Inhalt: Despite the fact that he's cursed (no, really – when he touched the Dybbuk box, the world's most haunted object, a run of bad luck, including his house being robbed, ensued), Austin Richard Post has had a stratospherically successful few years. All 18 songs from his second album 'Beerbongs and Bentleys' charted in the US. He's smashed streaming records. And he's been nominated for a Grammy. With his scraggly-hair, scribbled-on beard and face etched with 'Always Tired' and 'Stay Away' tattoos beneath his eyes, he may cut an unlikely megastar, but Post Malone is undoubtedly one of the biggest rappers on the planet right now. Well, we say rapper. "I don't want to be a rapper," he said last year. "I just want to be a person that makes music." Posty, it's clear, doesn't care a goddam thing about genres. His first two albums, from 2016's 'Stoney' to 2018's aforementioned 'Beerbongs…', aimed to prove that point, swinging between trap and hip-hop to country and pop. Yet, even as he was dismissed as a one-hit wonder after breakout single 'White Iverson', he was able to prove doubters wrong, following it up with hit after hit, huge chorus after huge chorus. In that sense, Posty is a very modern star – he's able to skilfully cherry pick from different genres. It's led to questions of how much he means it, man. But Post Malone is the post everything star the kids have called for, a musician made for the internet-age; a goofball chameleon instinctively skilled at understanding the ways genres can merge together. These are albums made as playlists that skip seamlessly between styles. And never has this been truer than on 'Hollywood's Bleeding'. It's a (deep breath) synth-pop-rock'n'roll-bedroom-indie-trap-hip-hop-break-up album. And he's been really busy going through his WhatsApp contacts to ask for star turns – there are guest spots by everyone from Ozzy Osbourne and Future to SZA to Halsey, as well as writing credits for Kanye West and Father John Misty. This cavalcade of star turns only helps to ad