Post Malone has released his third album “Hollywood’s Bleeding.” Consisting of 17 tracks, the album talks about Malone’s inner struggle to stay true to himself in the Hollywood scene.
The album opens with “Hollywood’s Bleeding,” and the track doesn’t miss the mark on setting the tone for the rest of the album. The track itself starts out gloomy, with a slow tempo. It’s mesmerizing and helps you transcend into his melancholic world.
“Allergic” is reminiscent of pop from a couple years ago. The beat brings you back to an old time during music. It almost distracts from its troubling lyrics. “I took your pills and your drugs just to feel something else / ‘Cause I can’t feel you no more.”
His soothing vocals juxtapose the lyrics and melody in tracks like “Staring At The Sun” and “I Know” in a similar way.
“A Thousand Times Bad Times” falls short. It’s without a doubt my least favorite off the album. I wouldn’t have minded hearing less of it, it felt lazy vocally and too repetitive lyrically.
Malone’s anguish in “Circles” helps make it one of his best tracks yet. The power in his voice and message shines through in “Circles” more than any other track. Most can relate to the emotions and vulnerability. The desperation to chase who’s someone out of reach, wanting to avoid a pointless cycle but doing it all over again.
The album features artists such as Halsey, Travis Scott, SZA, Future, Swae Lee, and an unexpected collaboration. The Ozzy Osbourne feature is the most surprising. The two worlds colliding so effectively, it’s unreal. “Take What You Want” is easily one of my favorite tracks. It reminds me of “Jonestown” from his previous album. Trust me, Travis Scott also adds a good deal to this song. And the guitar solo? A perfect addition.
You could probably pick any track off the album and notice the themes of desperation, longing and stagnancy. Despite his growth as a pop artist, his authenticity is still prominent in his music.
The tracks on this album are a worthy continuation of “Beerbongs & Bentleys” because Malone expands on what he’s capable of.
Malone takes his wounds and lays them all out for you. His storytelling is similar to that of a friend venting to you as he effectively conveys what he went through in LA.
On the other hand, songs where he flaunts his status are fun to blast in the car. There are other songs you can get (responsibly) drunk to and reminisce about better times. Additionally, no song on the album feels like a filler other than “Sunflower,” but it’s so uplifting I can’t be mad about it. (It feels more like a Swae Lee track, sorry.)
Malone stays true to himself and doesn’t lower in quality as he gains popularity. He has also proved his vocal capabilities with this album. Sure, he still flaunts his money, success, girls and his cars as he’s always done. But he also shows a more genuine side to him that was appreciated in tracks from “Beerbongs & Bentleys.”
His voice on “Myself” is breathtaking. It’s a chill song that feels like a recap to the regrets of his crazy lifestyle. I almost wish this was the song that closed the album instead of “Wow.”
“Hollywood’s Bleeding” tugs on my heart, moves me to tears and reminds me of a different time. It’s an angsty album — perfect for the cold, lonely autumn months.
My rating: 4.5/5
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