Tag Archives: Operation Doom Discography

Operation Doom Discography/Song of The Year-Phantoms featuring Kendra Morris & Open Mike Eagle produced by 7L

Operation Doom Discography/Song of The Year-Phantoms featuring Kendra Morris & Open Mike Eagle produced by 7L

by Dan-O

I couldn’t have been luckier than to wrap up the Doom discography run with Czarface Meets Metal Face.  The Czarface supergroup that started in 2013 was directly built upon the legacy of MF Doom. The skits the covers the framework was Doom and it united 7L, Esoteric & Inspectah Deck. Pulling Doom in isn’t as awkward as I worried it might be. I don’t expect the album to get a lot of critical love because it is dense and a first (even second listen) can leave you pretty bewildered. The production is also boom bap which most critics are sure is old school not an actual continuing genre within the greater hip hop sphere.

Czarface Meets Metal Face has some great Doom moments, the most Doom punchline in years is “Don’t deal with the Devil on a deep level/they see metal and sound off like a tea kettle” from Captain Crunch. Phantoms is hands down the best posse cut of 2018 thus far. It is a staggering display of lyricism by a room full of hall of famers.  MF sets the table with a chilling story about the price you pay cheating and betraying the people who love you. The phantom in his case is the angel and devil on each shoulder pulling him in opposite directions. While most MC’s use their pen to valorize themselves Doom lays it down awkward ” Wife wonder how you diss fam and disgrace your children/Dudes is wired like that, it’s still an all-case buildin’ ” I didn’t fully fathom how impressive his verse is until I read it.

The brilliance of 7L is flipping the beat for every new verse which can certainly be seen as a nod to Gangstarr’s I’m The Man but it feels very practical in this case. Open Mike Eagle & Inspectah Deck need different sonic backgrounds (Deck gets the best beat). All verses are blinding on this one: Mike Eagle sounds like the voice of a generation funny witty and razor sharp. Deck is a monster with odd references that make you rewind (Haley Joel Osment) and Esoteric might have my favorite performance of the song with his alliterative F sound verse that never comes off as forced.

Reviewers are forced to create a narrative around albums. So Czarface Meets Metal Face can be called out as old school but Doom and Deck were putting out new music back when boom bap was king, would you prefer they grab Sonny Digital and adjust their flow to the high hat? Ew. It can be called a victory lap from a bunch of really important artists past their peak but…what is so wrong with that? Isn’t it kind of cool to hear a bunch of great successful rappers get together and push themselves for the love of the actual art on an album that wasn’t made for charting? When listening tune your ears to the right connotation.

 

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Operation Doom Discography-2006-2017: The Good, The Meh, and The Almost Classic

Operation Doom Discography-2006-2017: The Good, The Meh, and The Almost Classic

by Dan-O

 

The Good:

JJ Doom- I knew this album wasn’t for me early in the listening experience. The production style doesn’t fit.  It is very post-Gorillaz (Damon Albarn guests along with Beth Gibbons from Portishead) in its cold robotic bass burbles. Jneiro Jarel is very good at his sound. You can play the wordless Viberian Sun pt. II and understand the value of talent on display. Doom more than matches it. The disjointed nature of the beats just puts him a little off. He knows the pocket of any soul sample better than he does this. All that being said he still rises to the occasion: he starts the last song (Wash Your Hands) with ” Ooh, she got a cool body, damn she got a cool body/What I’m a tell you what to do with your hands for?/Much less your dirty @$$ shoes on the dancefloor?” This is full on grouchy doom warning you about the dangers of drinking tap water and giving you odd takes on gender(“There they go feminizing men again/Then pretend they don’t know when we know it, xenoestrogen.” From GMO). If you enjoy Doom you should listen to it and you might like it more than I do if you are into a more slick alternative version of hip hop production.

The Meh:

NehruvianDoom-I was very excited to hear this collaboration. I am a fan of Nehru and would say he’s an underrated talent. Doom handles the production on all but one track so we are back in that soulful comfort zone. Bishop is a top notch rapper but his lack of theme gives the lyrics presented here a freestyle feel. To put it bluntly: he ain’t Doom. Any project that says DOOM and doesn’t feature enough verses from Doom isn’t great. This one isn’t great. The whole album is surprisingly sleepy and ultimately unimportant. While Jneiro Jarel has (what I would view as) talent oppositional to Doom’s Nehru and Doom make each other boring somehow.

The Almost Classic.

Every truly great rap artist with a reasonably sized career has an almost classic. Jay has Vol. 1, 2pac has his first album 2pacalypse Now, Pete Rock & CL Smooth have The Main Ingredient (the single best example of an almost classic). Definition: everything is right except something which is very wrong. You need to own Born Like This so you can hear J Dilla & Doom collaborate for two of the most gripping moments in the history of music. Gazzilliion Ear  & Lightworks are deadly serious as the master mad scientists push one another: the beat twists and Doom adjusts. It’s not just Dilla, Absolutely is the crackling warm minimal vinyl Madlib groove at its finest. Jake One gives the biggest and best of his boom bap on the one minute and thirty second Ballskin where Doom burns the whole world down with his bars. The guests give the best of themselves and honestly I think Impress Stahhr Tha Femcee(Still Dope) outdoes Ghostface, Raekwon, Slug and anyone else not named DOOM.

The problem is the horribly wrong minded skit Batty Boyz which is unflinchingly homophobic and I just realized that I have a strange British version of the album which follows Batty Boyz with a doubling down on homophobia and transphobia. A song called Costume Foolery which is cut out of the US retail version but tucks in right behind Batty Boyz on my version. It really reaffirms that the skit wasn’t a fluke and Doom has problems with this subject, making a terrible gay voice and clowning man purses. I am of two minds on this: I don’t want to support anyone who makes it harder for oppressed communities or discriminates against any community but I also adore free speech. I don’t really believe in shutting down inappropriate conversation (I am not listening to Nazi rock bands do not take me to extremes). Doom starts the song CELLZ with a reading of Charles Bukowski’s Born Like This poem which gives this album it’s title. I think it is valuable to hear Bukowski read this in the context of Doom. The poem is about the mutating “sourful deadliness” that comes from a lack of good in the world or as Bukowski puts it an “unresponsive god.” The sharp edges of Doom stab us from that very place. Doom is not a villain for fun he is a response to deep scarring we should explore with him in all its ugliness. I’m sure he wouldn’t blame me for letting that ugliness dock points from the overall experience.