There’s no doubt that it’s one of the most unique approaches to hip-hop music, but how so is even more impressive: abstract and experimental lyricism, short tracks, songs constructed mostly on verses alone, its dark villainous theme, the weed-soaked feel and Madlib.īehind all the production, Madlib takes his past experience (Lootpack, Quasimoto, Jaylib, Shades of Blue) and weaves a full-length concept with Madvillainy. So much of what makes Madvillainy work is simply its approach. Madvillainy is their only full-length project to date–although word is that Madvillainy 2 is ready when “DOOM is ready”–and if it stands as their only full-length, it’ll be the greatest record that not only represents Madvillain, but both MF DOOM and Madlib as well. Together, they form one of hip-hop’s all-time finest–a group that set stones, altered mindsets, banged hard and made us all truly realize how exceptional a collaboration can be when made the right way. On the other half you have Otis Jackson Jr., aka Madlib, the prototypical music man of all hip-hop production not named Dilla, who lays low but supplies the culture with the kind of expansive prowess that hip-hop desperately needs. On one half there’s Daniel Dumile aka MF DOOM, the quirky and wordy MC known for run-on rampant lines, alter-egos up the wazoo and alternative projects that stand still in time ( Operation: Doomsday, Black Bastards and The Mouse and the Mask, just to name a few). Ten years ago, the world was introduced to the dastardly duo named Madvillain.