Album review by Sierra Walsh
From the first teasing “This album has a name” on his Instagram to Jordan Wozy’s American Horror Story-esque promo shots, Machine Gun Kelly kept fans on their toes with anticipation for his fourth studio album, Hotel Diablo. The release of the first single, “Hollywood Whore” sent the fan base into a theorizing frenzy. What was the overall sound going to be? Will more tracks have a Linkin Park vibe like “Hollywood Whore?” Kells seemed to be weaving symbolic hints in the lyrics and visuals of the first single, then throughout his Hotel Diablo tour.
Finally, July 5th arrived, bringing the brilliance of the album to Spotify, YouTube Music, and Amazon Music. Was it worth the wait? Did it deliver on all the hype? Should you go buy it immediately? Pour a drink and make yourself comfortable, then allow me to explain why the answer is an enthusiastic metalhead screaming, “Yes!” to all of these questions.
Hotel Diablo feels like its own world. This album is one of the few that I listened to multiple times in a row and noticed something new every time. Like a novel, it unveils more of the lore surrounding Machine Gun Kelly, his past, his present, and his steady ascent into legendary status. Just like his previous albums, Kells creates an experience with Hotel Diablo. Sure, I was listening to the album in my living room, but I felt like I was actually in the hotel laughing about “Truck Norris;” I didn’t know why, it was just happening. It could have been because my brain needed a break from dealing with all the feelings this album was sucker punching me with, or the contagious laugh on the interlude.
The opening track “Sex Drive” feels like a transition into an alternate reality where the weird, non-human, and troubled are welcomed by Pete Davidson’s portrayal of Count Dracula. Somewhere in the distance, Gary Oldman beams with pride. Or that was just me getting too excited over vampires.
Speaking of the supernatural, Kells resurrects his devilish reputation in “el Diablo.” A stellar “I’m back to rappin’” come back, the track polishes his image as the Rap Devil. It’s nothing but love for his competition and the awareness he’ll be remembered “in this generation as one of the greatest.” This song, like “Floor 13,” is a balance of empowerment and struggle, which is a Machine Gun Kelly trademark along with his blend of hip hop and rock and roll.
In a similar style to his previous albums, Ohio’s beloved Wild Boy doesn’t shy away from being vulnerable about being “in my head again” in the song “Candy” featuring Trippie Redd. Kells informed us concert goers at his Pittsburg show the song was leaked before he could release it properly. The leak didn’t minimize the relatability of “try to fix this damage” through self destructive methods. Judging by the accumulation of over 4 million views in three days, “Candy” might be a fan favorite and Pete Davidson might become the most requested pharmacist in 2019.
Keeping in the spirit of Hotel Diablo being brought to life by more than Machine Gun Kelly’s masterful lyrics and melodies, indie artist Phem brought ethereal vocals to “5:3666,” which I noticed mirrored “Glass House” featuring Naomi Wild. Both tracks are a walk through two types of trauma—the one due to external factors (“Glass House”) and the other due to internal demons (“5:3666”). “5:3666” sounds the most like a journal entry out of all the songs on the album. There’s a sense of isolated loneliness that can’t be helped with drugs or love, because “everything turned to a nightmare from a dream” and “I’m alone with my thoughts in this glass house.”
Purchase\Stream Hotel Diablo HERE
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