Aesop Rock with Rob Sonic and DJ Zone – Tickets – Wonder Ballroom – Portland, OR – December 20th, 2016

Aesop Rock with Rob Sonic and DJ Zone

Monqui Presents

Aesop Rock with Rob Sonic and DJ Zone

Homeboy Sandman

Tuesday December 20

Doors: 7:30 pm / Show: 8:30 pm

$20.00 - $23.00

This event is all ages

Aesop Rock
Aesop Rock
Aesop Rock has started skateboarding again. Nearly every day, he hits up the skate park, working to get his skills back up.
Skating and drawing (which he's been doing more of, too) were his big passions before his hobby of making rap songs turned into a paying gig that turned into an accidental, 20­year long career, taking him from making beats in his bedroom to playing for crowds thousands deep. Going back to them just shy of 40­years old isn't some kind of regressive midlife crisis move, though. It's more like a way to help process everything that's happened in his life over the past couple decades, and maybe to figure out the person he's become. That's also what he's trying to do with his seventh solo album, The Impossible Kid.
Rap's supposed to be a young man's game, but Aesop's only been improving as he's gotten closer to middle age. He's tackling different subject matter, going deep on topics like depression, his sometimes rocky relationships with his family, and the turbulent handful of years that culminated in Aesop leaving his adopted home of San Francisco to live in a barn out in the woods, where he recorded the foundations of The Impossible Kid.
Those years have been productive, though. Since his last solo album, 2012's Skelethon, Aesop has released collaborative albums with Kimya Dawson (The Uncluded's Hokey Fright in 2013), with Rob Sonic (Hail Mary Mallon's Bestiary in 2014, which was tracked in the same barn in the woods), and with Homeboy Sandman (LICE's self­titled EP in 2015). He's also been actively crafting beats. Recent projects include producing the 32+ minute instrumental mix, The Blob, working together with Nike to provide the music for a series of their skateboarding videos, and producing the soundtrack for the upcoming film Bushwick, starring Dave Bautista and Brittany Snow.
Now comes The Impossible Kid, which finds Aesop still finding new ways to improve on the skills that have made him one of the kings of indie hip­hop. Part of the new creative process he brought to it includes a willingness to embrace the funny side that he kept quiet, when being taken as a serious lyricist was more of a priority. Combined with another newfound willingness to open up about his personal life, the bits of humor spiked throughout the album create a potent emotional cocktail. "Lotta Years" uses two short vignettes to meditate on outgrowing your corner of the culture while chuckling admiringly over the audacity of youth. "Blood Sandwich" recalls a couple of very weird scenes from his childhood starring his two brothers, told with the same combination of surreal comedy and genuine tenderness as a George Saunders story.
At the same time, this is the most purely Aesop Rock record of his career. Like Skelethon, Aesop exercised complete creative control over the whole thing, from the production (which he handled himself, with instrumental help from Philly's Grimace Foundation) to conceptualizing the cover art by his friend Alex Pardee.
As you might have guessed, The Impossible Kid is a reference to Aesop himself, a person who's spent his life doing things that seemed unthinkable before he just went and did them, blazing a visionary trail all his own. Two decades in, he's still out there pushing it forward.
Homeboy Sandman
Homeboy Sandman
Homeboy Sandman is a musician. His genre is hip hop. An emcee that prides himself on musical growth and evolution, he has adopted as his motto and creative mission statement, "Boy Sand like you've never seen him before. As usual."

Raised in Queens, New York. Academic stints in New Hampshire, Philadelphia, London, and Long Island. One semester short on two different graduate degrees. A couple of years of New York City Public School teaching thrown in there in between. 9th and 10th grades. Some bartending too, at the legendary Lennox Lounge in Harlem. That's where Shaft used to drink.

December 2006 he decides to cut all that miscellaneous nonsense and follow his passion. 7 releases deep and counting. Before signing to Stones Throw he'd already been chosen as a coach on MTV's MADE, prominently featured in preeminent print hip hop rags XXL and The Source, and perpetually championed on foremost online hubs like Okayplayer and 2DopeBoyz. Since inking with the label his accolades have extended beyond the realm of the hip hop specific. Rolling Stone has noted his "skill for wordplay that keeps you hooked." NPR has highlighted his "artful, hysterical, disobedient hip-hop that you can dance to." Pitchfork has straightforwardly dubbed him "one of the best pure lyricists around."

He writes regularly for The Huffington Post too. Done some stuff for Gawker. While most of his writing is music it appears he'll write wherever a lot of people are looking. If he had an opportunity to give a speech at a huge rally he'd take that too, so more than anything else he just wants to spread the word. Maybe he just wants attention. Attention for being himself though. He'd never get into acting or anything like that.

Anyway can't nobody rhyme like him.

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