All of Eminem’s legendary qualities as an MC shine the brightest they’ve done in years, but so do his biggest artistic shortcomings.
Like “Head Honcho” with Shady Records signee Ez Mil posits, “canceled” isn’t the word to describe Eminem. That concept drives The Death Of Slim Shady (Coup De Grâce) and is as painfully ancient and obvious as it is subversive. While Marshall Mathers has arguably tried to “kill” Slim Shady since 1999, this new project is unique in how explicitly he connects his biggest demons while showcasing his best long-form quality control in over a decade.
All of Eminem’s legendary qualities as an MC shine the brightest they’ve done in years, but so do his biggest artistic shortcomings.
Like “Head Honcho” with Shady Records signee Ez Mil posits, “canceled” isn’t the word to describe Eminem. That concept drives The Death Of Slim Shady (Coup De Grâce) and is as painfully ancient and obvious as it is subversive. While Marshall Mathers has arguably tried to “kill” Slim Shady since 1999, this new project is unique in how explicitly he connects his biggest demons while showcasing his best long-form quality control in over a decade.
However, that quality control is still bizarre since Eminem throws stuff at the wall and doesn’t focus much thematically on most individual tracks, an odd trait for a “concept album.” It’s a missed opportunity for breakdowns of the rapper’s personas and beliefs. Still, the things that make this album great and irate are in Em’s whole discography to varying degrees… all that changes is the specific names, like Diddy and Megan Thee Stallion mentions on The Death Of Slim Shady. Slim Shady’s “death” here is more of an exorcism of his immortality and is generally an entrancing spell.
However, that quality control is still bizarre since Eminem throws stuff at the wall and doesn’t focus much thematically on most individual tracks, an odd trait for a “concept album.” It’s a missed opportunity for breakdowns of the rapper’s personas and beliefs. Still, the things that make this album great and irate are in Em’s whole discography to varying degrees… all that changes is the specific names, like Diddy and Megan Thee Stallion mentions on The Death Of Slim Shady. Slim Shady’s “death” here is more of an exorcism of his immortality and is generally an entrancing spell.
What Works On The Death Of Slim Shady?
As for Eminem, his own “immortality” in hip-hop has his technically gifted pen to thank, not his other half. Some Dr. Dre production all over The Death Of Slim Shady (plus Dem Jointz, Em himself, and more) certainly helps, too. But his colorful and zany artistry always stretches thin with vivid, albeit cartoonish approaches. Comically crude, wildly impressive, and deep moments emerge, such as the Amber Heard bar on “Lucifer,” the rhyme schemes on “Antichrist,” and recollections of Em’s daughter Hailie playing guitar on “Somebody Save Me.” Then, it’s stale shock value, eye-roll wordplay, and melodrama: animal cruelty on “Evil” that went nowhere, that terrible sock puppet bar on “Bad One,” and forcedly aggressive cadences on the otherwise soft “Temporary.”
Instrumentally, things are much more consistently enjoyable than past efforts like Revival or Kamikaze. The peppy and gritty beat on “Renaissance” and the percussive speed-up on “Habits” are particular highlights. There’s an orchestral sense of drama throughout these beats with fitting drum tones, and progressive embellishments make the instrumentals more dynamic. Alas, lyrically and musically, The Death Of Slim Shady’s repetition is its kryptonite. Tracks like “Houdini,” “Brand New Dance,” and the family tribute tracks from the perspective of a dying or deceased Marshall are not-so-subtle retreads of “Without Me,” “Just Lose It,” and “When I’m Gone,” respectively.
SOURCE HOTNEWHIPHOP.COM
