Danger Doom

    The Mouse and the Mask


    There is no substitute for hard
    work. On his way to becoming the undisputed king of the underground, Daniel
    Dumile overcame the death of his brother, Subroc; industry censorship, with
    Electra’s refusal to release his old group KMD’s sophomore album, Black Bastards, in 1993; and a stint
    slumming it on the New York streets. He’s been on the hip-hop grind since 1991
    – be it as Zev Love X, Viktor Vaughn, King Geedorah, MF Doom or the Madvillain
    – and the man behind the metal mask has been straight prolific since
    reintroducing himself on his 2001 LP, Operation:


    Producer Danger Mouse, on the
    other hand, took the express route to name recognition last year with his
    Beatles vs. Jay-Z mash-up project, The
    Grey Album
    . The classic-rock and hip-hop blend
    garnered high praise from both sides of the aisle, and that led to Danger Mouse
    grabbing a coveted spot on the latest Gorillaz project, Demon Days.

    With the best album of 2004, Madvilliany, already headlining his resume, Doom
    linked up with the Mouse – and the animated lineup of the Cartoon Network’s Adult Swim empire, particularly its
    crown jewel, Aqua Teen Hunger Force
    to form DangerDoom. Sounds like a classic on paper, but can DangerDoom prove to be more than the average
    Net-head’s wet dream?

    The complete randomness of Aqua Teen Hunger Force – a cartoon about
    the misadventures of an out-of-work superhero team consisting of a professor in
    the shape of a French-fry box, a maladjusted milkshake and a soft-spoken
    meatball – presents an interesting parallel to Doom’s stream-of-consciousness
    verses, unique delivery and super-villain persona. There are many gems dropped
    by Doom, but “Mince Meat” proves there is a method behind the madness: “Who
    love to taste her goody, but got no time to be wastin’ chasin’ puddy/ Out for
    Daffy Duck bucks/ Porky Pig paper, Bugs Bunny money, a Sylvester cat caper.”

    With Doom in a lyrical zone,
    the LP ultimately hinges on the Mouse to hang with the Mask. Unlike his
    previous projects, Danger Mouse takes a minimalist approach, lacing the album
    with rather elementary beats that provide a platform for Doom to be, well,
    Doom. On “Benzie Box,” Cee Lo’s chorus brings order to speaker-busting bass.
    The Mouse matches a violin loop with a classic boom-bap drum pattern on “Sofa
    King,” and “The Mask,” the much-anticipated collaboration between Ghostface and
    Doom, is finally realized over a blaring trumpet sample.

    Doom normally rides a beat
    until the wheels fall off on The Mouse
    and the Mask
    , but big names such as Talib Kweli and the aforementioned
    Cee-Lo fill in the choruses, a welcome addition to the Doom formula. The Mouse and the Mask‘s levity is the antithesis of the dense Madvilliany, and it continues Doom’s
    steady march toward achieving legendary status. But despite his
    accomplishments, he still lacks universal recognition. Until the majority
    catches up with the minority, long live Doom.
    DangerDoom Website

    My Space DangerDoom Page
    (Listen to the Entire Album)

    Epitaph Records Website

    Prefix review: King Geedorah
    [Take Me to Your Leader] by Mike Krolak

    Prefix review: Viktor Vaughan
    [Vaudeville Villain] by Mike Krolak

    Prefix review: MF Doom
    [MM..Food?] by Matthew Gasteier

    Prefix review: Danger Mouse
    [The Grey Album] by Matthew Gasteier

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