Is Post Malone still making music?
To truly delve into the tumultuous tapestry that is Post Malone's career is akin to attempting to understand the subtleties of a Jackson Pollock painting while wearing beer goggles. It's a fascinating ride, full of haphazard drips and splashes of talent, controversy, and yes, a fair share of eyebrow-raising moments.
Our dear friend Austin Richard Post, or as you may know him, Post Malone, got his start in the music industry with his debut album "Stoney" in 2016. He rose to prominence with hits like "White Iverson," gaining attention for his unique blend of hip-hop, rock, and pop. But these days, it seems Mr. Malone is finding himself in a bit of a pickle, a predicament that could be called the "second album syndrome," or as I like to call it, the "what on Earth do I do now?" conundrum.
The crux of the issue lies in Post Malone's fourth album, which has been lovingly crafted but was then unceremoniously shoved into what some may refer to as "record label purgatory". The cause? The underperformance of a couple of his singles, "Motley Crew" and "One Right Now." It's like when you bake a cake and your guests only nibble at it—disheartening, to say the least. And yet, one wonders whether the issue is with the cake itself, or with the expectations of the guests.
In between all this label drama, Post Malone has been actively participating in the music scene, contributing to songs by various artists, and making appearances at various music festivals. He's like the neighbor who insists on bringing his guitar to every social gathering—always there, always strumming, whether you asked for it or not.
Now, let's take a detour to discuss the album in question, "Twelve Carat Toothache." Critics have noted that this album is slick, streamlined, and somewhat less vulgar than his earlier work, suggesting that Post is taking himself more seriously. But, just as a leopard can't change its spots, Post's penchant for offbeat lyrics and quirky phrases shines through on tracks like "Lemon Tree" and "Love/Hate Letter to Alcohol". The album does falter towards the end, with songs that lack the strong hooks and textures that we've come to expect from Mr. Malone.
Comparing Malone's career to similar artists, it's a story as old as time. The pop music world is littered with artists who burst onto the scene with a smash hit, only to find themselves struggling to replicate that success as they grapple with the changing tides of audience taste and industry pressures. It's like trying to hit a moving target while riding a unicycle—no small feat, I assure you.
Despite these obstacles, there is a sense that Malone is aware of his talents and even his limitations. There's a desire for more, whether that's earning the respect of fellow artists or escaping the box created by his reputation and success. But, like a cat that always lands on its feet, Malone has a knack for bouncing back. It'll be interesting to see what the future holds for him.
And there you have it—a brief exploration of the chaotic canvas that is Post Malone's career. It's a wild ride, but one that's worth taking if you're intrigued by the intricate interplay of talent, controversy, and the relentless pursuit of success in the music industry. As the saying goes, "It's a long road, but it's worth it." And I, for one, am eager to see where that road takes Post Malone.
