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“I’m learning more from him about being elusive,” he says. Doom does note that he and the notoriously reticent Madlib exchanged as few words as possible while making the album, communicating mostly by hand gestures. So it’s appropriately confounding that his best record to date may be this year’s Madvillainy, an album-length collaboration with Southern California producer Madlib that’s as casual as a blunted freestyle session and as dense and vivid as a fever dream. In his lyrics, he’s a detached observer, and a sense of alienation pervades much of his work one minute, he’ll be riffing on Jeopardy! or Doritos, then he’ll say something like, “Look, Ma, no hands / Studied black magic for years out in no-man’s-land,” hinting at how deep and how dark the stream of his consciousness runs.Įven when he’s working with other people, Doom seems like he’s working alone he’s done scores of cameos, but seldom indulges in hip-hop’s traditional family-style bonding. An MC who peppers his lyrics with archaic turns of phrase (“Egads!” or “You’re too kind”) instead of curse words, and who has thought hard about what rhymes with “Slobodan Milosevic.” He is a rap artist whose tracks feel less like rap songs than EKGs of his brain’s eccentric contours.ĭoom writes like a guy who spends a lot of time chilling in a fortress of solitude with his obsessions and demons. This is an MC who has written entire albums in character-rhyming in the voice of a time-traveling “vaudeville villain” named Viktor Vaughn or the third-string Godzilla nemesis King Geedorah. While this is a highly nonstandard idea for a hip-hop album, it’s standard Doom. He describes the mostly self-produced record as a kind of concept album about “things you find on a picnic, or at a picnic table”-food metaphors and sound bites abound. FOOD, with the help of Jasmine (who also owns Doom’s record label, Metal Face) and an engineer named Morgan. “Don’t show your face! You have freedom! You can go to the supermarket! That’s beautiful!”ĭoom is up late fine-tuning his new album, MM. “It’s hard to kiss in this thing, right, baby? Scratches your face up!” “Around wifey, of course, I don’t have it on,” Doom says. There is a patina of rust on its can-opener jaws.
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Sometimes if he’s eating something unwieldy, like chicken wings, he’ll twist it to one side-but that’s it. Doom is never photographed without it, and when he’s around people he doesn’t know well, he doesn’t take it off. This is due in part to his age-he’s in his early thirties, middle-aged by hip-hop standards. MF Doom is in the same business, but sometimes he seems like he’s not from the same galaxy. The Crunkies are rappers, or would-be rappers, or aspirants to high-ranking appointments in the cabinets of would-be rappers. Periodically, someone yells “Beleedat!”-in a voice that would carry across the most crowded strip club in all of Georgia-as a fistful of fuck-you money changes hands.
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The room is full of dudes and bluster and good-natured intimidation. Right now, there’s a fiercely competitive Xbox tennis tournament under way in the studio’s front lounge, hence the hollering. The Villain is Doom the Crunkies are the young men who come to the studio to hang out, bullshit, and occasionally work on hip-hop records of the amped-up, Dirty South variety. That’s what MF Doom, and his wife, Jasmine, call them, the Crunkies-as in, “If you see any Crunkies on your way to the bathroom, tell ’em you’re with the Villain.” In a recording studio somewhere in downtown Atlanta, around ten o’clock on a warm, crickety August evening, the Crunkies are hollering. We’ve republished it below in honor of MM.FOOD ‘s 15th anniversary.
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This story originally appeared in SPIN’s December 2004 issue.
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