Antipop Consortium's very name, as well as its first album's cover art, hinted clearly about the trio's purposes: they were all about arts. Originally identified through the Nuyorican Café and the Rap Meets Poetry movement, High Priest, Beans and M. Sayyid – and E. Blaize, the DJ – belonged indeed to N.Y.'s spoken word scene. Their influences were jazzmen such as Sun Ra and Ornette Coleman, their collaborators alt-rap figureheads like Company Flow and Mike Ladd, and they would also work with luminaries like Arto Lindsay, Alec Empire and Vernon Reid.
Less than one year after their classic Tragic Epilogue, New York's trio Antipop Consortium would release an album aimed at the Japanese market, on an obscure label from there. If they had been a normal band, this would have been reserved to their most hardcore fans. APC, however, are notorious for being anything but a normal band. And though their first album would remain their major masterpiece – yes, we know, some people would prefer the IDM-oriented Arrhythmia, but they are wrong – Shopping Carts Crashing is not to be ashamed with the comparison.
Ah, the stupid nostalgia of the fans; their everlasting preference for the very first records of their favorite bands; this stinging jealousy overwhelming them, each time that other people are starting to love their idols, especially when these people are known for their utter absence of taste and their lack of discernment. This is what happened with many Antipop Consortium aficionados when the New-York trio had left Dan the Automator's 75 Ark label, for the British hipsters of Warp.