Unless you’ve kept up with his Def Jux blog, you probably haven’t given much mind to Blockhead since he worked on Aesop Rock’s None Shall Pass back in 2007. At that point in time, Aesop Rock himself was Pitchfork approved and enjoying moderate success, becoming a self parody of the indie hip-hop scene he helped create. Outside of his production on None Shall Pass, Blockhead released Uncle Tony’s Coloring Book the same year, an enjoyable but short-in-memory album, and has seemingly kept to the NYC area since then.
The break, regardless if it were volentray or otherwise, has paid off.
Make no mistake, The Music Scene still sounds like Blockhead. There are still the pitch manipulated vocals from bygone bourgeois Americana and the almost out of place big band, jazz, and orchestra samples over quantized drum beats and occasional guitar riffage. He’s stuck to his guns, but he’s also steadied his aim and learned a few holster tricks. By keeping one foot in his creative center he has been able to keep up with his contemporaries, even to a fault. “Attack the Doctor” and “Pity Party” shine bright, but the strong beat on “Four Walls” is impaired by a very questionable use of autotune on a vocal line. It’s so out of place within the aesthetic and vibe of the album, and keeps that particular track from being an easy favorite. However, The Music Scene as a whole stands as some of Blockhead’s best work since Aesop Rock’s Labor Days.
It’s agreat album!