Bad Meets Evil - Hell: The Sequel

After a much-publicised feud lasting the entirety of the 2000s, Royce da 5'9" and Eminem's reconciliation, following the death of D12 member Proof, has led to a touch of maturity and putting grudges aside. The cynic in me would suggest that with this ageing has come a decline in the energy but there's something quite lovely about the ridiculous pantomime of the hip hop universe putting differences aside; sadly, none of that loveliness has made it onto this EP.

Because whilst they have matured in age, Eminem's turn to poppier tracks in recent years (Love the Way You Lie, We Made You and I Need A Doctor) has come with a notable decline in quality. Perhaps there could be a case made for the fact that, now in a third decade of production, there's nothing left that's interesting to say. This much is evident with the cheap shots at peers and other musicians throughout the record, and various empty misogynist and homophobic slurs are spat with no real intention other than for attention.


Throughout the record there's a kind of empty-church sound quality to the tunes and background noises - the child's choir gently "aaah"ing in 'Welcome 2 Hell' does well to initiate a bit of atmosphere but by 'The Reunion' the tension and screams become laughable. Hazardous production choices aside, Eminem and Royce are able to spit lyrics in equally good stance with their career highs. Suggesting that "Bad and Evil" are "also known as Saddam and Osama Bin", Eminem then dabbles in a couple of recent highly-publicised (and sensitive) sexual metaphors - "My god, what I mean is, David Carradine jacking his penis in front of his tripod/ Choking his own neck, what part you don't get?" - that doesn't really serve any purpose other than shock tactics. First single 'Fast Lane' has them at their quickest delivery and newcomers to Royce's rapping (such as myself) will be surprised to find someone able to compete with Mathers. The track's tune and beats are a little bit damp though.

As mentioned, the introduction to 'The Reunion' with screams and a twee xylophone tune is a little bit ridiculous. Eminem revives the typical "bitch, I will hit you" act that has been done time and time again and with no real clever wordplay or interest. He says 'cunt' though, and that's, like, shocking and stuff. "The poor get poorer, the rich get rich - it's just so disproportionate" muses Claret Jai for one of the album's simplest and political points, whilst Bad Meets Evil work their best to try and spin up a bit of venom when really Eminem is just shouting. Again, Royce (to me) impresses but that may just be because I'm totally unaware of his previous discography. It's a slightly predictable but solid and decent track. Comedian and actor Mike Epps makes an appearance on 'I'm On Everything' which has the audacity to put out tongue-blowing and fart noises. It's a pretty annoying track, like childish taunts about how famous they all are.

On 'A Kiss' there's the obligatory Lady GaGa diss ("I wouldn't fuck her with her dick") that's neither big nor clever. The tune and beats are pretty decent here and the pair again are impeccable in their delivery, so it's a step up in my eyes. All hip hop illusions are thrown aside though in 'Lighters' which is unmistakably a Bruno Mars song. It's twee, it's cute, it's catchy, it'll probably get annoying in a month or two, and it's not really got that much substance. Eminem's rhymes on the track are pretty decent though. A vaguely eurodance woman introduces 'Take From Me' and for me it's probably the most solid in terms of production - it actually sounds like something is going on in the background. The duo are probably at their strongest here - "I break my back to give you my art, you steal my thoughts/ It's like driving a spike through my heart" waxes Eminem, before ending with "Farewell I bid you, but before I go, my last gift to you/ Ladies and gentleman, Slaughterhouse I give you!" in what is surely not the man hanging up the microphone.


'Loud Noises'...actually samples Anchorman. As in Brick. Shouting "Loud noises!" It's that insane. Eminem's volume is equally unhinged - the final track is actually a sign of real energy and venom rather than posing. Featuring Slaughterhouse, a trio consisting of Joe Budden, Crooked I and Joell Ortiz, it's the latter that's the most exciting in terms of flows and delivery.

It takes a while to get going but the final 3 tracks are strong enough to temporarily make you forget how clumsy the likes of 'The Reunion' are. There's just a nagging feeling that every single cuss and every single complaint, every boast and every pun has been done before. This is something for enduring fans, really - you're not going to hear anything spectacularly world-shattering or eye-opening and whilst there are a couple of good moments, it's overall another flawed concept from Eminem.

Rating: 5.5/10
Highlights: Take From Me, Loud Noises, A Kiss, Lighters
Avoid: The Reunion, Fast Lane, I'm On Everything
Artwork Watch: I quite like the speakers-as-gravestones idea, so it's a thumbs up from me. A really subtle and half-hearted thumbs up.