Recently crowned Billboard’s Prince of Pop Punk, Colson Baker has given himself a reputation to uphold as he releases his newest studio album: mainstream sellout. Expectations were high as he sought to dip deeper into the pop punk genre in his new release lineup. Machine Gun Kelly has really gotten with the times, using strictly lowercase letters in his album and song titles this time around.
His 2022 album contains a whopping 16 songs and a decent handful of features.
“born with horns” kicks off with a pretty killer drum solo, I must say, however from the moment MGK clears his voice and tries to execute what is most comparable to sprechstimme, it’s hard to keep hope, even this early on. He speaks on how there “is no happy ending,” as he takes fans on a roller coaster of his inner monologue. He compares isolation to being the “devil’s spawn,” through implementing an AB rhyme scheme that sounds like an assignment for a primary school English class. The lack of rhythmic flow that then ensues from the very first song throughout the entire album is very out of character for the rapper-gone-punk.
He places “maybe” with Bring Me The Horizon third on the track. We got teased with this song before the album dropped, and honestly it might be one of the best of his work this time around. I mean, Bring Me The Horizon can really do no wrong, but this collab really hit the mark. It plays into the traditional punk ambiance that many were seeking to get more of from MGK, who transitioned into the scene some time into his career. The edge that MGK adds to the pitched screams that everyone grasps onto from BMTH work in perfect unison with the high level of energy produced by this “fuck you” anthem.
When releasing the list of features to be expected in this album, seeing Lil Wayne placed into the punk scene seemed like a questionable crossover. “drug dealer” is the fourth song on the lineup, and to be blunt, I physically cringed around the minute and a half mark where the rapper made his appearance. It feels incredibly out of place and ruins the tone of the rest of the album thus far, and it isn’t even Wayne’s only feature on the album. He sings “it’s hard to function when I’m without you,” but it truly is hard to function through this entire album.
Once we hear “ay!” we’ve reached Lil Wayne’s second appearance on the tracklist. The two singers’ vibes don’t align well, especially with Baker’s attempts to fully transition his platform into the pop punk scene.
I really don’t get what the goal was in integrating mainstream rap into the pop punk scene, but it does not work. Young Thug and Gunna? Seriously, what was he thinking? For someone who wants so badly to climb to the top of the pop punk scene, MGK is incredibly resistant to the culture that the genre was built on. It’s clear he really doesn’t understand the nuances of being punk, as in his song with the two rappers, he talks about painting his nails black in the most embarrassing manner possible. Baker is trying to be relatable to his target audience, but is failing immensely. It’s evident that he still has much to learn about the vibe people seek when listening to pop punk–– this is not it.
The “wall of fame” interlude has no flow to its verbiage, and nobody should be hoping for the next song to be “a banger”–– it just should be.
It was not. The album’s namesake single continues the trend of subpar lyricism. He must be talking to himself in the mirror when he repeatedly says “leave the scene, you’re ruining it,” (which he says 9 times).
At least MGK is self-aware of the fact that people speculate he’s a “poser.” This is why the entire scene was in an uproar of his new title reining over the genre.
Oh, and having your wife hop in with a one-line interlude? Cute, Colson.
I had incredibly high expectations for his track featuring blackbear; “make up sex” is a killer concept and actually plays into the common themes of the punk scene, and honestly, this one was pretty solid.
The lyricism stepped itself up, finally, and the flow was much smoother than its preceding tracks.
This isn’t to say that blackbear didn’t fully carry this song, but the two men’s voices truly compliment each other really nicely, especially when they harmonize in the later verses. The two should seriously consider future collaborations, especially factoring in their prior success in “my ex’s best friend.”
“5150” might have to fall in the top 3 of this entire ordeal. The lyrics feel the most authentic, and through talking about the tortures of his life and the emotions that insue. The title here is also one of the most nuanced; his references to a California law on the detainment of those with dangerous mental illnesses adds to driving home the message Baker is pursuing. Truthfully, this one is well-done.
“WW4” is a cute title, especially when his last album, Tickets To My Downfall, gave us an eruption into “WWIII.” Perhaps MGK’s next album will show us what a personal“WW5” will feel like.
MGK says that “fake love don’t last,” and neither will the title of Prince of Pop Punk after critics truly dive into this album. Jokes aside, this song with iann dior isn’t half bad.
True fans following the punk scene from the start will not stand for this type of behavior, mark my words.
Up until this point in his career, Baker truly has never had a letdown in his career. No matter what genre he’s tackled prior, his albums have never featured a single bad song, but this collection truly does not live up to the reputation that he built for himself prior.
The lyricism is elementary, and MGK is really saying everything while saying nothing across the 40-minutes of noise.
The Mainstream Sellout Tour is set to kick off on June 8 in Austin, TX, but out of concern for those who purchased tickets prior to the album release, I wouldn’t be surprised if resale ticket sites crash from those looking to unload their premature investments.
Listen to mainstream sellout below.
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