The day that hip-hop heads have been waiting for in anticipation is finally upon us: iconic rap legend Eminem’s album, Marshall Mathers LP 2, has finally hit the shelves.
The public has been waiting with bated breath for the return of the self-proclaimed “Rap God,” whose recent releases have been underwhelming to expectations. The topic of whether Em could triumph on this effort and restore his reputation has been a compelling argument for months now. It has been the most divisive issue in hip-hop in the weeks leading up to the album’s release.
Inevitably, like any hyped production in our contemporary era of the Internet and Torrent, the album leaked nearly a week before the Nov. 5th date this past Wednesday, Oct. 30th, and the reactions remained nearly as mixed as they had been before the public had heard it. Let’s take a look at what Eminem has in store for us on this controversial release.
An important thing to remember when listening to the album is that it is a follow up to Eminem’s most commercially successful album The Marshall Mathers LP (2000). This is certainly an audacious move of Mathers, to try to rebuild on something he has already perfected; why risk meddling with your own legacy? Perhaps this is for Eminem to prove that he has evolved as an artist. Mathers specifically distinguished that the album is not a sequel to the original, rather a revisit, but what exactly does this mean?
When Eminem released the first single - an eclectic, funky song that feels like something out of a bad Beastie Boys take - on his own SiriusXM channel Shade 45, the consensus was that Eminem had lost his vision. Enigmatic, bearded producer Rick Rubin selected a number of samples that all seem to have come out of left field. This includes beats from Joe Walsh, Steve Miller Band, and Wayne Fontana and the Mindbenders, all groups that are seldom associated with hip-hop.
The next song on the album, “Legacy,” doesn’t even feel like a song upon first listen because the casual talking on the intro makes it feel like an advertisement. Rubin’s beats are all more closely associated with rock ‘n’ roll than hip-hop; this becomes apparent as one listens through the album. Songs like “Rhyme or Reason” and “So Far” further this creative direction.
The most anticipated song on the album, “Love Game”, features the supremely talented Kendrick Lamar. This is the only rapper feature on the entire LP. Eminem succeeded in choosing wisely with Kendrick. While both of the rappers are known for their aggressive style of rapping, loaded with violent metaphors, the pair took the opposite approach on the 1950s-sounding song. “Love Game” features a beat by old rock group Wayne Fontana and the Mindbenders and is an ode to Eminem and Kendrick’s love for rap, it is easily the most addictive listen on an album filled with catchy, melodic beats.
What separates the album is Mather’s lyrical ability and flow. Upon first listen to the album I was not so convinced; however, after a couple of more listens I simply could not get half the songs out of my head. Eminems deft flow over the jazzy, broad-based beats gives the album the spark it needs.
Perhaps what is most interesting about the album is its lyrical content. To properly examine it, one must take into consideration the album’s position as a revisitation to the original release from 13 years ago. Eminem had so much raw anger and intensity on that release. The anger and intensity is still there, 13 years later, upon his return; however this time it is measured and calculated. Eminem has matured. On the song “Headlights” Eminems apologizes to his mother for all the harm he has caused her, even referencing earlier track “Cleaning Out My Closet,” a song where Eminem moves out of his house and leaves his mother in the cold.
It is not that Mathers has grown soft, he has simply evolved. The vulgarity, homophobia and vitriol are all still there. Songs like “Evil Twin” and album opener “Bad Guy” prove that Mathers can still be crude when he feels it necessary.
“Evil Twin” perhaps best exemplifies where Eminem is at right now. The song is about Mathers’ struggle with his alter ego, Slim Shady, and how he has moved past the character. In the most telling verse of the whole album Eminem raps, “Hoarder of beats, hoarder of rhymes/ Borderline genius who’s bored of his lines/ And that sort of defines where I’m at and the way I feel now.”
It is a new era for Eminem. He is in a new place looking through a wider scope, thinking about his life and career in a larger context. Em is always completely candid in his rhymes. He is still battling Slim Shady and his vices, but at least he is trying.
