The Weeknd’s new album came out last week. People are apparently digging it – Starboy is being streamed 32.8 million times per day, and all 18 tracks are on the Spotify Global Top 50 Chart. I’d have to agree it’s pretty dope overall (Sidebar: That’s a lie, Love to Lay, Rockin’ and couple others aren’t good, but not all R&B albums can be Channel Orange).
Bookended by two Daft Punk-produced tracks (!!!), this new project is proof positive that Abel’s jumping feet first into the transformation from basement dwelling emo-sadomasochist to full-blown global pop megalith. Surprisingly it fits him well because he originates from a very dark, very minimal, very moody space- at times psychotic, other times depressing, and all times vulgar af. Remember this is the dude that said “But when she put it in her mouth she can’t seem to reach my/ Ballin’ ain’t an issue for me….”on Kissland. Subtle.
With the exception of “Six Feet Under” and “Party Monster” he’s ditched the minimalist trap production of his mixtape days for the more bubblegummy MJ-inspired rhythms. A Lonely Night could legit be a B-side of Thriller. One thing that’s stayed consistent is Abel’s hair-raising falsetto (Hi, Frank). Oh and don’t forget some down right naughty word play. He kicks off Ordinary Life with, “Heaven in her mouth, got a hell of a tongue/ I can feel her teeth when I drive on a bump/ Fingers letting go of the wheel when I cum.” Yo, dog we get it. You catch roadhead in your McClaren. Move it along.
This week I’d say I’ve contributed to a significant percentage of those 32.8m daily plays so here’s Starboy in its entirety.
Starboy, I Feel It Coming (A1), Sidewalks, A Lonely Night, Attention, Ordinary Life