Despite a escalating blow up throughout the past year pop artist Post Malone left a lot to be desired in his second studio album, “Beerbongs & Bentleys.”

The former Syracuse native spiked public interest for his sophomore tape by dropping hit singles “Rockstar (feat. 21 Savage),” “Candy Paint” and “Psycho (feat, Ty Dolla $ign)”. These cuts are even more enjoyable within the context of the full album. Post continues to ride the trend of making club bangers, along with a few heartfelt slow songs. Although this might not be as special or grand as his debut project, Post Malone shows that clever wordplay and interesting switch-ups can keep his fan base satisfied.

The album takes off with the intro track “Paranoid” which shows the excellent singing and flow that landed Post Malone on the map. The song centers around the problem of people, especially friends, who do not like him for who he is but for what he is: fame, money and luxury. “Better Now” possess a guitar beat and is one of the standouts in the tape. From the fast-pace catchiness and the scandalous subject matter of exes, this track appeals to Malone’s commercial success.

Going onto features, the guest artists enhance the album tremendously by switching up the mood. “Ball For Me” with Nicki Minaj really sets the mood for a fun night out. The beat itself is extra, and can obviously tell that it is a Nicki Minaj song, but is still an energizing and unique tune. “Spoil My Night” features one half of Rae Sremmurd, Swae Lee, and he completely takes the spotlight. His hook and verse make the song for what it is, and even makes Post Malone feel like the featured guest in this song. Still, this laid-back, Caribbean-beat makes this a summer hit.

“Same Bitches” featuring G-Eazy and YG has huge radio-hit potential. The song circles around the conflicting troublesome of always seeing the same girl everywhere you go, and it just makes you mad. Whether she’s flexing on social media or getting ridiculous in the club, seeing that one girl is annoying. The verses from G-Eazy and YG are crisp, well written and catchy.

The second half of the album shows even more decent cuts. A bunch of his solo songs like “Blame It On Me,” “Stay” and “Over Now” can turn the emotion switch from partying to being deep in your feels. But Post Malone finishes strong with his closer, “Sugar Wraith,” and he brings out some hard-hitting bars that I haven’t heard in a while.

There are a few downsides to B&B. The most glaring issue that this album has compared to his other projects has fallen deeply in the production department. The beats, mastering and mixing of this album isn’t as glossy or smoother than his previous works, and this may or may not be the fault of the record label that Malone signed to recently. Some songs can sound the same due to the heavy length of the album (18 tracks) and having too much dream-pop beats.

Overall, Post Malone doesn’t flourish in his new project, but he is walking in the right direction. The pop-rap appeal and dedicated fan base will have DJs spinning his records for the years to come.