Cover of ‘Hollywood’s Bleeding’
Second part review to Post Malone’s latest album
By Sonam Kaloti, Arts Editor
4.5/5
Before we start—I was wrong. “Circles” is amazing and I’m most definitely not sick of it after the second listen as I had first proclaimed. On that note, let’s continue this Hollywood’s Bleeding review, shall we?
“Take What You Want,” features Ozzy Osbourne and Travis Scott, and is…unexpected. Honestly, it was near impossible to expect this collaboration at all, let alone what it would sound like. The rock legend’s still-powerful voice opens on the track and, as Malone himself says on Spotify, “Ozzy Osbourne…that’s fuckin’ it. That’s all I gotta say, really.”
The Travis Scott feature fits perfectly, and the hard drums and guitar solo really wraps this track into a beautiful song we didn’t know we wanted but, turns out, we needed.
“Do whatever the hell you want, because you’re a Rockstar.” Malone introduces “I’m Gonna Be” on Spotify as “just a good message for the kids.” It’s got a groovy vibe, and the lyrics are wholesome and uplifting. Malone belts in the chorus, adding some vocal variety to the album, where most of it has his usual soft and flowy singing.
Although Malone and SZA featured together on Lorde’s “Homemade Dynamite” remix alongside Khalid, “Staring At The Sun” is their first collaboration alone together. I think SZA’s crisp and strong vocals bring out the best in Malone, as there’s a noticeable difference in his vocal power, possibly being stronger to match up to SZA. In any case, they sound beautiful together, and the summery sound of the track is likely to be played well into fall.
“Sunflower” is a banger—if overplayed. My mall-working friends hate it; it rings through their nightmares, so I guess you could say that they’re left in the dust. Jokes aside, the track played a huge role in Spiderman: Into the Spider-Verse (one of my favourite movies of all time) and is simply an overall banger. Swae Lee’s magnetic tone never fails to cheer me up right from the start.
“Fuck the internet and you can quote that,” Malone sings on the slower tune, “Internet.” Orchestral in composition with a piano melody, the short track is impactful in its discussion of social media culture.
“Goodbyes” featuring Young Thug is…fine. Maybe it’s my lack of romantic affiliation which makes songs about relationships just average radio bops, or maybe it’s because songs about relationships are just average radio bops. Throw in a breakup and you’ve got yourself a hit; although I do like the lyrics “There’s no way I could save you, ‘cause I gotta be saved, too.” Really, no one is responsible for saving anyone, but being vulnerable enough to admit it that you a) can’t and b) need some help, is something!
“Myself” is a summer-cruising song, as Malone described. This one may just be one of the truly saddest songs on the album. “All the places I’ve been, I wish I could’ve been there myself,” he sings in the chorus. Living the fast life and experiencing so much all the time must not only be exhausting, but wouldn’t leave you enough room to stop, take a breath, and absorb the present moment. Anyone can see the luxuries Malone partakes in via social media, but only having enough time for the photo-op before the next scheduling is more like watching your own life from the sidelines rather than through your own eyes.
“I Know,” is a vibe. All the heartbreak tracks on the album sound cool, and this one is no exception. The fresh beat is forward and delicious. I can already see the lip-synching SnapChats…oh wait that was mine.
“Wow,” has fun lyrics and has been out for a while now. You’ve heard it, I’ve heard it, let’s move on.
In conclusion, there are way too many tracks to individually rank. However, I’ll say my favourites out of the newly released tracks are “Circles,” “Saint-Tropez,” and “On The Road.” Honestly, there weren’t many flaws in the album at all. Malone got his stories across efficiently, and the album is emotional. It’s easy to imagine that creating the album must have been cathartic, considering the lyrics of every track are relatable, some to pretty dark places. Hollywood’s Bleeding is easily going to pick up as one of the best albums of the year.
