Eminem Struggles for Relevance on "Music to Be Murdered By"

His talent is unquestionable, but his antics have aged horribly.

DJ Booth

Eminem has always prided himself on his ongoing feuds with, well, pretty much everyone.

On the rapper's tenth studio album, Kamikaze, no one was safe from condemnation. He dismissed Soundcloud rap as "mumbo jumbo," called Tyler, the Creator a gay slur, vaguely criticized the president and vice president, and poked fun at Joe Budden's domestic abuse allegations. Drake, Lil Yachty, and, more prominently, MGK, were also insulted. Eminem's calculated assault on modern-day hip-hop was brazen, unsolicited, and painted the emcee as a bitter old man.

On Music to Be Murdered By, Eminem has calmed down a little, but not completely. He still periodically pokes fun at MGK and litters the 20-track offering with numerous critiques for his critics. "Once I was played in rotation at every radio station," he says on the intro track, "Premonition." "But then when I put out Revival, and I had something to say/they said that they hated the awake me/I lose the rage, I'm too tame, I get it back, they say I'm too angry." He still sees himself as an underdog, even though he's remained within the upper echelon of rap for over a decade. "I won't topple, I'm giving it to anyone who wanna come and get it," he spits on "Unaccomadating," and I'm not gonna stop."

But the issue remains that Eminem's most recent high profile feuds, including his laughable exchange with Nick Cannon last month, was caused by his own doing. He is a battle rapper at heart, and undoubtedly performs best when faced with opposition, but his continuous antagonization of his peers and genre make for an exhausting listen when put into an album. "I leave you stymied, that's why they still vilify me like Bill O'Reilly," he raps on "Yah Yah." "I'ma show you what I mean when they call me the Harvey Weinstein of 2019."

Problematic rhymes are everywhere, and while fans of "old Eminem" will enjoy controversial metaphors like "I'm contemplating yelling 'bombs away' on the game / like I'm outside of an Ariana Grande concert waiting," it doesn't change the fact that comparing your talents to the crimes of serial sexual predators and terrorists remains in poor taste. On "Darkness," Eminem compares his own mental health struggle to that of Las Vegas shooter Stephen Paddock, who opened fire on concertgoers during the Route 91 Harvest Music Festival, killing 58 people, and wounding over 400. The music video features a Stephen Paddock look alike reenacting the traumatic ordeal and ultimately attempts to sympathize with the mass murderer. It's reminiscent of another established pop star, Madonna, who tastelessly attempted to draw attention to gun control by recreating the Pulse Nightclub Shooting in a music video last year. In both instances, mass shootings were glorified and victims are retraumatized.

Moments of vulnerability remain fleeting on Music to Be Murdered By, and when they do appear, they offer anecdotes that are more puzzling than they are reflective. "Get your shit stole, and your lip swole, I became bitter," he raps on "You Gon' Learn." "As I got a little bit older, my hate was making me get cold, and began to get a chip shoulder." Eminem appears to be a man well-aware of his toxic tendencies, which begs the question as to why he still remains on such a destructive path.

It's when Marshall Mathers leaves the antics at the door and focuses solely on rapping that Music to Be Murdered By opens up to breathe. On "Godzilla," which features a fantastic hook from the late Juice WRLD, Eminem reminds listeners of his quick-fire talent by way of sheer demonstration, rather than insensitive anecdotes. On "Those Kinda Nights," Eminem dips back into his uncanny knack for awkward humor: "Had her like, "Oh my God, my whole iPod's filled with your songs, I mow my lawn to 'em!" I said, "Oh my God, you know my songs? That's totally awesome, I'm Marshall, what's goin on?"

But lighthearted moments are sparse, and are immediately diluted by crude shock and awe tactics, which in 2020 just haven't aged well. Eminem additionally remains one of the most highly decorated misogynists in music, ("Stripper walk by, I'm like 'Goddamn,' she's like 'that's harassment,' I'm like, 'Yeah, and?'). He remains bitter, isolated, and dismissive; and as a result, continues to struggle to find a place within the culture he clearly loves so much.

Eminem's brevity is still his most indisputable talent. His lyrics remain well-oiled and concise and his wordplay unmatched, but as he continues to weaponize his craft at the expense of others, it's a schtick that's become tiresome. While veteran rappers embrace the budding young talent of the modern-day, Eminem remains a curmudgeon traditionalist. He reaffirms throughout Music to Be Murdered By that it's his way or the highway, despite having guest appearances from Juice, Young M.A., and Cactus Jack newcomer Don Toliver. "Rest of these youngins of mine, time to start throwing some shade, this time I'm shutting the blinds," he says on the album closer "I Will." "Cause when I'm looking at y'all, shit, it's no wonder it's why I need a visor, 'cause y'all are just suns in my eyes." His legacy is established, but if it’s riddled with unending instances of beefs and controversy, what kind of legacy does it become?

Music Features

On This Day: Shakira Liberated Everyone's “She Wolf”

"I was in the studio in a bad mood that day, then I got inspired and went to a corner and I wrote the lyrics and the melody in 10 minutes. The image of the she wolf just came to my head, and when I least expected it I was howling and panting," Shakira said.

By Fabio Alexx

11 years ago, on July 10th, 2009, Colombian singer Shakira released the first single off her third studio album.

"She Wolf" is a synth-pop banger built on a B minor progression. It was, in many ways, an insane song, born out of the singer's own frustration and ennui.

"I was in the studio in a bad mood that day, then I got inspired and went to a corner and I wrote the lyrics and the melody in 10 minutes. The image of the she wolf just came to my head, and when I least expected it I was howling and panting," Shakira said.

Though the music was composed by John Hill and Sam Endicott, lead singer of post-punk band The Bravery, the lyrics were all Shakira's own. "[Shakira] contacted him (Hill), asking if he had any stuff," said Endicott. "We never had her in mind. We just made the thing independently of her, and then she liked it a lot, and she sang over it. She used some of the melodies we put in there and then wrote these crazy lyrics about being a werewolf. And that's how it happened."

Shakira - She Wolf

Keep Reading Show less

DaBaby Charms on "Kirk," but He's Afraid to Get Serious

The rapper's sophomore album is DaBaby doing what he does best, being fun and hilarious.

"Friends are like the autumn, every year they leavin," Charlottesville rapper DaBaby says on Post Malone's "Enemies," "and 'imma rake 'em in a pile, throw 'em in a bag, tie them b*tches, up and leave 'em."

DaBaby - Intro (official music video)

This verse is an embodiment of what makes Jonathan Lyndale Kirk such an anomalous rapper. On one hand, he is extremely brutish and tough, having been involved in two extremely violent disputes over the last year. He is also charismatic, a natural-born storyteller known for his electrifying songs. DaBaby has developed an uncanny ability to combine humorous anecdotes with poignant self-awareness, all with the bravado and precision of a veteran emcee. His interviews are no different; he captivated the usually manic and talkative hosts of The Breakfast Club with stories of his antics, all while pausing to make jokes and keep the mood light. He is an unusual yet welcome addition to a genre bloated with copy cats, and he's the perfect rapper for this age of short attention spans. In one moment, he's describing how he unknowingly witnessed his girlfriend's mother masturbating to a picture of him, then in a flip of a switch, he's preaching about the legacy of his dead father.

While the cover art for KIRK and the intro track both implied that the album would be a shift towards more poignant lyricism and feature less goofing around, the rapper's sophomore album is primarily just more of the latter. As charming as they are, a majority of the songs cover the usual braggadocious themes of hip-hop. DaBaby rarely ever leaves his comfort zone, but that doesn't mean the album doesn't make for a satisfying listen. "POP STAR" features a refreshed and revitalized Kevin Gates—whose daring sophomore album also dropped today—and has the makings of a Billboard hit. "iPHONE," featuring a newly-retired Nicki Minaj, is equally as appealing for hip-hop radio, while "BOP," "VIBEZ," and "PROLLY HEARD" are all nice additions to the DaBaby discography, offering witty lyricism and relentless swagger, ("these n*****, they lactose-intolerant, b*tch, I'm married to cheese, no divorcin',") but not much else in way of complex thematic material.

Yet DaBaby shows that impressive lyrical chops are in his wheelhouse if he wants to access them. "GOSPEL," the only other song besides "INTRO" to delve into new waters for the rapper, is earnest and genuine. It serves as a moment of reflection for the emcee, who has been on an unstoppable tear since the beginning of the year. "I ain't had time to think, I ain't had time to breathe," he raps. But a moment is all he needs before DaBaby is back on his bullsh*t, and that has always been the appeal. It's unclear what we can expect next from "The Baby," but for now, it's easy to continue to enjoy the ride.