8. My Dear Melancholy
Not even Gaefflestein can make this album enjoyable. It’s a real snooze fest from front to back. Upon its release I remember a very lukewarm reaction to the EP, but that was just giving him the benefit of the doubt. This new revisit, however, showed missteps along the way to deliver something that was once his strongest construct in his music.
The Gaefflestein instrumentals elevate the two songs with them, but nothing can really save the barely drawn out and yawn inducing My Dear Melancholy.
7. Kiss Land
There is a lot that can be said about Kiss Land. After three critically acclaimed mixtapes and a hype unseen from a Canadian artist since Drake in 2008 (Sorry Carly Rae Jepsen). His attempted insertion in the major pop stratosphere was lackluster to say the least. It plays it safe by sticking to his dark mood – synth wave R&B style, but without the depth seen on his previous projects. It always feels like he is treading too many familiar waters instead exploring these luscious sounds more.
It is perplexing how on the surface it met the criteria of what was to be expected from The Weeknd, and especially on his major label debut. With a bigger budget there would be an expected elevation in production, but even with the long runtimes and moody stories that are enveloped in the instrumental didn’t match the quality of his three earlier mixtapes.
There are a number of solid standouts like “The Town,” and “Wanderlust,” which has the most polished and unique instrumental of the bunch. “Wanderlust,” in particular lets the 80s style guitar strings create the overall feel for the synth-pop track. It’s the small nuances like these in the Kiss Land that make if a good debut.
Thursday is the “weakest” of the trilogy of mixtapes that make up The Weeknd’s first compilation album. It takes too much focus on redundant slow melodies interluding these more bombastic songs that standout (by early Weeknd standards).
Thursday’s highlights include “The Zone” featuring Drake and “Lonely Star.”
“The Zone,” has one of the more colorful instrumentals on the tape and buoyed gravitas where it doesn’t sink you too deep, but allows the immediate enjoyment from the subtle strings underneath powerful drum patterns.
Like most of Thursday, the instrumentations steal the show, which in turn allows the Weekend to play around more the music. It is the most ambitious tape of the initial three, specifically with the consistent styles brought by the drum patterns like on “The Birds Pt. 1,” and “Pt. 2.”
The variations include dream-pop like sequences like on “Lonely Star,” to the downtempo dubstep use in tracks like “Life of the Party,” and the title track. And to that effect it makes great use of what they work with, but at times feels like there is more that is missing. It could have just been expectations at the time
5. After Hours
Though one of the biggest albums of 2020, After Hours carried was a sense an essence more attune to the term overrated. However, It doesn’t apply for the second half of After Hours, which finally makes solid use of the new-wave sounds of the 80s. He brought it to the forefront (for the certain niche population of him) with modern takes on instrumental patterns from the era and opening new doors.
The first half slows the tempo of the music by delivering some elegant soft and slow moments, but the overall progression becomes slightly forgettable. It could mostly be that The Weeknd has not predominately hit with his slower-tempo’d pop tracks in recent memory. But it isn’t devoid of great moments/songs like the moody and instrumentally simple “Scared to Live,” which shows The Weeknd’s vocal talent in ballad form. There are a lot of moments where The Weeknd disregards the typical sensitivities based around cold emptiness and channels more longing and heartbreak.
But if we are being honest, After Hours really benefits from having illustrious instrumentations from the producers, and especially legend Max Martin. His bass, drum, keys and guitar work, along with programming gives After Hours it’s own stage to shine in those moments, specifically on “Blinding Lights,” which is a real masterwork.
The prototypical new-wave pop track that exhilarates the drum and synths patterns by focusing it on a 171 BPM speed, which was very common for most drum beats of the 80s. You can hear that kind of consistency in the hits of many bands of the time, like Duran Duran and Joe Jackson.
Starboy was a real turning point in The Weeknd’s long and effervescent career. After ending a triumphant run in the R&B/Pop – stratosphere with Beauty Behind the Madness, his new direction incorporated more new-wave and synth new-wave elements into his music.
Like the recently released After Hours, the new-wave influence The Weeknd brings is a call back to 80s Pop music that once lost footing with more artists steering into an electric-centric direction. But artists like The Weeknd, and others, infuse the unique qualities of 80s music into the instrumentation and modernizes. “I Feel It Coming,” is a strong component of that by bringing smooth disco textures and new-wave synthesizers into the echo chamber and mixing together a lush instrumentation from The Weeknd and his core, plus Daft Punk.
Other highlights of 80s synth new-wave include “Party Monster,” and “Secrets.” The latter of which is this remarkable cut produced by Doc McKinney, The Weeknd himself, and Cirkut (producer of Dark Horse and Roar by Katy Perry) that feels like a remnant of the 80s brought into the light by the virtuoso of the people involved.
However, there are slight shift into the electronic side of the new-wave genre/sound gave The Weeknd many instances to switch his deliveries from certain conventions, like on “False Alarm.” The track opens to The Weeknd breaking down his verses with a hyper stylized melody and the chorus line shifts into a fire alarm going off, but its instead of the blaring noise it’s The Weeknd yelling the title. The smooth transition in the instrumental from the verses to the chorus lines are like a stellar bomb of lights playing the music in your head visually.
Starboy does extend long at 70 minutes, but most of the time the pace is in constant motion and the way you breeze through the tracklist isn’t an afterthought. The underlying currents of the instrumentation reels you with hypnotic consistency.
3. Beauty Behind the Madness
Contrary to the predominant style/approach on Kiss Land, The Weeknd shifts from the blues to the rhythm. The dimensions brought about by The Weeknd’s bombastic overtures that he creates with his producers.
Full of sultry and sex-fueled anthems you wonder how “Can’t Feel My Face,” got a nomination for a Kids Choice Award. Did kids love cocaine in 2016? If only there was an answer. But in all seriousness, like the follow up to this, Starboy, it comes at you full force with great track after great track. There is the luscious and melodic “Often” that takes parallel look on fame and the tinted glasses based on it, and the moody despair of the story evoked in “The Hills.”
The production had definitely tightened in the transition from Kiss Land to this. It could be that with more producers and instrumentalist there was sheer focus on the alignment of the music to The Weeknd’s vocal BPM delivery brings a lot to the forefront. “Can’t Feel My Face” does so by adding the disco speed to the funk centric track.
Though not every track comes off 100% perfect, the amount of what could otherwise be considered skippable songs keeps you head over heels with hypnotic instrumentals and stellar melodies that keep your ears racing for more. It makes you overlook some of the rough patches along the way.
2. House of Balloons
House of Balloons is The Weeknd’s debut mixtape that defined the low-profile hype. It embodies the necessity to show patience, as the detailed instrumentals and moody – morning after despair and regrets paint pictures of a night that leaves the mind weak, amongst other themes.
It does so by commanding moods and sequencing the instrumentations to lay out the cohesiveness from both producer and artist. There are flashes where The Weeknd’s vocals don’t correspond to certain niches of R&B, but what positively deters it from them are it’s unconventional choices instrumentally.
The sound is not as compartmentalized as other standards within the realm he was trying to break into is. There is more groove and emotional weight blended in two. House of Balloons, however, steers more into the blues aspect of the genre and uses alternative sounds to create a zoned in/spacey atmosphere. It’s what separates it from the other artists making music in the genre at the time, since it was heavily pop focused to create superstars. Its neck and neck with Echoes of Silence as one his best works to date.
1. Echoes of Silence
Echoes of Silence is not completely devoid of the typical lyrical content of a Weeknd project, but instead of expressing cold emptiness he is coming from a place of pure heartbreak and despair. It uses the dark-embroidered overtures to deliver with cadence. “XO/The Host,” and “Montreal,” builds upon this brooding mood created by his take on “Dirty Diana” by Michael Jackson.
Echoes of Silence gets the best components of House of Balloons and Thursday and builds upon them further. “Same Old Song,” is an embodiment of it, with croonish despair in his voice as he tries to flex his success it doesn’t match emotions held of his lost love. He plays it off like it is the same old song, but those emotions are deep rooted. He slowly builds his confidence back up to see the future, and Juicy J reaffirms that at the end with the hype man cameo. It is a great representation of the mixtape and The Weeknd as artist.