CYPRESS HILL II: TEMPLES OF BOOM – 29 YEARS
If Cypress Hill’s Temple of Boom has a spirit, it’s something shadowy and rebellious—an album fueled by paranoia, defiance, and eerie beats, digging deeper into the sinister themes that had been bubbling under the surface since their debut. Released in 1995, Temple of Boom was more than just another Cypress Hill album; it was a purposeful deviation into darker, more introspective territory for the group. As B-Real, Sen Dog, and DJ Muggs entered the mid-’90s, they pushed their sound beyond their infamous “pied pipers of pot” image to explore themes of paranoia, anger, and confrontation that resonated powerfully in an era grappling with social turbulence and growing introspection.
The album opens on a familiar note with “Spark Another Owl,” a wink to their long-standing love affair with marijuana that has, over the years, become as integral to the band’s image as their edgy lyrical themes and layered beats. Cypress Hill’s raw candor about cannabis use helped normalize it in popular culture, making them pioneers in an era where weed was largely still taboo. The record feels like a mature realization of the group’s gritty, West Coast sound and swagger, presenting a complex picture of both celebration and darkness.
“Some people tell me that I need help
Some people can fuck off and go to Hell”
In “Illusions,” Cypress Hill crafts a song that is both mesmerizing and deeply unsettling. Muggs’ hypnotic beat, layered with haunting samples, forms a soundscape that’s impossible to ignore. As B-Real’s signature nasal flow intertwines with these beats, it transforms “Illusions” into a haunting journey, almost cinematic in its ability to wrap the listener in layers of sound and emotion. Muggs’ layered production draws you in, while B-Real’s lyrics oscillate between the real and the surreal. “Illusions” exemplifies Cypress Hill’s power to create an atmosphere that’s as immersive as it is intense—a testament to Muggs’ production wizardry and the group’s chemistry.
The album’s edgier tone was a natural progression, though it might have been unexpected for fans who expected a repeat of hits like “Insane in the Brain.” This shift is especially evident in “Boom Biddy Bye Bye,” where both B-Real and Sen Dog unleash razor-sharp verses that echo with menace. “Get your ass on the floor and don’t ask why,” B-Real commands, delivering a punch that reflects Cypress Hill’s new, darker thematic focus. This was a group grappling with both external challenges and their own inner tensions, unafraid to lean into aggression and confrontation.
One of the album’s most defining moments comes with “No Rest for the Wicked,” a cutting diss track directed at Ice Cube, whom Cypress Hill accused of lifting the hook from their track “Throw Your Set in the Air” for his single “Friday.” The song sees B-Real ruthlessly confront Cube, calling him “Cypress Cube” and asking, “How many ways will you bite my shit?” The lyrical assault is intense, with B-Real suggesting Cube’s ambitions have turned him into a copycat, even asking if he’d go as far as to “wet me.” While the feud never turned violent, “No Rest for the Wicked” ranks among the most blistering hip-hop diss tracks of the ’90s—a raw, unapologetic callout in an era of fierce loyalty to originality and authenticity.
Aside from this notable beef, Temple of Boom isn’t about personal vendettas as much as it is a psychological journey, a visceral dive into the group’s psyche. Tracks like “Make a Move” find their inspiration from Pulp Fiction, sampling Samuel L. Jackson’s iconic “great vengeance and furious anger” speech. It’s almost ironic; while the group postures as underdogs threatened by industry adversaries, Cypress Hill was soaring commercially. The album went platinum, following the multi-platinum success of their previous records. This narrative of standing tall against invisible adversaries may have been more self-motivating than reality, but it lent the album a powerful sense of defiance.
Temple of Boom also offers intriguing bonus material, such as “Everybody Must Get Stoned,” which brings the band back to their weed-loving roots after a disc brimming with hardcore themes. And for the dedicated fans, the Japanese release includes “Smuggler’s Blues,” while a special edition offers a 20-minute “Buddha Mix”—further proof of Cypress Hill’s constant drive to innovate within their own work, keeping their loyal followers on their toes.
And as it turns out, Temple of Boom’s haunting vibes have paved the way for one of Cypress Hill’s most celebrated live traditions: Haunted Hill. Now in its third decade, Haunted Hill is an annual Halloween concert series that began in New York City before extending its roots to Los Angeles. This Halloween season, Haunted Hill was celebrated in grand form at the Fonda Theater in LA, with a lineup that speaks to Cypress Hill’s deep influence on West Coast hip-hop. This year’s show featured Funkdoobiest, the Alkaholiks, Coyotes for Hire, and Cypress Hill’s own Mellow Man Ace. Together, they delivered a night that fused nostalgia with Cypress Hill’s signature dark, thrilling vibes.
Haunted Hill has grown into a legacy event, a gathering that brings together Cypress Hill’s friends, collaborators, and fans for a night steeped in the raw energy of the ’90s and the eerie atmosphere that only Cypress Hill could create. Starting in New York City, Haunted Hill captured an East Coast audience before making its way to LA, bringing together Cypress Hill’s coast-to-coast following and cementing the event as one of hip-hop’s most enduring Halloween celebrations.
Cypress Hill’s Temple of Boom continues to haunt listeners nearly three decades later, and Haunted Hill keeps this spirit alive each Halloween season. For a group that’s embraced both light and darkness, Temple of Boom stands as a haunting testament to Cypress Hill’s unique brand of hip-hop, one that remains timeless and unmistakably their own.
For some fans, this album might have felt like a departure, but it was an essential pivot for Cypress Hill. While Black Sunday catapulted them into mainstream fame, Temple of Boom solidified their identity as one of hip-hop’s most unique and risk-taking groups. Their willingness to embrace darker, more complex themes helped build the foundation for a lasting legacy in hip-hop, one that continues to resonate nearly three decades later. With Temple of Boom, Cypress Hill proved they were not just ambassadors of marijuana culture but artists unafraid to confront their own shadows, giving us one of the most potent and haunting hip-hop records of the ‘90s.
