Contextually, Relapse was a comeback album, the first solo project from Em since 2004’s Encore. Eminem’s once-mighty Shady Records as presented on The Re-Up had all but dismantled. Cole were among three of the most promising young artists. The hierarchy had welcomed a slew of new faces Kendrick Lamar, Drake, and J. Unfortunately, 2009 marked a time where the hip-hop landscape was undergoing a major change. Much has been made of the infamous accents, with even Eminem decrying them as recently as 2018, but they’re ultimately part of the concept - those who buy into it don’t take issue with them. Dre’s haunting production to Eminem engaging in the most technically proficient rapping of his career. Yet those who were found much to enjoy on Relapse and its subsequent expansion Refill, from Dr.
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To be expected, as not everybody is eager to engage in murderous and rape-laden fantasies, inspired in part by the mind of serial killers like Ed Gein, Ted Bundy, and John Waye Gacy. Though the Eminem name ensured commercial success, the macabre subject matter proved divisive. Album DescriptionAt the time, Relapse had revealed itself to be somewhat of a niche album. See More Your browser does not support the audio element. © Stephen Thomas Erlewine /TiVo More info That might not quite make Relapse culturally relevant - recycled Christopher Reeve jokes aren't exactly fresh - but it is musically vital, which is all Eminem really needs to be at this point. He's emerged from his exile musically re-energized and the best way to illustrate that is to go through the same old song and dance again, the familiarity of the words drawing focus on his insane, inspired flow and Dre's production. The many, many references to Kim Kardashian's big ass and minutely detailed sadism can get a wee bit tiring, Relapse isn't really about what Eminem says, it's about how he says it. True, he spends a fair amount of the album exorcising his addiction - smartly tying it to his never-abating mother issues on "My Mom" - but most of Relapse finds Eminem rhyming twitchily about his old standbys: homosexuals, starlets, and violent fantasies, weaving all of them together on "Same Song and Dance" where he abducts and murders Lindsay Lohan, suggesting more than a passing familiarity with I Know Who Killed Me. His flow is so good, his wordplay so sharp, it seems churlish to wish that he addressed something other than his long-standing obsessions and demons. Musically, this is white-hot, dense, and dramatic not just in the production but in Eminem's delivery he stammers and slides, slipping into an accent that resembles Paul Rudd's Rastafarian leprechaun from I Love You Man and then back again. Dre's intensified beats, ominous magnifications of his thud-and-stutter signature. As he sifted through junk culture, he also tweaked his rhyming, crafting an elongated elastic flow that contrasts startlingly with Dr. Strive as he might to make an impact in the world at large - and succeeding in many respects - Relapse is the sound of severe isolation, the product of too many years of Eminem playing king in his castle in a dilapidated Detroit, subsisting on pills, nachos, torture porn, and E! Daily News. Relapse is designed to grab attention, to stand as evidence that Eminem remains a musical force and, of course, a provocateur spinning out violent fantasies and baiting celebrities, occasionally merging the two as when he needles one-time girlfriend Mariah Carey and her new husband Nick Cannon. Em none too subtly refers to that addiction with the title of Relapse, his first album in five years, but that relapse also refers to Marshall Mathers reviving Slim Shady and returning to rap. Eminem placed himself in exile shortly after Encore wound down, a seclusion initially designed as creative down-time but which soon descended into darkness fueled by another failed marriage to his wife Kim and the death of his best friend Proof, culminating in years of drug addiction.
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