![]() ![]() The closest thing to a commercial misfire Eminem has experienced over the past 11 years came with Revival, which I formerly (and accurately) described as “a 77-minute cringe compilation of lousy punchlines, antiquated beats and bloated pop-rap crossover bids.” Revival found Eminem questioning his own place in a music industry he had once detonated and rebuilt at his whim, while also lambasting President Donald Trump and the state of America in 2017. They got a reprieve with 2013’s The Marshall Mathers LP2, a fairly consistent showcase of lyrical acrobatics and Rick Rubin’s classic rock-sampling production. They lapped up the gratuitous, accent-riddled horrorcore of 2009’s Relapse and the ham-fisted, aspirational power ballads of 2010’s Recovery. If Eminem’s post-hiatus output has proven anything, it’s that he can commit no musical sin too grievous for his fans to forgive. Lucky for Eminem (and much to the chagrin of his critics), he can rehash these tirades ad infinitum as long as he maintains a palpable level of vitriol, because his fans crave them, and they will ensure he remains a chart-topping phenomenon without ever having to release another good album. ![]()
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