Aesop Rock - Black Hole Superette

"It's purple prose when you're looking for just the facts. You want to know where I've been? Some other where nothing's mapped, lost at the Waldbaum's, faded, facing 30,000 square feet of long a/isle." 

Aesop Rock is Long Island as the All American Hamburger Drive In, never in one's life calling it that. Aesop Rock is Long Island as the acne one inevitably gets working at All American. Aesop Rock is Long Island as the shit-eating grin one wears walking out of Island Rec after a perfect pool water test. Aesop Rock is Long Island as loving one's neighbor to the left while harboring complete, abject, and yet somehow still growing hatred for one's neighbor to the right (yo, for real, fuck that whole family). Aesop Rock is Long Island as disappearing off the face of the earth without changing one's routine. Aesop Rock is Long Island as leaving Long Island to achieve one's goals then quietly moving back.

What do Rakim, Roc Marciano, and Aesop Rock all have in common besides rocks in their names and Long Island in their origin stories? At some point, all of them will exist beyond compare to peers, forebears, and heirs alike. For now, though, Black Hole Superette features Aesop Rock playing posse cut with both his "alternative" (Armand Hammer on "1010 Wins") and "technical" (Homeboy Sandman and Lupe Fiasco on "Charlie Horse") rap peers. And he wrecks everyone. It's fucked up. 

Black Hole Superette is on that 80s Zulu mix shit Aesop Rock does sometimes, but for a whole album. Other highlights include the lines "Anyone who disagree is a bot, anyone who isn't me is a cop," and "Short story: I once shook the Rza's hand, played it cool but could have screamed I'm going to Disney Land." It's vacillating between the verge of a nervous breakdown and feeling like you won life.