MM…FOOD is just one, of what seems like hundreds of different releases from London born, Brooklyn rapper MF DOOM. MF DOOM has a unique style that is immensely different from any other artists, combining both musical talent and engaging story-telling techniques; DOOM is able to shake microphones and crowds alike.
MM…FOOD begins with “Beef Rap,” which features an introduction to MF DOOM’s unique style, both lyrically and musically. DOOM uses different skits in his tracks to illustrate a relatable story that samples old movies, songs, and most notably comic book television shows. The way DOOM seamlessly blends these skits and samples into his tracks and verses makes for one of the most interesting and involving ways to listen to music to date. “Beef Rap” after the skit finishes, launches into a near-cinematic level of instrumental. The percussion, the random sound effects, and the utterly rambunctious use of horns that reigns through the track makes for one of the most memorable beats from DOOM.
DOOM is also lyrically on a different level, light years ahead of most of the rappers around him. His flow, bars, and style is one of a kind, making is music feel as more than just music. DOOM makes every single release feel like watching Saturday morning cartoons where everything is done with bravado and the Villain always wins.
Following “Beef Rap” is the track “Hoe Cakes.” This track again features an overall interesting level of production and this can be said for all the songs on MM…FOOD. The boom-bap beat that is presented is almost reminiscing of the Golden-Era sound of Hip-Hop. The piano chords almost reinforce this idea, and the constant drum rolls while busy, never overpower the rest of the beat or MF DOOM himself. Each track has DOOM at the forefront and while he avoids the limelight in certain tracks, the beats still stand on their own almost like another performer to DOOM. The track then comes to a close following with a skit that focuses on DOOM’s return to New York, and how he plans to take over the rest of the world through threats and terrorism.
The skits tie the entire projects from MF DOOM together and create an additional layer of experimentation to different songs, allowing DOOM to tell a story through not just his lyrics. Tracks like “Potholderz” and the world-famous “One Beer” which features a Madlib beat, focuses more on the traditional style of hip-hop with lyrics and beats. “Potholderz” features Count Bass D who starts and finishes the track, starting this back and forth exchange between both Bass D and DOOM. The instrumental behind the lyricists focuses more on what sounds like strings and another boom-bap style beat that flows right into the following track.
“One Beer” is the iconic track with the background beat from Madlib that lets DOOM have complete control and free-range over the track. The beat is a loose but outstanding drum roll and a jump into a more funk style interlude. The entire track also features this chorus that could have made the entire beat survive by itself, but DOOM destroys this track and then instantly launches into back to back skits that again describe his decision to take over the world, gaining power from the different countries one by one.
Following is the track “Deep Fried Frenz” which relates to DOOM’s struggle with real life problems. DOOM can not only switch up his style from a cartoon style of rap to the then serious style where DOOM follows more personal issues. “Deep Fried Frenz” has great lines from DOOM where he reads the definition of friends from the dictionary, and describes “Never let(ting) your so called mans know your plans.” DOOM also describes his relationship with women in his life, describing the “friends with benefits” and the “no-rings” style of girls that DOOM knows all too well. The track then segues into a fascinating skit that describes “DOOM’s disfigured face” and the reason DOOM wears the mask.
The four following instrumental tracks “Poo-Putt Platter,” “Filet-O-Rapper,” “Gumbo” and “Fig Leaf Bi-Carbonate” feature an intriguing use of different skits that describe soul-food, loosing limbs to “flying monkey men,” and edible wrappers that is parallel to DOOM’s comment on the edible and easy to kill rappers in the music industry. DOOM uses four different beats in such a short time that it is almost difficult to realize that one track had ended and another begun. The way the seamless style continues through MM…FOOD keeps the story of DOOM at a steady pace and never seems to take a break from the rhymes or adventures of The Metal Faced Villain.
“Kon Karne” follows and this has more of a classy style of instrumental with a great piano riff that battles this lazer-like synthesizers and follows DOOM breaking down some more lyrical bars that again focus on the other “musicians” in the rap genre, “Clack Clack pardon me whack rap Kon Karne.” He then dedicates “this mix” to his late brother, DJ Subroc the “Hip-Hop Hendrix,” and as the beat then fades, one of the best tracks on MM…FOOD comes into frame.
“Guinnesses” features not a single word from our Masked Villain, but instead lets Angelika take control of this track, leaving the production aspect to DOOM. This was an interesting way to go about the track as the verses here from Angelika and the hook from 4ize are perfect. The way that Angelika describes past relationships and the way 4ize is able to combine both the use of physical and mental ailments to create a story, “War wound, purple heart, love veteran, Morphine, Pain Killers, Drugs and Medicine.” The track then fades into the last of the closing songs.
“Kon Queso” then follows and it features this 70’s style synth lead, piano eighth notes, and this rumbling bass line that echoes through the entire track. The entire track feels like stepping back in time or onto the set of “The Warriors” movie from 1979. Following is “Rap Snitch Knishes” which features Mr. Fantastik who follows this back and forth conversation between DOOM and Fantastik himself. The chemistry the two share, and the delivery from both on their verses really put this exciting emotion into the track. The chorus, “Rap Snitches telling all they business, sit in the court and be their own star witness” then flows into DOOM’s verse which focuses on everything from The Middle East to Tears for Fears. DOOM keeps his verse short, but straight to the point and creates one of the best instrumentals in the process. It uses guitar wails and some interesting tom hits mixed in with a near disco clap beat on percussion.
A maniacal laugh then flows into the next track, “Vomitspit,” which focuses on how people beg DOOM for verse of what he calls simply, Vomit Spit. There are some great lines about how “The mask is like Jason, they told the place to not let the basket type case in. He could be some of wacko, waiting for a chance to heat the pipes like a crack ho.” DOOM then moves onto the finale of MM…FOOD.
“Cookies” has this creeping beat that uses what sounds like a detective movie style bass line. The track features DOOM rattling off verses about “splitting your wishbone” for the females and “Wheat thins, Saltines, and Triscuits.” The track then explodes from a quick drum roll and fill to then going right back into DOOM’s verse. He ends the track by launching into a final skit that describes DOOM downfall and ultimate defeat. Unfortunately, in this case the villain does not always win, but there is always hope in the future for our favorite Metal Faced Super-Villain.