Seven Thoughts on Eminem’s Awful New Album The Death of Slim Shady: Review

For 25 years, Slim Shady has tried to shock and offend listeners. Eminem’s infamous alter ego has been living it up like it’s 1999, even while fans awaited the evolution of Marshall Mathers into a more mature artist. The title of Eminem’s new album, The Death of Slim Shady (Coup de Grâce), suggested that perhaps he was ready to put Slim Shady to rest. But the results fall short, turning into a monotonous mix of weak jokes and dated references, seemingly desperate for attention.

The album is structured around a series of sketches where Eminem portrays both Marshall Mathers and Slim Shady. Early on, Slim kidnaps Marshall, and the album features Shady trying to recreate old controversies with crude humor targeting women, disabled individuals, and the LGBTQ+ community. Throughout these sketches, Eminem provides a meta-narrative on Slim’s role in making Marshall wealthy. In “All You Got (skit),” Slim states, “I gave you everything.” The confrontation comes to a head in “Guilty Conscience 2,” where Marshall kills Slim, aiming for a dramatic end that doesn’t quite land.

The production on the album feels nostalgic but tired. Dr. Dre contributes to two tracks, “Lucifer” and “Road Rage,” while the rest of the album leans on sounds established in the 90s by Dr. Dre. Tracks like “Brand New Dance” and “Evil” could easily fit into any previous Eminem album. Skyler Grey returns for another collaboration, and there are, predictably, songs about his daughter Hayley. Lead single “Houdini” even recycles elements from “Without Me,” adding to the pervasive sense of déjà vu.

Despite being 51, Eminem can still deliver rapid-fire lyrics with impressive technical skill. The album opens with “Renaissance,” which sets high expectations and engages with contemporary issues, but the rest of the album doesn’t live up to this promise. Eminem’s attempts to provoke Gen Z sound out of touch, including multiple references to the late actor Christopher Reeve that fail to resonate today.

It’s no secret that Eminem thrives on controversy. On “Without Me,” he boasted about using Black music to become wealthy. The Death of Slim Shady (Coup de Grâce) doubles down on this approach. In the track “Trouble,” Marshall asks what Slim is trying to achieve, and Slim replies, “Get us canceled,” signaling Eminem’s attempts to provoke outrage. The album includes various offensive jokes in the hopes of trending with #CancelEminem.

Eminem’s influence on the rap world is undeniable and can be heard throughout the album, including in the contributions of guest artists like Philippine rapper Ez Mill and J.I.D. Their styles reflect the impact Eminem has had on the genre.

The final third of the album is supposed to be more personal, focusing on Marshall Mathers, though the sound remains similar. The section kicks off awkwardly with “Head Honcho,” featuring a verse from Ez Mill. This transitions into the more introspective “Temporary” with Skyler Grey, a rehash of previous songs like “When I’m Gone.” The segment wraps up with tracks about Marshall’s struggles and a couple of upbeat tunes like “Bad One” and “Tobey.” Unfortunately, these songs fail to provide a satisfying conclusion, instead showing that Marshall frequently relies on Slim Shady due to a lack of fresh ideas.

The Death of Slim Shady (Coup de Grâce) runs over 64 minutes long, and it’s a time investment that offers little payoff. You’d be better off listening to one good track on repeat or occupying yourself with almost any other non-criminal activity. The album’s tedious and uninspired content underscores the idea that Eminem’s best days may be well behind him.

Source: Consequence