“Just like that and I’m back,” remarked rapper Eminem on “Houdini,” a radio single from May teasing “The Death of Slim Shady: Coup de Grâce,” the fifty-two year old rapper’s 12th studio album.
On this fresh summer 2024 release, Eminem, also known as Marshall Mathers, confronts the deterioration of media literacy through broadcasting the twisted thoughts of his controversial alter ego, Slim Shady. Ultimately, the sane side of Mathers notices that Shady is truly “the evilest,” and he vows to execute him with a coup de grâce, or “fatal shot,” in this narrative-based album.
Although I do not believe the new songs hold a candle to Mathers’ classic hits, such as “Lose Yourself,” “Without Me,” and “Stan,” this album certainly met expectations of fans who have waited four years for a new album from the hip-hop star.
Eminem kicks off the album with “Renaissance,” a short track that revives a smooth, mid 2000’s flow that many Eminem fans have missed hearing. This song serves as the effective catalyst for Slim Shady’s return, setting the stage for the power struggle between Mathers and his unhinged side personality.
Following “Renaissance,” multiple songs such as “Habits,” “Lucifer,” and “Road Rage” tackle Slim Shady’s unwillingness to end his crude lyrics and purposefully controversial statements. Although it may seem that the rapper’s lyrics are out of pocket at times throughout these songs, Mathers makes it very obvious that these lyrics represent a satirical take on society told from his fictional alter ego, emphasizing that listeners ought not to interpret the words of Shady as the thoughts of Eminem himself.
Although Mathers draws this distinction as the principal theme of the album, he also takes the opportunity to question media literacy in response to backlash that he has received for his music in the past. For example, on “Habits,” Mathers achieves this through having Shady compare his music with the show “South Park,” intending to make the point that if the satirical show is able to be taken lightheartedly, why should Slim’s lyrics be a problem?
After taking a final victory lap on the upbeat “Houdini” song, Shady is finally confronted by Marshall Mathers on “Guilty Conscience 2,” as Mathers seeks damage control to soothe the fictional public outrage caused by Shady within the album’s universe. Serving as the climax of the album, Eminem blames Slim’s dangerously carefree attitude on his own experience being bullied and struggling through poverty during his youth: “Matter of fact, ain’t you the same one who hated bullies calling you bad names? Then you turned around and did the exact same…you’re still mentally thirteen.”
Thereafter, Eminem kills Slim Shady once and for all, and the power struggle concludes. However, the album still has six tracks after this.
The remaining songs hold a far more serious and less provocative tone, as Eminem is now rapping from the heart with Slim Shady’s shenanigans being left behind. For instance, “Head Honcho” sees the rapper recounting traumatic experiences during his rough upbringing, while “Temporary” and “Somebody Save Me” serve as two heartfelt songs based on Mathers’ love for his three children.
Although the second half of the album contains good music, I believe that it lacks the hard-hitting production that the first half contains. Ultimately, the album seems to drag on for too long after “Guilty Conscience 2.” Though I have no problem with long albums, I believe that the later tracks stray too far away from the original narrative to properly tie the project together. Perhaps if Mathers swapped some of the last songs out for songs in which he describes life—without the exhaustion of taming his alter ego—the project would feel more cohesive. Although the album is flawed in this aspect, the electrifying production, memorability, and engaging lyrics on multiple tracks makes up for it. For example, “Evil” contains an incredible piano melody coupled with haunting hums. Moreover, Eminem’s cadence in songs such as “Fuel” and “Tobey” illustrate his unrelenting talent for stringing words together in an enjoyable fashion; an effective example from “Fuel” is this smooth repetition of the “c” sound: “Constant compliments give me confidence to cross of common sense and incompetence, I’m cognizant that conflict’s a consequence of accomplishments and comp is no competition, I’ve conquered and conked ‘em into unconsciousness.”
“The Death of Slim Shady: Coup de Grâce” is certainly worth a listen from rap fans who can handle the dark nature of the project. However, it is absolutely important to keep in mind the unserious narrative. If the story is not acknowledged, the rapper’s words may be misconstrued. This would result in Eminem’s analysis of media literacy in “Habits” proving true amongst listeners.
