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2 stars (out of 4)

The aftereffect to one of Eminem’s best admired albums, “The Marshall Mathers LP2” (Aftermath/Shady/Interscope) is the hip-hop adaptation of a classic-rock album. It encapsulates all that was good, bad and aloof apparent tasteless about hip-hop’s middle-age antic 13 years ago, aback he fabricated “The Marshall Mathers LP,” aggregate one.

Back then, acrimony accent Eminem’s outrageous, sometimes absurd and frequently appalling spew. Emerging out of Detroit in the backward ‘90s, the MC accumulated up hits with shock amusement that was aboveboard available and phobic, and biggy exhausted abilities that larboard the antagonism in his breath trail. But his aftermost few albums accept articulate annoyed and alike apologetic, as he battled biologic addiction and artistic inertia.

“The Marshall Mathers LP2” rekindles his ink-black amusement and able-bodied swagger. It revives some of his affliction ancestry as a ambitious provocateur. And it reaffirms his biggy activity with rhymes. In an art anatomy that worships wordplay, Eminem still crunches calm syllables, applesauce and storytelling flights of applesauce with acrobatic skill. 

“Rap God” provides a six-minute overview of the new-old Eminem. Musically, it’s annihilation special, a static, almost chastened accomplishments beat. The MC’s agitated rhymes backpack the clue – a blow of cultural references, abounding of them dated. These may be aloof addition way to authenticate his longevity, as if to say, “Look, I’ve been a ‘rap god’ aback Monica Lewinsky and Columbine fabricated headlines.” Yet it’s absurd not to be impressed: His breeze picks up acceleration until it flies, and still he enunciates with machine-gun precision. Sadly, amidst this abstruse virtuosity, he resorts to the blazon of annoyed gay-bashing that already fabricated him a pop villain. Now his put-downs advance an Andrew Dice Clay actor routine, badly aggravating to get a acceleration out of someone, anyone.

The anthology overflows with nods to the bad old days, aback Eminem portrayed a bedraggled kid from a burst home who acclimated gays and women as bite lines. It concludes with “Evil Twin,” in which Marshall/Eminem admits that his pyschopathic alter-ego, Slim Shady, will consistently alive central him.

Whereas the Eminem who fabricated the aboriginal “Marshall Mathers LP” in 2000 had enemies everywhere – his parents, his wife, boy bands, pop princesses, and appealing abundant everybody who wasn’t him – he now acknowledges that he’s active out of targets. So he turns on himself. “Borderline ability who’s apathetic of his lines,” he raps. The anthology is best aback Eminem aims his brand inward, analytic his appliance and biting the crow’s anxiety about his eyes, his disability to abound up, the clichés in his ancient insults.

The faculty that we’ve all been actuality before, twice, is affronted by the annoyed samples and interpolations. Producer Rick Rubin pumps up the mid-‘80s homesickness by reprising aboriginal Beastie Boys and Billy Squier in “Berzerk,” with Eminem busting out a nasally beef beeline from his adolescence. “So Far” recycles Joe Walsh’s “Life’s Been Good” guitar riff, to acrid effect: Eminem mocks his own disability to advance or complete in a way that Walsh’s out-of-touch bedrock brilliant would’ve appreciated. “Rhyme or Reason” riffs on the Zombies’ “Time of the Season” with addition acknowledgment of nihilism: “There is no exhausted or acumen for anything.” “Love Game” bites the abominable 1965 Wayne Fontana hit “The Game of Love.” Aback the ‘90s “I’ll be Missing You” heyday of Puff Daddy, has a boilerplate rap anthology been chaotic with as abounding unimaginative, simplistic samples as this one?

Eminem additionally recycles his own past: “Legacy” reprises the blueprint for “The Marshall Mathers LP”-era hit “Stan” with attentive rhymes angry to a changeable articulate hook, and Rihanna comes aback for Round 2 afterwards her 2010 hit with Eminem, “Love the Way you Lie,” on the analogously aphotic “The Monster.” For any pop star, the accomplished is a final refuge. On “The Marshall Mathers LP2,” Eminem tries to awning up his retreat by accomplishing cartwheels and back-flips with his rhymes.

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