Eminem: The Death of Slim Shady (Coup de Grâce) review – guess who’s back, with less bite than ever
The album The Death of Slim Shady has many lines that stick in the mind. Some are memorable because they show the rapper's amazing skill: they rush by in a perfectly articulated, rhythmically accurate whirl of similar-sounding words, references, and clever language. Some stand out because of their harsh, nihilistic humor that makes you laugh despite yourself, then feel guilty for finding it funny. And some are memorable for being dull and uninspiring, like they were trying too hard to be shocking. The most interesting line might be in the song "Lucifer," which is possibly the best track on the album with its Dr. Dre-produced beat and bouzouki sampling. Eminem speaks to himself, as he often does, saying "But Marshall, it’s like you came from 2000, stepped out a portal."
Eminem has been a prominent figure in the music industry for the past ten years. Despite his consistently high album sales and successful singles, he seems to be struggling to find his place in the ever-changing world of music. Some view him as a defender of traditional hip-hop values, while others see him as a different person from the controversial artist he once was. Some even see him as a disgruntled middle-aged man who constantly criticizes younger generations and social movements.
Conveniently, the current trend of reviving early 2000s style has made it easier for Eminem to make his 12th studio album. He pays tribute to old-school hip-hop legends and includes some political commentary, but the main focus is on recreating the sound and feel of his music from over two decades ago. The album tells a story of Eminem battling with his darker alter ego, Slim Shady, who is trying to bring back his old self. Some tracks have a familiar sound, like Houdini which reminds us of his 2002 hit Without Me, and the opening track Renaissance has echoes of Lose Yourself. The album includes a sequel to Guilty Conscience from his 1999 album as well as an interlude featuring the return of the character Ken Kaniff.
The album focuses heavily on Eminem's early 2000s style, sometimes feeling out of place in today's world. It mentions issues with "woke" culture, but uses outdated terms like "political correctness" more often. Despite Eminem being sober for 16 years, there are references to his past addictions. One song even mocks Christopher Reeve, who passed away 20 years ago. It's revealed that the track was originally meant for a previous album but was removed after the actor's death. Clips of Eminem's daughter Hailie, who is now an adult, are included in the album, portraying her as a child from 2002. An interlude hints at potential protests and riots due to the album's release, which seems unlikely.
The time when Eminem could spark such a strong negative reaction seems like a distant memory, especially when looking at the response to Houdini. A few people online tried to express outrage over a line in the song that made fun of the incident involving Tory Lanez shooting Megan Thee Stallion, but it didn't gain much traction. This could be because there were more interesting things happening in the world of hip-hop. Comparing a tasteless joke about Megan's shooting to Kendrick Lamar's controversial lyrics about Drake being a paedophile is like complaining that there is too much toilet paper in the toilet paper aisle at the store.
It is clear that Eminem is aware of this fact, but he still tries his best to offend. He includes jokes about disabilities, rape, Diddy's sexual misconduct allegations, overweight people, and not finding trans women attractive. Eminem tries to balance these offensive lines by following them up with lyrics that either dispute or apologize for them, as he is supposedly battling his alter ego. Sometimes, the dark content delivers an uncomfortable impact. However, most of the time, it feels desperate and ends up being boring and repetitive. For example, if Caitlyn Jenner received a royalty every time her name was used as a punchline, she would be even wealthier.
Having said that, there are enjoyable aspects to The Death of Slim Shady. Eminem's impressive technical skills remain just as remarkable as before: remarkable enough that when he suggests other rappers target Lamar because they're afraid to come after him, it doesn't seem completely empty. The appearances by underrated Atlanta rapper JID and Shady Records artist Ez Mil are powerful. In addition, alongside Lucifer, a few tracks excel in purely musical terms. The dark, menacing vibe of Road Rage transitions excitingly into acid-infused electro. Guilty Conscience 2 gradually builds up a sense of suspense effectively. The sharp strings and soulful vocals of Bad One are used in a chilling manner.
Despite trying to transport listeners through time, The Death of Slim Shady comes off as just another album from Eminem's later career. It has both successful moments and failures in equal proportions. It's not terrible, but it's not outstanding either. While it showcases Eminem's impressive technical skills, it also lacks a clear sense of direction. It's sure to be a commercial success, but it doesn't quite refute the sharp observation made by Questlove that Eminem may have run out of things to say, despite his undeniable talent for saying them.
