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On the sample-less songs (save the X Ambassadors-basked “Bad Husband”), the beats are deflated and quiet. So many of these songs could’ve been saved by the music, but it’s not there. Rap albums are turning around and shortening in length, thanks to more innovative artists like Vince Staples and Earl Sweatshirt who go for quality and quantity, and dunk on acts like Future who regularly release 1+ hour albums (Jay-Z’s album “4:44” this year clocked in at under 40 minutes, for the record). Between the placement of that, penultimate track “Castle” and “Like Home,” it becomes very apparent that this album needed to be trimmed of fat. His previous LP was saved largely by his instantly-famous cannon-blast verse on “Rap God.” He only has one track like that here, “Offended,” and it shows up a whole fifteen tracks into the album, long after people on the fence would’ve given up. Tracks like these two render not only his more apologetic songs, but his whole late career irrelevant.Įminem’s rapping on this album isn’t even very good. But, the country, in the midst of the #MeToo movement, is shying away from the type of violent sexism Eminem puts on blast. Eminem has never shied away from violence and misogyny in his music, and has in fact made a career off of it.
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But unlike those acts, it’s misogyny on full blast with lyrics that wouldn’t sound out of place on a Steel Panther album (and delivered with more seriousness). The album has a very out-of-place track called “Heat,” a boring rock song in the vain of the rock influences in Run-DMC and Beastie Boys (and samples both). He references framing Steven Avery (from “Making a Murderer”) and locking Ivanka Trump in the trunk of his car (didn’t learn from “Stan,” apparently). “Framed” is what I like to call one of Eminem’s “meat and bones” songs, in the sense that it’s yet another song about dismembering people. Later on, he grapples with his personal mistakes on the solid tracks “Bad Husband” and “Castle.” Like any Eminem album, though, the grievances feel hollow considering some of the lyrical content in other tracks. It feels kind of cheap and pandering (also considering that both that track and the follow-up one use the r-slur). Eminem tries to buy good grace from the audience in the opening track, lead single “Walk on Water,” which features both Beyoncé, and Eminem listing off musicians he considers better than himself. YG’s “FDT” feels tame in comparison to the preciseness and fire of the song.Įminem spends a lot of this album grappling with the pros and cons of his own legacy to, again, mixed result. Eminem, as a white man, safely blasts off against Trump and fascism, with references to Confederate statues and even the murder of Heather Heyer at Charlottesville. It takes the album far too long to get to it, but it’s one of the biggest songs and easily the most relevant. That said, easily the album’s best song is “Like Home,” a duet with Alicia Keys. “Untouchable” starts promisingly, with Em checking his white privilege and rapping from the point of view of an abusive cop – until he switches to the POV of a black victim which, yikes. “Offended” makes references to Ivanka Trump and Rachel Dolezal that have Em’s typical bite to them, but nothing about the references feels like anything besides boxes being checked. “Revival” is not devoid of politics, but compared to that freestyle, most of the politics on this album feel obligatory. After Eminem’s brutal anti-Trump freestyle for the BET Hiphop Awards, people expected a powerful political album. Eminem has never been one to respond well to critics, and it shows on “Revival,” another needlessly long album full of unnecessary tracks, lumpy beats and weak-ass rhymes.
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Marshall Mathers continues his prolonged rut on another bloated, boring album with few highlights.Īlthough Eminem’s previous album, “The Marshall Mathers LP 2,” had some late-career highlights, it was an overlong mess of muck and inconsistencies.