When Kool Keith starts off an album with an angry diatribe, the world is in trouble. He did it on Dr. Dooom with "No Chorus," and he just may have surpassed that gem with "F-U M.F." on this album. Uh-oh, sucka emcees had better duck, 'cause the space doo-doo pistol is on automatic.

Keith is an enigma. He's been around forever, and shows no signs of going anywhere. Still, he is consistently slept on. He's even been left out of the hip-hop hall of fame thus far -- a travesty of justice. "Fuck the rap museum / I should be on the wall / Next to Run DMC / Between Public Enemy / Some asshole is jealous of me." Just about every person in the game owes Keith some homage in the same way they owe Rakim. He's just that nice and that influential. Matthew is Keith venting (again). This time, however, there's no alias, just Keith's straight up scathing commentary on the industry and many in it.

The production is standout on this album. Simple elements are layered together to form perfect platforms for Keith to spit his fire from. He also has lot of his trademark sounds that just appear for no apparent reason and are never heard again. Keith handled most of the production himself, with some help from the Funky Redneck (a.k.a. Kutmaster Kurt) and his latest protege Black Silver. The more I listen to this album, the more I appreciate the production. I've heard people complain that it sounds like outtakes from Dr. Dooom, and the some of the beats are definitely reminiscent, but each track perfectly balances the vocals and the production. One thing I've noticed is that you can make a good guess about who he's talking about on any track (when he doesn't just come out and tell you) by listening to the production and the chorus.

For those who appreciate Keith's ultra-abstract flow, this is yet another serving of the bitter insanity that is his trademark. He has to be the one emcee who is completely unafraid to talk about whoever he wants to in the industry, even going as far as mentioning shady label executives by name. He's still got those super-simple, super-repetetive choruses that some love and some hate. The crazy sense of humour is very much in evidence here, as he spits such seeming nonsense as "We Sweet Unique Pete / Look at these ladies massaging our feet!" And who but Keith could pull off a song like "I Don't Believe You," a blatant shot at all those cats ending every line for an entire song with the same word. Now THAT's Whoa, u understand? Of course, only artists of his caliber can hang with Master Ultra. Accordingly, the only guest lyricists are Bumpy Knuckles a.k.a. Freddie Foxxx and Black Silver who just RIPS "Sweet Unique Pete" (and the hidden remix).

From beginning to end, Matthew is Kool Keith at his best. Particular standouts include (but are certainly not limited to): "F-U M.F.," "Baddest M.C.," "Extravagant Traveler," "Lived in the Projects," "Keith N Bumpy," "Diamonds," "Sweet Unique Pete" (check the remix, the beat is hotter), and the brilliant hidden track "Test Press."

If you don't get Keith, you won't here. He hasn't made himself any more accessible to the masses, 'cause quite frankly he doesn't give a fuck. If you love hip-hop at its best though, Keith is one who has been consistently at the creative peak. Few artists have had the kind of impact on rhyme that he has had, and fewer still are still recording fresh material. While every Keith album is different, it doesn't need to be that different. After all, he doesn't need to change with the game, 'cause it's still catching up to stuff he did 10 years ago. This is just pure, unadulterated hotness.