![]() That said, if you’re going to listen to a middle-aged man complain that hip-hop isn’t as good as it used to be, that it might as well be Eminem. On the one hand, the stuff about Revival’s reception gets a bit wearying and invites the obvious response: if its pop hooks and guest appearances from Pink and Ed Sheeran were as unfairly maligned as their author keeps claiming, why has he ditched them almost completely for its follow-up? Plus, there’s something odd about hearing Eminem, once the generation gap-cleaving voice of disaffected youth, sounding like a grumpy dad huffing from behind his newspaper in front of Top of the Pops, peevishly insisting that modern music is “mumbo jumbo” and deliberately getting the names of young artists wrong: “Earl the Hooded Sweater or whatever his name is”. He sounds like a man killing time until he can return to the topics that really get him going: negative reactions to his recent work and the vogue for SoundCloud-disseminated mumble rap. ![]() ![]() The weakest thing here might be Good Guy, a frailty-thy-name-is-woman saga of infidelity, marked both by a dreary beat and the sense that Eminem’s heart really isn’t in it.
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