Though his 2019 album
Hotel Diablo
mostly continued the commercial rap style that made
mgk
famous, the record closed with "I Think I'm Okay," a melodic rock song featuring guest appearances from U.K. vocalist
YUNGBLUD
and
blink-182
's
Travis Barker
. The catchy tune injected
's emotionally raw lyricism into a template of spirited guitar-driven pop-punk and it became a huge hit. For fifth album
Tickets to My Downfall
,
commits fully to the pop-punk style that was hinted at with "I Think I'm Okay," making a bold-faced turn from moody rap songs to blasts of distorted guitar, uptempo drums, and vocal harmonies right out of the early-2000s mall punk playbook.
is again a frequent collaborator, producing the album as well as contributing drums and occasionally co-writing some songs. This direct association might be part of why
sounds inarguably enamored with
, with songs like "Bloody Valentine," pained ballad "Play This When I'm Gone," and the explosive "Title Track" following
blink
's blueprint of straightforward melodies, huge hooks, and cathartic choruses. The rap elements of the past aren't completely scrubbed clean, with trap drums added to the mix of tunes like "Drunk Face," and cameo appearances from rappers like
Trippie Redd
Blackbear
. Even still, when
shows up on "All I Know," he's not rapping as much as singing some melodic lines that play nicely with the emo-rock format of the song. The themes of self-destruction, tainted romance, and struggles with depression that were often visited on
's earlier material translate seamlessly from tormented rap to heart-aching pop-punk. Songs like the lovelorn and dramatic "My Ex's Best Friend" might have a delivery that's worlds away from the brooding rap he's known for, but he's still singing about the same problems as always. The profound stylistic upset of
will leave some listeners flat, simply because what they enjoyed about
as a rapper might be harder to find in his pop-punk songs. For those willing to come along for the ride, the album serves as a sincere and somewhat nostalgic embrace of pop-punk from the Myspace era.
's personality is still at the heart of every song, even when trading 808 beats for crunchy guitar riffs. While some songs are more interesting than others and some tend too close to
worship,
succeeds more than it falters. While it would rank as a slightly above average album for any given pop-punk band, there's an added excitement in how risky this about-face is for a multi-platinum artist who could have easily turned in the same record he made last time. ~ Fred Thomas