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.
Share this page
AllMusic Review by Jason Birchmeier