Eminem, the name synonymous with controversy, lyrical genius, and the alter ego “Slim Shady,” dropped “Music To Be Murdered By: Side B,” leaving fans and critics alike in a state of… well, something. As a long-time follower since the “Marshall Mathers LP 2” era, the announcement of a new Eminem project always brings a rollercoaster of emotions, especially post-“Revival.” The shadow of “Revival,” arguably his most critically panned album, still looms large, even after the relative successes of “Kamikaze” and “Music To Be Murdered By.” So, the question on everyone’s mind: does “Side B” signal a true return to form, a “Shadys Back Song” moment, or is it another chapter in his unpredictable discography?
“Music To Be Murdered By: Side B” arrived in December 2020, a mere eleven months after its predecessor, “Music To Be Murdered By.” Continuing the Alfred Hitchcock theme, “Side B” dives deeper into the cinematic and suspenseful elements, both visually and sonically. We get the obligatory Skylar Grey feature, a staple since “MMLP 2,” and a highly anticipated appearance from Dr. Dre. Dre’s feature is particularly noteworthy given his recent health challenges, adding a layer of legacy and resilience to the project. However, even with these established names, can “Side B” truly deliver? Let’s dissect the album track by track, starting with the less impressive moments and building up to the highlights.
Image alt text: Eminem passionately rapping on stage, illuminated by stage lights, capturing his intense performance style.
Diving into the tracklist, “Key,” the lone skit, unfortunately lands at the bottom. Imagine an outtake from the “Encore” sessions, amplified by a bad dream – that’s “Key.” Eminem’s aggressive yelling over a faint piano melody, reminiscent of Obie Trice’s “Cheers” intro, feels more jarring than humorous. While Eminem is known for his outlandish skits, this one feels misplaced and unwelcome, disrupting the album’s flow rather than enhancing it.
Moving into the tracks that are simply “okay,” we encounter songs like “Tone Deaf.” Production-wise, it’s competent, but the opening line, “I have an ear infucktion,” coupled with excessive profanity, is an immediate turn-off. It sets a tone of forced shock value that overshadows any potential lyrical substance. Lines like “just like your funeral, I’m at your service” and the particularly cringeworthy “you heard of Kris Kristofferson? Well, I am Piss Pissedofferson” exemplify a punchline-driven approach that often misses the mark, feeling more juvenile than clever. The album struggles to find a consistent tone, wavering between serious introspection and sophomoric humor.
However, “Side B” isn’t without its redeeming qualities. “Favorite Bitch” stands out as a high point, showcasing both lyrical dexterity and strong musicality. The Ty Dolla $ign feature is a welcome addition, continuing Eminem’s trend of collaborating with contemporary hip hop artists, a positive shift considering his past criticisms of newer rappers, particularly evident on “Kamikaze.” While the “rap as a woman” concept isn’t entirely novel for Eminem, having explored similar themes in tracks like “25 to Life,” “Favorite Bitch” executes it with renewed energy and finesse.
Image alt text: Eminem in a hazmat suit from the “Gnat” music video, set against a chaotic, stylized backdrop, reflecting the song’s themes of pandemic and social commentary.
“Gnat,” the first single with a music video, directed by Cole Bennett of Lyrical Lemonade (known for the “Godzilla” video), is another highlight. The video’s imagery of Eminem in a hazmat suit rapping about COVID-19, his ongoing feud with Machine Gun Kelly, and Mike Pence, is visually striking and topical. While the chorus may be somewhat repetitive, the rapid-fire lyricism in the second verse rivals his acclaimed tongue-twisting abilities displayed in “Rap God” and “Godzilla,” without feeling forced or excessive. “Higher,” the second video, takes a different approach, incorporating UFC elements to promote UFC 257, featuring cameos from Dana White and Michael Eaves, and even fan-submitted content, adding a layer of interactive novelty.
Now for the confession: the unexpected gem, the track that surprisingly shines brightest, is “Discombobulated.” This song is a full-blown throwback to “Relapse,” complete with the controversial accents and horrorcore themes that defined that era. “Relapse,” often considered Eminem’s second weakest album after “Revival,” was infamous for its heavy reliance on accents, a stylistic choice Eminem himself addressed and seemingly moved away from in “Recovery.” Yet, on “Discombobulated,” these “Relapse”-era quirks are resurrected and, against all odds, work incredibly well. In fact, for some listeners, this track might just be the closest we get to a “shadys back song” moment on the entire album. It’s a bizarrely enjoyable palate cleanser after the preceding tracks, a moment of unironic fun amidst the album’s tonal inconsistencies. While not a masterpiece on the level of “Stan,” “Discombobulated” is undeniably catchy and raises the question: why couldn’t more of “Side B” capture this level of engaging eccentricity?
Image alt text: Eminem rapping intensely into the microphone during a live performance, capturing his raw energy and connection with the audience.
Overall, “Music To Be Murdered By: Side B” is, in essence, an album. It exists. It’s a mixed bag of moments, some genuinely engaging, others falling flat. While it doesn’t reach the lows of “Revival,” it doesn’t quite capture the consistent quality of “Music To Be Murdered By” either. The initial worries about a post-“Revival” slump are, to some extent, justified. “Side B” lands somewhere in the middle, perhaps giving “Relapse” a run for its money in the ranking of Eminem’s less celebrated projects. Whether it’s a “shadys back song” album is debatable; moments like “Discombobulated” hint at a return to the Slim Shady persona’s chaotic energy, but overall, the album lacks a cohesive vision. Ultimately, “Music To Be Murdered By: Side B” sets a moderate expectation for Eminem’s future projects. It’s not a must-skip, but temper your expectations – this isn’t “The Marshall Mathers LP.” Hopefully, his next endeavor will deliver a more consistently compelling and focused artistic statement.
