The story of DOOM is a continuing saga of mysterious men who exist behind masks. The history of the masked man is as uncertain as it is legendary. What purpose does the mask serve? Does it hide the otherwise visible scars of pain? Is it an escape from wrong doings of the past? Or does it’s presence mark the setting of conquest for the future? The legacy of DOOM, though unique in its own right, mirrors these unknowns.
One thing is certain, Hip Hop is not a safe-ground for second chances; they are few and far between, virtually non-existent. However, DOOM is indeed a product of rarity. The world first became familiar with him as the mild-mannered ZEVLOVE X of the group K.M.D. ZEV’s initial entrance into the business was the result of assistance from Third Bass who featured him on the classic song “The Gas Face” from their debut ‘89 album. Not long after, K.M.D dropped a series of impressive singles/videos and a well-received album entitled "Mr. Hood" on Elektra in ‘91. Following the success of the debut album, K.M.D was further preparing to establish themselves as the “positive KAUSEin a MUCH DAMAGEd society" in the industry…Unfortunately, unforeseen setbacks came into play. First, tragedy struck as ZEV’s brother and half of K.M.D (third member, ONYX The Birthstone Kid left after the first album), SUBROC, was struck by a car and returned to the essence...Amiss all of this chaos, K.M.D’s second album, Black Bastards suffered delays due to the label being un-accepting of their artwork which was a twist on their logo; a “X” out sign over the sambo character which had long been used as a premier negative portrayal of black people, particularly in entertainment. K.M.D fought to maintain the use of the cover being that the context of the logo was obviously an attempt to destroy the perception that had long been associated with that character. Regardless, the final result was the label opting to drop the project and the group itself from the label.
Time off was needed and taken. Internal evolutions occurred. Musical mutations took place. The mask was forged and donned then finally in ‘97 ZEV resurfaced, but now the moniker was DOOM. Indeed much had changed...then again maybe not so much. Perhaps the previous events only accelerated that which would have been an eventual natural metamorphosis. No one can ever really be certain. What we do know is that DOOM’s approach to music is what defines such phrases as, “the fine line between insanity and genius”. Unconventional. Abstract. Unorthodox. These words merely scrape the surface of the layer of grain he goes against; musically, conceptually and, let us not forget, rhythmically. As if to mock the standards of musical timing DOOM’s vocal patterns take shape and words land upon the drums in the same manner that a rock is skipped great distances across a lake; skillfully, constant yet erratic, and without a hint of when it will come to an end. Behind the boards things aren’t much different. DOOM has long abandoned the rules of what is supposedly allowed or forbidden. Any and all sounds are suitable prey for the hands of the Metal Fingered Villain.
Many found themselves busy trying to keep up with the slew of indie releases flooding the market in the late 90’s. Bobbito’s (legendary Hip Hop radio personality) Fondle'Em Records is among one of the most respected labels of that era. It was here that MF DOOM found a home to reintroduce himself to the world. First came the three song single (Dead Bent, Hey!, Gas Drawls) in ‘97 that caught everyone from the blind side. Whether those listening were familiar with him before or his voice was new to them, no one was prepared! DOOM continued to release a string of singles that only furthered the intrigue and mystery of what was yet to come. Then finally it came in the form of his, now classic, debut album Operation: Doomsday. DOOM had accomplished what so many had previously attempted and continue to attempt to capture. Truth be told there are no secrets. DOOM simply has the natural knack for formulating musical experiments; often considered unorthodox without losing any of it’s natural Hip Hop feel.
Just when you think there is no way he can conceive another album of rhyme schemes and vocal stylings never before touched upon, here arrives his latest offering, MM..FOOD. With this official follow up to Operation: Doomsday, DOOM is in rare form. Even after dropping a good half dozen (Madvillain, Viktor Vaughn I & II, King Geedorah, etc…) impressive projects over the last year his ability to weave words is no less amazing.
The pure truth of the matter is that DOOM best personifies the origins of Hip Hop...even better than those who may focus on attempting to make music that sounds like it did “Back in the Day” or in the “Ol’ School”. This is simply proven by the fact that Hip Hop culture was built on rebellion; the act of doing that which is generally considered to be taboo and that, true believers...is the essence of DOOM.
Source: http://www.rhymesayers.com/aDetail.php?aId=19&cT=Bio |
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