I can’t tell you for sure who originally said, “Writing about music is like dancing about architecture,” but this little poem has haunted music critics for half a century. There is a kernel of truth in that. Some music is too great to be suppressed by critics; Some music is too stupid for words. But we keep writing about things. We generally do not attempt to prove or disprove the merits of any particular song. We’re definitely not trying to win some kind of argument with the musician. We often attempt, in a broader sense, to demystify the timeless power of human experience, one artist at a time. But what do you say about someone like Post Malone? He’s a great guy who makes great tunes when he’s not making TV commercials for Doritos, Bud Light, and Pokemon. It’s not that deep. I’m not who – which sonorous. How many semicolons and adverbs can I throw at this guy? his last album, Twelve carat toothache, Friday. Is this thing immune to criticism? Am I an idiot to think he made a good album this time? Or am I just an idiot to over-explain?
For the unfamiliar, Post Malone is a rapper with over a dozen tattoos on his face and three no. 1 register for his account. We’ve come a long way from Gucci Mane’s face tats—essentially an ice cream cone with three decorative spoons on his right cheek—representing a chasm between hip-hop fame and mainstream success. Post Malone is a great company. His famous hit “White Iverson” With a music video now approaching a billion views on YouTube, It was once the biggest song in the world. Taylor Swift will envy him And the Then later I hugged him at the AMAs. Post is a rapper in a decade when the distinction between pop rap and hip-hop sound fell apart. The chasm has closed.
Critics tend to describe Post Malone as a “post-stream” artist: a rapper, yes, but mixed in his design, as ephemeral as a dynamic playlist. Some days he’s a rap star, some days he’s a rock star, Some days it reminds you that it’s from Syracuse via Dallas. In his constant singing, in songs like “White Iverson” and “Circles,” I swear I hear allusions to Drake, Enya, Eagles, sound of Music All at once. On paper, this seems unbearable. But oddly enough, Post’s job often sounds smoother than everyone else — well, apart from The Weeknd — on the radio these days. Seamless, though not always inspiring. At his worst, he’s an industry hacker making his way through plug ‘n’-play collaborations with the rest of the Hot 100. Yet at his best, he’s a multi-genre underdog who slays the agony and ecstasy of his never-ending fun journey through Hollywood. He’s tremendously successful but still connected enough: a lucky young man is living the dream, spending his income on stupid nonsense.
It’s his best toothache, His fourth album. Initially, the single “One Right Now” suggested otherwise; This is a major public collaboration that’s inevitable with The Weeknd if you’ve ever heard of one. But other post guests in toothache—Doja Cat, Roddy Ricch, Gunna, Fleet Foxes—they all seem more in tune with the host and his vision here. He and Doja Cat look cute together on “I Like You (Happier Song).” He and Jonah created some beautiful music together on “I Can’t Be (Sad Song)”. Post Malone In the features of magazines And the Online video game lobbies He may be a cold man. But in his songs he is moody. “In every movie I watch,” Post sings on the low, slow, and pathetic “Lemon Tree,” “I’m on the bad guy’s side.” toothache Contains Crowds: Little Joker Heath Ledger, Little Jared Leto’s Joker. On the other hand, there is “Euthanasia” which is a very serious song that conveys the alcoholic’s amazement and indignation on the brink of death. On the other hand, there’s “Love/Hate Letter to Alcohol,” which is the title of a song that’s similarly loaded, but then the chorus says, “You’re the reason you’re kicking my ass!” Two songs, two modes, but don’t worry: He’s invincible either way.
toothache It’s good, sometimes great, and it rejuvenates Post Malone. These days, there is no shortage of young artists making sad music that rhymes with Joker trance. But overall, Post tends to sound less like a sick teen drama and more like a cheesy flick. This is a good thing. He often dreams of a day. He’s in such a loose state when, in his second single, “Cooped Up” with Roddy Ricch, he sings, “I’m away from Bud Light, not bourbons / I might cut the roof off the suburbs.” This isn’t some wordplay that is unprecedented in hip-hop by any means. 2 Chainz might say some bullshit just like that in that fast, choppy chop of his. After yawning those words, he’s hardly out of bed – but it’s one of those big, strong, satisfying yawns, you know?
Next, Post Malone spends the rest of “Cooped Up” screaming luxury fashion brands – Gucci, Prada, Louis, Tommy, etc – that the rapper has boasted over the past 30 years. Here he made a relatively heartwarming and passionate album, yet it’s still more of a cartoon than a character. A large-scale hit maker still trades in clichés. But he got somewhere. Regardless of “circles” and “sunflower”, hollywood bleeding He was very comfortable and a bit general even for his biggest fans with the slightest preference for hip-hop – listeners who talk, in all seriousness, about Posty’s “turn-pop”, as if his previous albums were damned. supreme customer And the Gandhi’s visions. on me toothache It walks the line between “this is wrong with popular music” and “that’s too good for something that is everything wrong with popular music.” We could sit here a little longer and discuss the best points of this crucial distinction in Post Malone’s singing (for example), “I took a shot, I took a shot, I took another shot.” But then we’ll dance about architecture.