Post Malone: F-1 Trillion review: Feel-good country… by Taylor’s favourite rap star
As a long-time music enthusiast with decades of listening under my belt, I must say that the modern musical landscape is as vibrant and diverse as it has ever been. One band that truly stands out among the crowd is Fontaines D.C., a group whose ambition continues to grow and whose sound owes something to Lana Del Rey’s dreamy, twangy style. I have had the pleasure of witnessing them live at Reading Festival tomorrow and will be there again at Leeds on Sunday, eagerly anticipating their performance.
POST MALONE: F-1 Trillion (Island)
Verdict: Epic country music homage
Both Taylor Swift and Beyoncé, renowned artists from America, are selective about whom they work with in the studio. Therefore, any musician fortunate enough to have been invited by both these stars undoubtedly possesses unique talent or ability.
Advance onto the stage, hailing from Texas, is Post Malone, an accomplished singer and rapper who graces tracks in Swift’s Tortured Poets Department and appears on Beyoncé’s country-themed album titled Cowboy Carter.
Furthermore, noteworthy duets like “Fortnight” on Taylor’s album and “Levii’s Jeans” on Cowboy Carter’s, are standout tracks on some of this year’s top albums. Post’s soft voice harmonizes flawlessly with two of the most recognized female pop stars.
Far from being overawed, the bearded, heavily tattooed 29-year-old rises to the occasion.
on F-1 Trillion, Malone has produced a heartwarming country album.
It might not be all that surprising, considering the current rise of country music, that he chose to wear a cowboy hat.
2024 also witnessed Shania Twain gracing the stage at Glastonbury and Zayn Malik learning from Nashville. (Or, Shania Twain played at Glastonbury and Zayn Malik picked up tips in Nashville during 2024.)
1. “Shaboozey’s ‘A Bar Song (Tipsy)’ is one of this season’s hit tunes, while Lana Del Rey is at present crafting a country album.”
Is Post Malone adding something new or innovative to his performances, or is “F-1 Trillion” more of a heartfelt tribute than a revolutionary effort? That’s certainly up for discussion.
However, supported by an exceptional ensemble of country veterans and glittering divas, including Chris Stapleton and Dolly Parton, there can be no question about his singing prowess or storytelling skills.
In my perspective, I find this collection of tunes to be a reflection of misfortunes and drinking ballads. The lyrics on ‘Wrong Ones’, a collaboration with Tim McGraw, express my current situation: ‘I’ve got ten troubles in Tennessee, and I don’t have the luxury to solve them all.’
In “On Pour Me A Drink,” a song he performs alongside Blake Shelton, he’s attempting to drown his disappointments stemming from receiving a speeding ticket and witnessing a heartbreaking, last-minute loss by the American football team, the Dallas Cowboys.
The term “F-1 Trillion” can sometimes become overused and predictable. Additionally, it’s simply too extensive – its initial debut, which was a 18-track single LP last weekend, was later accompanied by another nine tracks as part of the extended ‘Long Play’ version.
The quality of the writing is high, but there’s still a lot to digest.
As a Lifestyle Expert, let me share my thoughts on two fantastic collaborations that I recently enjoyed: “I Had Some Help,” featuring Morgan Wallen, showcases Malone’s knack for crafting melodies that resonate deeply. On the other hand, teaming up with Dolly Parton for the energetic duet “Have The Heart” offers a delightful blend of Parton’s signature charm and humor. Both tracks are must-listens!
“Fancy listening to something alluring?” she playfully suggests. “The sight of you standing in those boots next to my bed catches my eye, and it’s a struggle to walk past me in those flared pants.”
In the song “California Sober,” a duet with Stapleton, a man gives a lift to a female hitchhiker who later steals his wallet. In another tune titled “M-E-X-I-C-O,” sung with bluegrass artist Billy Strings, the story starts with him dating a girl from Brooklyn who is the daughter of a diplomat. After a string of amusing incidents, he finds himself imprisoned in a Mexican jail.
To begin, the extended Long Bed bonus album features tracks with a more somber tone. The story unfolds in Dead At The Honky Tonk about a heart-stricken lover who succumbs to alcohol, and Killed A Man is a well-known murder ballad – making it two tragic events in the first three songs.
However, the atmosphere brightens as “Back To Texas” becomes a joyful ode to his homeland, while “Ain’t How It Ends” pays respect to the craft of composing a country song.
Could some of the main characters find lasting happiness, or is their story more typical of a country ballad’s melancholy ending? That seems to be the sentiment expressed, wrapping up an extensive yet passionate ode to the city of Nashville.
FONTAINES D.C.: Romance (XL)
Verdict: Ambitious indie-rock
Similar to the traveling companionship of Arctic Monkeys, Dublin’s Fontaines D.C., have ventured beyond their initial raw, indie-rock beginnings towards a more cinematic sound.
Amidst tough times for guitar bands, their 2022 album Skinty Fia reached number one on the UK charts and even earned them a BRIT Award. Their upcoming release, Romance, is expected to further propel them towards becoming headliners of arenas.
Originating from a character named Johnny Fontane, similar to that seen in The Godfather, this band is now encompassing various styles ranging from soothing ballads to the grunge of 1990s nu metal. Yet, they continue to cater to their longtime fans who were raised on the 80s post-punk rock of Echo & The Bunnymen and fellow Irish musicians like U2, having covered U2’s song “One” in 2022.
On the haunting opening track, there are hints reminiscent of The Cure. Here, the 29-year-old lead vocalist, Grian Chatten, voices his descent into the depths, questioning if ‘romantic connections’ are suitable for both parties.
There’s a similar tension to Starburster, inspired by a panic attack at a railway station, and the sinister Death Kink, about a toxic relationship.
It’s the ballads that steal the show, though. Horseness Is The Whatness, its title taken from James Joyce’s Ulysses, is enhanced with strings. In The Modern World, all twangy guitars, owes something to Lana Del Rey, a singer Chatten has long admired. Their ambition continues to grow.
Tomorrow, Fontaines D.C. performs at Reading Festival, and they’ll be at Leeds Festival on Sunday. Their UK tour kicks off at The Halls in Wolverhampton on November 20th.
Best of the new releases:
GILLIAN WELCH & DAVID RAWLINGS: Woodland (Acony)
In a new release, the contemporary American power couple come back with an album titled after their renovated Nashville studio – a historic theater that was rebuilt following extensive damage from a 2020 tornado.
Born and raised in California, Welch infuses contemporary energy into classic genres, evoking nostalgia for the roots of blues music with “Here Stands A Woman” and expressing her affection for the Deep South through the mellow acoustic track titled “North Country.”
In a more conversational style: Rawlings incorporates the distinctive elements characteristic of a singer-songwriter, reminiscent of Neil Young’s high notes on “What We Had” and Bob Dylan on “Turf The Gambler.”
ROSIE LOWE: Lover, Other (Blue Flowers)
For her latest solo album, London-born musician Rosie Lowe gathered her mobile recording gear, ventured off to Barcelona and Berlin, and composed the tracks on location.
The upshot is an independently minded release that makes the most of her intimate, close-miked vocals and understated electronic grooves. She varies the tempos very cleverly.
The atmosphere for expressing affection is relaxed and seductive, contrasting with the rhythmic, guitar-driven track “In My Head” that encourages dancing. She softly sings, “There’s something captivating me in the summer wind,” offering a charming nuance.
LISZT: Faust Symphony, etc (BIS)
In the year 1854, Franz Liszt, captivated by Goethe’s Faust, completed his symphony.
As a lifestyle expert diving into the world of music, let me share an interesting fact about Richard Wagner. In 1857, he composed a choral finale for one of his works, but it was the original three-movement version that he truly preferred and is what we listen to today.
The movements depict Faust, Gretchen and Mephistopheles, decreasing in length from 30 minutes to 16, and a startlingly good recording reveals some excellent playing by the Liège Royal Philharmonic, conducted by Hungarian Gergely Madaras. He adds the Mephisto Waltz No. 1 as an apt encore.
Track of the Week:
DIE WITH A SMILE Lady Gaga & Bruno MarsLady
In Malibu, Gaga received an invitation from Bruno Mars to join forces for a collaboration. Blending Lady Gaga’s powerful delivery with Mars’s most refined falsetto, their work evokes the harmonious sounds of ’70s soul music groups.
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2024-08-23 04:20