Dallas Has Brought Us The Next Drake. It’s Post Malone.
The 6 God has paved the way for the reincarnation of himself whilst still alive, in the “weird,” but très wavy, form of Post Malone.
Hailing from Dallas, I had to Shazam his summer smash “White Iverson” when I heard it. Psychedelic, airy, and gorgeous, it sounded like a beat tailor-made by 40, and the emotive Midas touch employed by Malone out-Draked Drake himself.
As an awkward-looking, cornrowed, white Texan, a broad spectrum of people can relate to this guy. Nothing is wildly special about him except that he followed his dream with his whole heart. Raised by a pretty unremarkable family, he has no gangbanger affiliations and an image of approachability—just like Drake.
But they’re both strange. But it’s good. Both are fresh sounds in the genre, and this can be attributed to their “borrowing” from other genres.
Drake has made it clear in songs and interviews that he listens to (and studies) everything. Soul, early ’00s R&B, and ’70s funk have been inspirations. In “All Me,” he claims that he’s the “light-skinned Keith Sweat.” Meanwhile, Post Malone has said, “I am the new R Kelly.”
“White Iverson” is Malone’s version of what happened when Drake rented “Marvin’s Room” for a night.
In addition to R&B crooners, Post Malone acknowledges that his musical genius comes from his immersion in country and rock music. In particular, Body Count. His dad used to “put him on” to these “classical” genres, and the melodious intuition he has developed as a result comes out in songs like “Tears” and “Holyfield,” where he sings/raps/traps throughout the songs, alternating between and within the techniques, just like the 6 God has been doing for the past half-decade.
The actual production is worth noting as well. “Holyfield” and “What’s Up” both evoke the incense-burning-in-a-dimly-lit-room vibe of “Houstatlantavegas,” which takes place in a strip club.
And when riding the beat, both require room to play around in. They let their voices sweep the listener away, instead of just letting the beats do all the work, something that has become very common in hip-hop these days. The hollow, spacious beats Drake and Post rap/sing on provide the perfect backdrop for the situation or story. And it comes together in a way that almost makes you feel guilty for intruding on the artist’s private experiences—but it’s OK because you were invited to take part, and you can relate to it.
Everyone knows Drake is the softest rapper in the history of Ever. (Meek Mill’s corpse might beg to differ though. *Moment of silence for “Tweet Mills.”*)
Right now one wouldn’t come at Postyyy for being soft though. Why? Because the Commander In Chief of OVO took the L for all the softies, and popularized being open, sentimental and human. These days, when a rapper raps about how he cried on his lover’s shoulder because he just downright loves her, it’s not surprising at all.
Cue “Holyfield”: love, fame, family, new friends, old friends, new money, old money and new and old unnamed beautiful women. Drake song, or Post Malone?
“I have something special.”—Drake
“I’m not a normal person. I’m a weirdo”—Post Malone