Poor quality studio output

AT May, Kendrick Lamar fell mr. Morality and big steppersan album that, in short, showed everything he faced throughout his life.

On June 3, Post Malone did the same with his fourth studio album. Twelve carats toothacheplunging listeners into their own struggles and state of mind since at least 2020. However, the difference in output quality between the two is staggering.

After Malone’s second – and arguably best – album, Beer bongs and Bentleys in 2018, it was obvious that the rapper was ready to experiment with his music, but then Hollywood bleeding was released just a year later, and he was floundering like a fish in water.

It became apparent that Malone was making music primarily for radio airplay and “it should work as a single”. The trend continues and worsens with Toothache.

Lack of cohesion

Hollywood crawled so that Toothache could regress into a wheelchair as the album shows Malone at his most expressive and open lyrically, but stunted musically, especially in the production.

The famous reverb found on Malone’s releases is still present on Toothachebut for some reason the sound is washed out and has extra “reverb”, while the instrumental parts, especially the drum parts, sound over-produced and more washed out than the reverb.

Close your eyes and the tracks are on Toothache will sound like Malone singing in a damp underwater cave.

For what it’s worth, Malone’s lyricism and ability to create hooks remains on point, such as at the end of “Waste Angels” when The Kid LAROI and the choir bring the track to its finale.

On the lyrical side, the rapper shines the best, even if many topics are depressing, such as his alcoholism, which hit the news in early 2020 before the pandemic due to his behavior on stage during performances and in general.” Watch “.

post prose

AT ToothacheMalone hangs his dirty linen out to dry, repeating over several tracks his confession to alcohol abuse and one fight that allegedly led to him losing several teeth.

“You’re the reason I got my ass kicked but you’re the only way to drown my sorrow, this is my alcohol love/hate letter,” Malone sings in the chorus of (obviously) “Love/Hate.” Letter to Alcohol”, and opening the second verse with the consequence of how it was “laid out flat, like on a spread”.

No one entered the album wanting to hear Malone get knocked out, but he posts it without shame, but with regret.

On the sound-rich – and probably most entertaining – track “Euthanasia”, Malone sings, or rather romanticizes, about euthanasia when he “leaves the house”.

None of the songs on Toothache sound especially “happy” even when accompanied by melodies characteristic of Malone’s music, and one wonders if this and the previous album sound the way they do because of his music label.

With the speed he’s chasing Hollywood bleeding and now that, Malone, perhaps better work and unleash his shackled acoustic creativity on the country album he’s always wanted to make.