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Average User Score: 8.4May 27, 2016It's sad to see the current state of EDM is growing more and more dull in the mainstream and indie world, as we're currently in the year ofIt's sad to see the current state of EDM is growing more and more dull in the mainstream and indie world, as we're currently in the year of Tropical House growing and becoming less unique. It's not like 2012 or 2013 when EDM was really growing, with bombastic buildups and massive drops to get everyone ready to go wild. However, this was also a perfect time for producers to get more experimental with their electronic music, and one of those acts that broke through was Flume. An Australian Electronic producer and DJ who started releasing music around 2011 before releasing his debut album in 2012, and he's kept his reputation in the indie world thanks to various remixes he's done. Four years later, Flume announces his second album Skin with fans and listeners becoming excited to hear new material from the guy. Even though I wasn't wild about that debut album mostly for going on too long and losing my interest too quickly, I have grown to become a huge fan of Flume and was hoping for something worthwhile with Skin, was I right?
Well here's the thing, Skin ends up being an album that finds Flume bringing his most oddball and weird tracks yet, even still it's an improvement upon the debut and shows Flume growing as a musician. And while this album isn't for everyone, it's still a great album all the same.
Let's start with the instrumentals, while Flume did some genre hopping on his debut, this album shows him try out other genres even more. From Synthpop to Acid House to moments of Hip Hop where Flume proves to be better at producing Hip Hop than most Hip Hop producers in music today. The chunky beats on Say It, the gleaming synths and trap hi-hats on Never Be Like You, the 80's inspired keys on Tiny Cities, and the acid house flavored Lose It all sound great with memorable melodies and catchy hooks to back them up. The best instrumental comes from the cinematic and trip hop touches of You Know, with Flume showing the most restraint and control ever for a song, creating both tension and attention to the guests. The instrumental tracks also stand out among the tracklist, from the carnival inspired When Everything Was New to the distorted and dark Wall F**k that perfectly describes the song as a whole. If there was an instrumental I wasn't a fan of it would come with Smoke and Retribution, mostly for it's choppy synths not complimenting Vince Staples and then a sudden changeup for Kucka's hook that feels out of place and doesn't match the more aggressive tone of the song.
One thing that Flume got an upgrade on for sure on this album are the guests he brings on board, with the likes of Raekwon, Beck, AlunaGeorge, Tove Lo, Vic Mensa and various others. Thankfully most of guests work well with Flume, the best being on You Know, and while Allan Kingdom is fine on the opening verse and bridge, it's Raekwon who kills it here with a verse describing gang activity and a suspicious man dating his niece matching the intensity of the song. Kai gives a solid performance on Never Be Like You, Tove Lo matches Flume's production on Say It really well same case also for Beck's laid back delivery on Tiny Cities, and the low-key yet passionate performance given by Little Dragon on the off-kilter Take a Chance are all great and compliment the album as a whole. However, there are a few weak moments, while Vic Mensa has some decent verses on Lose It he shouldn't have been on the hook and is really the only weak part of an otherwise good song. The contributions from Kucka make her a non presence on her songs, and MNDR's performance has very little worth caring about, same thing also for AlunaGeorge on Innocence.
So what about the lyrics? The themes throughout Skin include broken relationships, losing all control, sex, emotions and at one point a gang attack. Otherwise, most of this album is very loopy and not focused much on any real stories except for You Know. That being said, tracks like When Everything Was New seem to have undertones implying nostalgia of childhood memories and Wall F**k is just straight up about going insane with emotions and not being able to handle it all. However, my biggest complaint here with the album is the lack of direction, as I do wish Flume had more of an underlying theme throughout the album or if he shorten the album considering it runs for about an hour long.
Still though, Skin is a huge improvement from the debut and is worth revisiting for the rest of 2016, with some of the best material Flume has ever produced and maybe some of his most mainstream work yet. Even though there are a few weak and forgettable tracks and it runs a little too long, I still enjoyed a lot from Skin. So I'm giving the album a light 8 and a recommendation to fans and newcomers, though like I said at the beginning this album isn't for everyone and I'm pretty much okay with that.
Best Songs: You Know, Never Be Like You, Say It, When Everything Was New, Wall F**k, Lose It
Worst Songs: Smoke and Retribution… Expand
Average User Score: 7.7Apr 24, 2016In preparation for Always Strive and Prosper (aka ASAP) I listened to Ferg's debut album Trap Lord and honestly I didn't get much out of thatIn preparation for Always Strive and Prosper (aka ASAP) I listened to Ferg's debut album Trap Lord and honestly I didn't get much out of that album aside from a few decent cuts, tracks like Work REMIX and Fergivicious reminded me of the worst parts of modern hip hop and made me realize that A$AP Ferg isn't for me. That being said, some of the singles for ASAP did grow on me, enough so that I decided to at least give this record a chance, was it enjoyable?
Well to my surprise, ASAP improves most of the issues I had with Trap Lord, from the production to the lyrics to even A$AP Ferg himself. I won't call this album great, but it is an improvement and an album that makes me intrigued to listen to more material in the future from Ferg, even if I still have issues with him.
Let's start off with the most improved area all across this album, and that would be the instrumentals, Ferg managed to upgrade his producers and get some big name talent on board, with Clams Casino, No I.D, Cashmere Cat, Stargate, and even DJ Mustard and Skrillex. Ferg manages to get some more creative songs on here showing off his various styles for hip hop. From the opening track Rebirth with the horror style beat that Ferg actually rides pretty well, to the insanely trap flavored bangers Hungry Ham and Let it Bang both sounding great, to even an attempt at 90's house with Strive that works a lot better than it really should, to the more experimental Yammy Gang where Cashmere Cat manages to do minimal trap better than most hip hip producers. Even some of the more downbeat songs like Let You Go and Beautiful People manage to bring out the best in Ferg, which we'll discuss more with the lyrics. That being said, there are still songs where Ferg still wants to copy instrumentals that everyone else already does and don't do it all that well, New Level may have some power with the horns but nothing all that memorable comes out of it on an instrumental level, the bright synths on Swipe Life get irritating in a hurry, and Uzi Gang sounds like a bad leftover from Trap Lord that honestly should've stayed in Trap Lord. The most disappointing of instrumentals comes with World is Mine, as No I.D creates a beat so hollow and bland that I honestly get bored with it quickly.
Now we get to A$AP Ferg himself, now I still don't think he's a great lyrical rapper but he is improving here and has more of a presence here than he did on Trap Lord. His flows are more on point, his rhymes connect more often, and he shows off his collection of styles that he delivers all over this album. From his more slowed down and personal bars on Let You Go and Beautiful People, to some insane lines he delivers on Hungry Ham and especially on Let it Bang. And while I don't think Ferg is a good singer at all as shown on Strive, I honestly prefer it over his poor Kid Cudi attempt on World is Mine. As far as the guest stars go, Rick Ross manages to put together a solid verse on Swipe Life as the only redeeming thing on that track, Missy Elliot's brief verse on Strive was a decent one at least, but it's Schoolboy Q who manages to outshine everyone as his wild and chaotic verse on Let it Bang was pretty damn awesome. However, the rest of the guests are pretty mediocre all around, Future nearly ruins New Level with his weak verse, A$AP Mob barely contributes anything to Yammy Gang a song in dedication to A$AP Yams, Chris Brown's verse on I Love You was corny as hell which is also the same thing I can say for Lil Uzi Vert on Uzi Gang, and Big Sean's hook and verse on World is Mine is pretty embarrassing.
Finally we have the lyrics, and unlike Trap Lord ASAP seems to be focused more on Ferg's struggle out of the hood, with the opening track Rebirth declaring Ferg as the Hood Pope. Thankfully, the tracks on here feel more personal and introspective, with the biggest examples being Let You Go and Hungry Ham. As both songs have Ferg share his beginnings as a rapper and the backlash he got from his loved ones, I honestly got more out of that than off of Trap Lord all together. Of course, Ferg does share his success out of being a rapper and really doesn't do much that makes him standout. While New Level is the more tolerable song out of the brag raps on this album, Swipe Life and World is Mine offer luxury rap that don't even attempt to come across as interesting.
So in the end, I was surprised by ASAP from A$AP Ferg coming across as more of a finished project with creativity and flow all around. While it has it's flaws and moments that are pretty damn bad, I got a lot more out of this and enjoyed it the more I've listened to it. Which is why I give ASAP a 7 out of 10 and a recommendation for fans and newcomers, although I will say the album might not please all fans, most notably the hardcore fans, but at least give it a listen you might get something out of it.
Best Songs: Let You Go, Hungry Ham, Let It Bang, Rebirth, Strive, Beautiful People
Worst Songs: World is Mine, Uzi Gang… Expand
Average User Score: 7.8Mar 18, 2016It's surprising that after the onslaught that was Harlem Shake in early 2013, the man behind that tune Baauer has gone on to be completelyIt's surprising that after the onslaught that was Harlem Shake in early 2013, the man behind that tune Baauer has gone on to be completely hidden within the public eye and keep Harlem Shake only a song known as the biggest meme of 2013 rather than his own piece of work. However, if you do follow the trap/EDM Baauer has continued to stay relevant thanks to multiple singles and EP's (plus the remixes he's done for the likes of Shlohmo, Flosstradamus, and Disclosure) working with the likes of Jay-Z and AlunaGeorge. With his fans curious to hear of a possible debut album rumored for a while now, Baauer finally reveals his new project Aa (pronounced double A) grabbing together the likes of Pusha T, Future, G-Dragon, Rustie, and M.I.A. along with new talent emerging onto the indie scene. The biggest goal Baauer seems to be setting for Aa, is to show people that he's more than a one hit wonder with a song known only for countless YouTube videos of a meme. So does Baauer deliver on that goal set?
For the most part he does, while Aa has it's flaws it does showcase Baauer as a much more skilled and diverse producer than what was showcased in 2013. Full of party bangers and experimental tunes, Aa is an enjoyable listen for those looking for some head-bobbing grooves and slick melodies.
Let's start with the lyrics since they're the quickest considering this album doesn't want to focus on anything deep, the themes that run throughout Aa are typical for this brand of EDM. Whether it's flossing and being a total bad-ass on "Temple" or dancing hard in the club on "Make it Bang" (a song ready to be played on future World Star twerk videos) then we get "Kung-Fu" which is really about drug dealing and cooking drugs rather than actual martial arts. The only time the lyrics actually attempt something introspective is on "Way from Me" as it focuses on two people taking a chance with love even despite possible consequences.
Thankfully, the lyrics work thanks to the guest stars. Once the instrumental heavy first half is through, Baauer calls on his famous friends to finish off the second half, and he manages to utilize them well enough. Whether it's the verses from M.I.A. and G-Dragon on "Temple" or the soothing vocals from Tirzah on "Way from Me" then we get Novelist delivering a solid verse before getting shoved from the spotlight by a fiery verse and hook from Leikeli47 on "Day Ones" even Future has a few clever lines and doesn't annoy me as usual on his hook for "Kung-Fu" they all work great with the instrumentals. However, there are a few weak points with the guests most notably with TT the Artist drowned out in the mix on "Make it Bang" or Rustie hardly delivering anything interesting to the reprise of Church. The most disappointing guest came with Pusha T on "Kung-Fu" as his lyrics don't offer any of his usual clever wordplay and his vocal delivery sounds like a bad Kanye West impression.
Now we've come to the most important aspect of Aa, which is the instrumentals. The biggest compliment I can give for this album is that it always manages to surprise me with it's various styles, while providing Baauer's signature production. From the grimey and horn driven "Day Ones" to the industrial and bouncy "Make it Bang" to the slow driven "Way from Me" that switches to 2-step garage in the second half and pulls it off very well. Then we get to the pure instrumental tracks that are just as good, from the energetic drum-and-bass vibe of "GoGo!" to the nu-disco leaning "Pinku" which sounds like Baauer remixing a track from The Knocks, to the atmospheric interludes "Church" and "Good & Bad" flowing along nicely with the album. But my favorite instrumental comes courtesy of "Temple" opening with a sample of a mediation class before quickly switching it up with a Chinese banjo and 808 drums matching both M.I.A. and G-Dragon flawlessly (Baauer was clearly listening to a lot of Wu-Tang clan before crafting this beat), an easy contender for one of my favorite songs of 2016. That being said, not all the instrumentals work, "Kung-Fu" sounds the most bland out of all the beats with no creativity or soul behind it, and "Church Reprise" provides very little of a reprise besides an electric guitar around the end. The most glaring of the instrumentals comes from "Sow" as the annoying vocal samples and blubbering bass fail to create something worthwhile and honestly coming off as an overcooked mess. Finally there's the title track closing out the album, all I'll say is that it's the most experimental thing Baauer has ever crafted and will divide listeners afterwards.
In the end, Baauer's debut provides plenty of good times throughout with only a few weak moments on his debut holding it back from perfection. Hopefully once this settles in with listeners, Baauer will not be known as the moron behind Harlem Shake, but as a legit producer in mainstream music.
Best Songs: Temple, Day Ones, Way from Me, GoGo!, Pinku
Worst Songs: Sow, Church Reprise,… Expand
Average User Score: 7.4Nov 13, 2015Well I'll give the album some credit, in that Free TC is probably the most effort out of Ty that I've ever seen from him, and yet the albumWell I'll give the album some credit, in that Free TC is probably the most effort out of Ty that I've ever seen from him, and yet the album has a whole is a mess, but an interesting one. Free TC is trying really hard to have a concept all throughout the 16 songs, but the album has a whole doesn't know what it wants to be: is it suppose to be a story about Ty and his younger brother TC before his arrest, or is it just another collection of Ty dealing with women troubles, past relationships, and stealing your girlfriend? Honestly, I'll never know, but the album for me is just decent at best.
So the best place to start for me is Ty Dolla $ign himself, and look his style of sing-rap is either take it or leave it, as he often sounds half asleep on most of his verses and sometimes doesn't even know what the hell he's even talking about, which I can understand, it is his style of singing. But on this album, Ty does at least put some more effort into his delivery, and the parts where the autotune is stripped back like on "Solid" or "Horses in the Stable" he actually sounds not bad in a chilled out kind of way. But the vocal effects are still largely here, and can be a little distracting to me, like on the hidden track "Wherever" where Ty actually goes into a high falsetto, and yet effects are thrown onto his voice making it sound even more like he's trying way too hard to pull off prince level vocals, sorry dude but you're nowhere near the level of Usher.
Which now takes us to the instrumentals, now Ty actually went out of his way to get strings and orchestra to play all throughout this album, and has a whole it's a mixed bag. As they can play pretty well on certain tracks like "Know Ya" which has one of the better beats by DJ Spinz and Metro Boomin' of all people and on the track "Miracle" creating something that would've come off of Justin Timberlake's 20/20 albums back in 2013. But they can also be either overlong or poorly mixed, take for example the opening "LA" which has the strings infused with horns and a G-funk instrumental, but added along with the vocal effects, it ends up being an overcooked mess. Or on "Credit" where it goes on for over 6 minutes, the song could have at least been cut at least a minute. That being said, there are other instrumental moments that I do like, the bright pop friendly "Saved" produced by DJ Mustard, the acoustic guitars played throughout "Solid" and "Horses in the Stable" and the tropical house flavored "Bring it Out of Me" is undeniably catchy and easily the best song on the album.
But now we come to lyrics, which have been a problem for Ty ever since I listened to Beach House last year, in that Ty sings about topics that have been done to death in Hip-Hop and R&B, but what's worse is that he ends up making the lyrics sound pretty stupid. Take for example on "Wherever" Ty sings about driving up to his girls parents house in a jeep, and then sings about f**king her in their driveway, making me forget about how "Miracle" is discussing black culture today. Then there's "Horses in the Stable" where Ty sings about previous women he's "gone out with", and that he wanted nothing more than to have sex with them, classy. And we come to the R.Kelly duet "Actress" which is exactly what you think it is, where the two men compare hot women to famous actresses, and they do it in the goofiest way possible, which I would've liked if the instrumental wasn't so drowned in reverb. And while I can appreciate "Saved" for Ty not saving a girl who has screwed him over in the past or "Credit" for Ty talking about working things out with a girl he's currently with, the rest of the album is filled with his typical "party" music topics: smoking weed, having luxury goods, and using girls just for sex, like I haven't heard that before. But what's worse is that instead of sounding fun and energetic, it's trying way too hard to sound dark, apparently it's meant to make you look cool instead of have fun, lovely. The worst example of this is "Blase" which somehow has slowly become a hit here in the US, even though it doesn't sound remotely like anyone is having any fun.
And finally, we have our guest stars, where they aren't given much to do. Kendrick Lamar gives a pretty good verse on "LA" talking about house parties and living in the hood, Trey Songz also has a decent if not memorable verse on "Know Ya" which I liked, and TC sounds great on "Miracle" props to him for that. But otherwise, Brandy is only used for backing vocals on "LA" and Sevyn Streeter continues to underwhelm me on "Credit" plus Kanye Wests verse is only him singing, and Diddy only says some lines on their song "Guard Down" plus Future and Rae Sremmurd continue to annoy me as usual on Blase.
So look in the end, the album has some interesting ideas and a few good songs, but not enough for me to enjoy this. For some listeners and critics I can understand why you'll end up loving this album, I'm just not in the same wheelhouse as you.… Expand
Average User Score: 5.4May 6, 2014Hip-Hop seems to be changing up the usual formula with new artists hitting the scene, and Iggy Azalea is one of them. The 23-year old fromHip-Hop seems to be changing up the usual formula with new artists hitting the scene, and Iggy Azalea is one of them. The 23-year old from Australia has turned into one of 2014's must watch artists, mostly thanks to her monster hit single "Fancy" featuring Charli XCX, another artist hitting the mainstream. Now we have "The New Classic" which has gone through many delays and change-ups, but has now finally arrived. I'm happy to say that "The New Classic" is an impressive debut and sets Iggy up as a hit maker in the works, even if her debut isn't the most original or groundbreaking. The album opens with "Walk the Line" which for me, drew comparisons to Nicki Minaj's opening to her debut album "Pink Friday" in it's tone and attitude. Next the slow moving "Don't Need You all" is a very familiar to the likes of Drake in it's songwriting and beats. One of my main concerns about this album is that Iggy doesn't quite have her own style down yet, and seems to be coping off of other rappers, most notably Kanye West in the song "Goddess" and even a little bit of Katy Perry in the memorable "Black Widow" which, get ready for Dark Horse mentions on that one. Plus it seems like the tone shifts quite a bit, it's refreshing to see Iggy talk about truthful messages about working to get to the top in "Work" and to never give up in "Impossible is Nothing" but it often feels like there's another album in on itself, with songs like "Change Your Life" and "Fancy" making it seem more like an album about showing off your riches rather than actual experiences a human goes through. Still there are plenty of memorable tunes on here, including "F**k Love", "Bounce" and "New **** that set Iggy up as a future hit maker for Hip-Hop and Pop, something we so desperately need. While a few tunes like "100" and "Lady Patra" come across as time wasters. One final note is that this is a review of the Deluxe edition with three extra songs, but the album still breezes by at a good pace and runtime of 51 minutes. Overall, Iggy still needs to work on standing out and work on her song selection, but other than that, this is a good debut and a must listen for fans of Iggy Azalea or if you enjoy catchy Hip-Hop/Pop.… Expand
Average User Score: 5.5Mar 21, 2014For a while now, we've gotten use to the usual sound from Skrillex, big beat drops, bass, noises, and anything to get the body shaking,For a while now, we've gotten use to the usual sound from Skrillex, big beat drops, bass, noises, and anything to get the body shaking, although fun is starting to get repetitive as it crosses over to the Pop and Hip-Hop world, and thankfully Recess is a refreshing blast of new sound, with risky moves that are brilliantly pulled off here, making Skrillex's debut more memorable than most EDM debuts. Reviews for the album have been extremely harsh, mostly because fans of Skrillex are too used to the sound they want to expect from him, I appreciate the crossovers being employed here, with "Coast is Clear" being the standout for having a clever mix of smooth Jazz, R&B, and Electronica, though the only drawback is "Dirty Vibe" which features master producer Diplo, the first half drew me in but I was taken out due to the Nicki Minaj and Kendrick Lamar rip offs being used. Even though Skrillex experiments with some new sounds he still delivers the goods when it comes to what fans want, "All is Fair in Love and Brostep" and "Recess" are excellent dub step tracks and the hit single "Try it Out (Neon Mix)" remains the best track on here. At only Eleven songs, it still flows at a good pace of about around 40 to 50 minutes. Other problems here are the repetitive final few songs, where it seems to be trying to find a way to conclude this album, but it seems Skrillex is just throwing in material to keep us afloat with the album, which made for a slightly rocky final. Overall I very much enjoyed Recess by Skrillex, aside from a few drawbacks it ends up being a great debut release and makes me even more interested in EDM music changing for the future, but in the end, this will divide up listeners greatly, hopefully you know which side to join for this battle.… Expand
Average User Score: 5.8Dec 3, 2013After working on The X Factor, Britney Spears decides to get back in touch with music, with her next (and told to be her most personal)After working on The X Factor, Britney Spears decides to get back in touch with music, with her next (and told to be her most personal) release "Britney Jean" the 10 track (not including the deluxe edition) collection is full of ballads and electro pop. The end result is a disappointedly safe album but still modestly enjoyable album for Britney Spears fans. The album is very short, clocking in at about 35 minutes, so it luckily doesn't overstay it's welcome, but it does also leave you wanting a little more, and the wanting is some substance. The album feels a little personal at times with the ballads "Perfume" and "Alien" which oddly enough start off at the beginning of this album, it's an interesting experiment from the usual order of Pop songs, but it isn't anything worth remembering about. There are standouts which include "Work B***h", "Tik Tok Boom", and "Body Ache" that do remind you that she is one of the biggest hit makers of this generation, but my biggest problem with Britney Jean is that it doesn't take any risks and it just sounds like the usual Pop music we all hear today. At least her counterpart Miley Cyrus did something different with "Bangerz" even if the album wasn't as successful as it should've been. Still "Britney Jean" is a solid release for Britney Spears fans and it has some great hits, but it's also an album that'll leave you wanting more.… Expand
Average User Score: 5.9Nov 20, 2013It has been a while since we've heard from Katy Perry, the crazy haired, 29 year old who sang out Partying, Sex, and also had whip cream sprayIt has been a while since we've heard from Katy Perry, the crazy haired, 29 year old who sang out Partying, Sex, and also had whip cream spray out of her boobs. Now after a painful divorce with comedian Russell Brand, Perry hopes to change her image. Now it's 2013 and we have "PRISM" which is led by her new hit single "Roar". I was looking forward to PRISM even though it looked like it wouldn't have the fun, carefree image of Perry that we got from her last album "Teenage Dream". Which for Teenage Dream I enjoyed, despite some flaws. But PRISM is a very plain vanilla album with cliches abound and not a lot of originality, making PRISM a disappointment. The first eight songs are very good, but they don't have the edge that Perry brought in for Teenage Dream, most of the songs here sound like something I've heard from other artists like Katy Perry. There are a few standouts, "This is How We Do" sounds like a fun anthem for any kind of party, and "Birthday" is endlessly charming and adorable (even if the topic is about sex). The hit song "Roar" is okay, but it draws many similarities to Sara Bareilles "Brave" which in my opinion is a much better song. My main problem with PRISM is it's second half, although Perry shines in the vocal department, her songs are very borderline cheesy, on the level of Christian/Faith music, that's fine, but it's endlessly repeated on the final half, which leads to a very boring finale. Overall, "PRISM" tries to be different, but does it in all the wrong ways (it's also slow), fans of Katy Perry will find something to enjoy here, but for right now, let's hope Katy Perry recovers and gets back to the fun image we all loved.… Expand
Average User Score: 8.4Nov 18, 2013Every year a new upcoming artist hits the scene and hopes to make it big in the music industry. This year's big surprise is a sixteen year oldEvery year a new upcoming artist hits the scene and hopes to make it big in the music industry. This year's big surprise is a sixteen year old from New Zealand named Lorde. After her smash hit "Royals" which was a surprising real take on how not everyone wants the Riches of celebrities, she releases a now hit album titled "Pure Heroine". Lorde's debut is a very promising one with refreshing Pop songs about the youth and other issues for people my age, which helps Lorde stand out among the huge crowd of Auto-Tuned Pop Starlets. The album is about Ten Songs long which is a problem, I wished there was more, because the songs just felt so refreshing and I wished the story could continue on, also since this is very different from the usual Synth Beat heavy Pop music, it won't peek everyone's interest, at first listen I felt a little off put with what was going on. Still there's plenty to appreciate, the songwriting is excellent with themes about what we want in life and how it's not always about having the best, most expensive, items in the world. The Sound in particular is also refreshing with simple beats and sounds, and it all sounds great. Lorde also packs a punch with the singing, flowing along perfectly with each song, though around the end she goes a little too far. Pure Heroine could've been longer, but for right now it's a great start for Lorde, and I hope to see more music from her in the future.… Expand
Average User Score: 8.2Nov 11, 2013Eminem is a household name in the world of Rap, he is the one responsible for breaking the stereotype that White men can't rap. Starting offEminem is a household name in the world of Rap, he is the one responsible for breaking the stereotype that White men can't rap. Starting off in the late '90s and still progressing with his career today, he creates a sequel to his 2000 hit, "The Marshall Mathers LP" and he does this by going back to his old style of dirty humor mixed with psychopath behavior. And he delivers with this sequel. "The Marshall Mathers LP 2" isn't the best release from Eminem, but it certainly shows that his days of retiring from the mic are far from close. The opening track suffers a little from originality, but then continues with the funny skit "Parking Lot" and successfully progresses quickly with the unique "Rhyme or Reason". Other standouts include "Survival", "Berzerk", "A*****e", "Legacy", and "The Monster". The Deluxe Edition also includes "Baby" and "Beautiful Pain". The guests are also great, which include Kendrick Lamar, Sia, Skylar Grey, and teaming up again with Rihanna for the follow up to "Love the Way you Lie", to the song "The Monster". The humor is tuned in right, the song variety is great, and the production, beats, and vocals are all top notch. The biggest problem with Marshall Mathers LP 2 is that it's way too long, some songs feel too long especially in the beginning, and the end feels a little anti-climatic, since the whole album stands at a little over a 100 minutes on the Deluxe Edition. Also in the Deluxe Edition, some of the humor for the last few songs goes a little too far. But in the end, I enjoyed quite a bit from "The Marshall Mathers LP 2", it continues the success of Eminem's formula, while also introducing newcomers to his brand of humor. Fans won't be disappointed and new listeners will find a lot to like here.… Expand