All My Heroes Are Cornballs is Peggy’s most unconventional and unpredictable album to date. Its sound is hard to make sense of, but it’s sonically dynamic and artistically bold. It’s a great project from start to finish with only one track misstep, ‘Life’s Hard’.

A lifeless, tedious, unoriginal, messy, and unfinished album. I think I’ve lost all hope for Kanye now.

This is underrated.

‘Drake Era’ is a blunt aggressive critique on the modern hip hop scene, and Peggy’s direct hate towards Drake is on full display here. This track is shrouded in this abrasively heavy soundscape to completely unleash on. ‘ALL CAPS NO SPACES’ is the best title to describe this song, an absolutely chaotic sonic experience that’s overwhelmingly heavy and loud. This dementedly stitched together fusion of these industrialised sounds is very ... read more

I’ve listened to this album 30 times already.

“If I was an NBA player, I’d be Dillon Brooks, but worse.” This line from Peggy hilariously opens up the album on the song, ‘I scream this in the mirror before I interact with anyone’. A perfectly named title for the aggressive head banger energy this track oozes with Peggy’s ‘I don’t give a fuck’ attitude vocalised so vigorously. The songs short build-up and quick release method in ... read more

Going through Eminem’s catalogue, it’s been a conflicting journey of love and hate/appreciation and disinterest. Unfortunately, The Death Of Slim Shady falls into the negative side of that spectrum. The concept sounds interesting on paper, but Eminem executes this concept so terribly. It’s never fully realised, and there’s no sense of direction to its narrative and there’s no ounce of clarity to it’s themes. It’s a misconstrued idea on Eminem’s ... read more

Pretty terrible, honestly. Side B is superfluous filler with no rhyme or reason to its existence.

Despite how muddled that fuzzy explosion synth melody is in the mix, I can’t help but sing out loud the stadium anthem style hit ‘Higher’.

This album is an improvement over his last couple of albums, but still suffers immensely from Eminem getting in his own way.

I don’t care much for the Hitchcock skit interludes on the album, as they don’t quite coalesce with the content of the lyrics most of the time. ‘Premonition - Intro’ is the annoyingly bitter leftover from Kamikaze, where Eminem blasts critics and those who didn’t like Revival for the majority of the song. ‘Unaccommodating’ ... read more

A surprise album drop from Eminem, but one that is bitter and petty towards those who didn’t like Revival, or talked shit about the album and his career at the time. Eminem must be so delusional to not understand why this is. Even when the album isn’t doing this, we are treated to awful tracks that sound like revival leftovers.

I never thought I’d revisit this album, ever.. but here we are. *sigh*

To start this off, ‘Walk On Water’ is actually an okay pop rap song.. until the end, in which it completely contradicts the vulnerability Em displays earlier, making the sentimental results of the song seem fake. These lyrics that close out ‘Walk On Water’ transition into the next track, ‘Believe’, which has a boringly skeletal instrumental that is buried in the mix of ... read more

This is Eminem’s best album in a long time. This sequel to his highly acclaimed sophomore album, The Marshall Mathers LP is the new era Eminem going on a 14 year introspective dive, reflecting on his career, his legacy, his relationships, his slim shady persona, and his life since that classic album dropped in 2000.

‘Bad Guy’ is the perfect sequel to ‘Stan’. Easily, this is Eminem’s best song in the 2010’s. From the perspective of Stan’s little ... read more

‘Welcome 2 Hell’ ignites onto the scene with explosive energy and crazy chemistry between Em and Royce. They continue this killer rap competitiveness on the next track, ‘Fast Lane’, despite a generic chorus. ‘The Reunion’ switches things up with a less serious song, but one that is humorously goofy. ‘Above The Law’ has a generic hook that has nothing to do with anything, but Eminem and Royce Da 59 are salivating with hunger on this. “They ... read more

The safest, most watered down version of who Eminem is reshaped into radio friendly pop rap records is 100% Recovery in a nutshell.

‘Cold Wind Blows’ is a pretty fun opener with hilariously witty bars and solid production from Just Blaze. Things go downhill pretty damn fast though. ‘Talkin 2 Myself’ is an overly dramatic corny pop rap song with flat dry production and a dull generic chorus. ‘On Fire’ has a terrible hook, some nonsensically corny bars, and a ... read more

After a five year absence of personal hell, Eminem finally comes back and delivers his fifth studio album. Relapse is a messy loose concept album with a pretty strong start and finish, but a horrid middle section. Eminem doesn’t successfully execute the concept into a consistent narrative to make this a stand out project in his catalogue.

The mood of the album is set on the opener ‘Dr. West - Skit’, which delivers a delightfully playful, yet hauntingly eerie introduction to ... read more

Encore has always been the goofy version of the Eminem show, but in an attempt to rekindle some of that Slim Shady humour for this record, he completely forgets what made it work in the first place and then overdoes this try hard humour of stupidity. Unfortunately, at this point in Eminem’s life, he was drowning himself in drugs, so that definitely played a factor with the outcome of the album.

Curtains go up, and welcome to the shit show. ‘Evil Deeds’ has a horrid rap ... read more

Eminem’s entire life is on stage for the world to see like a piece of theatre, and he leans into this concept by opening his third studio album up with the sounds of curtains opening on stage followed by theatrically dark piano notes and Eminem walking to the microphone. As soon as he arrives at the mic, Eminem clears his throat before the skit abruptly transitions into the next track with a yell of “AMERICA!!!” ‘White America’ is this pounding and thumping ... read more

Eminem’s sophomore album The Marshal Mathers LP is an entirely different beast to his debut. MMLP is a depressing anger fuelled outlet of everyday life for Marshall Mathers in the midst of fame.

Right off the bat, Eminem makes a satirical statement with the song ‘Kill You’, where his vile lyrical assault on women is used as a mocking action to those who have criticised him for this. This is hilariously introduced with the opening skit ‘Public Service Announcement ... read more

In 1999, Eminem came onto the scene with his debut album, and immediately, the rapper made an impact upon release with the introduction of his alter ego, Slim Shady (in which he named the album after). The zany charismatic personality and the hilariously demented lyrics from this man made for some solid entertainment value.

Eminem starts this album off with the perfect introductory track to the Slim Shady persona on ‘My Name Is’. The playfully simplistic instrumental allows Em to ... read more

This mixtape is a watered down version of his debut album Heaven or Hell, which is already drowning in issues such as having no artistic identity or musical originality.

My thoughts on Don Toliver are still the same, especially when he has nothing to his identity to make him standout as an artist, but this debut record is clearly his best album.

‘Heaven Or Hell’ is a snoozefest of a track to open the album with. ‘Euphoria’ has delicate piano chords and vocal samples, but Don Toliver sounds like he is on a feature to an incredibly mid Travis Scott song. Travis doesn’t even gel with the instrumental, sounding almost hilariously ... read more

Life of a boring derivative lifeless rnb trap artist.