The man has many faces, many monikers through

which he channels a singular vision of hip-hop

that’s been allowed to expand in the margins without coercion from

corporate suits and label politics.

But here, now, today, he is simply DOOM.

Daniel Dumile’s widest-known alter ego has dropped his ‘MF’ prefix for album three, ‘BORN LIKE THIS’ (the name is taken

from a Charles Bukowski poem), but the British-born and New

York-based rapper’s ear for the absurd in anyone else’s hands, his love of experimentation and sculpting designs anew, remains absolutely apparent. Five years may have passed since his last solo offering, ‘MM..Food’ (an

anagram of his name, FYI), but DOOM hasn’t been lazing about,

resting on his laurels. In the same year as ‘MM..Food’,

2004, he released the ‘Madvillainy’ album, a

collaborative effort with acclaimed producer Madlib (a follow-up is in the works); 19 months later, ‘The Mouse And

The Mask’ emerged, showcasing DOOM’s vocals alongside beats and pieces from white-hot studio wiz

Danger Mouse. So, while DOOM as a solo artist has been off the scene, his rhymes have

found their place in the public’s ear – both

collaborations took Dumile to a new level of recognition. And it’s this raised profile that ensures Clash gets 30

minutes phone time with the man himself. It’s late here

but early there, and DOOM’s just getting started…

Extract

Language: The language style featured in this account often move in and out of language associated with the the stereotypical reader whilst maintaining an intellectual approach to a historical account of the artist. What this allows the article to do is that it reflects what can be potentially perceived as a mainly ‘youth oriented’ genre without any real integrity or reality behind it as a respectable direction for an artist to go in once you dig deeper than just what is fed to you from the genre in the mainstream. Referential language: Most of this extract is heavily dependant on referential information concerning the artist’s past for example even the opening is a reference to his past alter egos whilst the following paragraph delves into a timeline of his collaborations, own music, productions and more. This is especially important in giving the reader background so they feel as though they are aware of what the artist has experienced making for a more informed reading. Expressive language: For the most part expressive language is quite understated and generally there is only the occasional adjective/adverb seeing as it is mainly a historical account of his past

Tone: The tone of the

extract despite its more

intellectual approach does

not come across as formal,

which can be to do with

descriptions such as “From

white-hot studio wiz” which

is more of a stereotype

target passage of speech as

it does not include any

formalities, especially the

word “wiz”. This way the

audience won’t feel like the

article strays too far from

what they were expecting

which is a respectable past

account of Daniel Dumile’s

life to lead into an interview,

but without going over the

top concerning the style of

language. Cursing: The extract is void

of any ‘foul language’ which

is definitely the correct

choice in this situation as

there is no need to lower the

tone of the article whilst

introducing the artist in

question. Potentially during

the interview an occasional

curse word could add an

element of humour to a

situation or maybe to

exaggerate a point but

overall it is not a necessity

in this style of article.

Tense: The tense begins in a

mix of past and present

which is effectively switched

between when referencing

different aspects of the

artists back catalogue.