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On the back half of his verse on “You Gon’ Learn,” he begins rapping on the back half of the beat but never quite slides off into the next measure, and ends by calling a truce with the rappers who he says “can’t even figure out where their words should hit the kick and the snare.” (“You Gon’ Learn” is one of three songs that features a reinvigorated Royce Da 5’9”, who acquits himself excellently on all three; his presence is a frequent reminder that dense, syllable-obsessed rap is adaptable to nearly all eras and production styles.). And if he has to trivialize one of the deadliest terrorist attacks in British history or poke fun at the trauma of a 26-year-old woman to do it, so be it! As a whole, Music to Be Murdered By is as hit-and-miss as anything Eminem has released this side of the millennium. On one song, he describes himself as a cross between Blueface and the Boston Strangler—a level of absurdity that Music to Be Murdered By aspires to but achieves only in fleeting moments. It is maddening that someone who’s exhibited such talent and wit, even on his worst records, defaults so often to the mawkish, mid-tempo stadium rap that has plagued his albums since the comparatively unhinged and anti-pop Relapse. (Photo by C Flanigan/WireImage), Impact 50: Investors Seeking Profit — And Pushing For Change. Listening to a man in his late 40s complaining about the youngsters’ taste in music is seldom terribly edifying, but he gave it his best shot, deploying all the technical skill he once used to make saying the worst things imaginable sound like the most exciting thing in the world on rubbishing Lil Pump and Charlamagne Tha God. Look, I get that rap has no rules, and Eminem has been pulling these stunts for more than 20 years. It opens with a long notebook dump called “Premonition,” in which Eminem vents his frustration with critics—he correctly notes that he’s been mocked for sounding too tame and too angry on consecutive records—and fans who want him to chase trends driven by rappers half his age. Mock developments in the genre and angrily reassert your bona fides, with the accompanying implicit suggestion that things have gone steadily downhill since your days as middle America’s favourite folk devil? Em’s spent the past 20 years glorifying violence and spewing misogynistic and homophobic vitriol; he even does so across much of Music to Be Murdered By. But the smattering of musical flaws is easy to overlook if you concentrate on Mathers’ voice. But for all the accolades they may share, Jay and 2 Chainz have one virtue that eludes Eminem: discretion. The latter is a musically thrilling whirlwind of electronic noise and a veritable bonanza of 90s nostalgia: its hook sampled from Busta Rhymes’ Woo-Ha, its chorus borrowing from Wu-Tang and Ice Cube, its list of guests including Q-Tip and the Roots’ Black Thought.

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