Because the only thing feels worth doing right now is trying to unpack those impossible rhymes. At almost 4,000 words, it’s the most in-depth treatise on DOOM I’ve written. (As fate had it, I was listening to DOOM when first found out that Prince had left us.) For now, I’m bringing back this album ranking I first posted in January 2017 on my old Kinja blog. Writing about Prince in the immediate aftermath of his death was a tough experience, I don’t think I want to try it with another lost hero. As a music writer, the impulse to describe what you hear as “DOOM-esque” is constant. Ponder the enigma for too long and you might lose sight of some uncomplicated truths: that DOOM will forever be the standard-bearer for rappers who pen internal rhyme patterns, who use pop culture references, who spit over cartoon loops. There’s no contemporary artist on his level who could seemingly hide their death for two months and absolutely nobody be surprised by that aspect of the tragedy. In a shrinking world, DOOM was one of that last artists with true mystique. The improbability of it all underlines the legend of a rapper who felt more mythos than man. A figure who felt timeless and eternal no longer resides in our dimension. How could the Metal Faced Villain die? To consider such a thing is to try to get your head around the universe ending. I spent New Year’s Eve hoping against all hope that it’s not true, for this all to be part of MF DOOM’s wondrous plans.
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