Editor’s Note: From Albumism’s inception back in 2016, we’ve remained unabashedly and unequivocally passionate about our mission of celebrating the world's love affairs with albums past, present and future.

But while our devotion to the album as an art form has remained steadfast, as evidenced by our deepening repository of individual album tributes and reviews, we’ve admittedly seldom taken the opportunity to explicitly articulate our reverence for the virtues of artists’ complete album repertoires as a whole.

Hence why we’ve decided to showcase what we believe to be the most dynamic discographies of all time in this recurring series. In doing so, we hope to better understand the broader creative context within which our most beloved individual albums exist, while acknowledging the full breadth of their creators’ artistry, career arcs, and overall contributions to the ever-evolving musical landscape.

We hope you enjoy this series and be sure to check here periodically for the latest installments.

AESOP ROCK

By his own admission, Ian “Aesop Rock” Bavitz hasn’t recorded particularly accessible music for much of his career. Known for his distinctive croak of a voice and wildly abstract imagery, he become a mainstay of hip-hop’s independent scene. He’s consistently recorded quality music, at times dense and challenging in its approach, but ultimately very rewarding.

Aesop started as a “true” independent artist, self-releasing a pair of projects, Music For Earthworms (1997) and the Appleseed EP (1999) on CD-R in very limited quantities. He worked on his grind in New York City’s independent scene. On Float (1999), released through Mush Records, he began to refine his audio personality, further sharpening his skills as an emcee and providing a snapshot of NYC as the new millennium approached.

Aesop really found his groove after signing to Definitive Jux Records, the indie powerhouse fronted by El-P. It was an ideal partnership, as both Aes as an artist and Def Jux as a label captured the essence of the innovation present in the “underground” scene. Throughout releases like Labor Days (2001), Bazooka Tooth (2003), and None Shall Pass (2007), Aes really delved into the depths of his own psyche and created distinctive narratives unlike much of what was being recorded at the time. Whether discussing bad trips on LSD or describing the harrowing process of experiencing a nervous breakdown, it was clear that he used his music as a form of therapy that never felt lurid or exploitive.

For all the seeming impenetrability of his lyrical content, Aes is pretty open about discussing the “meaning” behind his recordings. His albums feature discussion of complex emotions and trauma, its raw content going in directions where few artists dare. He discusses isolation, feelings of inadequacy, coping with loss, all while opening his soul to his audience.

Aesop also continues to be imaginative with the construction of his projects. He revealed that Spirit World Field Guide (2020) doesn’t need to be listened to in “linear” fashion, instead explaining people can hop around the album “out of order” and still enjoy the album. It’s the type of left-of-center approach that makes him so endearing as an artist, both challenging and relatable.

Jesse’s 3 Favorite Aesop Rock Albums of All Time:

1. Labor Days (2001)
2. Skelethon (2012)
3. None Shall Pass (2007)

VISIT Aesop Rock’s Official Store

LISTEN & WATCH: