For rapper Eminem, it’s been a tough road since his last studio album 4 1/2 years ago. The rapper has dealt with a failed reconciled marriage, the death of his best friend Proof, and addictions to drugs and alcohol, all the while having the pressure of his music career on his shoulders. With that said, it seems as though Eminem has not lost a lyrical step on his latest album, Relapse.

The opening tracks of the album find his alter-ego, Slim Shady, in vintage form: uncut and recklessly destructive. This sentiment is clear on “My Mom,” a subject the Detroit emcee has described on previous records. Over thunderous drums and booming horns, Eminem recites the numerous drugs his mother fed him as an adolescent, which subsequently created the monstrosity now seen in Shady.

At the helm of the production behind Relapse is Eminem’s longtime mentor and friend Dr. Dre, who gives the rapper some of the best beats heard from the producer in recent times. Examples of this can be seen on the track “Medicine Ball,” which melodically reflects the title as the beat has a subtle bounce to it, while Eminem similarly raps, “The world is just my medicine ball you’re all in.”

While several tracks on Relapse dabble in the previous four years of Eminem’s life, “Déjà Vu” provides a substantial exploration of this surreal time period and is the album’s strongest track in terms of lyrical direction.

Relapse would not be complete without a few songs ready for the radio. “Crack a Bottle,” the album’s lead single, is a conventional track that feature Dr. Dre and 50 Cent. With a laid-back approach, the trio describe their successes over a beat filled with indulgent piano keys. Then, going the playful route on his second single “We Made You,” Eminem ridicules the celebrity industry via Amy Winehouse, Jessica Simpson and Kim Kardashian.

The real question throughout Relapse is whether Eminem has been able to create an exceptionally substantial product given his most recent life experiences. The answer: yes and no. The former revelation is evident on “Beautiful,” a record in which Eminem delves into his deepest insecurities. However corny the inspirational attribution of “be proud of who you are” is by the end of the track, Eminem displays a performance drenched in raw emotion.

However, Eminem also shows that he could care less, highlighted by the absurdity on “Insane.” Without giving too much information, an animated Marshall Mathers revisits the events of incest, molestation and physical abuse supposedly found in his younger years. While fabricated for the sake of reaction, “Insane” is at best a track made for one awkward laugh and at worst, the FCC’s nightmare.

Relapse represents the controversial rapper we have come to know in the past decade. One thing is for sure: Love him or hate him, Eminem is back.

Reach reporter Edwin Ortiz at arts@dailyuw.com.