and moods within the music. Take "Garbage" and "Spare a Match" - both sound great, but at the same time it must be said the two tracks do sound very similar to each other, even in their dystopian lyrical content. And furthermore, Float actually does contain some missteps, something I (spoiler alert) barely ever see in later Aesop projects. "6B Panorama" feels forced, while "No Splash" has one of the most mind-numbing beats I've ever listened to on a hip-hop album (well, maybe that's exaggeration, but it's still pretty bad). 

However - and that's a big however - Float is still incredibly impressive, and oftentimes really bloody great. Not only is Aesop's poetic writing hugely intriguing, and of a very high standard, especially considering his age and relative inexperience at the time, but also there are more than a few genuinely fantastic songs across this tracklist - whether we're discussing the eerie and haunting sounds of "Basic Cable" and "Oxygen", the fantastic violin loops on "Big Bang", or the lyrical genius across... well over half of the tracklist if we're being honest. And even if the sequencing on this album, that leaves it sprawling and occasionally samey, was one of it's weaker points, at least Aes had the good sense to end things on a fantastic note with "The Mayor and the Crook", as well as gift us with some pleasant instrumental interludes in there too. While Float shows Aesop at a point where he still needs to work out some things musically, I'd highly recommend a listen to those who haven't - if perhaps not as your introduction to Aesop. There's plenty of great music on here, and for a lesser artist, it could have been a magnum opus. Unfortunately for Float, Aesop would only continue to ascend from here, leaving it an oft forgotten debut. Thanks for reading!

Best Tracks: Commencement at the Obedience Academy, Big Bang, Garbage, Basic Cable, Oxygen, Spare a Match, The Mayor and the Crook

Worst Tracks: No Splash

There will be more Aesop Rock reviews to come - hopefully quite soon if I get my act together!

Tech N9ne - Everready [The Religion]

In early 2005, Kansas City rapper Tech N9ne was touring, trying to maintain the hype for his upcoming album, which was by this point three years in the making, and well overdue for release. While Vintage Tech (a compilation of old music he put out) had managed to feed the fans somewhat, the man needed to cook up something fast to release as all new music, before his followers started to become agitated at the lack of new shit (if only some of today's artists had this much care for their supporters, *cough, cough* A$AP Rocky, *cough*). 

Picture the scene. Tech and his four buddies are alone in the tour bus, drinkin' and smokin' and... well, maybe not humpin' (that would be weird), when suddenly it hits a patch of ice, flies off the road, and begins to roll. After what feels like hours of tossing and turning, the vehicle finally comes to a rest far off to the side of the highway - with what should have been five severely injured or even dead men inside. But miraculously, they all survived without so much as a scratch. And beyond a near death experience, Tech became inspired to devote himself even further to the party life and having a good time - his ambitions were now to live life to the fullest, and his new music needed to reflect this. 

He began to retool parts of the new album, and it took a while - possibly delayed even further by Strange Music splitting with MSC, distributor of all their albums between 2002 and 2005, meaning they had to seek refuge in different companies (RBC and Fontana Distribution to be exact). It wasn't until late 2006 that it all came together, but when it did, and Tech was finally able to gift his fans the project they'd so long been waiting for, he didn't miss a beat. The album, named, oddly, after a battery company, was praised like a God on release, with all of his fans claiming it his best work yet. It had party music, sure, but it also had some of his more personal tracks yet, and the new direction in production also had the fans loving what Tech was up to.

But does it hold up 20 years later? And coming from a fan who adores to death Anghellic and Absolute Power, is it that good? Let me take a look. 

God it feels like a while since I did one of these. 

1. Enter Everready

Aaron sets things off with a dramatic but generally very entertaining skit detailing the car crash that him and his homies had that I considerately detailed earlier. Yes, it's a rap album intro, but at least it isn't a fucking boring one.

B.L.E.S.T.

2. Riot Maker (feat. Skatterman & Snug Brim) (prod. Robert Rebeck, Tech N9ne & Tyler Lyon)

While nu-metal is a genre usually dismissed by musical elitists (not that I claim to be one at all, lest I appear like a total bellend), there's no denying that this opening song fucking rocks. Tech N9ne and his housekeepers Skatterman and Snug Brim (who would later fall out with Tech over issues with their promotion, or rather lack of it, in a story for another day) spit dope shit over a heavy metal inspired instrumental, preceded by a creepy and tense build up that's bookended by one of the catchiest bridges of Tech's entire career - "we gon' start this shit off right / we got KCMO in the house tonight" he chants as the guitars plunge in. That part is so good it makes the actual chorus seem fairly anticlimactic in comparison. Tech's verses on here are wonderful, especially the one about getting sued after some "bitch" cracked her head open in a mosh pit at one of his shows - and it's in this verse where Tech exhibits an ability to show no remorse about this incident, which further emphasises his image as a no-fucks-given independent rapper. By the time Skatterman pops up, you're already sold on this anthem. Incredible way to start the album. 

Enjoy

3. No Can Do (feat. Big Krizz Kaliko) (prod. Rick Rock)

Just in case the odd listener was thrown off by the previous track as the opener, "No Can Do" is a more easily digestible affair for your average hip-hop head - not that your average hip-hop head is necessarily a Tech N9ne fan (didn't I write that before in a previous review?). Tech's first verse is your standard shit talking, but he does raise an interesting diss towards Patrick Grant, who tried to sue Tech for using the name "Strange Music" - an interesting little Tech fact that I'm sure many haven't heard about (Tech's issues with the industry were so many back then that a lot fly under the radar). Personally, I was more phased by the Busta Rhymes shout-out during Krizz's verse, one of the first the man actually performed on a Tech record. While I like this song, and it has a fun energy to it, I find that it's indicative of why I don't enjoy this record quite as much as some others by Tech - it's just too one-dimensional, and often lacks depth. The production here is good, but not what I'd characterise as "strange", and the lyrics consists of boasting and the occasional name-drop, which is fine - but when there are a few other tracks here that are similar to this but with better beats and hooks, this one gets swept under the rug. Seriously, I don't think this is making anyone's top 50 Tech songs list. Still, it's a fun one nonetheless. 

4. Welcome to the Midwest (feat. Big Krizz Kaliko) (prod. Michael "Seven" Summers)

Tech delivers another ode to his hometown on this one, depicting the Mid-West as some kind of apocalyptic wasteland where staying inside is your best option. I mean, is Kansas City really the place where "killers keep it cracking"? I mean, I've never been there, but I'm pretty sure it ain't no Compton. Still, I like how much more thematic this track is than the last two, and Tech and Krizz bounce off each other very well in the back-and-forth third verse - the latter really showcasing a talent that would make his later solo work pretty damn solid too. The Frank Sinatra sounding chorus (correction: it actually apes Dean Martin's "Sway") is pretty out of left field, but sounds good, and the flows displayed on this song are some of the most ferocious on the entire LP. This track is fucking sick. 

5. Bout Ta' Bubble (prod. Michael "Seven" Summers)

The only single released for this album (yes, the song later on that is far more well-known never got an official single release), and it's a total banger. Michael Summers provides Tech with one of the most old-school beats heard in the year 2006, and Tech rips it up with some more boastful verses, largely about touring the world and making friends with lots of other rappers, including E-40, who actually shows up to verify this later on in the album. The track is lyrically similar to most of Tech's lead singles (think "It's Alive" and "Here Comes Tecca Nina"), but this time it's that Beastie Boys esque instrumental, along with the bloody hilarious hook ("and drinking, and smoking, and humping, and likin' it"), that make it stand out. Not only that, but Tech's flows are only improving with time. This is some seriously good stuff. Who said Tech only makes music for metalheads?

6. It's What You Thinkin' (prod. Michael "Seven" Summers)

This is the sort of song that people who are already really into Tech's style will love, and those who are skeptically checking out his music for the first time will fucking hate. The track does feel like a mid-2000s Tech N9ne party song, with a pretty nice beat that is bass heavy and feels celebratory yet dark, some fucking awesome flows and delivery, and a catchy chorus that's unfortunately delivered in a really goofy fashion - but the subject matter here is so played out and uninteresting ("your wife comes to my shows to fuck me and you're gettin' none, HA! Cha!"), and the sound of the track so mid-2000s, that your average Tyler, the Creator fan will probably look at you in disgust, before throwing your boom box out of the window. Personally, I think it's okay - but it's no "Einstein Tech N9ne", that's for sure. 

7. Night and Day (prod. Michael "Seven" Summers)

Sounds pretty similar to the previous song, only this time there's less emphasis on bangin' your bitch, with the song focusing on all aspects of Tech's parties in equal measure instead. The song is occasionally derailed by the fucking weird hook, with its creepy operatic vocals and all, but thankfully the intense instrumental and Tech's flows keep the verses sounding pretty nice. There's also a reference in here to the style of "Funkra", a "genre" Tech N9ne claims Krizz Kaliko made up all on his own. Ironically, this shit sounds exactly like half of the Southern hip-hop on the radio in 2006. 

T.E.C.H. Radio

8. Jellysickle (feat. E-40) (prod. Rick Rock)

I'm sure many of the hip-hop heads who picked this album up in 2006, excited about this rising underground star (yes this album wasn't as successful as Tech hoped, but it still cracked the top 50 on Billboard, meaning it must have done some numbers), gravitated to this track first, as it features Bay Area legend E-40, easily the most famous guest star on this LP (although Rick Rock's production credit on this track and a few others would also have drawn attention I'm sure). What they would find is, however, one of the weirdest songs on the entire album. The instrumental on here feels like circus clown music crossed with a Jelly Roll beat (the West Coast producer, not that fat white rapper everyone seems to know these days), and the whole concept of the song surrounds a word that Tech completely made up - not that that's unusual in the man's discography. Still, I kind of like this despite it's often ridiculous sound - Tech sounds good, the chorus is catchy, the beat is fun, and goddamn does E-40 pop off during his verse. This track definitely isn't one to be missed. 

9. Caribou Lou (prod. Rune Rask & Troo.L.S.)

The album's biggest hit, and arguably Tech's signature song, is this club-ready affair that is home to one of the most bangin' beats on the entire album, as well as some pretty hilarious bars from Yates about partying, and attempting not to shit everywhere whilst doing so. In case someone new to Tech is reading this review, a "Caribou Lou" is the man's signature drink, something that would later result in him being sued by the makers of caribou coffee - that's a story for another day. And while this song is one that I might have overplayed a bit, I still find lots of enjoyment in it today. It's without doubt an absolute banger. 

10. Hood Connection, Strange Commercial (prod. RUBONYX, add-prod. Michael "Seven" Summers)

Jesus this man can be cringe sometimes. There have been funny skits on Tech albums before, but unfortunately this is not one of them. What a shame. 

11. My Wife, My Bitch, My Girl (prod. Rick Rock)

The first true misfire from the N9ne comes in the form of this monstrosity of a song, where the man tries his best to maintain the loyalty of his audience whilst rapping about his pride in serial infidelity. I'm almost glad that the instrumental here is so fucking godawful - imagine if he'd used a good beat to rap about this subject matter. This song is abrasive, messy, and misogynistic - and furthermore, it's truly awful. One of the worst songs from Tech's golden era run.

12. Flash (prod. Rune Rask & Troo.L.S.)

I mean, I guess this is definitely an improvement over the last song - but that doesn't mean I'm exactly in love with it. The same guys who cooked up the "Caribou Lou" beat try their hand at something a little more sensual here, and the groove of it is pretty nice - unfortunately Tech proves that he's incapable of subtlety here by devoting all of his verses to his pleasure in watching all the women at his concerts take their bras of - hence the title of the song. This song is definitely sonically better than the previous one, but lyrically it's no less ignorant - and while you could argue some of the stuff on Absolute Power was ignorant too, at least it was inventive and sounded unique. This song just sounds boring. What a shame. Again.

Your Descent 

13. Come Gangsta (prod. Michael "Seven" Summers)

I guess Tech finally remembered that he's supposed to be making "Strange Music", and so as the first song in "Your Descent", we get something far more experimental than what we've been hearing on the last few tracks. "Come Gangsta" is a song about how Tech feels like he isn't getting the props he should because his image doesn't fit that of a typical gangsta, and the song stands out in the man's storied catalogue for having a dramatic, almost operatic sound throughout, one that compliments Tech's aggressive demeanour on the track to no end - this is seriously one of the best cuts on the entire album. Tech N9ne's lyrics, flows, and even singing on this song are straight perfection, with the chorus being catchy as hell too, and the whole song carries this ominous feeling, until we hit the third verse, where Tech lets all of his rage at the industry out in a burst of energy. This entire track is a rollercoaster of emotions, but the incredible production and Tech's powerful performance make it an entertaining and objectively fucking great adventure. This is a truly phenomenal song. 

14. The Melancholy Maze & My World Intro

One of my favourite skits on any Tech album ever. It's a real shame the creativity of the interludes on this LP (okay, maybe not "Hood Connection") didn't carry into the monotonous ones littering his later LPs. This shit is entertaining as fuck, and even incorporates a little verse too. Nice stuff.

15. My World (feat. Brotha Lynch Hung & Dalima) (prod. The Legendary Traxter)

Where Tech's constant lyrics about sex, drugs, and haters meant the previous section of this album became kind of redundant, it seems that "Your Descent" has a far more interesting direction, lyrically and musically, which we can all be grateful for. And frankly, "My World" is one of the man's finest moments. Over a pulsating and intense instrumental from one of Twista's main producers, Tech and his guest stars spit hard bars and lightning flows, with dystopian and, perhaps inevitably, braggadocios content, that goes over incredibly well, although it's perhaps more the aforementioned flows that keep this track the incredible piece of music it is. Also, that chorus, one of the catchiest here. This is by no means Tech's most powerful or well-written song, but it sure is entertaining as hell, and sounds frankly fucking great. "Fight this phantom, your freakin' family will fall flat!" Brilliant stuff. 

16. Running Out Of Time "ROOT" (prod. Michael "Seven" Summers)

I remember finding this one of the more forgettable songs on the album, but you know what I actually enjoyed it quite a lot this time around. I think the hook is terrible, sure, with Krizz Kaliko's weird vocal quirks and the robotic female singing creating a miserable marriage of sounds - but Tech's verses? Really fucking good, especially in the second, when he really speeds his flows up in a way that almost reminded me of the first verse of "This Ring". The lyrics about needing that dough quickly are pretty interesting too, and Seven's beat is a nice mix of dark without being corny at all. This isn't the best track on the album, but it could be a lot worse. Also, that title is really funny for some reason. 

17. The Rain (feat. Alyia & Reign Yates) (prod. Robert "Polyhedron" Young)

The second true emotional high of the record, and while "Come Gangsta" was Tech's anger, this song is themed around his sadness and regrets, and even if it is a little cheesy, it still is a little tear jerking at times. The song, like "This Ring" from Anghellic, discusses Tech's issues with maintaining a fan base and touring all the time, whilst trying to maintain his family too, and how this is starting to fall apart. It's pretty said, especially when he gets his daughters to rap the second verse for him - and while Tech's style isn't really suited to this soppy stuff (his most heart-wrenching work is the far darker "Trapped In a Psycho's Body" for my money), I do think this track is pretty well done. Also, the vocal sample used here is absolutely beautiful. Who new something taken from an Anime called "Cowboy Bebop" could sound so good?

Welcome Back/Party Hard

18. Fuck 'em Girl (feat. Big Krizz Kaliko & Kutt Calhoun) (prod. Michael "Seven" Summers)

I don't think even Tech's biggest fans would be annoyed if I were to say this song sucks - this is widely regarded as the major dud on this album, and yeah... it's pretty weak. Tech and his employees of the month attempt to earn the forgiveness of the ladies after some of the incredibly misogynistic music we heard earlier on, by attempting a sort of feminist anthem, and my God does it ring hollow. Nothing about this track fits on the album, and while I do appreciate the sentiment, the credibility of these gentlemen is at an all time low, especially Tech, following stuff like "My Wife, My Bitch, My Girl" (which, by the way, is actually a worse song than this). Also, this beat just doesn't work, even if it does seem to have more effort put into it than the verses on here. A misstep - but without missteps, would we really be able to appreciate the good stuff? Yeah, probably. 

19. The Beast (prod. Da Riffs)

A minor hit for Tech, that has managed to ascend its way into his top ten songs on Spotify, alongside another Everready track, "Caribou Lou". It's no wonder, as this song is highly catchy and actually quite danceable - as well as being highly energetic, a trait completely missing from the very flat and uninteresting previous song, it manages to feel like something that might get played on the radio, which makes me wonder why Tech didn't choose this as the album's lead single over the skeletal "'Bout ta' Bubble". While this track isn't one of my favourites on this album, I do appreciate it's intent - and as vulgar and lyrically generic as this is at times, it is definitely fun. Overall, I like this track a lot. 

20. This Is Me (prod. Official Productions)

Looks like we have a new winner for the "most uninspired producer name of all time" award. Thankfully, the guy's actual production work is a little more well thought out, as the beat on here is actually dope as hell. The sound effects in this instrumental are weird but wonderful, and the way everything comes together makes for a sound that truly feels like we're ending the album. Meanwhile, Tech decides that he's done partying hard for now, and instead devotes the lyrics here to explaining why he is the way he is, while also comparing himself to other artists who were more popular at the time. Also, the chorus on here is actually pretty good, something I'd given up on by this point, so that was nice. Overall, a solid way to end the album. I like this one a lot. 

Goodbye 

I do hope I don't rile up any Tech fans here but... Everready [The Religion] is not only nowhere near a classic, but it also isn't close to Tech's best album. In my opinion at least. It's very good, and I do enjoy it... but seriously, this thing has multiple issues we can get into that prevent it from being the masterpiece it is sometimes hailed as. I mean, for starters, there's a serious issue with the hooks on this album. Why are they all so repetitive, overdramatic, and quite frankly, not catchy? I mean, sure, some of them are pretty fun, but while Krizz Kaliko has proven himself in many cases to be a good vocalist, he just keeps singing in these weird accents, and teaming up with these robotic sounding female vocalists, to make for incredibly off choruses, which sometimes feel like Tech has thrown them in so the track as a whole will feel a bit weirder - like the one on "Night and Day" for example, or even "Jellysickle". On the other hand, the one on "Fuck 'em Girl" feels like a placeholder that they forgot to change when mastering the album. And another thing - there are way more generally weak songs here than on his previous two major albums (not counting the compilations I reviewed). I mean, did Tech really think that mastering, mixing, and eventually releasing the terrible "My Wife, My Bitch, My Girl" was a good idea? Hell, how did Rick Rock let someone else hear that beat in the first place? Awful! And also, while I appreciate why Tech wanted to make party music, I do find some of the songs in the first half of this album, especially from "It's What You Thinkin'" up to "Flash", do start to blend together, and begin to sound very similar. Not bad necessarily - just similar. 

But enough with the bad - because as I said before, I still do think this album is good. Tech has a knack for making extremely good songs to get hype to, and on here it's no different. "Riot Maker", "'Bout ta Bubble" and "Come Gangsta" are some of his best loud, aggressive tracks ever - and "The Beast" takes that and spins it into one of the best party cuts here too. And when Tech isn't writing about the same ol' shit again and again, he can do really well, and this is especially true in the "Your Descent" portion of the album, which contains some of the most enjoyable and replayable music on this LP. Hell, "My World" might be one of his best songs ever. Oh, and while I did criticise some of the party songs, there's no denying that "Caribou Lou" is catchy as fuck, and a great, fun club banger, with a legitimately brilliant hook. If Tech had spent a little more time with working this album to perfection, or perhaps even just cut out a little bit of the fluff, this could have been an all time great record - it's just that for me, it is a little repetitive and in-your-face at times. The album is solid overall. But hey - who cares about my opinion. There's a million Tech fans that will probably tell you this is the best album of all time, and maybe they're right. Still, thanks for reading anyway. 

Best Tracks: Riot Maker, Welcome to the Midwest, Bout ta' Bubble, Caribou Lou, Come Gangsta, My World, This Is Me

Worst Tracks: My Wife My Bitch My Girl, Fuck 'em Girl

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