Post Malone – Hollywood’s Bleeding Album Review

Post Malone has become one of the biggest names in music in an extremely short length of time. He released his debut album in 2016, and as of September 2019, he is the 6th most streamed artist in the world on Spotify, with his latest single ‘Circles’ gaining over 50 million streams in around a week. He just headlined Reading & Leeds festivals in the UK to great reception. It’s an understatement to say there was a lot of anticipation and hype for his latest album, and unexpectedly, he exceeded those expectations.

The title track kicks off the album, and immediately sets the gloomy, sad tone of ‘Hollywood’s Bleeding’. Sadness and loneliness have been consistent themes in Posty’s previous releases, but this project is his most cohesive, and consistent to date. Most of the tracks on ‘Hollywood’s Bleeding’ sound like they could easily be singles, and Post seems the most focused he has ever been.

‘Enemies’ is the first track of the album that sounds positive; a really upbeat, peppy and extremely catchy melody runs throughout the track but the lyrics maintain that solemn attitude. ‘Used to have friends now I got enemies, it’s so sad’ hits things right on the head.

‘Allergic’ is an album highlight for me, and shows off what Post Malone does best. Blending elements of several genres together to make a straight up catchy banger. An almost doo-wop beat and melody mixes in effortlessly with rock and trap, and the harmonised acapella vocals that close off the track are genuinely lovely.

Many of the tracks on the album deal with the theme of fame, and how it has affected his life. Some lines like “You see me on TV, you know I’m a star, You say you don’t know me, but I know that’s false” from ‘A Thousand Bad Times’ leave no room for speculation, but tracks like ‘Circles’ make you read between the lines, and show a deeper side to Post Malone. ‘Circles’ is one of my favourite tracks Post has ever done, with it’s jangly guitar and plodding bassline making it almost sound like a single that a Blossoms could come out with mixed with a bit of Tame Impala. It’s extremely catchy and hasn’t left my head since I first heard it.

There are a wide range of features on the album, from the likes of Halsey, Future and Sza, but perhaps the most surprising combination is Ozzy Osbourne and Travis Scott, both of whom feature on the track ‘Take What You Want’. Perhaps even more surprising is that it works, with Ozzy’s vocals providing a really dramatic atmosphere, and Travis puts in a decent verse before the song explodes into an over-the-top guitar solo.

‘Staring At The Sun’ with Sza is a really pleasant track, and whether this is due to the pair’s history or not, it really does sound like the song that would play at the end credits of a superhero movie. The fact that it is followed by ‘Sunflower’ taken from Spider-Man: Into The Spider-Verse, only furthers this in my mind. It’s good though, and Sza and Post work really well together.

‘Internet’ is a weird one. Written by Kanye West, it’s almost interlude length at just over 2 minutes, and is a string heavy, short and sweet ballad about how he doesn’t use the internet much anymore. It’s nice enough though, but the extremely lush instrumentation does seem a little out of place.

When I first listened to ‘Myself’ I thought that it sounded a bit like Father John Misty in the melody and lyrics; “Oh, I’m sick of believing, All of this American dreaming, Oh, let’s not give a fuck ’til Giving a fuck has no meaning”. The track was in fact co-written by Post and Josh Tillman (FJM’s Real Name), and is another of the album’s best points.

Closing off with ‘Wow.’, which is by far the most braggy of all the tracks on the album perfectly sums up Post Malone. He’s made it, and he’s going to keep pushing forward and surprising people with his success for as long as he can.

85%

 

 

 

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