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In a historical moment in which the disks no longer have the value they had in the past and have become technically commodities , simple business cards for artists who monetize on the other , an Eminem record is always a unique event. Not only because the sales spurt at the top ( at this time in the Top Ten of iTunes USA there are four singles from the Detroit rapper - at # 1 , # 3, # 4 and # 10 - including a few that do not even have benefited a radio promotion ) , but mostly because Eminem is one of the few contemporary artists who put a piece of his life in any disk, use the recording studio as the psychoanalyst's couch , rap as a stream of consciousness and rhymes as a territory to out his demons and alter-ego .
After the rather dark and heavy " Recovery" of 2010, Eminem returns to the stage in great shape and with the desire to take risks, to the point of naming the album "The Marshall Mathers Lp 2" , followed by the one recorded in 2000, which is in many his most successful record .
But we can not consider it a true sequel. TMMLP2 is a portrait of a middle-aged man (Eminem has just turned 41 years old) who has no idea of how to grow and that perhaps has not even want .
On this record back his taste for black comedy mixed with despair with his side homophobic and sexist . We find deep thoughts ( "Stronger than I was" ) , desperate rage ( " Evil Twin "), and totally self-referential with resolutions of ancient flaws with his mother ( " Headlights " ) .
But above all there are the songs. After the long and bipolar " Bad guy" (which contains a sample of Gian Piero Reverberi, pre- Rondo Veneziano ), here you feel the hand of the old Rick Rubin (co -producer with Dr. Dre on the disc) fished in " Rhyme or reason " the beautiful " Time of the season " Zombies completely overturning the message ( " There's no rhyme or reason for anything "), while in" Berzerk " recovers Billy Squier and the Beastie Boys. And then there's "Monsters" a piece chain hip- pop that is likely to become a blockbuster like " Stan " with Rihanna to take the place of Dido .
Lovers of rhymes will then be fun. This is one of those albums that must be listened to with Rap Genius (the famous site that does the prose of rap lyrics ) on the PC screen to enjoy the hundreds of one- line ( " I'm a prime example of the power of rhyme falling into the wrong hands " ) and the usual taken for a ride to the scene half- female pop (Britney remains his favorite target ) . As in the battles of " 8mile " , our attempt to prove to be the fastest of all , the resounding " Rap God" - at some point comes to rap six words per second - performed live during the YouTube Music Awards or " Love Game " where it involves the serious Kendrick " Prezzemolina " Lamar based on " the Game of Love" by Wayne Fontana & The Mindbenders in the part of a wedding singer , and contains a series of puns from the anthology .
Forget the experiments of Kanye West or calculations by business man Jay- Z . This is a hard rap deeply vintage and traditional , where the vinyls are still scratchati , the guitars are in the foreground and the hooks do their dirty work.
It's called hip- hop, and this forty year old white -faced insufferable brat still knows his stuff.
TRACKLIST ;
" Bad guy"
"Parking lot (skit ) "
" Rhyme or reason"
"So much better"
"Survival"
"Legacy"
" Asshole "
feat. Skylar Grey " Berzerk "
" Rap God"
" Brainless "
"Stronger than I was"
"Monster " feat . Rihanna
"So far ... "
" Love Game" feat. Kendrick Lamar
" Headlights " feat . Nate Ruess
" Evil twin
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