Monday, November 7, 2011
Eclectic rapper DOOM last week gave fans a chance to catch a metaphorical glimpse beneath the mystique that is his mask during an interview / listening session as part of the Red Bull Music Academy series of music workshops, where he breaks down numerous topics, including his producing and recording processes; touching on the onset of his career; and the creation and maintenance of his multiple rapping personalities.
Although he never removes his mask, fans will be able to know for sure that, despite his sketchy past live appearances, the man speaking in that unmistakable raspy voice is indeed DOOM.
Surprisingly DOOM isn't the most articulate of individuals, which is apparent throughout the interview despite his fluid gift for gab on wax.
The interview is lengthy (an hour and 40 minutes) but for any diehard fan of DOOM it will be time well spent.
The producer-rapper Ron Browz late last month quietly released his latest studio album, The Christening.
The fact that it was released with little-to-no fanfare or publicity only underscores the rumors of Jay-Z black-balling the beatmaking rapper about a decade ago once NaS came out with Ether, the lone black eye on Jigga's curriculum vitae that was produced by Browz and also the reason for his self-bestowed nickname of Etherboy that inspired the title of his previous album.
Gone are the loud, gaudy beats that helped popularize his music a few years ago. Also conspicuously missing from the soundscape is the gratuitous use of the voice-altering Autotune technology that became his trademark with the hits Pop Champagne and Jumping (Out the Window).
Another nice touch -- no more singing for Mr. Browz, always a wise choice for a rap album.
Instead, Browz takes the novel approach of using his own voice, a practice he's been employing more and more over the past couple of years.
Even with the drastic change to the styles that first endeared him to listeners, his loyal fans should be pleasantly surprised that there is no drop-off in production considering his shift in musical approaches.