With raw lyrics, low ride basslines and some choice misogyny, The Game’s terrier-like The Documentary 2 growls with uncensored tales of adultery, ambition and retribution. A decade after releasing debut LP The Documentary, The Game stands out for his maturity and worldliness, suggesting through his mixed career, he really has seen it all.

The Game preaches an extremely personal sermon on his life, dedicating ‘100’ to the deceased Stephanie Moseley and Earl Hayes. Consequently, the initially impenetrable nature of The Game’s fast and vicious lyrics moves away from the war cries of influences like N.W.A to provide a relatable recollection on life’s battles. With masterful ease he translates the omnipresent Compton in a retrospective light that few have had the ability or genius to do.

The album’s full-throttle opening straps you in for a violent ride, but shows little of its emotional side, an epiphany saved for the trance-inducing ‘Dollar And A Dream’. Although attacking from an alternative angle, this subtle shift takes nothing away from the album’s aggression; the frightening combination of fierce drum beats and core piercing bass notes continue to drive the album until its conclusion.

Gluing all these pieces together, the album’s exceptional production culminates in an exquisite balance that is truly enviable. Exploring the wide spectrum of the R&B genre, The Game provides a perfect blend of trap, hip hop and classic G-Funk. Added to this, the extensive selection of guest artists – ranging from Kendrick Lamar to Fergie – adds a layer of diversity to the album, meaning you don’t get bored of the potentially overbearing hostility.

Both funny and hard hitting, The Documentary 2 will leave you laughing as well as hurting, an experience that only makes you appreciate the album more.

Robert Cairns