The story behind Daniel Dumile’s first solo studio rap album in four years plays out like a scene from a comic book. After a hiatus toiling away in his studio on instrumental albums and collaborative efforts, the masked rapper formerly known as MF Doom returns as DOOM to bring the apocalypse for sucker emcees.

But his new album, Born Like This, is anti-climatic – far from musical Armageddon.

DOOM is a mysterious and puzzling artist. The indie rapper/producer has not performed without covering his face with his signature armored mask in more than 10 years and has released works under several different aliases. DOOM, whose name is based on the Marvel Comics super villain Dr. Doom, even stirred up conspiracy theories and death rumors in 2007 when a supposed impostor wore his mask and performed concerts in his place (DOOM has denied accusations that he set the whole thing up himself).

His music is also an enigma. The New York-raised musician peppers his rhymes with obscure cartoon and monster movie references. His flow is a one-dimensional, seemingly incessant stream of consciousness, and his beats are filled with quirky samples. However, those who focus and study his works may uncover a hidden tapestry of symbolism, metaphors and deep messages. Like Dr. Doom, DOOM’s greatest asset is his knowledge and intellect.

Although Born Like This is chock-full of material to analyze, the lyrics and beats are not powerful enough to take out any of DOOM’s hip-hop foes. His flaws overwhelm his strengths and, like many villains, his maverick attitude and hubris bring his downfall.

The album’s title is a reference to lines from the poem “Dinosauria, We” by 20th-century poet Charles Bukowski. On the song “Cellz,” DOOM features a sample of Bukowski reading the ominous work: “Born into this/ Into hospitals which are so expensive that it’s cheaper to die,” and, “There will be open and unpunished murder in the streets.” But DOOM’s verses are not nearly as political, as he mostly boasts about his rapping skills.

None of the songs on Born Like This have hooks, and DOOM’s lyrics don’t always make up for the lack of song structure. For example, he sounds as if he is reading an entry from an advanced rhyming dictionary on “That’s That.” The tongue-twisting lines that rhyme “poor men” with “Cornish hen” are randomly strung together and don’t fully address any subject matter.

Many of the beats, produced by DOOM and frequent collaborator Jake One, are old novelties with sinister organs and sirens. DOOM and Jake One craft few instrumental schemes to side-swipe their enemies. Only the wailing, electronic musical scramble on “Lightworks,” the satirical homophobic conversations from old movies placed in “Batty Boyz” and the rousing gospel sample on “Thank Ya” stand out.

Aside from the instrumentals on the aforementioned three tracks, DOOM can count a few other villainous victories on Born Like This. The album’s not a complete defeat. DOOM spits humorously unapologetic lines on “Gazillion Ear,” such as, “A real weirdo/ With an unreal flow/ And the way his hair grow as ugly as a scarecrow.” The politically minded “Absolutely” is also a triumph, and so is “Rap Ambush,” on which DOOM includes a violent combat motif so he can throw RPGs – “rhyme-propelled grenades.”

DOOM also makes a smart choice in recruiting Raekwon and Ghostface Killah, character-rap pioneers, to fight with him. Raekwon’s influence on DOOM’s flow is especially evident on “Yessir,” while Ghostface spits one of his signature tales of the underworld on “Angelz.” DOOM’s story on the track, about female partners in crime who betray him, is equally entertaining.

Born Like This is a decent effort, but it’s not going to annihilate the wack artists of the world. DOOM’s lyrics run amuck and his beats are disappointing. He needs to head back to the lab, whip up a new persona and return with a vengeance.

arush@umd.edu

RATING: 3 out of 5 stars