You know those moments in the wee hours of the night when you can’t sleep (or if you’re like me, doing work because you like to suffer)? Suddenly, you’re minding your own businesses, zoning out as your soul floats into the ether of insomnia. Then a bass beat slaps you in the face and wakes you the hell up? Yeah … This song.

The music video itself is its own special kind of ridiculous and fantastic. However, that’s not why we’re here on this lovely Thursday. No, this Throwback is purely about the song. I’d always favored T.O.P over G-Dragon as far as flow. He’s got a delivery that’s so effortless at times it’s surprising that he didn’t go the hip-hop route instead of banking on spending time in YG‘s House of Limbo. But, of course, him eventually becoming a part of BIGBANG would prove to be utterly historic. So his presence is quite literally the stuff legends are made of.
“DOOM DADA” was a new level of outrageous! He’d always had The Sauce™. But with this track, it’s almost like he felt he had something to prove! The grit in his lyricism, the growl in his throat. His. Damn. TONE! There are levels to the amount of “NOPE! I REBUKE IT!” that I went through from first note to last. While the song itself doesn’t exactly end on anything memorable (a simple “Yeah” echoing into the last silent seconds of the track), that’s sort of the point, isn’t it? I mean, after all that madness that was his rapid-fire delivery and his throaty droning repetition of the song’s title is enough to bust your eardrums.
Which, of course, leads us to that production! I’m not overly enthusiastic when it comes to most of YG’s song production. It’s mostly not my style. But whomever pushed the button on this track must have been on an extra spicy bit of sauce that evening! There’s nothing pretty or idol-like about that beat. It thumps, crunches and snarls. There’s a certain amount of rudeness in it that had me clutching my pearls the first time I heard the song all the way through. Which isn’t saying much, considering I had to stop and start the song about 15 times before it even reached the second iteration of the chorus. The use of a triplet snare beat at certain points of silence, coupled with a thick, nasty bass to undercut T.O.P’s delivery yanked me by my baby hairs and dragged me across the floor! Even for YG, a self-professed proponent of “black music” (my, the side-eye is strong with this one today …), this was as filthy as it gets!
Tl; dr: This song slaps harder than your mama when you back sass her at the diner table!

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