I represent everything you took for granted/ With every f***** you slaughtered coming back on you/Įvery woman you insult, that with the double-standards that you have when it comes to your daughters/ I’m the bullies you hate, that you became/ Grab for some water, but I’m that pill that’s too jagged to swallow./ “I’m your time that’s almost up that you haven’t acknowledged/ With a devil-like voice backing him up, Eminem keeps the wordplay witty, the energy at full-throttle, the flow on-point with the beat, and the introspection at an all-time high: This adds to an atmosphere of Eminem suffering at the words of criticism from his conscience claiming to be all of Eminem’s embodied faults and factions.
#Eminem recovery album reviews full
A calculated instrumental full of bright, twisted, panning notes dancing over tumbling drums fades out and into an epic symphony of a beat with snare rolls and intense strings. Then, throwing a curveball, the beat switches up and takes on a whole new aura. Spited for the overuse of accents on Encore and Relapse, as well as yelling too much on Recovery, Mathers takes this track on with a very choreographed delivery. Already Eminem draws in listeners with a certain tactic that fans have yearned for from the emcee for years: vivid storytelling with graphic details and simple, yet well-crafted bars. Kicking off the sonic journey, “Bad Guy” stands as the sequel to one of, if not Eminem’s greatest songs, “Stan.” This time, the song is from the perspective of Stan’s little brother, Matthew. Through and through this album pulls the strings of the original Marshall Mathers LP. Sixteen tracks, seventeen producers, one main artist, and one album. Both jocular and seriously stupefying audacity intermittently weaves through tales of honest experience. Boundless emotion is exposed like a wound.
Here, a revolution is fought between one’s inner demons and a struggling, new individual. Brazen heroically during a whole new generation of music, we are amidst the great return of Marshall Bruce Mathers, III.
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