Madvillainy was released on March 23, 2004 on Stones Throw Records.

So, it's finally here, the 10th anniversary of one of the greatest, most revered and applauded hip-hop records of all time: Madvillainy. The collaboration between Otis Jackson Jr. (Madlib) and Daniel Dumile (MF DOOM) that is still being celebrated today as one of the most unique underground rap albums ever, that still constantly inspires new talent and eternally teases the fans who hang on in hope that they will get their much anticipated sequel one day soon. There has been talk of it happening, or rather, being released (the record has apparently been finished for some time), but for now the only full-length meeting of minds we have by these two infamous artists is their weird and wonderful debut.

It's a real oddball of an album: equal parts strange, hypnotic, colourful and just full of relentless non-stop mastery. DOOM never stops, constantly flowing with his genius deliveries, barely acknowledging even the idea of a chorus, instead giving us more of his dark, quirky and unpredictable verses. Most of the songs require repeated listens to even come close to appreciating the MC's craft; there are just so many layers and things to discover.

Fans of DOOM will already be familiar with his supervillain persona and his cartoonish narration, but when combined with the cut and paste, genre-defying production of Madlib, his rhymes really take on another form altogether. Madlib never lets us get bored, and throws in sounds that other producers probably wouldn't. He challenges the listener constantly. It's a whirlwind ride, a never-ending collage of ideas from such diverse backgrounds. We have videogame samples from the likes of Street Fighter 2 and Gunstar Heroes and a sample of the theme from The Justice League of America, reminding us that Madlib and DOOM are nerds just like the rest of us. Mix those in with music from artists as eclectic as Stevie Wonder, Frank Zappa, George Clinton, Z.Z. Hill, Miles Davis, Sun Ra and Steve Reich and then throw in some B movie soundbites and we have the mindbending canvas that makes up Madvillainy.

DOOM continues his third person narrative style on Madvillainy, something which he maintains in most of music. It adds to the hype, to the mystery, to the chirade, and keeps him at a distance from us, disguises him like his mask does in real life. Just look at Flying Lotus's alter-ego Captain Murphy, and the influence DOOM has is plain to see. "Don't talk about my moms yo, sometimes he rhymes quick, sometimes he rhymes slow and vice-versa, whip up a nice slice of verse pie" he spits on my favourite song on the record, 'All Caps', and it's one of a million examples of DOOM describing his technical ability and basically just being fucking awesome whilst doing so. There is nobody else like him.

Every song on Madvillainy seems to just come out of nowhere and nothing is allowed to become stale. There is just too much going on for that to happen, too many ideas bouncing around that nothing can get old or tedious. It's like if Dilla's Donuts was gatecrashed by a pair of egomaniacal comic book supervillains. Songs are short, and there are 22 of them altogether, so the whole thing just rolls along and sucks you in from beginning to end. It's dark, it's funny, it's like nothing you've ever heard before. If you want a taster, listen to 'All Caps', 'Rhinestone Cowboy', 'America's Most Blunted', 'Meat Grinder', blah blah blah... Or just do yourself a favour: light an L, play the entire masterpiece and prepare to be inspired.

10 years hasn't aged Madvillainy a bit. It's as crazy and groundbreaking as the day it was released. The only problem with it is that once you've listened to it, you'll be pining for more. Until then, just listen to it again, and again, and again...

Listen to the album below via Rdio.