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Eminem - The Death of Slim Shady (Coup De Grâce) (2024) | ReviewEminem’s 2024 album The Death of Slim Shady (Coup De Grâce) marks a strong return to form for the rap icon. After years of mixed reception and a notably low point with 2017’s Revival, Em has managed to recapture the magic that made his iconic trifecta – The Slim Shady LP (1999), The Marshall Mathers LP (2000), and The Eminem Show (2002) – so legendary.This concept album revolves around the struggle between Eminem and his alter-ego Slim Shady, with the latter aiming for cancellation and control. Em taps into his outrageous roots, aiming at various groups and societal issues without coming across as trying too hard or being overly corny. The interactions between Eminem and Slim Shady add depth and engagement to the record.Lyrically, Eminem is on point. His wordplay, flow, and delivery are top-notch throughout most of the album. He even addresses his critics head-on, calling out the tendency to nitpick and hate on great artists: Now let’s travel inside the mind of a hater ‘Cause I don’t see no fans, all I see’s a bunch of complainers “Kendrick’s album was cool, but it didn’t have any bangers Wayne’s album or Ye’s, couldn’t tell you which one was lamer Joyner’s album was corny, Shady’s new s*** is way worse Everything is either too tame or there’s too much anger I didn’t like the beat, so I hated Might Delete Later” You nerdy pricks would find somethin’ wrong with 36 Chambers It’s what they do to the greats Pick apart a Picasso and make excuses to hateProduction-wise, the album benefits from Dr. Dre’s involvement, bringing a welcome return to their collaborative sound. While some beats could be stronger, overall, the production complements Eminem’s style well. The features are a mixed bag, but thankfully, there are no questionable Ed Sheeran-like pop collaborations this time around.Standout tracks like “Temporary” and “Somebody Save Me” add emotional depth, contrasting nicely with more aggressive cuts like “Habits,” “Lucifer,” and “Antichrist.” The album’s strength lies in its overall songwriting, concept, and the interplay between Eminem and Slim Shady. The Death of Slim Shady isn’t without flaws. Some topics are repetitive, and the AI-assisted “young Shady” vocal effect can be hit-or-miss. However, when it works, it adds an interesting layer to the concept. Highlights include the clever flip on “Guilty Conscience,” JID’s stellar verse on “Fuel,” and Skylar Grey’s performance on “Temporary.”The Death of Slim Shady sees Eminem wrestling with his past persona in an entertaining back-and-forth. He uses Slim Shady to aim at various targets, from Gen-Z to cancel culture to specific public figures, while attempting to play the rational personality himself. This framing device works well, even if it could be seen as a scapegoat for the juvenile and edgier content. While not a blazing return to glory, the album is filled with light-hearted and funny moments lacking in Eminem’s recent work. There are a few missed opportunities and some regression to pop elements towards the end, but the album is largely consistent.For open-minded listeners and long-time fans, The Death of Slim Shady is a solid addition to Eminem’s discography. It may not reach the heights of his early classics, but it’s a fun, self-aware reflection on his legacy that proves Em can still entertain and provoke. This album won’t convert die-hard Eminem haters, but for those willing to give it a chance, it’s a return to form that showcases his enduring skills as a rapper and storyteller. While not perfect, The Death of Slim Shady is Eminem’s most consistent and thematically cohesive effort since the underappreciated Relapse (2009), proving that the recent hate he’s received is largely undeserved.7/10
Too many filler songs on the album though for me, and not having Dre be part of Guilty Conscience is a crime against hip hop
Eminem :: The Death of Slim Shady (Coup De Grâce)Eminem’s place in the hip-hop community has been a hot topic since his first shot out of the gate as he had, and continues to have, a polarizing effect on hip-hop listeners. Back in 2000, his music and image created a surge in blonde hair dye jobs in suburban White boys, from the preppy Abercrombie stock to the music-loving stoner intellects. Some urban-dressing White hip-hop fans would immediately disassociate themselves from Eminem and his music, most likely for fear of ridicule via comparison to both. For Black hip-hop fans, the effect was much more divisive. Some, like me, viewed the lyrical skills as all that mattered. Others viewed him as an intruder in a Black art form who only appeals to White people. The part concerning appeal rings somewhat true as I’ve heard Eminem quoted by White people I knew who to not even like hip-hop: From a middle-aged White co-worker of mine from that time who’d oft-times randomly quote some of Em’s most disturbing lines to my high school guidance counselor who I once witnessed gain control of a group of unruly students by shouting “Will the real Slim Shady please stand up?!”.His breakthrough debut album, “The Slim Shady LP”, was a tongue-twisting rhymed discourse of self-deprecation and pop culture barbs via the introduction of his Slim Shady persona. However, the over-the-top cartoonish violence of Slim Shady caused many to miss the point of his satire. Eleven albums and twenty-five years later, we arrive at the character’s end with “The Death of Slim Shady (Coup De Grâce)”. It’s evident that his pen game remains sharp, but the aforementioned polarization causes Eminem to also remain as an acquired taste even now: You either like him or you don’t. But, with this album, the Slim Shady persona is in full effect for apparently one last time, taking his customary bitingly humorous aim at celebrities, the mass media, and society’s hypocrisy.The opening track, “Renaissance” begins with the sound a grave being spat upon and, given Em’s penchant for references, it wouldn’t be surprising if that was a nod to the “Hawk Tuah” girl. Lyrically, he briefly does an inverse of the concept he began on “Stan” and explores the minds of obsessed haters. He attacks the current climate of political correctness on “Habits” and there are several skits showing the dichotomy of the Slim Shady and Eminem halves of his nature while taking shots at cancel culture. “Brand New Dance” sounds reminiscent of 2002’s “Square Dance” may have been left on the cutting room floor Em’s album from that year. The purpose of “Evil” is to spark controversy and appropriately leads into “Lucifer”, which is the only song with Dr. Dre’s hand in the production. As for the beats, the tracklist mostly has Em and Luis Resto credited with multiple producers assigned to tracks, including Emile, FredWreck, Dem Jointz, and Mr. Porter to name a few. “Antichrist” has a playful beat and shows Em’s mastery of wordplay, homophones, and flow, particularly on the third verse.While Em has been shown to hold down an album on his known, he’s not above collaborations with older and newer school rappers. “Fuel” sees him sharing the mic with Atlanta emcee J.I.D. over Mr. Porter’s head-nodding 808 beat. “Road Rage” brings more sarcastic mockery of woke culture and Em’s last verse parodies the flow, cadence, and beat of Juvenile’s 1999 hit “Ha”. “Guilty Conscience 2” is a sequel to the original from his 1999 debut and is reworked into a rhymed debate between Slim Shady and Eminem. The production is interesting here as it takes a darker turn with moody bass and piano keys and therefore, the right soundscape for Eminem to essentially roast himself. Shady Records signee EZ Mil provides the assist on “Head Honcho”, but things become serious on “Temporary”, with Skylar Grey on the hook. Similar to Michael Keaton’s “My Life”, Eminem temporarily sheds Slim Shady and provides a heartfelt message to his daughters for after he’s gone. It’s the kind of track that’s bound to resonate with girl-dads. The album’s lead self-produced single “Houdini” is Slim Shady at his apex. From a Steve Miller Band sample to a music video that parodies himself, superhero movies and other aspects of pop culture, Em shows the last trick of his infamous persona. “Bad One” has a certain bounce to it while the second single, the Spider-Man inspired “Tobey”, sees Em giving a mentor shine to fellow Michigan emcees Big Sean and BabyTron. Closing out the album is “Somebody Save Me”, which ties back to “Temporary”. Crooner Jelly Roll helms the chorus as Em lyrically laments the negative effects of Slim Shady on himself and his family. While “The Death of Slim Shady (Coup De Grâce)” is his most consistent album since 2013’s “The Marshall Mathers LP 2”, neither are *great* albums (the last Eminem album that deserves that honor is 2010’s “Recovery”). The point of this album can be summarized in a tongue-in-cheek line that Em spat earlier in his career, “So if I hurt your self-esteem and you get dissed too bad / You know I just be sayin’ that to get you mad.” Given the hyper-sensitive, easily-offended nature of today’s modern society, the joke inherent in this album is on them. Overall Score 7 Music 6.5Lyrics 7.5
Full List of Public Figures That Eminem Has Mentioned or Dissed on “The Death of Slim Shady”
Additional Skit for Eminem’s New Album is Available Upon Request
Dr Dre shares unbelievable video of Eminem’s skills to prove no rapper could beat him Dr Dre - ''Marshall Mathers vs Who???!!''
rolling stone obliterated this shit LOLhttps://www.rollingstone.com/music/music-album-reviews/eminems-the-death-of-slim-shady-coup-de-grace-review-1235060317/
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