Music Review: Post Malone’s New Album Doesn’t Match Up To His Older Work

Raymond Barth, Staff Writer

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     Post Malone’s new album Hollywood’s Bleeding isn’t his worst album; however, it’s his least cohesive record to date. 

     Post Malone is a singer-songwriter who has been in the mainstream for a good while now; however, he didn’t grab my attention until his 2018 release Beerbongs and Bentleys, a decent record that combined pop, rap, and other genres on multiple tracks while delivering catchy hooks. The album still has some of his best tracks and will continue to, since this new release is underwhelming.

     Hollywood’s Bleeding is a mixed bag for multiple reasons, one being the lack of cohesion. It seems that Post doesn’t know what genre he wants to focus on leading to a lot of messy or bad ideas. There are a few songs off this album that are heavily indie-pop inspired, which hurts Post since they are some of his worst songs, one being “Circles.” This song is boring, forgettable, takes a dead trend from early 2010’s indie-pop, and has way too much reverb. One minor issue with the album is the inclusion of “Sunflower” and “Wow.” It’s been a long time since their release, which is why it surprised me when I listened to them here. Furthermore, “Sunflower” was put together for a movie and is included in the soundtrack, so the addition here is unnecessary and doesn’t add up to anything. 

     The other aspect that brings this album down is the amount of generic and average tracks scattered throughout this project. Post has some very catchy chorus’ on a couple of these tracks, but most of them are backed by dime-a-dozen beats or often sub-par songwriting. For example, “Saint-Tropez” is a run-of-the-mill Post track with uninspired lyrics that have no value to them at all. This track is the perfect example of a song that doesn’t necessarily need to make the final cut, and a good portion of the other songs feel like that as well.

     Bad and messy ideas are also all over this project. One fitting example is the sound of what is possibly Malone’s vocals transitioning into rock vocals on “A Thousand Bad Times.” It feels out of place and unnecessary in another indie-pop influenced beat. Also, why throw Lil Baby next to Meek Mill? Lil Baby brings nothing to the table in the song “On The Run,” yet another reason for me to claim that he is nothing more than a Young Thug rip off.

     Now, this album does have good tracks and qualities. This can be seen in the song “Enemies” featuring DaBaby, which has great flow from both artists backed by a decent beat. For a person who doesn’t care for DaBaby, I was surprised by his performance, which is only one example of an artist shocking me with their guest performance. One good thing is that a majority of the features have performances that provide a good change of pace for the album, such as Halsey, Meek Mill, and even Travis Scott, who is slowly losing my faith hearing his recent guest performances. 

     Overall, this album is interesting, as it shows post expanding into different genres, but lacking in vision and songwriting talent, as it is pretty lazy this time. I’ll still have my eye on the guy, seeing as he does have talent, but on Hollywood’s Bleeding, he isn’t giving his all.

     The Good: “Myself,” “Take What You Want,” “Enemies,” “Die For Me”

     The Mediocre: “Hollywood’s Bleeding,” “On The Road,” “I’m Gonna Be,” “Internet,” “Wow,” “Goodbyes”

     The Bad: “Saint-Tropez,” “Circles”

     Score: 4/10