Eminem’s ‘The Death of Slim Shady (Coup de Grace)’: A Bold Attempt

Whatever spurred Eminem to finally release his latest album, it surely wasn’t about money or adding to his already-secure fame. It doesn’t seem driven by any dire need to convey new ideas, news, or opinions. It’s not even an effort to remind people of his talent, as he already showcased that brilliantly at the Super Bowl a couple of years ago. More likely, it’s simpler; perhaps he’s a sensitive artist who craves validation—a periodic pat on the back that says, “Hey, not bad. You tried.”

It’s somewhat ironic that his hyped comeback hit “Houdini” mocks participation trophies, considering that’s what this album is all about. The Death of Slim Shady (Coup de Grace) showcases a legacy artist who has become a collector of these metaphorical trophies, adding another one to his display. Not bad; he tried.

The Death of Slim Shady reveals an artist battling his own yips, sweating to prove that he still possesses his past glory. He nostalgically reflects on his early career in “Habits,” remembering when he was capable of destroying the booth. Yet that young man surely didn’t plan on recycling the same jokes indefinitely. How did it come to this?

Eminem’s albums continue to sell in large numbers, appealing to a devoted Gen X fan base searching for glimpses of his former virtuosity. However, this comeback lacks additional motivation. Unlike Kamikaze, which had sharp criticisms about mumble rap, this new release doesn’t champion any particular cause. Eminem touts his edginess and controversy, yet it’s clear that none of his studio yes-men had the influence—or the courage—to push him towards something more substantial.

Every mention of “woke” or “canceled” evokes images of outdated personalities like Hugh Hefner. The big concept around killing off his Slim Shady persona isn’t new and might not even be the last time he revisits it. The album captures an artist whose artistic identity has been in creative hospice for a while.

Dr. Dre sprinkles the album with life through tracks like “Lucifer” and “Road Rage.” JID shines on the otherwise flat “Fuel,” with Ez Mil, Babytron, and Jelly Roll making notable contributions. Yet, despite their efforts, they fail to outshine the central star.

In terms of rhymes, the album parallels Netflix stand-up specials you watched with a tipsy uncle on Thanksgiving. Eminem targets figures such as Caitlin Jenner (of historical relevance), Michael Jackson (who has passed away), and Gen Z’s so-called “PC police.” His best diss is a reused punchline about David Carradine from eight years ago, and he hesitates with jokes about Kanye, Andre 3000, and Diddy.

The Death of Slim Shady arrives on the 25th anniversary of his iconic debut, The Marshall Mathers LP. Back then, his creative scope seemed limitless, addressing relatable struggles instead of celebrity woes. However, his success with The Slim Shady LP led him to stick to this proven formula, eschewing new ideas. Despite his relatively young age, he clings to juvenile opinions formed in his teens, still railing against familiar adversaries from his past.

It’s surprising that no one in Eminem’s circle has told him he could greatly benefit from new material and modern influences. The phrase “I suck my dick better than you do” falls flat, failing to deliver the desired impact.

The Death of Slim Shady echoes back to one of his peak moments, channeling the audacious spirit of “Purple Pills” with D12 from 2001. Despite this, the humor that once spurred mixed reactions now feels overplayed. Tracks like “Brand New Dance” evoke sadness, particularly when they’re framed as censored outtakes too edgy for public release, revealing a lack of contemporary relevance.

This is undoubtedly not the future fans envisioned for Eminem in 2001. Even Christopher Reeve, once a target of his jokes, would despair at this outcome. After all these years, it remains to be seen if anyone will have the courage to tell Eminem that he has a future in music, but only if he desires it enough to evolve and adapt.

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