The ticking beat and sinister, John Carpenter-esque piano figure are harbingers of resurgent menace, while the hazy, treated chorus hook sounds like medication flooding his spirit with the confidence that carries the rest of the album.īut ultimately, it’s all about Eminem himself, and nowhere more dynamically than in the berserk self-assessment “Offended”, where he asserts, amongst other things, that if the time he spent writing were taken into account, he’d be a minimum-wage slave – a faintly ludicrous claim, but immediately backed up by a bravura extended burst of rapid-rap babble that both explains and exemplifies his skills, and leaves one wondering not just how long it took to write, but how on earth he manages to pronounce such a polysyllabic torrent so perfectly. This album is called Revival, after all, and the next track, “Believe”, finds Eminem’s faith in his talent creeping back in. “Kids look to me as a god, this is retarded,” he muses, fully aware of his shortcomings, and tormented by visions of his decline.īut not for long. And rarely has that doubt been more clearly analogised than in the reflective single “Walk On Water”, where any messianic notions are tempered by the sound of ice cracking beneath his steps.

It’s this constant self-laceration that accounts for the manic mood-swings of his albums, the sudden shifts between fury, tragedy and comedy, and which enables him to navigate those changes so nimbly.

Where most wallow in wearyingly cliched boasts of luxury and power, Eminem remains wracked by doubts – about his status, his behaviour, his relationships, his emotions, his mental health. The main thing that sets Eminem apart from virtually all other rappers is the conflicted nature of his character.

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