Sonic Appreciation

It is often said that big things come in small packages, but a nine-strong crew from Minneapolis have defiantly proved that this isn't the case with their debut group album. That crew is Doomtree: a collection of producers, rappers and DJs who have risen from the ice-cold winters of Mid-West America and delivered what is, simply put, an essential listen for not only anyone who has grown up listening to hip-hop, but also for those who have never dabbled before.

This may well sound like evangelising over and above the limit needed to persuade someone to listen to a record, but there are numerous reasons that back this up, some that hit the ear-drums immediately upon playing the music and some that burn slowly into the consciousness, finding their way into the listener's brain after ten spins with every last detail seeping in through the headphones.

The self-titled album contains 21 tracks, a number that could easily prove to be their downfall, but the high level set on the Lazerbeak produced ‘Drumsticks’, which features all five rappers providing their own unique deliveries, continues throughout the hour long ride, lifting the listener up for rowdy, bouncing highs before taking them down into contemplation in the blink of an eye. Lesser groups wouldn't have been able to juggle this, but the way Dessa's singing on ‘The Wren’ floats around Sims' understated rapping, segueing into the upbeat tracks ‘Dots & Dashes’ and the fist pumping braggadocio of Mictlan and Paper Tiger's ‘Game Over [Go Big Or Go Home]’, only serves to show their talent for making the difficult seem like a piece of cake.

It's this ability to mesh the members' differing talents that make this record such a joy to listen to. It's not only the rappers who bring something different to the table – from P.O.S.' non-stop machine gun like delivery, which takes centre stage on ‘Accident’, through to Cecil Otter's melancholic storytelling approach on tracks such as ‘Let Me Tell You, Baby’ and ‘Jaded’, to Dessa's Spanish tinged rapping on ‘Sadie Hawkins’ – but the producers show their dexterity in creating soundscapes for their lyricists to showcase their talents. Even when MK Larada hits the plate with MC-less instrumentals, he keeps the attention span fully focused.

Without having one particular sound on the record, Doomtree still manage to make the album unequivocally Minnesotan, music that fits both the below-freezing winters and scorching summers that the state of 10,000 lakes provides its inhabitants throughout the seasons. Guest spots are sparse but bringing in I Self Devine of Micranots fame and Oddjobs/Kill The Vultures' Crescent Moon give another dimension without any egos trying to take over the spotlight, as is so often the case with mixtape rappers.

The lyrical content is also a wonder to behold, taking in broken relationships, love for their family, their crew and their surroundings, the reality of having to work hard for the best outcomes and long nights in local bars. The words paint pictures of real life and real people, a world not defined by utopian dreams or by ideals of what they feel people want to hear. No, this album contains only that which has been experienced by those making the music and writing the words. The listener doesn't have to relate to them, they just need to know that they are listening to an album that has formed from a collective friendship that drips out of every note.

Five rappers. Three producers. One turntablist. If you don't know, get to know. This record is a must-have for any collection.