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In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
New footage and interviews with the cast and crew of "King Kong".
For many, this is a dream collaboration between two of the most cherished artists in hip-hop, pitting the dusty, wig-twisting originality of Madlib's smoked out sounds capes against DOOM's nostalgic, visual rhyme style. Brothers from another mother, DOOM and Madlib have long admired each others work, first meeting face-to-face in Southern California in summer 2002, and since then they've shared a whole bunch of Cali-green, run through countless bottles of Grey Goose vodka and Heineken (well, that would be DOOM) and assembled over twenty tracks into a superb psychedelic romp of the highest caliber. The closest one can come to describing this beautiful chaos is a sublime companion piece to Madlib's previous evil adventure, Quasimoto's "The Unseen." But, as DOOM himself would ask anyone asking for a description: "He's the villain, so what about it?" In recent years the metal-faced maniac has released albums under the aliases of Viktor Vaughn, King Gheedora and Monster Island Czars. But rewind to 1993: DOOM (then Zev Love X) made his debut with the groundbreaking album 'Mr. Hood' as part of the group KMD, which has since achieved critical acclaim and cited as a key record in hip-hop's "Golden Age." Zev Love X, Subroc, and Onyx had just finished work on the follow up, "Bl_ck B_st_rds", a politicized commentary on the portrayal of race by the media, when their label Elektra decide to shelve the album over the controversial cover art which depicts a 'blackface sambo' character hanging from a gallows. Shortly after KMD were dropped and Zev Love X's brother Subroc was killed in a car crash. Like true-life story from the pages of a comic book, Zev Love X disappeared completely from public view, going back to the lab and fashioning new beats and lyrics, only to reemerge as the masked MF DOOM with the now classic "Operation Doomsday" in 1999. "Zev Luv X still exists, DOOM is a character, neither one of them is really me, they're a fa?ade I use to voice a certain view," Explains the MC behind the mask, Daniel Dumile. "Zev was like you're average nerd cat, might drop a jewel here and there, might tell you something you don't now, humble and modest. Whereas the DOOM character is more aggressive, on some real take over shit, but still trying to play likes he's a good guy. It's not so much I changed; I just took on another character." A string of creatively inspired singles on the influential Fondle 'Em label in the late 90's heralded DOOM's return. "Being from the underground, there's not so much bureaucracy, you can come out how you wanna come out. It's music straight up and down, if you're good you're good." DOOM sees himself as a conduit for his music. "I try not to tamper with it too much, I'm like the narrator or the spokesman. My music is raw, yet at the same time it can be easy listening." The spontaneity in DOOM's working process whether writing lyrics or building beats, calls to mind the spontaneous prose of Kerouac or the 'cut up' techniques of William Burroughs, in its praise of the purity of the original thought. Nostalgia is a central theme for DOOM: "I love cartoons, I still watch them to this day. I have an 8 year old son, he comes home and we just watch them together," smiles DOOM. "Dexter Laboratory, and of course all the Japanese shit, Dragonball Z, all them ill." DOOM's music harnesses the instinctive, inherent power of childlike thought; "There's no in-between with kids, they're so pure they can feel something if it's fat. As you get older you lose that innocence and purity of the original thought, so called 'growing up'," DOOM ponders. "I mean - you gotta keep that, that's the essence right there." Using his music to test the limits of his mind, DOOM finds creative inspiration in everything he does: "Any artistic genre feeds what I do as a musician, I do paintings, but music inspires my painting, and paintings or art inspires my music. Creativity and imagination is the key to what everybody's trying to figure out on Earth, it's the one thing that bridges everything together. It can solve a lot of problems with all this war and retarded shit that's going on." From the mellow keys of 'Accordion' with Madlib's deft tinkling to the bumping bass groove of 'America's Most Blunted' and the soulful beats of 'Fancy Clown' under his Viktor Vaughan guise, Madvillain sees Madlib on top form providing the freshest, most blunted foils for DOOM's ill flows. "Music is a universal language and I'm trying to show that all of us laugh at the same things, I'm trying to bring us all to more of an understanding. We need to bring this whole thing together," explains DOOM. With their Madvillain double-team, MF DOOM and Madlib have made a sure-fire classic sure to take the world by storm - will anyone dare step try and stop them?
Girls Against Boys: "Basstation"
Formed in 1990 from the ashes of legendary DC hardcore bands (most notably Soulside), Girls Against Boys have released six albums on such varied labels as Adult Swim, Touch & Go and Geffen, in addition to numerous singles and EPs. They have also contributed to soundtracks for the movies: Clerks, Mallrats, Permanent Midnight, Hedwig and the Angry Inch, Suburbia and 200 Cigarettes. GVSB have toured the world extensively by themselves and with bands such as Fugazi, the Jesus Lizard, Rage Against the Machine, Garbage, Hole and Jawbox, as well as appearing in such festivals as Lollapalooza, Reading, Mt. Fuji and SXSW
Starship Troopers gameplay footage 3 (PC)
The Starship Troopers take on a huge beetle in this awesome clip.
A soldier lost in the desert stumbles upon a sultry soothsayer whom he must save from the dark forces by traveling into the shadows of the Rune induced Ether world to confront the Skull Wasp King.
