Eminem — Kamikaze (Album Review)
Not sure if there has ever been a more polarising figure in hip hop. Em fans were basically the reason dick riding fans of anything are called “Stans”, that has been his impact across both the rap and mainstream pop genre. And, to this day it is the gift and the curse that Marshall Mathers has to live with and address with every release he’s dropped since the classic “Marshall Mathers LP”.
Before I even get into the review of this album, let me say my piece. This album was judged from the second the first post advised of its surprise release. And clearly Em isn’t shying away from it — I’ll address the lyrical content later, but you don’t put out an album with a take on an iconic hip hop album without expecting some confrontation. What really showed me just how quick people are to judge?? People hated on the album cover. Called it “biting” without ever taking the time to realise that Em has oft mentioned how influential the Beastie Boys were on his career. It’s homage not hating, but people don’t want to waste their time with that.
When you’ve dropped classic material, people just want the same stuff revisited and dropped again and again. Artists that have generally branched out and dropped concept albums are often accused of “falling off” or “forgetting who they are”. You see, fans want artists to make the music THEY want, as opposed to enjoying and understanding the music the artist wants to make. Rarely has a discography not had at least one “blemish” on it. The Wu Tang have failed over time, Nas has more than one or two average albums, Kanye has become a walking contradiction with his music and Jay Z has also copped heat for his 4:44 release and subsequent album with his wifey Beyonce.
You see, the consumers feel they have the power, that they are the reason the artist is in business. And, to a certain extent in this day of sales and streams, you can’t ignore the fact you have to sell records — but Em and all the others you criticise so vehemently, started making music because of their love for it. It’s hard for the average joe to comprehend sometime and even harder with Eminem because his heights have arguable been higher than nearly anyone in the history of rap. Come at me if you don’t agree.
So without further ado, I’m going to get stuck into reviewing the album. I’m a huge Eminem fan, but I’m also a realist. He isn’t Slim Shady for the most part anymore, but he’s not 18 and angry either. SO I’ll go into this listening with a blank mental canvas. What has the Rap God got for me this time around? Is it another politically charged album that uses his megastardom and platform to send a message (which all the Revival haters completely missed, ignored or just didn’t want to acknowledge)? Is Slim making a comeback? Is this his 4:44 moment? Let’s check it out.
13 tracks and two skits. And the production lists Slim Shady, not Marshall Mathers or Eminem so that tell us something right away. No Rick Rubin influence, it was always going to be different, and it really is.
The two skits are vintage Em and Paul. I’ll never get sick of their banter and they have some of the more memorable skits for me. I always wonder if this is how they banter in real life….. I digress. I’m calling this album a hybrid. It’s certainly not a hip pop release like some of his other releases — it’s clear he has done this one for himself.
It opens with a BOOM — figuratively and literally. ‘The Ringer’ is Slim Shady at his finest, going HAM over a beat and just destroying everything and everyone. If he didn’t leave that booth on fire, then I’ll be a circus midget. The mic melted on this track and even the haters or should I say “old Em lovers” have to be pretty relieved to hear Em spaz out like this. ‘Not Alike’ is a banger as Em and Royce continue their stellar partnership destroying a modern beat with some lyrical daggers. Royce is one of the only MC’s that can actually hold his own with Em on a song (and on occasion outshine him) and he delivers here yet again. Even when Em ventures into the modern trap world, he doesn’t sound out of place. A million times better than nearly any modern emcee who rides trap beats, but it still feels like an unnatural pairing — even if it’s quite clear that he’s taking the piss and showing that he can do just what they all do, but better. For me though, there is just no need to go down this path. You’re the rap god and real heads know that, you don’t need to lower yourself to upstage modern mc’s in their own trap mainstream genre. But then again, Em ain’t making this record for me!
‘Fall’ is brilliant, with simplistic and eerie beats, Em just goes in on anyone and everyone, so much so that Charlamagne tha God saw it as a “death threat from a white person”. That is just how dangerous Em is, even when clearly referring to “on wax wars”, people are running scared. It’s also why no one EVER dares go back at Em and certainly don’t live to tell the tale. They throw rocks from the car park, too scared too get up close and get into it. That’s respect. Even in the form of fear. I had to listen to this track half a dozen times to get all the darts thrown. It’s a masterpiece.
Another standout moment is ‘Stepping Stone” where the introspective Marshall is back on display. It’s a raw and honest moment on an album that pushes and pulls in so many directions, it’s hard to tell what’s coming next.
The album is far from perfect though. It’s not another Marshall Mathers LP, but it’s not a Relapse or Revival either. It’s a quality release from one of the best lyricists to ever pick up the mic. There are childish and immature moments on the album that could have been left alone or done better, there is the constant need to have at the haters which I’ve had enough of — but again, that’s my take having dealt with trolls every day on the socials. In patches, the production lacks punch, because it’s going down the same path as everyone else. Is this Em trying to stay relevant or is it a piss take? It’s hard to say because even Method Man has gone down this path with his new single ‘Grand Prix’. Only difference is that Meth is revered for being able to take on new beats, whereas guys like Em, Noreaga, Jay Rock, J Cole, Nas etc are crucified for it.
If you love Em, you’re going to love the album. It’s as simple as that. If you think Em has fallen off, then you will use that prejudice to judge this album accordingly. If you’re looking for the next MMLP you won’t find it here, and I dare say you won’t find it ever. Em has matured as an artist, he’s off the drugs, he lost his best friend and artistic ying to his yang. Time changes, life changes and so does music — like it or not.
2018 has been a fantastic year for hip hop and underground heads will argue this won’t be a top 25 album, and mainstream lovers will have this placed firmly at #1 like every other damn country has right now. For me, and I like to think I am fluid enough to embrace quality music wherever it is made, I’m down with this release. It’s an 8/10 for me. It’s quality hip hop, creative and witty lyricism, key messages and of course, flat out spitting. Wordplay, metaphors, flow. This album has it all — you just have to want to hear it. Or hey — get fucked!
