Featured collaborator Royce da 5’9” does a stellar job brag-rapping on the track, however. A song produced by Tay Keith and Ronny J should be a contender for song of the year, but in Eminem’s hands is middled. Despite a rockstar roster of producers, Eminem seems unable to interact with the beats of his songs to create anything memorable.
The best flows feel intrinsically tied to their beats. In response to this attempted dis, Lil Pump wrote on Instagram, “Thank you I deserved that” –– showing how irrelevant an insult from Eminem is in the current age. In his misguided quest to prove flow isn’t everything, Eminem proves the contrary. The irony is that these are the best moments on the album. He borrows the recently incarcerated Lil Pump’s “Gucci Gang” flow while writing him off as a Lil Wayne clone. He copies Migos’ flow from “Bad and Boujee” to make a point about how different he is from Migos. Ironically, many of the best moments on Kamikaze are when Eminem mimics other rappers’ flows in order to dis them. Variations in cadence and rhythm have never been his strong suit, and it shows, as many of the songs feel indistinguishable. He calls Tyler, the Creator a homophobic slur on “Fall.” Though stans may defend it as “real rap,” saying homophobic slurs to insult someone crosses the line.Įminem employs the same machine-gun flow that has characterized his music for most of his career.
Eminem sounds like an edgy YouTube commenter. Hyperviolent tirades are far from original –– they’re the norm. Today, that level of toxicity permeates the internet. The violence and depravity constituting Eminem’s material was once, in an era long past, boundary-pushing. On the same track, Eminem has the gall to critique listeners for having codeine in their cups, despite his best material having been produced while he was a drug addict. Especially when websites such as Genius exist to explain the meaning of lyrics, such a claim is laughable. On the opening track, “The Ringer,” he claims Revival was poorly received because some of his lines were going over listeners’ heads. On “Em Calls Paul,” a skit track, Eminem throws another fit about a critic not understanding his enlightened rhyme schemes. Eminem’s rebuttal, and this album’s central thesis, is that his critics are stupid. Much of Kamikaze responds to critics of Eminem’s last album, the awful Revival. Lil Yachty, in particular, is a dated punchline. Even the beefs Eminem chooses feel behind the times. Most rappers today don’t traffic in the convoluted word soup verses on which Eminem built his career.Īs a result, lines where Eminem takes aim at the likes of Lil Yachty and Lil Xan sound like the mutterings of an old man who’s bitter that the industry has left him behind. Rap has evolved as a genre and surpassed Eminem since his peak. Apparently, as he says on “The Ringer,” he wants to “punch the world in the … face right now.” If only those punches would land.Įminem’s 10th studio album finds him as angry as ever, aiming and taking fire at critics and peers with abandon - but to call the rappers he targets his “peers” would be inaccurate. Eminem begins Kamikaze with a temper tantrum like that of a third-grader who just learned to swear.
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