Marshall Mathers LP 2 – Review

Album cover for Marshall Mathers LP 2

Album cover for Marshall Mathers LP 2

Nico Triunfante, TSV Staff Writer

Eminem does not fail to give his fans the artwork they’ve been waiting for after his three-year hiatus.

Through my first listen of the “Marshall Mathers LP 2” I grabbed a large sense of versatility, and the difference in caliber of Eminem compared to the modern day rappers. The album combines features of hip-hop, rock, and of course, Eminem’s usual comedy, violent metaphors, and emotional swings.

Eminem introduces his album by reintroducing his multiple personalities of Stan, and an introduction of Matthew Mitchell. Stan and Matthew Mitchell are out to kill the “Bad Guy” for his actions of verbally torturing iconic figures of society.

In the second part of the song, the devilish voice inside Eminem’s head speaks for those that the rapper has spoken down upon, saying that it is ready to terminate his mind entirely. We learn that Stan and Matthew Mitchell are symbols of his past catching up to him. Facing the fear, Eminem uses this album as his last stand to verbally demolish everyone he feels needs to be addressed.

The first four songs, after the skit, which left off from the previous “Marshall Mathers LP,” is Eminem’s reason to why he is the “bad guy” of the American society. If no one addresses, in example, Miley Cyrus, Lamar Odom, or Monica Lewinsky, rest assured that Eminem will. In turn, he wraps up the first third of the album, stating that his legacy will be known for his comedic acts and destructive lyrics.

The second third of the album is probably the most entertaining part of the album. This section combines versatility in genre, switching from rap to a country/rock feel. It is the section filled with his singles, and possibly future singles, not to mention amazing features with Rihanna and Kendrick Lamar, have already found their way to radio stations.

“Berzerk” and “Rap God” are notably the craziest rap songs that I have heard in a long time. It isn’t questionable to why these songs were the some of first singles of the album, on account of Eminem’s dramatic wordplay, ever-shifting speed, and punch lines put into these songs.

However, two of the best songs on the album are “The Monster” featuring Rihanna, and “Love Game” featuring Kendrick Lamar. It’s nice to hear voices from other aspiring artists in music, but the idea of bringing Rihanna back to another Eminem album, along with arguably the new generation’s greatest rapper, created classic music.

“The Monster” is used to bring us back to the beginning song, where the devilish voice inside Eminem’s head continues to haunt him. Throughout this song, Marshall describes his need for writing, the fame that came along with it, and why he continues to carelessly say what he needs to say. Although the voices and his multiple personalities stand to take him down for his carelessness, Eminem befriends the voices and states that he is what he is in order to inspire those who are unable to speak up for themselves and what they believe in.

This song raises the question, is Eminem really the bad guy in society if his intention is to open the windows for those left in silence? The question is up for grabs as the album shifts from seriousness to comedy.

“Love Game” is the epitome of comedy on this album. He decides to put Kendrick Lamar on the song, who is also famous for his continuous talk about Sherene, his female crush introduced in “good kid, m.a.a.d city.”

I believe that Eminem used this song to retouch on the opposite spectrum of his emotions. In his head, there’s a messed up world filled with hate that needs to be fixed, and even in the most complex state of love he still cannot find sanity. The “love game” they refer to is keeping their significant other, but also being able to maintain pleasure with other people in their lives. This segment of love bottles up all of Eminem’s emotions, and is a perfect connection to lead into the infamous Slim Shady.

Jumping over to his last song, “Evil Twin” is the reintroduction of Slim Shady. Eminem uses Slim as his scapegoat for his verbal destruction, but just like a twin, Eminem himself is identical to it.

It’s the fact that Eminem owns up to all the devious stunts are what made this wrap of “Evil Twin” all the more appealing. He had two choices: either face the music and allow society to shut his mouth, or take pride in his cause and continue being Eminem. He chose the second route.

Overall, MMLP2 is not the greatest of his albums, but it surely rests alongside his best works. If this were to be the final chapter of Eminem’s multiple personalities, then it surely ended with a powerful drive and set the bar for even higher expectations of his next album.