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It kinda is. And it's being said that wasn't from him anyways.
***Official Eminem Thread New Album Announced TBA***
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after a couple listens, i can rock to this... it definitely holds a beastie boys influence.
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Right.
I feel like alot of ppl in here prolly weren't around to have actually been listening to the first Mmlp when it dropped
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Definitely hyped for this album. I liked the song from COD a little more though.
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T0INE
formerly toine2983
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Not feeling Bezerk that much.
Looking forward to the album though.
Looking forward to the album though.
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What? It's kind of the truth. Danny Brown at this point is more enjoyable to listen to than Eminem, for me at least. I grew up on Eminem, just like most of the people in this thread. SSLP, MMLP, and even TES are all GREAT albums. But since then everything has been mediocre. The new track is alright I guess, not as bad as I've made it out to be, but still half the time he's just making random noises, has a whiny voice, and his rapping/singing is more all over the place than the production on "I'm In It" from Yeezus
And also, not to hate on the track more... but this is the single for MMLP2? This is NOTHING like anything from MMLP2, at all. Em knows he has lost a lot of credibility in the hip hop world with his last few efforts, so he names his new album after a classic of his to get more attention, and then drops this? Oh... ok....
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You realize that old school hip-hop relies HEAVILY on that 808 kit don't you? Like...just as much if not more than trap rap.
Eminem doesn't sound ANYTHING like the Beastie Boys here either. Don't let those little vocal samples fool you.
This isn't good though...I'd rather just listen to The Stroke.
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em has lost it since encore ( an album i purchased and liked but know is corny) smh his music is untouchable.
now its just sad. MMLP2 why even call it that.
now its just sad. MMLP2 why even call it that.
gllahone84
Banned
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Damn why he have to mention Lamar...dude trying to kick that crack too...
Remy LeBeau
formerly carbon16
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Wish I was still playing football, I'd prolly blast this before games. The song isn't amazing but I like it.
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So upset he's calling this new album Marshall Mathers LP. Almost makes me feel like he's running out of ideas.
Marshall Mathers LP is one of the greatest albums I've EVER heard. He took everything that was ****** up about our country and basically shoved it down everyone's throat, and not in a conscious way neither; nothing was sugar coated what so ever. Dude was so raw man. He literally had that 'I don't give a ****' mentality. He spoke about anything and anyone and really did not give a **** about what people said.
With that said alone, I don't feel that he's in that same place to make a part II to that particular album. 'Recovery' is arguably his worst effort; he's not that same artist anymore (if he's rapping with those terrible metaphors again I'm going to destroy my speakers on the spot). He's a grown man now, with a family and from his interviews, he's obviously more conscious of the things he says (to an extent). And I'm not saying that's bad, but I almost feel like you have to be in that old state of mind of his to make a part II to such a bold album.
Anyways, I'm truly hoping he proves me wrong. Eminem will always remain one of my all time favorite and even though I enjoyed 'Relapse', I'm still waiting on that album that will blow my mind again. He hasn't done that since 'The Eminem Show'.
Marshall Mathers LP is one of the greatest albums I've EVER heard. He took everything that was ****** up about our country and basically shoved it down everyone's throat, and not in a conscious way neither; nothing was sugar coated what so ever. Dude was so raw man. He literally had that 'I don't give a ****' mentality. He spoke about anything and anyone and really did not give a **** about what people said.
With that said alone, I don't feel that he's in that same place to make a part II to that particular album. 'Recovery' is arguably his worst effort; he's not that same artist anymore (if he's rapping with those terrible metaphors again I'm going to destroy my speakers on the spot). He's a grown man now, with a family and from his interviews, he's obviously more conscious of the things he says (to an extent). And I'm not saying that's bad, but I almost feel like you have to be in that old state of mind of his to make a part II to such a bold album.
Anyways, I'm truly hoping he proves me wrong. Eminem will always remain one of my all time favorite and even though I enjoyed 'Relapse', I'm still waiting on that album that will blow my mind again. He hasn't done that since 'The Eminem Show'.
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THIS IS THE LAST TIME EMINEM SOUNDED LIKE HIS OLD SELF AND SPAZZED
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the more i listen to it the more i like it. Its like hes evolving but going backwards to do it. Cant be worse than Kanye's last album.
THIS IS THE LAST TIME EMINEM SOUNDED LIKE HIS OLD SELF AND SPAZZED
i personally thought that was his worst ever in his entire career, even worse than Encore.
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So the worse thing Em did in your eyes was make a verse on another persons song compared to an album he was on drugs and that he himself didn't consider his best work? I simply don't understand that logic but whatever floats your boat
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Drugs can't be blamed he made some of his best stuff while using. Just because he didn't like a song don't mean you gotta get hurt.So the worse thing Em did in your eyes was make a verse on another persons song compared to an album he was on drugs and that he himself didn't consider his best work? I simply don't understand that logic but whatever floats your boat
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Relapse is so damn good. That's the last good Em album we getting.
Recovery was super weak.
Encore is a good album. A few songs he got carried away with but I'll take that album over 90% of rap today.
His verse on that Yelawolf album was straight dookie
Recovery was super weak.
Encore is a good album. A few songs he got carried away with but I'll take that album over 90% of rap today.
His verse on that Yelawolf album was straight dookie
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I'm not hurt I'm just saying how can you compare an album to a rappers verse on a song that wasnt his? That's what I was trying to get at. But I don't want to go off topic with this so which song do you guys like more? Survival or Bezerk?
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antidope
Supporter
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You are wylin withthat RRelapse is better than Recovery talk but I agree I loved Encore Idk what was people's issue with it. Mockingbird 
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IMO Relapse was a better listen but Recovery had stronger songs and a more distinct perosnality.
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arent songs what make an album better tho?
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You are wylin withthat RRelapse is better than Recovery talk but I agree I loved Encore Idk what was people's issue with it. Mockingbird
There were some good songs on encore i didn't think it was terrible.
But Recovery >>>> Relapse. Relapse is basically un-listenable to me with the accents. Yes his word play is good on relapse but that is about it. Recovery has a bunch of corny bars but there is actual real subject matter to the songs and they are put together really well.
I will probably end up downloading this album first to see if its worth the money. Same thing i did with recovery and ended up buying it. But i do hate that it is called the MMLP2. There are now expectations for it to compare to that album....which give the point in life where Em is....i don't see how it can sound anything like MMLP1 and be good. I don't want to hear Kim part 2 or Kill you part 2.
The single isn't bad....setting my expectations low though
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Kill you part 2 is exactly what I want to hear.
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So, Eminem talk aside, what features would you like to see?
Slaughterhouse, Kendrick, and Tyler are my main requests.
Slaughterhouse, Kendrick, and Tyler are my main requests.
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I'm just gonna leave this here....
http://pitchfork.com/thepitch/54-eminem-kendrick-lamar/
Eminem's Return in the Post-Kendrick Era
Eminem made his inauspicious return to rap this month, announcing the release of the forthcoming MMLP2 in a short ad during MTV’s Video Music Awards on Sunday and immediately following up with “Berzerk”, the album’s lead single. “Berzerk” features production by Rick Rubin (in a year where he’s played couchside consultant for both Jay-Z and Kanye West without ever crafting a beat) that rolls Billy Squier’s hokey masturbation anthem “The Stroke” and Beastie Boys samples into a low-brow love letter to old-school rap. “Berzerk” does what nearly every Eminem lead single before it has done: bat around insults at celebrities and remind the listener that Eminem is extremely good at rhyming words without ever turning those adept lyrical gymnastics into a relatable narrative. Your taste for it will hinge on how well you can weather bloodless, sometimes wordless rhyme wizardry, cornball pop culture references (“I done did enough codeine to knock Future into tomorrow”; probably true), and the gratingly nasal singing on the chorus
The initial reactions to “Berzerk” have been withering-- a peculiar response to a record full of adroit wordplay released in the same month as Kendrick Lamar’s hotly debated “Control” verse, which called out a gaggle of rappers by name in an effort to resurrect mainstream rap’s atrophying spirit of competition. Em’s nothing if not a master level lyrical technician; you’d figure that a hip-hop-consuming public newly enamored with lyrical dexterity would give it a shot.
No such luck. In the hours since “Berzerk”’s release it has been summarily marked for trash, and Eminem accused of crotchety pining for days of old thanks to a line about bringing rap back to its essence (“Let’s take it back to straight hip-hop and start it from scratch”) that’s more about the song’s retro-classicist production than some nefarious desire to pull the whole of rap through a wormhole back to the shell-toe Adidas era. But two weeks earlier Kendrick took it upon himself to proclaim that he’s raising the bar for mainstream rap to uproarious praise. What’s different here?
Obviously the operative distinction between “Control” and “Berzerk” is qualitative; the Eminem single is goofy juvenalia while the Kendrick verse is self-serious self-mythologizing. Also worth mention is the gap between Em and Kendrick’s stations in their respective careers. One’s a forty-something veteran still rhyming like an elementary school class clown killing it in homeroom; the other, a twentysomething whiz-kid newcomer whose austere left-field hit of a breakthrough major label debut is hardly a year old. We’re intrigued by Kendrick but burned out on Em. Even though “Berzerk” is ostensibly the kind of pop-rap curio that people who hailed "Control" as a sea change for mainstream rap should at least find conceptually acceptable, it sounds like they’re just sick of Em’s sh*t.
http://pitchfork.com/thepitch/54-eminem-kendrick-lamar/
Eminem's Return in the Post-Kendrick Era
Eminem made his inauspicious return to rap this month, announcing the release of the forthcoming MMLP2 in a short ad during MTV’s Video Music Awards on Sunday and immediately following up with “Berzerk”, the album’s lead single. “Berzerk” features production by Rick Rubin (in a year where he’s played couchside consultant for both Jay-Z and Kanye West without ever crafting a beat) that rolls Billy Squier’s hokey masturbation anthem “The Stroke” and Beastie Boys samples into a low-brow love letter to old-school rap. “Berzerk” does what nearly every Eminem lead single before it has done: bat around insults at celebrities and remind the listener that Eminem is extremely good at rhyming words without ever turning those adept lyrical gymnastics into a relatable narrative. Your taste for it will hinge on how well you can weather bloodless, sometimes wordless rhyme wizardry, cornball pop culture references (“I done did enough codeine to knock Future into tomorrow”; probably true), and the gratingly nasal singing on the chorus
The initial reactions to “Berzerk” have been withering-- a peculiar response to a record full of adroit wordplay released in the same month as Kendrick Lamar’s hotly debated “Control” verse, which called out a gaggle of rappers by name in an effort to resurrect mainstream rap’s atrophying spirit of competition. Em’s nothing if not a master level lyrical technician; you’d figure that a hip-hop-consuming public newly enamored with lyrical dexterity would give it a shot.
No such luck. In the hours since “Berzerk”’s release it has been summarily marked for trash, and Eminem accused of crotchety pining for days of old thanks to a line about bringing rap back to its essence (“Let’s take it back to straight hip-hop and start it from scratch”) that’s more about the song’s retro-classicist production than some nefarious desire to pull the whole of rap through a wormhole back to the shell-toe Adidas era. But two weeks earlier Kendrick took it upon himself to proclaim that he’s raising the bar for mainstream rap to uproarious praise. What’s different here?
Obviously the operative distinction between “Control” and “Berzerk” is qualitative; the Eminem single is goofy juvenalia while the Kendrick verse is self-serious self-mythologizing. Also worth mention is the gap between Em and Kendrick’s stations in their respective careers. One’s a forty-something veteran still rhyming like an elementary school class clown killing it in homeroom; the other, a twentysomething whiz-kid newcomer whose austere left-field hit of a breakthrough major label debut is hardly a year old. We’re intrigued by Kendrick but burned out on Em. Even though “Berzerk” is ostensibly the kind of pop-rap curio that people who hailed "Control" as a sea change for mainstream rap should at least find conceptually acceptable, it sounds like they’re just sick of Em’s sh*t.
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