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From the moment Eminem announced that he was preparing to release a new album both fans and critics alike we're whipped in to a whirlwind frenzy. As the biggest selling rap artist of all time, as well as being regarded one of the best to ever do it, this was to be expected. But with some of his recent material missing the mark, not to mention his much publicised fight with drug addiction and his bout of depression triggered by losing his best friend in a shoot out, many question whether or not he can he still deliver the goods.
With a title like The Marshall Mathers LP 2 there's already a certain expectation bestowed upon him being that the album's first volume is a certified rap classic. Apparently the 'in thing' (making album sequels), is it laziness or is it possible to top a predecessor? In the movie world it's rare but does happen - Terminator 2, The Empire Strikes Back - but what about when it comes to music?
Chockablock with 16 tracks in total (21 if you purchase the deluxe edition) there's a lot to absorb. Reigniting his love affair with cursing at every opportunity and addressing his controversial statements about the gay community - "They said I provoke queers 'til emotions evoke tears" - lyrically Eminem returns to the same type of form that put him on the map in the first place (much to the approval of his die hard fans). Reintroducing the obnoxious trailer trash bad boy who can't help but be mad at the world, his rants and ramblings, which include using the likes of Asher Roth and Jessica Simpson as lyrical cannon fodder, picks up where The Eminem Show left off igniting tears of laughter and he-didn't-just-say-that moments.
With no subject a taboo, on 'Asshole' Em touches upon the Aurora movie theatre shooting. "This whole world is a mess," he raps. "Gotta have a God damn vest on your chest, and a Glock just to go out and watch Batman." Even claiming to feel like Ma$e when the former Bad Boy rapper left rap for God on 'Evil Twin', whether a comedic or serious viewpoint the conviction in his voice when letting fly leaves you believing he might genuinely be pissed off at the world.
Unfortunately it's not all plain sailing as far as King Shady's return to rap goes. He may excel lyrically, and his delivery might be on another plateau, but what on earth is going on with his beat selection? The marriage between beats and rhymes are a sacred thing, especially in rap, yet The Marshall Mathers LP 2 shows no progression in its production and appears to not know what it wants to be when it grows up. Take for example 'Rhyme or Reason', a throwback sixties record that sounds more like a cut and paste job than a fine tuned professionally engineered rap record. The same thing can be said about the highly anticipated Kendrick Lamar feature, "Love Game". Like an unofficial blend tape cut, the held breath in anticipation of hearing two of rap's finest coming together for the first time can be exhaled instantly followed by a slight moan - think Beach Boys meets Buddy Holly meets Eminem. Lyrically entertaining, the production proves lacklustre.
The forgetful 'Headlights' with Nate Ruess sounds like an out-of-sync illegal download while 'So Far', an attempt at oddball quirkiness, falls flat on its face. One minute taking a stab at something Sublime might do and the next completely switching it up and spitting random nonsense over a generically cheesey rock guitar riff, the rest of the record features random snippets of previous Em songs and other off the wall sounds.
For Eminem Stan's MMLP2 has its moments as far as geeking out goes. Not just similar by name and artwork, certain subject matters and references taken from the first Marshall Mathers LP are remixed and retold. Take for example when the real Slim Shady flips the script mid flow on 'Bad Guy' and tells the story of Matthew Mitchell, the brother of suicide fan Stan from the first MMLP, who decides to kidnap Em, tie him up in the trunk and recreate his brother's famous scene from the Dido-featured 'Stan'. There's even a skit titled 'Parking Lot' that goes on to continue the mid-song bank robbery skit originally heard on 'Criminal' (one of Eminem's greatest album cuts).
Sporadic in nature The Marshall Mathers LP 2 is messy with moments of brilliance. So close yet so far, it's missing the key element of unifying beats. Like the triangle of fire, impressive rap projects need three things to function, and while Em's latest offering has both outstanding rhymes and hilariously interesting story-lines it's lacking organic backdrops.
