While there is no Drum and Bass on the album (as was originally rumoured), there is some adherence to what might be recognised as Drum and Bass sensibilities in the commanding presence of the drums on most tracks, and the usage of sparse, industrial/metallic sounds to form melodies of sorts.

These tracks are both also examples of the soundscape that the Sound Ink producers have engineered as a backdrop to the unfolding drama. “Lickupon” and “The Drop” follow one another to develop Viktor’s character further not all of the tracks on “Vaudeville Villain” are essential or even relevant to Vik’s tale of survival in the past, yet each adds more depth to the story. He then sets off on his adventures all the while searching for ways to fix his time machine, but never missing out on an opportunity for personal gain in the meantime. Over this and a futuristic-sounding, loud cacophony of guitars and feedback, Viktor introduces himself as one whose wordplay and demeanour are charismatic, darkly humorous and full of mischievous villainy. Vik’s tale opens with someone offering him help, only to be answered by his incredulous response “You? Help Me?” Then his echoing, evil laugh follows as the rumbling bass of the title track begins.

As a character, Viktor has a nefarious edge much more sinister than the nonchalance of the Super Villain and, as he strives to repair the time machine in his past to return to the future which is really his present, Viktor engages in more wicked deeds than simple rhyme battles.

Viktor Vaughn, scientific genius, has become stuck in the early 1990s following trouble with the time machine he constructed in his future. That of the Vaudeville Villain is the newest mask assumed by independent Hip Hop’s favourite scripter and actor (generally known as MF Doom), although chronologically Vik Vaughn’s story precedes that of both Doom the Super Villain and King Geedorah the three-headed space monster.

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