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"Homicide" is simple: two independent rappers walk around a room and, one way or another, become more independent. For Mountain Dew, Logic's mafia circles and cul-de-sac and the first collaboration of Eminem are an event. It is also an amplification of the two patron saints of the worst, though probably the most lucrative, trends of perceived persecution.
From one side, Sir Robert Bryson Hall II bluntly explains why no one thinks he's cool, why he's an "innovator" and why AutoTune is lame. On the other hand, Marshall Mathers absurdly complains that rappers do not write their rapps and that they are the air / rap vampire channel. In the middle, Logic and Em sympathize. They know how to save hip-hop, damn it, if only teenagers listened. As a song, it's a lack of imagination.
Logic and Eminem devote their four-minute coping to the extremely original idea that they will rain various acts of violence over the rest of the rap game. In the three verses, there are at least 30 allusions to a desire to kill, to planning to kill and then to massacre, all directed to an unknown set of musicians. Words such as "kill, attack, break, hit, sizzle, hit and fire" are launched, interspersed with ironic phrases about "Bustin" as a semi-automatic drug addict.
"Homicide" is so devoid of self-awareness that Logic and Eminem's quality markers – double beats, plenty of punchlines and "complex" rhyming patterns – sound worse than the rap music they criticize. At one point, Logic sings in AutoTune: "I have sluts, hoes, rare designer clothes / No, we're not crazy with that," before letting the listeners know that he there is a "time and a place" these words. It's offensive on two levels. First of all, Logic has built his career on reuse and recycling styles (Drake, Kendrick Lamar, Kanye West) to the point that it's hard to understand why he thinks he's creative above anyone else . Second, no matter what Logic claims to be an "innovator", he has not yet popularized a stream (Migos) or a vocal performance (Future), as well as people he apparently mocks. Logic, whatever its success, is simply a synthesizer that knows how to do the politics of respectability among the masses, beyond the derived rhythms.
Eminem is still the same crotch relic that haunted The comeback and Suicide bomber. His verses remain full of empty threats and rhyme rhymes to rhyme ("Big beaks like a platypus / a caterpillar who comes for cannabis"). For some reason, Em always complains about rappers who do not write rap, but it's hard to know why. During the ironic spike of "Homicide", Eminem complains about his "Makin dog sound" because I have to keep these bars on the ground. "Symbolically, the reference sounds right, Eminem's bark has lost all meaning, the bite is missing for years, and there is a sense that if you let it, its grunt will become eternal with the help of musicians. like Logic.
The bite that Eminem warns us about never comes, because she has never been there. Homicide is not so scary when people who were supposed to be killed continue to survive.
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