Madvillain (ft. MF
Doom & Madlib)
BRENT: So Tyler, have you heard the new Madvillain,
Madvillainy? It’s MF Doom and Madlib recording
stuff back and forth, remixing each other’s
ideas. I thought it would be good to get your take
on it. I thought we could write a review like that
and maybe it would end up as good as this album did.
I’ll be DOOMoom and you can be Madlib. It’ll
TYLER: OK, so let’s just get this straight.
Madlib and MF Doom cannot be touched as of late.
Cannot be touched. Why is it that even in the underground
scene, those who just do what they do instead of
touting themselves (Def Jux, I’m looking at
you) always put out the retarded s*** and never disappoint?
BRENT: Never mind Def Jux. What about Roc-a-Fella,
Death Row, Priority or even Anticon? I haven’t
heard anything this good since Nation of Millions.
TYLER: Yeah, I know it’s not just Def Jux,
but mainstream labels and Anticon already have their
formulas set. They know who they’re marketing
BRENT: Exactly. Whereas DOOM and Madlib seem to just
be making music for themselves.
TYLER: It’s because they know they have skills
and don’t have to make themselves look better.
I mean, Doom HIDES behind a mask. C’mon.
BRENT: It’s because he doesn’t give in
to the clichés of the genre. Look at “Fancy
Clown,” where Metalface raps as Viktor Vaughn
(two of DOOM’s aliases) and one disses the
other, or “Great Day Today” or “Curls,” where
he runs himself into a lyrical corner (you expect
him to reference his “bitches” or “that
ass”) only to walk through the wall. Or “Hardcore
Hustle,” where Wildchild spits a line about
stabbing a guy in the heart…and then actually
TYLER: Madvillainy does not have a slow spot. Even
the skits are a step above everyone else. DOOM’s
lyrics seem unassuming unless you really listen,
kind of like subliminal messages. LISTEN!!
BRENT: And that’s to say nothing of Madlib's
TYLER: Production, production, production. Not a
day goes by that I don’t hear of a new producer
putting out an album. Now, don’t get me wrong,
I’m a beathead through and through, and most
of these albums are nice, but a 10-second snippet
from Lib has been known to blow whole albums out
of the water. Even when Lib uses a familiar sample,
it still sounds fresh. It’s not even worth
trying to describe his style. The only way to truly
appreciate Lib’s sound is to listen. Plain
and simple. Maybe all those trees really do put you
on another level.
BRENT: Madlib makes the day they shot Abraham Lincoln
look like a peanut.
TYLER: What other producer do you know of who pretends
to be five different people, releases solo albums
from each one of them and still has 20,000 other
side projects going at the same time? That’s
called proficiency, folks. Future hip-hoppers take
heed. PUT IN WORK!!
BRENT: Correct me if I’m wrong, but didn’t
Madlib and MF Doom already collectively put out at
least five of the best albums of last year?
TYLER: And counting.
BRENT: Remember when DOOM set out a few years back
to destroy hip-hop from the inside?
BRENT: I think he's finally done it.
TYLER: That review was pretty tight, I thought.
TYLER: But it's no Madvillain.
BRENT: True that.
—BS with TB
Story of the Year
As you listen to Story of the Year’s first
label record, Page Avenue, for the first time, you
are most likely going to experience a wild trip that
will most definitely freak you out. No, this does
not happen because the band is so utterly amazing
that you are completely blown away and ready to swear
yourself to Story of the Year forever. Instead, it’ll
be because you will swear that you are listening
to the familiar screams of local hero Bert McCracken
from The Used, but know that it is a completely different
As this happens, various emotions will begin to surge
throughout your being. At first you’re angry
that this band can’t develop a style of its
own, but then you become impressed because though
they are a little too close in sound to The Used,
lead vocalist Dan Marsala can actually sing—well
enough, in fact, that you want to keep listening.
It gradually becomes obvious that the nu-metal/punk
band does not offer anything new to the music scene.
The album, though coherent enough to make for a good
listening experience, is completely devoid of originality.
The screams, the instrumentation, the lyrics—it’s
all something that you’ve heard before from
someone else who can do it better. That’s not
to say that the rapidly rising band should be disregarded.
As its performance with Linkin Park at the E Center
in February proved, the band knows how to keep its
The lyrics on the album are perfect for members of
the younger generation who are still experiencing
the pains and trials of adolescence. Familiarity
and understanding emanates from the record in a hardcore
vibe that is somehow capable of softening the heart
and forcing the listener to take a trip down memory
The album’s 12 tracks are each unique in their
own way, providing for a diversity of tunes that
isn’t very common in bands these days. The
disc is definitely fun to listen to, and if anything,
gets the listener stoked for the next The Used concert.