Post Malone – Beerbongs & Bentleys: Album Review

Post Malone is a man with obvious talents, it is just a crying shame that he fails to demonstrate all of them on his second album ‘Beerbongs & Bentleys’ which is an hour long barrage of “meh” with the occasional flash of promise.

Post Malone’s rise to super-stardom hasn’t taken long, with it being less than three years since he dropped his first ever song White Iverson on Soundcloud. After a collection of great singles and a platinum selling debut album (Stoney), Malone, born Austin Post and gaining his stage name from a rap name generator, had the music world at his feet and was ready to take the step to the next level. That’s where this new album comes in and we have waited long enough for its release; initially being scheduled for the end of last year before delaying it; until now.

The album’s direction was always under scrutiny after the controversial interviews Post gave discussing his musical influences and how he feels about hip-hop, but this album is predominantly hip-hop/R&B styled; boasting loud hi-hats and grimy trap beats and some rap features from the likes of Swae Lee, 21 Savage and Nicki Minaj. The sound, to me at least, has taken a backward step from Stoney and can at times sound hideously over-produced; whoever mixed this album should take a long hard look at themselves.

Over Now has the spirit and fire required to be a really good song, I love the aggression he brings to the track and the beat seems okay in the verses but the song falls flat on its face in the chorus with those awfully loud drum beats that almost drown the whole song out, they come courtesy of Motley Crue drummer Tommy Lee and it makes the whole thing sound like an Imagine Dragons song; not a good thing to rock with.

There are some shining lights in this album without doubt, with both the album opener and closer being fantastic tracks that could easily be viewed as some of the very best he has done to date. I love the passion and energy Post brings to Paranoid and the structure of the song shows just how great of a songwriter Post Malone really can be, there will always be a diamond in the rough. Better Now is another example of this and has to be seen as one of the strongest songs on the project.

The singles are solid and were absolutely huge hits across the globe, but even Rockstar and Psycho can’t give this album the kickstart needed to make this album raise a level in quality, perhaps because of the bizarre inclusion of Candy Paint onto the tracklist, a song made for the Fast & Furious film and quite frankly it is the most squeaky clean, vomit-enducing production you’re likely to hear, as expected from for a soundtrack from a trash film series.

With that being said, we also see the ugly side to Post’s lyrical content in this album, particularly from the likes of Spoil My Night and Rich & Sad which are prime examples of just how corny he can be when he really kicks into gear. I get that the ideas he is discussing are common themes for music, but the way he delivers them can make you cringe at times.

It was name-drop galore on this album for Post Malone, as he gave us some memorable lines for good and bad reasons in his quirky lyrics, whether that be shouting out YouTube’s prime music reviewer Anthony Fantano on Sugar Wraith or referencing Disney Channel series The Suite Life of Zack & Cody on Zack & Codeine. These references can be great and do make you laugh at times, but when he calls people “jabronis” and just two lines later says “I ain’t even see the face, but she got beautiful boobies”, you feel a strong urge to sigh and ponder why he thought those lines were good.

Overall I would just say that this album is a real shame. Post Malone is a man with obvious talents, it is just a crying shame that he fails to demonstrate all of them on his second album ‘Beerbongs & Bentleys‘ which is an hour long barrage of “meh” with the occasional flash of promise. The singles are okay and there are some good songs on here but it feels like a backward step in his progression as an artist when it really could have been the making of him. Yet another artist would appear to have fallen victim of the second album syndrome. In no way am I saying this is terrible, but it is far from the standard it should be and has to be described as a below par effort.


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