Post Malone’s New Album Mixes Melody and Aggressiveness

Abraham Zamora, Staff Writer

Hang on for a minute...we're trying to find some more stories you might like.

Email This Story

Beerbongs & Bentleys is Austin Post’s, otherwise known as Post Malone, third studio album to date. While originally slated for a release date in December 2017, Post opted to delay the album for a later date to further refine it. The album finally received a release date in early April, and on the 26th, it was dropped at 11 p.m. for those in the central time zone… depending on what music platform you used. Apple Music was unfortunately late to the party, by an hour to be exact, and caused many users to switch to Spotify if they wanted to listen to Post’s much-anticipated album.

The music itself was reminiscent of Post’s past hit singles such as White Iverson and Hit This Hard. The distorted melodies and piano, almost punk-ish drumset, classic 808 trap snare, and thoughtful lyrics all combine in this album in many moments, in songs such as Paranoid, Blame It On Me, and Sugar Wraith, plus others. He also brings back simple strings from songs such as Go Flex back in this album for Stay. Many people say the songs may be too similar, but Post manages to diversify his tracklist with features from artists such as 21 Savage, Nicki Minaj, and Ty Dolla $ign, and does so beautifully. If you loved Post for his meaningful lyrics and soft voice, this album definitely portrays that, and with some aggressive lyrics and tone on the side.

With the hook on Post Malone’s opening track, Paranoid, he portrays the song title well, “Tell me why I can’t get no relief; Wondering when they’ll come for me; A paranoid man makes paranoid plans; I’ll do what I can but it’s out of my hands; Struggling just to find my peace.” Post realizes his strengths and starts out his album strong with this catchy chorus.

This album, with its surrealistic artwork and dreamlike beats, is Post Malone showing off his strengths the way he does best, which is crude but melodic, and proves that Post is not just a one-hit wonder like his critics believe