(Note: This was originally written as part of Rhapsody’s “Source Material” series, which explored the influences behind a classic album. The influences listed are titles that are available in the service.)
The dust has yet to settle on the indie-rap renaissance of the late 90s, with critics and fans fiercely divided on which albums constitute classics. One title they agree on is MF Doom’s 1999 masterwork Operation: Doomsday.
Daniel Dumile has not been photographed in public without his metal mask for over a decade. He launched his career as Zev Love X, one-third of the Long Island rap trio KMD, a group he shared with his brother, DJ and producer Subroc. In 1991 KMD issued its memorable debut, Mr. Hood, and were quickly lumped with the quirky post-D.A.I.S.Y. Age of groups like Leaders of the New School and Black Sheep. However, KMD’s second album, Black Bastards, was much harder-edged, reflecting the hip-hop world’s rising interest in gangster-ism. The album’s sardonic tone, and particularly its controversial art depicting a Sambo-like cartoon being hung from a noose, led to Elektra dropping KMD from its roster. Just before Black Bastards was shelved in
1993 1994, Subroc was killed in a hit-and-run accident. (Black Bastards finally got an official release in 2001.)
Dumile retreated from the spotlight for a few years before issuing several 12-inches on Fondle ‘Em Records as Metal Face Doom, starting with 1997’s “Dead Bent,” and then Doomsday in the fall of 1999. While most of the era’s major acts like Company Flow and Jurassic 5 approximated grimy boom bap, MF Doom culled from adult contemporary chestnuts such as Atlantic Starr’s “Always” and James Ingram’s “One Hundred Ways.” These quiet storm ballads, bits of which he looped then sped and slowed-down, contrasted with the fervent mic-trading of Doom and his crew (whom were later known as the Monsta Island Czars). Cumulatively, they create a tone of sadness and loss.