Post Malone, Hollywood’s Bleeding | Album Review 💿

Grammy-nominated rapper/singer Post Malone delivers another enjoyable, crowd-pleasing affair with his third album, ‘Hollywood’s Bleeding.’  

“Me and Kurt [Cobain] feel the same, too much pleasure is pain…” Hmm, sounds like Hollywood’s Bleeding for sure! What a dramatic album title Post Malone to say the least.  After experiencing ample success post-Beerbongs & Bentleys, the Grammy-nominated pop-rapper returns ‘sooner than later’ with his third studio album.  Given the singles that were released after Beerbongs, it seemed album number three was ‘just around the corner.’  The result is an album where PM amplifies the pop even more pronouncedly than Stoney or Beerbongs & Bentleys.  Hollywood’s Bleeding won’t change your life, but it has its fair share of moments.

“Hollywood’s Bleeding”

“I light a candle, some Palo Santo / For all these demons, which I could just go on…” No need to wait – let ✓“Hollywood’s Bleeding” be the opening statement of the album.  Essentially, in Post Malone’s hands, the place where so many dreamers go to make it is something of a death trap. From his perspective, Hollywood is dark, disappointing, and troubling (nearly, if not fatal) despite the fact “We call it home.” Following the bleeding, “Saint-Tropez” is all about that drip – the flex action. Post is totally feeling himself, whether it’s “Abs like Abercrombie Fitch” or the expensive “Versace boxers on my dick.” “Saint-Tropez” is anything but deep, but definitely enjoyable.

“Used to have friends now I got enemies / Used to keep ‘em close now they dead to me / Money tend to show all they tendencies / Enemies, yeah, it’s so sad.” ✓ “Enemies” is the first number on Hollywood’s Bleeding to bring on a featured guest, Da Baby.  Da Baby appears on the second verse after Post Malone delivers the golden aforementioned, sung chorus, as well as his own, enjoyable, reflective verse about, you guessed it, enemies.  “Allergic” finds Post playing up his inner- ‘rock star,’ particularly the way he loudly articulates the titular lyrics.  But beyond the rock vibes, there’s also an old-school, 50s/60s R&B vibe that long predates the rapper/singer, who was born in 1995.

“A Thousand Bad Times”

✓ “A Thousand Bad Times” finds Post Malone reflecting on toxic relationships. He sings about bad, shallow girls who ultimately want what he can provide them, not a true, healthy, and dedicated relationship. Ultimately, he seems to be drawn to bad connections, brilliantly captured on the infectious chorus:

“I had a thousand bad times
So, what’s another time to me?
You try to burn my house down
But what’s another house to me?
‘Cause I can take anything that you give me
It’s gonna take a lot more to kill me, bitch
So, thank you for the grave
I need me a place to sleep.”

“Seasons change and our love went cold / Feed the flame ‘cause we can’t let go / Run away, but we’re running in circles / Run away, run. Away.” “Circles” sounded starkly different from the previous advance singles released from Hollywood’s Bleeding. Post Malone opts for a more pop-centric direction, one that makes “Circles” sound mostly, if not completely, removed from hip-hop.  There is no rapping, only singing Post, intact with that ever-unique vibrato.  As a pop song, “Circles” is pleasant, quite sunny in sound, and respectable.  The theme is about the familiar, relatable topic of love, specifically, fading love. Ah, those “seasons change.”

“Die for Me”

✓ “Die for Me” gets Post Malone back into collaborative mode. He taps Future and Halsey for the assist.  Following an intro by an indecipherable Future, Post delivers the chorus, first verse, and the pre-chorus, putting his mark on the song early on.  Future takes the reins on the second verse, in his characteristic, autotune-heavy approach.  Notably, he sings the chorus following his verse, before Halsey takes the third and final verse.  I like how her vocals pop out here.  The final chorus is a collaboration between her and ‘the main attraction’ (Post, of course).  Keeping the collaboration train going, Meek Mill and Lil Baby join PM on the sleek “On the Road.” The chorus features those signature, descending melodic lines (think “Rockstar”), while the record itself has more toughness.  Meek Mill has a legitimate argument for the best verse, while Lil Baby is, well, true to self…

“I feel you crumble in my arms down to your heart of stone / You bled me dry just like the tears you never show / Why don’t you take what you want from me?” ✓ “Take What You Want” pairs Post Malone with Ozzy Osbourne (!) and Travis Scott.  Can you say vibes?  Ozzy Osbourne sounds particularly awesome here, singing the aforementioned chorus at the beginning and following Travis Scott’s verse (verse two).  Of course, Post sings the first verse and his own version of the incredibly catchy chorus following his verse.  Easily among the crème de la crème of Hollywood’s Bleeding.  Follow up “I’m Gonna Be” is certainly enjoyable if ultimately less accomplished as Post asserts, “I’m gonna be what I want, what I want, what I want, yeah / … Can you feel it? Can you feel it.” Perhaps it’s not poetic (it’s quite basic), but again, enjoyable.

“Staring at the Sun”

“Staring at the Sun” featuring SZA follows, set in a ‘sunny’-sounding, major key.  It’s pleasant overall, and certainly has single potential, even if it’s not game changing. The chorus is quite tuneful, even if the f-bomb isn’t the sunniest thing ever.  Overall, the ‘sunny’ continues on the Post Malone/Swae Lee hit “Sunflower”, which originally appeared on the soundtrack for Spider-Man: In the Spider-Verse (2018). Among the selling points on this brief record is the lush, rhythmic production.  Swae Lee is made for this cut, with his chill persona and his melodic abilities, delivering a smooth first verse and memorable chorus. Malone lacks the same finesse as Lee.  Regardless, the contrast is appealing, and, he has some nice vocal harmonies. All in all, the record is packed full of vibes, even if it fails to be transcendent in the least.

“Internet” is interesting, finding Post Malone asserting “I don’t get on the internet no more.” Why? Essentially all the nonsense and toxicity of social media.  He has a point on this short, but interesting joint co-written by Kanye West and co-produced by DJ Dahi, BloodPop®, and Louis Bell.

“Goodbyes” 

“I want you out of my head / I want you out of my bedroom tonight / There’s no way I could save you / ‘Cause I need to be saved, too / I’m no good at goodbyes.” ✓ “Goodbyes” featuring Young Thug is nothing short of a bop, arguably, the crème de la crème of Hollywood’s Bleeding. “Goodbyes” is awesomeness exemplified.  Post Malone excels at pop-rap, taking it to another level with his melodic prowess.  His expressiveness shines over the course of two verses here, as well as a fantastic chorus.  Further amplifying the goodness is brilliant production work that’s dramatic – its rousing and quite decadent ear candy.  Also boding well in Malone’s favor is a respectable narrative, songwriting, and theme. Young Thug should be commended for a sensational collaboration superbly contrasting Post.  “Goodbyes” is a surefire bop that checks off all boxes; it’s well-rounded and quite enjoyable.

Following up “Goodbyes,” a top-three gem from Hollywood’s Bleeding is tough. The album’s 15^th track, the R&B-infused “Myself,” is groovy, features some beautiful falsetto from Post, and is quite catchy, particularly the chorus.  “It is what it is, it’s how I live / All the places I’ve been,” he sings on the tuneful chorus, “I wish I could’ve been there myself.”  Another brief record, the penultimate “I Know” benefits from sleek production work, once more tapping Louis Bell.  Like most of Hollywood’s Bleeding, it’s crowd-pleasing without being groundbreaking.

“Wow.” 

“Hunnid bands in my pocket, it’s on me / Hunnid deep when I roll like the army / Get more bottles, these bottles are lonely / It’s a moment when I show up, got ‘em sayin’, ‘Wow.’” ✓ “Wow.” – a mere two-and-a-half-minutes in duration – concludes Hollywood’s Bleeding infectiously, chocked-full of energy. The production is one of the strong suits, anchored by a tight beat and relatively simple, but potent synths.  It’s the perfect backdrop for the swag-laden pop rapper, who is on autopilot from the start, referencing rides (Benz, McLaren), Vodka mixed with LaCroix, and “the igloo in [his] mouth…”. On the second verse, arguably his best line is when he spits, “Catch me on the block like I’m Matumbo.” Of course, it is the aforementioned, excerpted hook brings the “wow” factor all together brilliantly.

Final Thoughts

All in all, Hollywood’s Bleeding is an enjoyable, crowd-pleasing album by Post Malone.  He embraces experimentation to some degree on the likes of “Allergic,” or even calling up Ozzy for “Take What You Want.” Even so, for the most part, nothing about Hollywood’s Bleeding will necessarily change your life.  Still, there’s plenty to like, even if there’s some filler thrown into the mix as well.

Gems: “Hollywood’s Bleeding,” “Enemies,” “A Thousand Bad Times,” “Circles,” “Die for Me,” “Take What You Want,” “Goodbyes” & “Wow.”