DOOM
Gold Dust
(2009)

There is a twist of irony when it comes to DOOM- he does not fit the typical super villain motif. Sure he adopted masked identities inspired by Marvel Comics’ Doctor Doom, assuming the role as MF Doom, Viktor Vaughn and his production moniker Metal Fingers. But DOOM (his most recent name change) is hardly “evil,” as he often describes himself. Yes, he may be a bit twisted, but demonic, never. Over the years, his characters have allowed him to explore the intimacies of life. Unapologetic and honest in his approach, DOOM uses comic book characters and pop-culture references as a forum to project human complexities with intellect and banter. He has been reputed as the indie hip hop emcee/producer, acquainting fans with his dulled-out slur, slapstick flow, and fusion of rare sound clips. His off-beat behavior has roused attention, both good and bad, tittering on the brink of wit and schizophrenia. On numerous occasions, DOOM disappointed audience members by sending imposters onstage at his shows. But despite his blatant disregard for loyal fans, DOOM has procured a solid career.

From his earlier work in KMD to his contributions with Gorillaz, Masta Killa and Ghostface, and to his later partnerships with DJ Danger Mouse and Madlib, DOOM has become a dominate figure in the underground hip hop community. It is no surprise that DOOM would eventually compile a mixed CD featuring rare remixes, B-sides and guest appearances that have, for the most part, escaped public recognition. The catalog flips through DOOM’s verbal flows, experimental productions, and classic Fantastic Four samples that exemplify how creative and wacky DOOM can be. And while it is easy to admire DOOM for his unfaltering music moves, Unexpected Guests falls short in a few areas. If it is meant to introduce listeners to never-heard-before tracks, well, DOOM fans might be a bit disappointed. DOOM tracks like “My Favorite Ladies” (Live from Planet X, T.H.C. The Hip Hop Collection) and “?,” featuring Kurious Jorge (Operation: Doomsday) have been issued on previous albums – not the most fresh or unexpected of tracks. “Fly That Knot” featuring Talib (taken from Talib’s mix tape 05’ “Right About Now”) lacks in delivery and instrumentation. Although the two have proven to be successful emcees, the song plays out to be somewhat amateurish, lacking in originality and concept.

Don’t get me wrong; there certainly are stunners. “Rock Co. Kane Flow,” taken from De la Soul’s The Grind Date is a hard opener, juxtaposing gospel choruses with punchy, head- jerking beats. And it is refreshing to hear that “Sniper Elite” made the cut. The Dilla Ghost DOOM collaboration flips hip hop upside down with a bluesy western, lined with stream of conscious lyricism. “Sorcerers,” featuring Invizible Handz, is the mediator between the quirky randomness and the sarcastic, dark humor that fluctuates throughout the compilation. The track is carried by jazzy melodies and socio-political rap where the two take turns, trading off rhymes with the perfect measure- one raspy, the other inflecting a dawdling, yet inviting intonation. The highlight “Da Supafriendz,” is a playful track where Vast Aire and DOOM ride in like gangsta cowboys with a ragtime piano spinning lyrics into a “revolution,” with cops getting “hit by judo chops” (can’t argue with that). The daunting and jeering rhythms weave through “All Outta Ale” where the bootlegging business is posed as a means to attain some scrilla and muster-up some much needed booze. After a long and tiring day of work, I’m sure most could agree, “A tall glass of O.E.” (or another drink of choice) isn’t so incomprehensible. Closing the set with an urban tale, “Street Corners” (Remix), featuring Masta Killa, Inspectah Deck and GZA offer an introspective narration about “transatlantic imports,” the Black struggle, and “survival.” Hustling alongside sluggish beats and serving as a modern day storytelling of the blues, “Street Corners” offers a tone that is not visible amongst the other tracks.

In all honestly, I could have done without the trite phrase, “DOOM is evil as ever,” and the overall singularity that is pronounced throughout the compilation (which makes it appear more like an album than a mix). Cohesiveness is encouraged, but not when it dulls the listener. Additionally, if DOOM was going to venture into past group affiliations, he should have incorporated tracks that showcased his versatility as an artist. Tracks such as “The Mask,” featuring Ghostface Killa or Vaughn’s “Let Me Watch” would have paired better. Over the span of almost twenty-years, DOOM has created some of the most imaginative productions and characteristically, he outshines many of his counter-parts. Unfortunately, Unexpected Guests mainly provides snippets of DOOM’s lax musicianship. Maybe a sequel entitled Expected Guests would redeem him of the unexpected flops that overran the album.

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Please note-this review covers the original track-listing. The latest version includes additional tracks.

http://www.doom-unexpectedguests.com/

via Sarah Wolfson, 10 December 2009 10:00am | 3 |