Some obvious bangers aside, Post Malone’s third album is a repetitive snooze fest that’s dragged down by mopey misogyny.
Post Malone wants you to know that he doesn’t trust anyone.
He spends his days drinking in his Lamborghini and avoids old friends that ask if their mums can get a ticket to his show. He fights with his girlfriend but buys her necklaces occasionally to appease her. He denounces all those who discredited him before he found wealth, and flaunts his designer garments with little humility.
If all this sounds cliché and depressing, it’s because it is. Post Malone’s ‘Hollywood’s Bleeding’ is disappointingly safe and formulaic, covering ground that he’s already extensively explored in both of his previous albums without saying anything new.
Instrumentally it’s exactly what you’d expect – acoustic guitars, atmospheric reverb, smooth vocal deliveries and basic trap drums. It’s purposefully dark in tone, and thus the end result just isn’t much fun. There’s only so long anyone can be interested in a white rich dude either bragging about fame or moping about relationships. By the seventeenth track it wears thin and I was desperate for one song that wasn’t about girls, cars, or Post’s own ego.
Overlong and bloated, most of ‘Hollywood’s Bleeding’ is easy but unambitious listening. It’s fine, I guess, but that lightning energy that was present on the smash hit ‘Sunflower’ isn’t really here, and far too much of it is focused on wealth and discrediting women.
Immune to the critical consensus
It’s worth remembering that Post Malone has never really been a hit with music critics or publications in general, yet continues to be one of the most commercially successful artists of his generation. Reviewing his work feels a little redundant because it’ll rise to the top of the charts for months on end, regardless of what any nerdy keyboard hipsters such as myself have to say.
It’s easy to see why he does so well, too. Post’s vocals are well produced and clean throughout this LP, drenched in reverb and crafted to take centre stage in every track. Deep, guttural drums and basic guitar chords keep things afloat pleasantly enough, and on occasion this setup works really well – ‘Enemies’, ‘Circles’, ‘Die For Me’, and ‘Take What You Want’ are likely to be smash hits in the future.