Eminem, Music to Be Murdered By | Album Review 💿

On his first album of the 2020s, iconic rapper Eminem shows definite improvement on his 11^th studio album, Music to Be Murdered By.

The 2010s wasn’t the smoothest decade for Eminem, particularly the back half.  His 2017 album Revival was panned by many critics.  He quickly followed up the travesty with Kamikaze in 2018, which some considered to be a better album while others still cried foul.  Maybe the biggest problem that has hurt the rapper has been a lack of evolution and innovation.  Once cutting edge, Marshall seemed to fall a bit behind the times, struggling to carve a place in modern hip-hop.  While his first album of a new decade, Music to Be Murdered By isn’t vintage Eminem, it does find him expanding his palette slightly, and if nothing more, he deserves credit for that.  It’s imperfect, but there are worthwhile moments.

“Premonition (Intro)”

Eminem kicks things off with a bang – shocking, right? “Premonition (Intro)” sets the tone – unapologetic to the core.  One thing that’s quite clear is that he seems bothered by the reception of his previous two albums.  “They said my last album I sounded bitter,” he speaks of Kamikaze, where no one seemed off limits from his lyrical wrath.  Later, he brags, “I sell like four mil’ when I put out a bad album / Revival flopped, come back and I scared the crap out ‘em.”

On the banger ✓ “Unaccommodating,” he enlists contemporary rapper Young M.A, who drops the first verse over a sick beat, and a hard-nosed, malicious sounding backdrop. One of her best lines is, “Yeah, her ass fake, but she came for real,” a nod to M.A’s sexual prowess.  Eminem, unfortunately, courts a huge controversy lyrically, on the second verse: “But I’m contemplating yelling ‘Bombs away’ on the game / Like I’m outside of an Ariana Grande concert waiting.” Yeah – totally not cool Em.  Of course, he’s true to self being quite unaccommodating, referencing Osama Bin Laden, JonBenét Ramsey, and John Wayne Gacy among others.  He’s always been offensive and “Unaccommodating” is a prime example.

✓ “You Gon’ Learn” features vocals from White Gold (chorus) and a guest verse from frequent collaborator Royce da 5’9”. The flow of both rappers is impressive, particularly given the dark sensibility of the backdrop.  Royce raps about the hardships or life, social issues, and incredibly memorably, fame (“Y’all call this fame, I call this shit alcoholistic infamy”).  As for Eminem, he reminisces on the past and considers himself, well, a ‘Rap God’ essentially: “Why do I feel responsible for these kids? / All of whom I’m a father to / I’m a God to you, y’all better worship the water I walk on…” Also, worth noting, Em gets a diss or two in.

“Those Kinda Nights”

The :30 “Alfred – Interlude” attempts to tie the murderous, horror vibe of Music to Be Murdered By together.  It’s followed by the Ed Sheeran collaboration, “Those Kinda Nights.” Eminem has previously collaborated a couple of times, including “River” (Revival) and “Remember the Name” (No.6 Collaborations Project).  The results are okay with “Those Kinda Nights” hearkening back to the past – “Yes, this beat’s takin’ me back to my D12 days.” Em references drugs and sex mostly, with some twisted lyrics thrown into the mix. “In Too Deep” follows, featuring straight, un-pitched rhymes on the verses, and more modern, melodic vocals on the chorus.  The overall effect of the song is a hip-hop record with some R&B cues that explores a bad relationship where both parties are clearly ‘in too deep’.

“I’m not happy here (Nah), with her
Rather have you (Yeah), rather have me too
‘Cause you’re not happy there (You’re not happy there), with him
Rather have me (I know, but), we just in too deep.”

✓ “Godzilla” is a prime example of Eminem looking at rap with a more modern lens.  Notably, he enlists the late Juice WRLD for the assist (“Godzilla” marks the rapper’s first posthumous music).  Certainly unexpected, right? Damn right! Juice WRLD drops the chorus, while Em handles the monstrous rhymes that take place on the verses.  Notably, the third verse is speed rap at its speediest.  If we get nothing else out of it, Marshall Mathers still has an unbelievably, agile flow.  Going back to the monstrous rhymes, well, Eminem isn’t exactly angelic – “I’m on point like my index is, so all you will ever get is / The motherfuckin’ finger, prostrate exam.”

“Darkness” 

Unexpected collaborations like Young M.A (“Unaccommodating”) and Juice WRLD (“Godzilla”) are certainly noteworthy.  That said, a record like ✓  🤩“Darkness” with its subtle, yet chilling production work arguably packs a mightier punch.  Adding even more punch is the fact that Eminem channels Stephen Paddock, the infamous perpetrator of the Las Vegas Massacre.

“Finger on the trigger, but I’m a licensed owner / With no prior convictions, so law says sky’s the limit,” he raps on the third verse, continuing, “So my supply’s infinite, strapped like a solider / Got ‘em hopping over walls and climbing fences.” Adding to the darkness of “Darkness” are news clips referencing gun violence in America, including the Las Vegas incident, as well as school shootings.  “Darkness” is the crowning achievement of Music to be Murdered by.

“Leaving Heaven” has a tough act to follow by all means. Eminem notably revisits his rough and tumble childhood (“Pop was a sack of shit, yeah, he died, but I gave half a shit”).  A couple of things of note occur. His frequent collaborator Skylar Grey sings the simple but powerful chorus.  Secondly, Em takes a shot at rapper Macklemore, on the third verse: “Okay, so while Macklemore was keeping his room nice and neat / I was getting my ass beat twice a week.”

Mr. Porter produces ✓ “Yah Yah,” which samples James Brown (“Blind Man Can See It”) and Busta Rhymes (“Woo Hah!! Got You All in Check”).  Once more, Eminem is joined by Royce Da 5’9”, as well as Black Thought, Q-Tip, and Denaun for one of the best songs of the album.  As always, he’s raw, asserting, “I am the Santa Fe, Mandalay, and Orlando and Colorado and Columbine / All combined into one, I don’t walk a line, bitch, I run.”  And, just in case that weren’t enough edge, Em states, “Then like a shotgun I’m ready to cock it on ‘em / Leave these pussies stretched out like the Octomom.” Damn!  And of Machine Gun Kelly, he spits, “She barely was three months pregnant / Bitch had it, gave me a baby, we named it Machine Gun Kelly.” Can you say, “Yah Yah!”

“Stepdad”

The profane “Stepdad (Intro)” prepares listeners for “Stepdad,” where Eminem paints a picture of an abusive, horrible man.  This wouldn’t be the first time we’ve heard something like this from the rapper, of course.  “Marsh” moves on from the horrors of a bad stepdad to being offensive (standard for him, of course) and making fun of contemporary rappers.  This is a contemporary track, yet it embodies the spirit of Kamikaze to some extent. ✓ “Never Love Again” features old-school production, co-produced alongside Dr. Dre, Dem Jointz, Trevor Lawrence, Jr., and Dewaun Parker.  Besides something of a more classic sound, Em delivers rhymes referencing drug use:

“I can only take so much of you at one time
Because too much of you’s just too much to swallow sometimes
Gotta take you in doses, but when you’re not at my side
I shake in convulsions, separation anxiety ‘cause we may be the closest.”

“Now, little engine gone, finna vrin-vrin gone / I’m losin’ control / Heroin and blow, Marilyn Monroe / Overd-d-dose…” ✓ “Little Engine” follows, featuring one of the best productions of Music to Be Murdered by (Dr. Dre is a co-producer once more).  The aforementioned chorus is pretty good as well.  The record commences with another Alfred Hitchcock intro, bring the murderous, horror vibe back into the mix.  Beyond the chorus, Eminem brings a level of insane to his rhymes.

“Lock it Up”

Another unique collaboration occurs on the 16^th track, ✓ “Lock it Up.” Anderson .Paak always adds a level of intrigue, and “Look it Up” is no exception.  Here, he sounds particularly ripe on the chorus, where he sings, “I almost lost it / I had to reach back, back, and lock it, yeah.”  Clearly, Eminem gives no fucks on “Farewell,” asserting on the intro, “I tried to get over you / It doesn’t work / You’re still a cunt / I’m still a fucking jerk.” Wow!  After a string of Dr. Dre co-productions, the production isn’t quite as thrilling (no disrespect to co-producer, Ricky Racks).  Maybe it’s the reggae, tropical sensibility that I find a bit annoying…

The self-explanatory “No Regrets” is another modern joint by Eminem, featuring the vocals of rapper/singer Don Toliver.  Notably, he does actually regret something:

“Misplacin’ my anger enough to give Earl and Tyler, the Creator thee brunt
Shoulda never made a response shoulda just aimed for the fake ones
Them traitorous punks, ‘cause snakes are just cunts
They can get fucked with eight hundred motherfuckin’ vibrators at once.”

The final full-length record on Music to Be Murdered By arrives courtesy of “I Will,” featuring Joell Ortiz, Royce da 5’9” (for a third time), and KXNG.  It packs a punch, over the course of five minutes, with Eminem going ‘H.A.M.’ on an extended verse, as well as handling the chorus.  Fittingly, Music to Be Murdered By concludes in utter horror – “Alfred – Outro.”

Final Thoughts 

Keeping it 100, Eminem albums – at least contemporary ones– are difficult to review.  Music to Be Murdered By is no different.  That said, Music to Be Murdered By is definitely a step up from Revival and Kamikaze.  There are some definitely highlights worth revisiting, as well as some songs that you’ll have no issue skipping.  Sure, some of the skip-worthy songs just aren’t as strong as the highlights, but also, the length of the album also contributes.  As is often the case, there’s a lot of Marshall Mathers – more than an hour’s worth.  We didn’t need that much.  Still, the good outweighs the bad.

✓ Gems: “Unaccommodating,” “You Gon’ Learn,” “Godzilla,”  🤩“Darkness,” “Yah Yah,” “Never Love Again,” “Little Engine” & “Lock it Up”

Eminem • Music to Be Murdered By • Interscope • Release: 1.17.20

Photo Credit: Interscope