After two grimy albums of lo-fi production driven by P-Funk and classic rock samples, Natas returned with Doubelievengod, a much more mature album in terms of both production and rapping. Most obviously, the platter of samples is gone; for whatever reasons, the emphasis is now on synth-driven beats (similar to post-Closed Casket Esham albums). The move toward eerie synth actually works in this album's favor, given its malevolent slant and ominous tone -- it's not a rocking album but rather a haunting album. Group members ...
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After two grimy albums of lo-fi production driven by P-Funk and classic rock samples, Natas returned with Doubelievengod, a much more mature album in terms of both production and rapping. Most obviously, the platter of samples is gone; for whatever reasons, the emphasis is now on synth-driven beats (similar to post-Closed Casket Esham albums). The move toward eerie synth actually works in this album's favor, given its malevolent slant and ominous tone -- it's not a rocking album but rather a haunting album. Group members Esham, Mastamind, and TNT further this aura by laying down some horror-themed raps that effectively emulate the album's tone. In the end, this beginning-to-end emphasis on darkness has made this a fan favorite, arguably the Esham/Natas camp's last sincerely horrifying album as they drifted increasingly toward self-conscious theatrics in an attempt to extend their reach beyond a tiny cult audience. Subsequent Natas albums are of higher quality than this, but Doubelievengod holds a special place in the Esham legacy alongside the Judgement Day albums as the summit of not necessarily his talent but rather his wickedness. ~ Jason Birchmeier, Rovi
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