It's August 22, 2025, 01:07:51 AM
what i expected .. music to be murdered by part 2great marketing .. album not living up to the slim shady stuff tho
How you know that?
First listen, way under my expectations.a guiltiy conscience 2 without dr. dre is betraying to history.
^ word Iz they savin the rest of it fo Dre’s solo . Dre wanted it
Yeah and for Snoop Missionary which according to Daz is coming this month
Eminem: The Death of Slim Shady (Coup de Grâce) album review — alter ego returns for another round of rapid-fire rapThe veteran provocateur’s 12th album has tight beats and wide-ranging targetsEminem’s 12th album revisits his alter ego, Slim ShadyIn the 27 years since Eminem’s psychotic alter ego Slim Shady first appeared, he has undergone several violent deaths. The 2004 album Encore ended with Shady slaughtering a theatre filled with Eminem fans before turning the gun on himself. But the doppelgänger was back a year later, tormenting Eminem on the song “When I’m Gone”. “Die Shady!” the Detroit rapper cried on that occasion as he shot himself in the head. But again Shady survived. In a plot twist worthy of a fifth-grade exercise in creative writing, it was all a dream.Like a homicidal maniac in a profitable horror-movie franchise, Shady always returns. The result has been a bad case of sequelitis, the hip-hop equivalent of Halloween’s 13 films. Eminem was untouchable between 1999 and 2002 when he released The Slim Shady LP, The Marshall Mathers LP and The Eminem Show. But the rest of his albums, excepting 2013’s The Marshall Mathers LP 2, are mediocre or outright turkeys. Although the rapper’s verbal dexterity remains supreme — his 2014 song “Rap God” set a record for most words in a song, 1,560 in total — his storytelling has lost its edge.The Death of Slim Shady (Coup de Grâce) is his 12th studio album. It arrives with a funerary fanfare for Eminem’s evil twin. In an echo of the obituary that the New York Times published after Agatha Christie killed off Hercule Poirot, the Detroit Free Press has eulogised Shady in a faux-death notice claiming he met “a sudden and horrific end”. Is this really it for the old monster? We settle into our seats for the latest lengthy instalment — 19 tracks lasting more than an hour — with unbated breath and a supersize tub of stale popcorn.Opening track “Renaissance” finds Eminem carping at rap fans for being too critical. Strain your ears and you might hear the world’s tiniest violin in the mix. But then the album perks up. In “Habits”, Shady abducts his maker and embarks on a rapid-fire offence-fest. “A lyricist here to voice his true sentiments,” he raps, mockingly adopting the language of affirmation. Targets in this and subsequent songs include women, pronouns, disability, the overweight and dwarfism. Eminem struggles to wrest the microphone from Shady. “You gonna cancel me, yeah? Gen Z me, bruh?” the unhinged alter ego taunts him in response on “Trouble”.Eminem, 51 going on 15, is a veteran provocateur. He sounds it on “Brand New Dance”, a pointlessly exhumed relic from the 2000s in which he has tired fun at the expense of disabled Superman actor Christopher Reeve. But he is sprightlier elsewhere. Having once wanted to be a comic-book artist, he raps with cartoonish energy, closer in spirit to South Park than Marvel superheroes. The Shady persona turns his edgelordery into role play. “You created me to say everything you didn’t have the balls to say,” Shady needles him in “Guilty Conscience 2”, a highlight in which rapper and alter ego battle rap each other.The flow of words is dazzling. One rapping mode is a stop-start motion, almost a stutter, as though on the verge of blurting out something unsayable. He switches accent, timbre, pace and intensity with Olympian skill. Interjections are scattered throughout the verses, as though anticipating the reaction they’re meant to cause. The beats are somewhat tighter than usual. “Evil” has a gothic singsong feel. “Lucifer”, which reunites him with old foil Dr Dre as producer, makes ingenious use of a sample from a kitsch song by 1970s Dutch duo Mouth and MacNeal.The Death of Slim Shady (Coup de Grâce) is one of the better albums since his heyday. But it suffers from inconsistency and lack of narrative. “Temporary” is a maudlin ballad addressed to his daughter Hailie Jade, now an adult but treated in the song as though she were a toddler. A straight-faced Eminem raps about his own death, not Slim Shady’s. The latter’s demise is supposedly the album’s theme, but it disappears from view. As there aren’t any cliffhangers, this isn’t a spoiler: the franchise is bound to go on.★★★☆☆
Yeah that’s like me going to the record store summer of 1998 looking for King T’s Aftermath album or Dre and Cube Heltah Skeltah album before that or how about Snoop and Dre Make Up to Breakups album, Detox, Rakim…. I’ll stop there
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