Eminem Discography 2018 Torrent
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Revival rollout. But while Kamikaze’s content and release tactics guaranteed a monstrous first-week debut, they also invited plenty of rightful criticism, and Eminem Discography 2018 Torrent Release
for his ninth trip to the top of the charts, Eminem may have utilized his final gimmick.Following a trio of albums in the early 2000s that each moved seven figures in their first weeks—2000’s The Marshall Mathers LP, 2002’s The Eminem Show and 2004’s Encore—and further established hip-hop as a popular music juggernaut, Eminem retreated from the spotlight to iron out his personal life. He reemerged, newly sober buthardly more mature, with 2009's Relapse, his first studio album of new material in five years. It was a quintessential big-budget comeback spectacle, reuniting Eminem with all-star producer Dr. Dre and reintroducing his alter ego Slim Shady for a song cycle that touched on his trip to rehab and subsequent relapse. Regrettably, the album also featured some of his most ghastly lyrics to date: tales of blacking out and slaughtering innocent bystanders (“3 a.m.”), being force-fed Valium by his mother as a child (“My Mom”) and being defiled by his stepfather in the shed behind his house (“Insane”). Relapse debuted atop the Billboard 200 with 608,000 copies and spawned Eminem’s second No. 1 single on the Hot 100, the Dre- and 50 Cent-assisted party anthem “Crack a Bottle.” Yet despite its commercial success, the album's repulsive sexploits and half-baked shock tactics prevented it from being a proper hero’s return in the eyes of critics.
So Eminem tried again. In 2010, he released Recovery, originally supposed to be Relapse 2 before the songs took on a new direction. The ensuing collection pivoted from the try-hard horrorcore dreck of Relapse and strove for optimism in the midst of personal turmoil, as Eminem rapped about overcoming addiction and falling back in love with music. This tonal shift made for the inspired “Talkin’ 2 Myself,” where Eminem acknowledges his recent artistic shortcomings and cops to feeling intimidated by the rise of rappers like Lil Wayne and Kanye West. It also birthed two bombastic, chart-topping singles, the preachy “Not Afraid” and the mawkish “Love the Way You Lie” featuring Rihanna. The latter track opened the floodgates for a slew of unfortunate collaborations with high-profile pop stars that would float Eminem to the top of the charts for the next several years. Recovery topped the Billboard 200 with a monstrous 741,000 copies in its first week, but it also found Eminem embracing the pop music machine he once despited.
Where do you go once you’ve strayed so far from your early sound? If you’re Eminem, you go back to your roots. In 2013, he released The Marshall Mathers LP 2, revisiting his landmark 2000 album that sold a then-record 1.76 million copies in its first week and cemented his status as one of the genre’s wittiest, most wrathful and impactful storytellers. Eminem teased MMLP2 with lead single “Berzerk,” an explosive, irreverent rap-rock crossover that samples Billy Squier’s “The Stroke” to thrilling effect. But producer Rick Rubin’s plodding arena-rock treatment didn’t work nearly as well on the “So Far…,” which samples Joe Walsh’s “Life’s Been Good,” or 'Rhyme or Reason,' which lamely interpolates the Zombies’ “Time of the Season.” Eminem reunites with Rihanna to diminishing results on “The Monster” which nonetheless topped the Billboard Hot 100, and he flexes his pyrotechnic flow on the EDM-influenced “Rap God,” which would stand as a dizzying album highlight if not for its grossly homophobic lyrics. Eminem claimed The Marshall Mathers LP 2 would evoke certain themes and the overall vibe of its predecessor, but the album instead finds him copping to mainstream pop trends and cramming as many syllables into each line as possible at the expense of a cohesive narrative. Fans didn’t care: The Marshall Mathers LP 2 debuted atop the Billboard 200 with 792,000 copies and became the second best-selling album of 2013.
Despite mixed critical reception to much of his post-hiatus material, Eminem seemed unimpeachable from atop the charts from 2009 to 2013. But hip-hop—and popular culture at large—changed drastically in the interim between The Marshall Mathers LP 2 and 2017’s Revival, and Eminem struggled to change with it. The rapper kicked off his haphazard promotional campaign in October 2017 with a fiery, Trump-skewering freestyle cypher at the BET Awards. It was passionate despite its warts—which is more than can be said for Revival. Despite being framed as Eminem’s “political” album—the cover features the rapper holding his head in shame, superimposed over an American flag—Revival is chock-full of Top 40 shlock. The mawkish, Beyonce-assisted ballad “Walk on Water” failed to make a splash as the album’s debut single, and the vile Ed Sheeran arena rock collab “River” just missed the Top 10 of the Billboard Hot 100. The album sank under the bloat of these high-profile collaborations, including the overwrought “Like Home” featuring Alicia Keys and the dumbfounding, miraculously awful X Ambassadors collab, “Bad Husband.”
As a result of these horrific stylistic missteps, Revival debuted with only 1/3 of the sales of its predecessor, though it still topped the Billboard 200 with 267,000 units. It’s possible that Eminem alienated part of his fanbase with his Trump freestyle, but that can’t account for such a steep sales drop; consumers are too fickle to abandon their favorite artist over one performance. A more likely explanation is that Revival flat-out sucked, and its disingenuous political posturing only hurt matters further.
After a disastrous 2017, Eminem made a wise move by surprise-releasing Kamikaze. The stunt allowed him to frame the album as a raw, back-to-basics effort, and journalists spent the entire weekend decoding his wellspring of disses at critics and fellow rappers. Kamikaze generated a career-high 225.5 million streams in its first week and posted the third-largest sales week of the year exclusively through digital downloads; the album became available on CD on Friday (Sept. 7), which should boost its second-week sales as well. From a commercial standpoint, Kamikaze gave Eminem’s career a much-needed revival after the actual Revival landed with a thud.
But the album’s release did not come without blemishes. Critics quickly disavowed Eminem’s homophobic slur against Tyler the Creator on “Fall,” as did featured artist Justin Vernon. The album, for all of its technical prowess, does little to make Eminem seem up-to-date with genre trends: The hooks are often clunky and annoying, and in lambasting the mumble rap zeitgeist, he resembles a crotchety Abe Simpson of “Old Man Yells At Cloud” fame. There’s also no avoiding the fact that, for all of its fire and fury, Kamikaze still serves partially as a vehicle for its genuinely joyless final track, the shameless Marvel movie tie-in “Venom.”
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The element of surprise helped Kamikaze obliterate the charts in its first week, but it remains to be seen how the album’s contents will hold up over time. It’s nearly impossible to capture lightning in a bottle twice, which means Eminem won’t be able to yank the “surprise release” from his trick bag at any point in the foreseeable future. He’ll likely continue to court controversy with every successive album; to expect otherwise would be foolish. But next time, he needs to ditch the slurs, find some more diverse lyrical inspiration and rap with the righteous rage of yore over some modernized hooks. He’ll need to bring his A-game from this point forward, because his trick bag finally seems empty.