He’s back, and in true Eminem style, he’s going “Berzerk.”

Eminem’s eighth studio album, “The Marshall Mathers LP 2,” is peppered with his typical brutally honest, vulgar and ingenious songs. The album is already making a buzz in the rap world and should have continued success in the future.

Perhaps no song exposes his psyche better than the first of the album, “Bad Guy.” It is a sequel to the 2000 song, “Stan,” in which Eminem taps into his alter ego, Slim Shady. “Stan” chronicles the musings of an obsessed fan who tries to contact Slim to no avail. In the end, Stan drives off a bridge with his pregnant girlfriend bound and gagged in the trunk.

“Bad Guy” is just as brilliant for its vivid storytelling and powerful delivery. This time around, the tables are turned. Stan’s little brother Matthew is seeking revenge against Slim Shady, who is eventually forced into the trunk of a car as Matthew drives off of a bridge. The last verse of the song is the most haunting. Eminem, as Matthew, in his digitally altered voice sends chills down my spine:

“I also represent anyone on the receiving end of those jokes you invent, I’m the nightmare you fell asleep in and woke up still in, I’m your karma closing in with each stroke of a pen, perfect time to have some remorse to show for your sin.”

Another track from the album, “Rhyme or Reason,” is dedicated to Eminem’s father, a man he never knew. The song is deeply personal. In it, he says “So yeah Dad, let’s walk, let’s have us a father and son talk, but I bet we wouldn’t probably get one block without me knocking your block off.” This track samples The Zombies’ 1968 song, “Time of the Season,” and when they ask, “… Who’s your daddy?” in the chorus, Eminem bitterly retorts, “I don’t have one.”

“So Much Better” is a classic Eminem song — controversial and almost uncomfortable to listen to. Besides the gratuitous use of the “B” word, Eminem raps about how much he can’t stand his current love interest. He never refers to the woman by name, but is so upset by the relationship that he’d prefer it if she were dead. He even complains about her promiscuity in the industry, noting that he found out she slept with Dre, Drake and Lupe.

At first listen I was thinking — and hoping — this was a metaphor for rap music, similar to how in “I Used to Love H.E.R.,” Common famously critiqued the genre through lyrics that initially hinted at an unfaithful woman. But unfortunately, there’s no evidence that “So Much Better” is a metaphor for anything. It has a few jokes and funny lines here and there, but overall it’s slightly disappointing.

One of the best songs on the album is “The Monster,” which features a new collaboration with Rihanna. About the downfalls of being a public figure, “The Monster” offers insight into Eminem’s thought process about desiring fame and still wanting to maintain his privacy.

Rihanna sings she is friends with the monster, symbolizing Eminem’s love for success and the good and bad that come with it. His most memorable verse is at the very beginning, in which he says, “I wanted the fame, but not the cover of Newsweek. Oh well, guess beggars can’t be choosey. Wanted to receive attention for my music. Wanted to be left alone in public, excuse me.”

What makes Eminem such a great artist is his vulnerability on the album. He’s a walking contradiction. Despite the front he puts on — like many rappers — he still unashamedly talks about things that bother him the most, not caring who he offends.

Published on November 11, 2013 at 11:25 pm

Contact Elaina: ekcrocke@syr.edu