DOOM
Born Like This.
Born Like This.
New York, NY
Produced by DOOM, J Dilla, Madlib and JakeOne | Mixed by Terence Cash and mastered by Morgan Garcia at Upstairs Studio in Atlanta
Show promoters may have a Superman/Lex Luthor relationship with Daniel Dumile. The masked MC has been known to start shows late, use imposters as stand-ins and have cronies that stiff doormen. Even so, DOOM is revered as a musical champion for balancing quality with quantity. Releasing music under innumerable aliases, and skipping labels like a nonchalant consumer, his discography runs like a fugitive who can’t shake the creating bug – with him producing and rhyming under names like King Geedorah, Viktor Vaughn, Metal Fingers and MF DOOM and partnering with greats like Madlib or Danger Mouse.
Born Like This follows and expands upon trends DOOM has trademarked, while offering an unapologetic ascertainment of his villainous stature. He evades four cuts on the 17-track album to demonstrate instrumental prowess and boost his badness. “Cellz” is an odd spin to a title track featuring deceased poet Charles Bukowski reciting “We, Dinosauria” over an appropriately apocalyptic beat. In response to Bukowski’s desolate drone, “We are/Born like this/Into this/Into hospitals that are so expensive that it’s cheaper to die,” DOOM boasts being, “A bad Samaritan/Averaging above average men.”
In a comic book montage of DOOM’s world, he turns his razor-sharp wit away from its usual victim, himself, and aims at whoever crosses its path. Stacking punchlines like poker chips, superheroes are berated on the controversial “Batty Boyz,” while snitches and police are warned on “Absolutely,” which brilliantly converts a sample of Earth Wind and Fire’s “Brazilian Rhyme” into a siren-like loop. Cameos from countless MCs, as well as background vocals from the likes of Prince Paul alongside DOOM’s appropriation of J Dilla’s “Lightworks,” make Born Like This an invaluable installment to the chronicles of DOOM. All in a day’s work for a supervillain. (Lex Records)
-Ingrid Sibley
myspace.com/mfdoom
Show promoters may have a Superman/Lex Luthor relationship with Daniel Dumile. The masked MC has been known to start shows late, use imposters as stand-ins and have cronies that stiff doormen. Even so, DOOM is revered as a musical champion for balancing quality with quantity. Releasing music under innumerable aliases, and skipping labels like a nonchalant consumer, his discography runs like a fugitive who can’t shake the creating bug – with him producing and rhyming under names like King Geedorah, Viktor Vaughn, Metal Fingers and MF DOOM and partnering with greats like Madlib or Danger Mouse.
Born Like This follows and expands upon trends DOOM has trademarked, while offering an unapologetic ascertainment of his villainous stature. He evades four cuts on the 17-track album to demonstrate instrumental prowess and boost his badness. “Cellz” is an odd spin to a title track featuring deceased poet Charles Bukowski reciting “We, Dinosauria” over an appropriately apocalyptic beat. In response to Bukowski’s desolate drone, “We are/Born like this/Into this/Into hospitals that are so expensive that it’s cheaper to die,” DOOM boasts being, “A bad Samaritan/Averaging above average men.”
In a comic book montage of DOOM’s world, he turns his razor-sharp wit away from its usual victim, himself, and aims at whoever crosses its path. Stacking punchlines like poker chips, superheroes are berated on the controversial “Batty Boyz,” while snitches and police are warned on “Absolutely,” which brilliantly converts a sample of Earth Wind and Fire’s “Brazilian Rhyme” into a siren-like loop. Cameos from countless MCs, as well as background vocals from the likes of Prince Paul alongside DOOM’s appropriation of J Dilla’s “Lightworks,” make Born Like This an invaluable installment to the chronicles of DOOM. All in a day’s work for a supervillain. (Lex Records)
-Ingrid Sibley
myspace.com/mfdoom
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