DOOM
Born Like This
(Lex Records : 2009)
His skills aren’t hidden behind a mask. In fact,
DOOM appropriately lays them out on the table every chance he gets. Whether he is paired up with Madlib on the now underground-classic status, Madvillainy, delivering his variety of Special Herbs production as Metal Fingers, or reaching his lyrical peak as Viktor Vaughn and MF
DOOM on Vaudeville Villain and Operation: Doomsday,
DOOM has undeniable talent on the microphone and behind the boards. However, throughout his recent career, Daniel Dumile has undoubtedly shown a little bit of a lazy attitude towards hip-hop, and it’s quite upsetting. After kicking his fans in the nuts by sending an imposter to a variety of shows (most notably the epic and expensive Rock The Bells),
DOOM still continued to put out tremendous verses, including his recent work on Jake One’s White Van Music. Truly, he’s become the man loyal fans hate to love, and with his latest release, Born Like This,
DOOM only provides more ammunition as to why many people will continue to flip flop with emotions for the lyrical wizard.
It is apparent through the use of recycled beats, old songs, and frustratingly short tracks that
DOOM consistently cares less and less about his loyal fans. Consider “Yessir” featuring Raekwon, which serves more as a joint for Only Built for Cuban Linx 2 due to the absence of a
DOOM verse. How about the year old track “Angelz,” which features Tony Starks? Regardless, both Wu members absolutely shine on their features, especially Raekwon.
DOOM is stellar when he does drop a verse, but one of them is on the overused and abused Dilla beat, “Lightworks.” But, pick your fights because while Dumile drops arguably the most impressive “Lightworks” display (all while rapping about wrestling in the process); one has to think about beat-originality. This freshness also lacked on both Jake One productions: “Microwave Mayo,” which seemed more fitting for MM..Food and “Ballskin,” which has been floating around since January.
Sure, this review seems to be negative, but the album is loaded with tremendous material. “Batty Boyz” is about as
DOOM as it gets; discussing superheroes (or rappers?) as leotard wearing homosexuals (or homophobes?) backed by an energetic string driven beat. “Gazillion Ear,” which uses two unreleased Dilla beats, may be the most complete track on the project and of DOOM’s recent emcee activity. The production on the LP is thoroughly impressive, as diversity is shown with the soft grit on “Absolutely” by Madlib and the harmonious strings on “That’s That,” which uses the Special Herbs Vol. 4 closer, “Hyssop.”
There is much left to be desired with Born Into This, heavily because it’s so good. We obviously crave more. Granted, there was always a method to DOOM’s madness. This could arguably be his most impressive display as an emcee, but its flow is similar to that of a compilation or mixtape; lacking any cohesion and novel value. Is it good? Hell yes. Is there reason to be bitter as a loyal fan? Yes. Is there any doubt that
DOOM is one of the finest lyrical slingers in hip-hop? No. But,
DOOM, come on, with great power comes great responsibility.
- Sean Deezill
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