Eminem
Album: Kamikaze
Label: Interscope, Shady
Release Date: August 31, 2018
Crash & Burn
Written by Silas Valentino
He nosedives on “Fall.” The tenth track on Eminem’s tenth album, Kamikaze, is a blunder.
First there’s the completely tone-deaf dis on Tyler, the Creator that’s obnoxiously homophobic and daft – “Tyler create nothin’, I see why you called yourself a faggot, bitch” he hisses, taking aim and making fodder out the Odd Future frontman’s latest album that explored his bisexuality – but then there’s the Bon Iver feature.
Justin Vernon provides his angelic pipes on “Fall” and he’s easily the album contributor from the farthest of left fields. Is this a callback to the soft-rock roots that perfectly complemented his 2000 single “Stan,” furthering Slim Shady’s ability to rhyme over anything – like a goddamn Bon Iver chorus? Why, after Vernon specifically requested he change that controversial line about Tyler, did Eminem decide to keep it and why make a song with Bon Iver in the first place?
My tea’s gone cold I’m wondering why – but then it dawns on me: it’s Kamikaze, stupid! Eminem doesn’t give a damn; he’s downward spiraling with intent, and he’s taking all of us with him.
If you haven’t listened to Revival, his last album released last year, then you might miss a few dozen of the references sprinkled throughout Kamikaze. It’s a prequal, of sorts, to this album. Not in terms of a continuous narrative between the two records but because Kamikaze is a direct response to all the of Revival’s haters. If you listened to Revival and freaking hated it, this one is for you, bub.
As with all great Eminem records, this one features more correspondence with his manager, beginning with this intro in the short “Em Calls Paul (skit).”
“Hey Em, It’s Paul [Rosenberg, his manager]. Umm, I listened to the new album. Umm, are you really gonna just reply to everybody who you don’t like what they have to say, uh, about you or the stuff you’re working on?”
Later Eminem calls back and leaves a voicemail about how he’s en route to the home of a nameless critique who bashed him online with the intent to kill. These fleeting moments of scripted horror are amusing chocolate chips that enliven every Slim Shady LP.
The best song from Eminem’s Kamikaze era isn’t even on Kamikaze. It was released two weeks after the album and perfectly encapsulates Eminem’s mood and style expressed throughout Kamikaze – but in a 4-minute diss track. I’m talking, of course, about “KILLSHOT.” A spray of bullets from Eminem’s Tommy Gun wordplay that settles a slow-burning score with Machine Gun Kelly.
The dominos fell like this: years ago, MGK made suggestive comments online about Eminem’s then-teenage daughter which led to MGK’s music being 86’d from Eminem’s Sirius XM radio show Shade 45. Kelly responded by taunting Eminem in a few lyrics in recent tracks. Eminem releases “Not Alike” on Kamikaze which calls out MGK directly by name; MGK drops his diss track “Rap Devil” a few days later which is replete with barbed commentary on present-day Eminem (largely directed at his age) and then Eminem chose to release perhaps the greatest diss track on record.
“KILLSHOT” manages to size up and then demolish MGK. In a track full of clever mudslinging, it’s the final line that swiftly cuts to the core: “So just leave my dick in your mouth and keep my daughter out it.” The mic dropped fast but MGK’s career hit the floor first.
Eminem’s hit list appears to have become a short list. With Kamikaze, he lampoons anyone who’s ever ribbed on him publicly, mumble rappers and folks who just plain annoy him. (Victims include Lil Yachty, Migos, Lil Pump and Drake.)
Eminem should rest easy knowing he’s unchallengeable and remains one of the best rappers alive, 20-years strong. Instead, he’s one clenched fist away from yelling into the microphone: “You kids get off my lawn!”