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“Mm.. Food is the fifth studio album by British-American rapper/producer MF DOOM. His second full-length album released under the MF DOOM moniker, it was released in 2004 on Rhymesayers Entertainment.

MM.. FOOD is an anagram for M.F. DOOM. Throughout the album, DOOM employs many food-related samples, and many of his lyrical themes are based on food metaphors. It contains several songs which were recorded as early as 2002, some previously released as singles, and a track ("One Beer") previously released as Madvillain on another label from the same year.

Many of the samples DOOM uses on this album are taken from vintage episodes of Fantastic Four, Spider-Man and Superman. In “One Beer” DOOM samples Huit Octobre by Cortex. An example of this extensive use of sampling can be found in the intro of Beef Rapp.” – Wiki

“Most of Doom's raps on Mm..Food sacrifice cohesion for maximum punch. When Doom does muster some self-restraint, he comes off triply brilliant. From the beginning, the Count Bass-D production "Potholderz" darts back and forth across the metaphor until we simply can't tell whether Doom's talking about gloves or roach clips: "What-- these old things?/ About to throw them away with the gold rings that make them don't fit like OJ". The Whodini sample on "Deep Fried Frenz" is awful in that purposeful maybe-Eminem sort of way. Here Doom turns a feel-good song into a mess of betrayal, bitterness, and matter-of-fact credos: "You could either ignore this advice, or take it from me/ Be too nice and people take you for a dummy."

With the exception of the album's two older tracks-- the Madlib-produced, Madvillainy leftover "One Beer" and the PNS-produced "Yee Haw", here re-recorded as "Kon Queso"-- and "Potholderz", Doom controls all the production on Mm..Food?. A lot of these beats are old no-frills Special Herbs loops, most lacking the marks of Doom's science-fiction fetish. Of the newer beats, the 70s Blue Note funk on "Vomitspit" is up there with Doom's best production work, and the stuttery "Potholderz" has the best bassline on any hip-hop album this year.” – Pitchfork

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