Bavitz was born in Syosset, New York and grew up in Northport, New York. While attending college, Bavitz initially recorded and released two self-financed efforts, Music for Earthworms (1997), a full-length featuring underground artist Percee P on two tracks. Bavitz also released a music video to "Abandon All Hope", which was one of the tracks on the CD. The album sold over 300 copies, largely from a grassroots internet-based promotion at his website AesopRock.com and then-popular web portal, MP3.Com. It was a success. With the money he made from his previous release, he then released his Appleseed EP in 1999 which received critical acclaim in the underground hip hop circuit.[citation needed] Both of his early records were produced by long-time friend Blockhead, and underground producer Dub-L. He completed these albums while also working as a waiter.
After his breakthrough success in the underground hip hop and indie rap community, he was eventually noticed by the Mush label and obtained his first record deal in 1999, just a year after he graduated from college. Aesop released his first major album, Float (2000), with guest appearances from Vast Aire, Slug, and Dose One. Production was split between Blockhead and Aesop himself, with one track by Omega One. During this time, Aesop worked at a photography gallery. In August 2001 tragedy struck when Bavitz had a nervous breakdown. The song "One of Four" on his Daylight EP documents his struggles.
Shortly after releasing Float, Aesop Rock signed to Manhattan-based label Definitive Jux (commonly shortened to Def Jux), where he released Labor Days (2001), an album dedicated to the discussion of labor in American society and the concept of "wage slaves". This album was most well known for its single "Daylight". Because of its popularity, Daylight was re-released in 2002 as a seven-track EP, including an "alternative" new version of the song "Night Light", whose paraphrased lyrics simultaneously refer back to, and stand in stark opposition to, the original's. The song "Labor" (from Labor Days) was featured in Tony Hawk's Pro Skater 4; it also was the first album in his catalog to break through the Billboard charts, peaking at number 15 at the United States Independent Charts, giving Aesop Rock more recognition.
Labor Days was followed by Bazooka Tooth in 2003. For the first time, production was mostly handled by Rock himself, with three tracks from longtime collaborator Blockhead and one from close friend and Definitive Jux label CEO El-P. Guest appearances include Party Fun Action Committee, El-P, and Mr. Lif (all Definitive Jux labelmates) and Camp Lo. With this release Aesop hit a higher level of recognition, releasing "No Jumper Cables" as a single and music video, then another single, "Freeze", shortly after. A remix of "No Jumper Cables" was featured on Tony Hawk's Underground 2, furthering Aesop's recognition. In 2004, He released Build Your Own Bazooka Tooth and created a contest in which you had to create a remix of an Aesop Rock song using the a cappellas and instrumentals.
In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire.
Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes."
All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
In 2011, Rhymesayers released "Are You Going to Eat That?", the debut album from Hail Mary Mallon, a collaboration between Aesop Rock, Rob Sonic, and DJ Big Wiz.
On July 10, 2012, Rhymesayers released Aesop Rock's sixth studio album, "Skelethon". Its first single, "Zero Dark Thirty", was released four months earlier on April 10. A second single, "ZZZ Top", was released on June 29.
In 2011, Aesop Rock and Kimya Dawson of The Moldy Peaches formed the duo The Uncluded. The duo's debut album, "Hokey Fright" was released on May 7, 2013.
In 2018, Aesop Rock teamed up with TOBACCO to form Malibu Ken
Keep Off The Lawn
Aesop Rock Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(Happy to be Breathing)
(I am Alive)
(Yeah)
(Fuck You)
(Like you've seen a ghost)
Most copious
Notice to the phobias
Appropriately procreate
Woke up with a ghost farm
Focused on his groceries
When they aren't telling stories they are multiplying grossly on the lawn
Let 'em loiter never let 'em spawn
The abhorritions have been drinkin' this water for too long
So when they gather by the birdbath in the morning you can tell em
I mean no disrespect but you have all outstayed your welcome
Interesting in a sense
Interrupt commiserating phantoms on your picket fence
How quickly they will lift their heads
And breathe an ultimatum like the dead don't argue
Said you're living by the bayonet but how alive are you
Shit
Haggis old juice and bad etiquette
Elbows on the table lobster bib on and on the ready set he said
But how alive
I dunno homie you decide
Fine
How alive?
Too alive
How alive?
Too alive
How alive?
Too alive
And one by one around the yard til each one felt communal pride
Like they had done their little part in cleaning up the public
With a steaming plate of justice for them east baker stomachs
(say what?)
We the legends at home with the unremembered
Geriatric lurin' the clutch of the budding censored
Snuck around the art police and all related governments to infiltrate a human lung and hike up off his tongue and lip
Ahh, money's in the market for a mothership
Double as a vessel to drag its legacy under it
And who am I to hang 'em out to dry by the heap, when if rehydrating fails we're all dumber because of me
Zombies of the antiquated nation chatter quietly
The too alive channel from the livarian (alternate: live aryan (alternate alternate: library of) rivalry
And summers in the mud
Winters by the tracks
No story goes untold, aes is back
I got a handful rockin' the same poker face
Gonna dance around the table like they own the place.
I got the whole world thinkin' it's a holiday
'cause they can smell the chum in the water from miles away.
You
You
You
You
You
You
You look like you've seen a ghost.
How alive? too alive.
How alive? too alive.
How alive? too alive.
How alive? too alive.
How alive? too alive.
How alive? too alive.
How alive? too alive.
How alive? too alive.
The lyrics to Keep Off The Lawn by Aesop Rock are full of vivid imagery and poetic language that tackles the theme of the living and the dead. The song appears to deal with the anxiety of being alive and the sense of exhilaration that often comes through the realization of life. The opening lines of the song express joy and gratitude for being alive. However, the following lines suggest a shift in mood as Aesop raps about opiates and phobias soaking his brain.
The lyrics in the song tackle the subject of ghosts and how they linger and multiply on the lawn. The chorus of the song repeats the phrase, “Too alive,” suggesting that being too alive is perhaps not desirable. Aesop seems to be exploring the notion that to be too alive can lead to a sense of hyper-awareness and anxiety, and that this state may make one vulnerable to the dead.
The lyrics to Keep Off The Lawn are open to interpretation and could mean different things to different listeners. However, they do suggest a common thread of thought that our perception of life and death is not always clear-cut.
Line by Line Meaning
Most copious
The superabundance of phantoms
Brain soaked the opiates
The ghosts are obsessed with their own story and continue to roam in delusion
Notice to the phobias
These ghosts feed off of fear and prey upon the anxieties of people who are afraid of them
Appropriately procreate
The ghosts are multiplying and propagating in a way that is natural or expected
Woke up with a ghost farm
A sudden realization of the number of ghosts inhabiting the area
Focused on his groceries
The singer is focused on what he needs to do, despite the ghosts around him
When they aren't telling stories they are multiplying grossly on the lawn
When the ghosts aren't focused on telling their stories, they are reproducing in large numbers
Let 'em loiter never let 'em spawn
Allow the ghosts to remain in the area, but prevent them from reproducing
The abhorritions have been drinkin' this water for too long
The ghosts have been around for a long time, and their presence is starting to become overwhelming
So when they gather by the birdbath in the morning you can tell em
The artist is warning the ghosts that they are no longer welcome
I mean no disrespect but you have all outstayed your welcome
The ghosts have been around for too long and it's time for them to leave
Interesting in a sense
The artist is intrigued by the ghosts and their story
Interrupt commiserating phantoms on your picket fence
Stop the ghosts from gathering and sharing their stories
How quickly they will lift their heads
The ghosts will react quickly when provoked
And breathe an ultimatum like the dead don't argue
The ghosts will make a final statement, even though they're not alive
Said you're living by the bayonet but how alive are you
The artist is questioning the life of the person he's speaking to
Shit
A signal of a new point in the narrative or a new idea the artist has had
Haggis old juice and bad etiquette
The singer is describing poor living conditions and habits
Elbows on the table lobster bib on and on the ready set he said
The singer is describing someone who is ready to dine
But how alive
The artist is still questioning the life of the person he's speaking to
I dunno homie you decide
The artist is leaving the final word to the other person
Fine
The artist is accepting the other person's final word
And one by one around the yard til each one felt communal pride
The ghosts start leaving, one by one
Like they had done their little part in cleaning up the public
The ghosts feel like they've contributed to the cleaning of the area
With a steaming plate of justice for them east baker stomachs
The ghosts feel like they've received some form of satisfaction or justice
(say what?)
A response to something that was said
We the legends at home with the unremembered
The singer and the ghosts he's describing are now a part of history that no one remembers
Geriatric lurin' the clutch of the budding censored
The artist is describing the ghosts as old and unwelcome, but they have managed to avoid being removed
Snuck around the art police and all related governments to infiltrate a human lung and hike up off his tongue and lip
The artist and the ghosts have made their way around the restrictions to share their story and be heard
Ahh, money's in the market for a mothership
The value of money is so high that people are willing to do anything to attain it, even if it means betraying their own race
Double as a vessel to drag its legacy under it
Money becomes a tool to take down the memories and histories of people
And who am I to hang 'em out to dry by the heap, when if rehydrating fails we're all dumber because of me
The artist is admitting that he is responsible for the ghosts and if he fails to take care of them, they will ultimately fail too, and people will suffer because of it
Zombies of the antiquated nation chatter quietly
The ghosts are remnants of the past and they talk amongst each other
The too alive channel from the livarian (alternate: live aryan (alternate alternate: library of) rivalry
As the ghosts talk amongst each other, they describe a rivalry or a power struggle between themselves and the living
And summers in the mud
The ghosts reminisce, sometimes happily and sometimes not, about their past lives or the summer seasons they've seen
Winters by the tracks
The ghosts remember their time on the train tracks during winter
No story goes untold, aes is back
The singer promises to tell the story of the ghosts
I got a handful rockin' the same poker face
The singer is describing a group of ghosts, all with the same expression on their face
Gonna dance around the table like they own the place.
Despite not being alive, the ghosts still feel like they own the territory
I got the whole world thinkin' it's a holiday
Despite the ghosts' presence, people still find reason to celebrate as if it were a holiday
'cause they can smell the chum in the water from miles away.
Despite the ghosts' efforts to hide their story, people are still attracted to it and will come from far away to learn about it
You
The singer is addressing the listener
You
The singer is addressing the listener
You
The artist is addressing the listener
You
The artist is addressing the listener
You
The artist is addressing the listener
You
The singer is addressing the listener
You look like you've seen a ghost.
The artist is saying that the listener looks surprised or scared by something that they have seen or heard
How alive? too alive.
The singer is still asking how alive someone is, and the answer is that they are too alive
How alive? too alive.
The singer is still asking how alive someone is, and the answer is that they are too alive
How alive? too alive.
The singer is still asking how alive someone is, and the answer is that they are too alive
How alive? too alive.
The artist is still asking how alive someone is, and the answer is that they are too alive
How alive? too alive.
The artist is still asking how alive someone is, and the answer is that they are too alive
How alive? too alive.
The singer is still asking how alive someone is, and the answer is that they are too alive
How alive? too alive.
The singer is still asking how alive someone is, and the answer is that they are too alive
How alive? too alive.
The artist is still asking how alive someone is, and the answer is that they are too alive
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Pharaoh on LFS
First 50 seconds of this song is absolutely out of this world. I wish there was a song like that the whole time.
The Sideways Door
I'm kinda wigged out how this track starts with some heartcrushing vocals from Camu, and then it's followed by a sample that says, "You look like you've seen a ghost."
Jeremy Sears
Surprised by the quality of the recordings on this album.
Anthony Cellucci
Greatest hip hop album of all time
ScienceofSpeed
Best album Fuck i love them all. Aesop Rock.
Arekusu
"No story goes untold, Aes!"
Shane_ L 808
I wonder if Camu knew about his cancer when he was singing that intro hence why "happy to be breathing" perhaps making a point about savoring life while he still can, if not it's a cruel twist of irony that he would pass the year after. RIP
Leo Walraven
He had been struggling with it for years, he knew. That was badass as fuck, being defiant in face of death. It makes this song even better!
13 Amp
He was diagnosed in 06, this album came out in 07 and he died on 08, so I'd assume he knew he had lung cancer when he recorded this
AntoineMalveaux
R.I.P. Camu Tao.