In 2013, we began getting the same predictions. It had been a while since DOOM had created an entirely new project, and any kind of new material would get all the hype it would need. In total DOOM fashion, he announced a collaborative album with the then 17 year old Bishop Nehru. DOOM is 43. That's a quarter century age difference. Perhaps a bit of foreshadowing, Nehru opened his debut mixtape, Nehruvia, with a rip of a DOOM interview and proceeding to use two of his instrumentals. Nehru, by all accounts, is a serviceable rapper. His flow, although rather generic, works decently enough, he provides some interesting wordplay, Nas claims to like him (not that I believe him), and he obviously has time to sharpen his style. Did I see the future of rap while listening to his debut? Absolutely fucking not, but DOOM usually knows how get the best out of someone (if you're not inspired by working with DOOM, I don't know what to tell you). So, I was relatively interested to see just what in the hell these two cooked up for their nine track album.
I'll address the elephant in the room (that I introduced with my last paragraph): does NehruvianDOOM unleash the untamed potential that Bishop Nehru supposedly has stored away? Not really. I recently heard someone compare this album to "a Datpiff rapper that found some MF DOOM herbs, and spent a few hours rhyming over them." Now, that's not what I'm personally trying to say, but, oh never mind, that's exactly what I'm trying to fucking say. I'm just glad someone else put it out there and I didn't have to be the dick. Nehru covers 90% of the rapping, and only about 10% of it is worth half a shit. Yeah, DOOM does handle all of the production, and most of it is pretty good (although none of the instruments touch his best work), but DOOM's few verses happen to be the best on the album It only makes you wonder if he still has a great solo album in the tank. Like I said, Post-2008 DOOM is frustrating.
Still not entirely frustrated? Here's some more shit to piss you off: there are some really good moments on the tape. Even though "Darkness", the lead single, was panned by most, I thought it set the tone of the album well and the shitty hook works. I know that makes no sense, but I promise it's true. Moreover, "Om", the next single, was even better. DOOM is on fire, and for one of the only times on the album, Bishop trades bars with him and appears as his peer. The chemistry is there, and the collaboration makes sense after listening to NehruvianDOOM's best moments. But, as I'm sure you can already tell, these moments are exceptions, and it certainly doesn't help that "Om", the album's best track, is followed by the two worst: "Mean the Most" and "Lonely". They're both startling reminders that Bishop Nehru just recently became a legal adult, and is still developing the art of effectively expressing one's feelings towards the opposite gender. And the singing sucks, like, really bad. Kind of like, you know, both songs in their entirety.
For whatever it's worth, you've gotta give DOOM some credit for at least doing everything humanly possible for Nehru to succeed. Crucially, it's nice to see that the beats don't overstep; every time our hosts' voices appear, they take over so authoritatively that, sloppy or on-point, the flow becomes more prominent than the beat they ride over. It's borderline detrimental at times, but most of DOOM's herbs sound like background music for a bigger voice. The fact that the voice never appears is besides the point; DOOM did what was asked of him behind the boards. He also has the ability to half-way save the entire project, as he lifts a sinking ship on "Caskets" and "Great Things". The former provides one of the few productions on the album that could be properly described as "filthy." DOOM sounds fantastic, and Nehru, well, he's alright, but it still makes for a decent song. The duo takes an immediate 180 on "Great Things", though, and deliver a track that follows the exact blueprint for making a corny inspirational song. The song isn't perfect, and it's absolutely corny, but I like it, which is the only thing an album really gains points for on this site. There's just something about DOOM's crazy ass rhyming about achieving your goals (over an instrumental that wouldn't feel out of place on a Disney movie) that appeals to my tastes. Sue me.
And yet he's no less enticing than he was in '99-- the same song features his trademark voice that immediately takes over your entire thought process. In the same month that one of the genre's biggest stars showcased how awry a song like this can go (*cough* Kendrick *cough*), DOOM gets it right. Say what you want about him, but the man is a fucking chameleon with his diversity. I mean really, who else can seamlessly transition from a masked super-villain, to time-traveling nocturnal criminal, to inspirational father figure in the span of one career. And that's not even mentioning his countless other aliases. Everything I just said is why NehruvianDOOM is disappointing. Daniel Dumile has the ability to do and work with whoever the fuck he wants, and I love the fact that he chose to work with someone so young, but wouldn't have made a little more sense if he were to work with one of the countless younger artists that wouldn't have careers without him? Tyler the Creator or Earl? Joey Bada$$? The Ghostface collaboration that has been rumored to be a thing for so long? I'm not even going to throw out the prospect of a Madvillain album, but is a solo album really out of the question as well? It's hard for me to even comprehend, but the man honestly might be improving with age., and I'd rather him not waste his talent. Almost anything is appreciated, but this? Fuck outta here.
Rating: 2.5/5