Post Malone, post breakup, brought us his new single ‘Circle’ just last week, appearing as a promise that he would not disappoint on his third studio album ‘Hollywood’s Bleeding’.
Refusing to remain bound by genre, he collaborated with Tame Impala’s leading man Kevin Parker to create a lethargic yet serene sounding track which presets the albums recurring theme of an unresting love.
Unsurprisingly, with the bold range which Post Malone wishes to exhibit on this record, this is simply one of the 10 features in this 17 track galore, which includes the likes of Da Baby, Future, Halsey, Meek Mill, Lil Baby, SZA, Swae Lee and Young Thug.
When anticipating an onset of kicks, snares, and high hats, his acoustic vocal start to the album feels somewhat unsettling; it isn't until a minute in when he gives us what we want, or rather what we expect. ‘Hollywood’s Bleeding’ is an inverted ode to the city, which as Post Malone describes it, inhibits “vampires that want to suck the life from you”.
Beginning the album in a realm familiar to the listener, allows for a more exciting adventure into the unfamiliar parts of the rest of the album. A tip of the hat to the good, moving on to the great.
Heavy pop punk with a light 50’s influence is an uncommon pairing done seamlessly in song ‘Allergic’, the meaning of which accompanies the albums more vengeful tone, however camouflaged in a light hearted and wistful production. It is a style which seems to reflect the imagery of the album cover itself - that at the end of it all, Post manages to rise above it.
What takes the album on a bit of a disappointing turn is ‘Internet’. Composed and written by Kanye West, its oddly placed string accompaniment and lyrics boasts the sentiment of apathy and ignorance. The strings by themselves? Moving, inspiring and touching. However, set against the lyrics it becomes disjointed, unusual and strange.
It’s a two minute interlude which can be easily forgotten in order to enjoy the rest. The most thrilling parts of the album come from its experimental nature, pushed furthest in ‘Take What You Want’ which features both Ozzy Ozbourne and Travis Scott. A collaboration which proves to be an explosive track featuring some insane guitar shredding.
Of course, among this, Post Malone still provides us with a sprinkling of the classics: bitches, butts and Millie on wrists, it’s appeasing. But for the most part, he created an insightful and eclectic record which is a testament to his versatility and willingness to do exactly what he wants.
Words: Hannah Makonnen
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