Machine Gun Kelly, mainstream sellout | Album Review 💿

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Rapper turned pop-punk artist Machine Gun Kelly misses the mark on mainstream sellout, the follow-up to his platinum-certified Tickets to My Downfall.

[otw_shortcode_dropcap label=”C” size=”large” border_color_class=”otw-no-border-color” shadow=”shadow” square=”square”][/otw_shortcode_dropcap]olson Baker aka 🎙 Machine Gun Kelly is now a pop-punk singer.  Following renewed success with 2020’s, 💿 Tickets to my Downfall (a platinum album), Kells maintains a melodic direction on his 2022 album, 💿 mainstream sellout.  Unfortunately, the advanced tracks – 🎵 “emo girl”  and 🎵 “ay!”  among them – left more to be desired from the eventual album.  Still unfortunate is the fact that the tattooed musician misses the mark on mainstream sellout, conjuring up only a few moments. Those moments – well – I wouldn’t consider them magical…

“Born with Horns”

Mainstream sellout commences with 🎵 “Born with Horns,” a record purported to be the original title track.  Notably, “Born with Horns” features two contrasting verses.  The first is quick, firmly planted in the pop-punk style.  The second is slower and reflective, still idiomatic of the pain and torture that graces the musical style.  If nothing else, “Born with Horns” sets the tone for what’s to come.  “God save me, I’m fucked up / Ignoring my problems / You die, you’re iconic / More plaques for their office.” Woo! 🎵 “God Save Me” finds Machine Gun Kelly singing about some serious pain.  Does he do so effectively? Eh, it’s so-so and to some degree, predictable.  That said, he has a point when he takes a shot at record labels, and suicidal thoughts, depression, and alcoholism aren’t to be taken lightly.

“I’m ready to let you go / This time is the last, this time is the last.” MGK collaborates with 🎙 Bring Me the Horizon on 🤩 🎵 “maybe”, an advance single from mainstream sellout. Following a deceptive, slower, moody intro, “maybe” amps up the intensity.  He performs the first verse, never getting too high per se, but embodying the style (“I try to hide my face like a wanted man (Yeah) / Maybe I’ll be gone before you count to ten”). In the second verse, BMTH frontman 🎙 Oli Sykes handles most of the vocals, providing contrast to MGK with his higher-pitched vocals. I’d argue the metalcore singer sounds riper than Kells.  From that point on, MGK and Sykes share vocal duties. On the bridge, we get signature, intense BMTH screams. “Maybe” is an enjoyable, respectable pop-punk record but certainly no tour de force.

“Drug Dealer” 

As you’d expect, there are ample drugs on 🎵 “Drug Dealer” featuring 🎙 Lil Wayne.  The girl that Machine Gun Kelly references is fully stocked with all kinds of substances.  Of course, not only does MGK and Lil Wayne want the drugs but they want ass as well.  In the second verse, Weezy asserts, “I’m so in love with her / My hoe, my drug dealer.” Later, he adds, “My plug is my bae, somebody stole my charger.” Wow!  “Drug Dealer” may reference many substances, but it lacks much thematically.  Following the 🎵 “Wall of Fame – Interlude,” we get the brief title track, 🎵 “Mainstream Sellout.”  Predictably, it’s filled with angst and forced aggression – oops, did I just say that?  Basically, Kells shows his hand and there’s nothing else to say.

🎵 “Make up Sex” featuring 🎙 blackbear marks another shallow record. This is obvious from the jump as Machine Gun Kelly asserts, “Okay, screaming when we fuck, screaming when we fight, yeah.” Geez! Of course, it’s fitting MGK references Bonnie and Clyde (🙄) and some cringy innuendo (“Face down, lay pipe, ooh / Waterworks, swim your pool”).  Having blackbear as the featured guest only adds to the melodrama and silliness.  Nah, we don’t expect much from pop-punk but still…

“emo girl”

“I feel in love with an emo girl / All I want is an emo girl.” OMG… I was not a fan of 🤩 🎵 “emo girl” featuring 🎙 WILLOW upon its arrival as a single.  Still, within the context of a sketchy album, it’s one of the better songs (that’s not saying much)). Like much of mainstream sellout, yhe title is predictable, and honestly, after listening to it, so are the lyrics.  The verses play up emo cliches – nothing we haven’t heard before.  Give Machine Gun Kelly credit for “She is a monster in disguise / And she knows all the words to the trap songs,” but he’s a bit too old (31) to be singing about wanting an emo girl. WILLOW’s role is more interesting thanks to being younger and of course, freely crushing on this girl.  Also, her verse is more fun, I guess:

“Choke-choke-choker on her neck

Kiss me, holy fuck, I’m bleeding on your blink tee

So, so, so many regrets

You tell me you’re depressed, baby girl, that makes two of us.”

Still, it’s all about emo clichés which isn’t particularly a brand-new or fresh topic.  Take it for what it is.

Mainstream sellout rolls right along with 🎵 “5150,” which is a fitting title for a tortured pop-punk song.  The title refers to a mental health crisis, leading to an involuntary hold.  Here, Machine Gun Kelly and his girl are both in a bad spot. “You’re crazy (5150) / I won’t go (5150),” he sings in the chorus, continuing, “You make me (5150) / I’m damaged (please don’t fix me).” 🤩 🎵 “papercuts” arrived long before mainstream sellout.  Again, Machine Gun Kelly fully embraces his punk side. He sings in his lower register in an undertone.  While respectable, the criticism is the lack of innovative spirit.  Sure, he brings the attitude and energy, but the song doesn’t necessarily resonate – we’ve heard this many times before. Predictably, the guitars are heavy and driving, the drums are also heavy, with emphasis on kick, snare, and hi-hat. The chorus is gargantuan, which is good, but, PREDICTABLE. Still, one of the better records contextually speaking.

“WW4” 

🎵 “WW4” is a vibe if nothing else. Okay, a moderate vibe. Fast tempo, no shortage of intensity, profanity, and a brief runtime.  The advice given is, um, questionable but punk: “Okay, here’s some rules: / Your teachers are full of shit / You don’t need to go to school / Life’s gonna kick your ass anyways.” Woo! Speaking as a music educator, I’m offended!

🤩 🎵 “ay!” featuring 🎙 Lil Wayne trumps “WW4” but isn’t anything to write home about! “I wrote a letter to myself / In the form of a song I can play when the sun shines,” Kells sings on the first verse, continuing, “I know better than to trust / Anything that I say to myself when I’m this high.” Um, okay… sure.  From there, he delivers a short, predictable chorus where the big takeaway is that he “don’t ever wanna fall when I’m this high.” The second verse he serves up has more meat, but don’t call it high-level poetry.  It encompasses drugs, depression, and, not giving a fuck, something he asserts at the end of the verse. Lil Wayne enters the picture in the third verse, focusing on his high.  “Why you got yo’ nose up? I smell like Guns N’ Roses.”  Honestly, that’s about the size of this two-minute-and-change number. It’s more closely related to hip-hop than most of mainstream sellout but still a far cry from his days of slaughtering with those un-pitched rhymes.

“Fake Love Don’t Last” 

Ah – the final quarter of mainstream sellout (thank goodness)! It commences with 🎵 “Fake Love Don’t Last,” which pairs MGK with 🎙 iann dior.   Positively, I enjoy the tuneful nature of the chorus.  Furthermore, I like the contrast of the pairing.  Still, listening to “Fake Love Don’t Last,” there’s just not much authenticity here.  No, I don’t mean that Kelly isn’t trying or achieving angst, it’s just, well, basic, honestly. 🤩 🎵 “Die in California” is an improvement, allowing MGK to balance both worlds – rock and hip-hop. The chorus, performed initially by Kelly, but most of the time by 🎙 Landon Barker (yes, 🎙 Travis Barker’s son) is memorable. Also, the verses by Kells, 🎙 Gunna, and 🎙 Young Thug are colorful – a vibe if you will.  Ultimately, one of the better moments that wasn’t an advanced single.  

Penultimate cut 🎵 “Sid & Nancy” is… what it is.  Sid Vicious and Nancy Spungen have been often referenced in punk, so, I’m not certain this song was necessary. In fact, I’m certain it wasn’t necessary.  Mainstream sellout concludes with 🎵 “Twin Flame,” aimed at being more authentic, so give MGK credit for that.  I appreciate the slackened pace and I enjoy his tone of voice.  Still, I don’t leave the record truly wowed and certainly, my opinion of mainstream sellout hasn’t changed.

Final Thoughts 💭 

I could beat around the bush, but I won’t.  Mainstream Sellout is a hot mess, period.  Yes, there are moments but honestly, none of those moments are ‘epic.’  I understand the shift from rap to pop-punk by Machine Gun Kelly, particularly following a platinum album but the quality and depth are lacking from the very beginning.  Personally, I still crave those aggressive Midwest rhymes – just saying!

🤩 Gems 💎: “maybe,” “emo girl,” “papercuts,” “ay!” & “Die in California”

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🎙 Machine Gun Kelly • 💿 mainstream sellout • 🏷 Bad Boy / Interscope • 🗓 3.25.22

[📷: Bad Boy / Interscope]