Eminem: Kamikaze Review - middle age variants aired with flashing skills
Minem's 10th album arrived at the streaming service, without a pre-emptory presentation, accompanied by an unpublished tweet from the 45-year-old rapper: "I didn't try to solve this problem 1 ... enjoy." This is a recurring theme in the opening few moments: "I will only write my first thoughts," he muttered, "and see where he took me."
Not for the first time in his career, it was easy to feel that Marshall Mathers III was a bit dishonest. Kamikaze is the result of something very large, very different from sadness and thirst. Obviously a man is not comfortable with the concept of prayer that does not read The Comments, almost the entire 45 minutes of his time is consumed by complaining about the cold reception given to his last album - 2017 which is weak and sounds confused Revival - and regrets the situation when hip-hop.
His last thief, Donald Trump received attention at The Ringer's opening, but when he attacked to criticize the president, he appeared to have run out of bile, having spent on critics, social media commentators and other competitors. He could not mention any rejection terms he had not launched at Lil Pump and Charlamagne Tha God. "I have more media reporters," he said. Likewise, when he did what you call "Slim Shady things" - making funny jokes about Harvey Weinstein and last year's big record in Las Vegas at the Biggest, claiming that beating his partner with a baseball bat "only makes our love stronger" Normal - You get the feeling through movement, giving the audience unpleasant things they expect.
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The weakest thing here is Good Guy, an unfaithful brittle-thy-name-is-woman, who is marked by a terrible grudge and a sense that Eminem's heart is really not in it. He sounds like a man killing time so he can get back to the topic that really made him go: negative reactions to recent work and style for rap-exploding SoundCloud-deployed.
On the one hand, the thing about the Resume reception got a bit of fatigue and invited a clear welcome: if the pop hooks and guest appearances from Pink and Ed Sheeran were like being unfairly condemned by the author, he continued to demand, why did he throw it almost completely for the follow up? In addition, there was something strange about Eminem's hearing, when the voice of the younger generation which caused discomfort, sounded like an angry father from behind his press in the presence of Top of the Pops, loudly asserting that modern music is "Mumbo Jumbo" and accidentally get the name of the wrong young artist:
Whatever you make about the hypothesis, the main board of his thesis - that the current generation of SoundCloud stars does not have the amazing technical skills and intelligence, and there is the slightest bit about the matches of their poems through writers - is very undeniable.
Unlike its predecessor, the funny thing at Kamikaze mostly landed above the target. The part where he explains his own genital mutilation in detail, not from Slim Shady-esque nihilism but because he prefers to do it from listening to Lil Yachty, is really funny, and you hope many attacking rappers react with anything strong. In addition, he spent Kamikaze parts to prove his technical expertise in a sizeable style. He sounds more lively and vibrant on The Ringer or Greatest than he has for years, making fun of end-day flow triplets and CRYSTAL content before letting fly with hyperspeed bars and complicated wordplay. His churning and stubborn father about Lucky Me, which gradually increased in intensity and speed, was extraordinary.
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