As he’s said in the past, the way he portrays himself in his music is “almost schizophrenic,” and his catalog serves to document moments in time. His latest singles showcased two sounds and came with cover art on opposite ends of the spectrum: “Blinding Lights” finds the musician calm, cool and collected, while “Heartless” displays him spinning out of control, specifically in the track’s Sin City-centered visual. Is this the album where the artist finally distinguishes the difference between Abel Tesfaye and his famous persona? This year, the mysterious star made major changes to his aesthetic, after nixing his famous dreadlocks for a more polished look. This way, he can give longtime fans the sonic sensations they crave while also changing things up just the right amount. His newest song “Blinding Lights” features peppy, Stranger Things-esque synths - a departure from the drug-addled rhythms of his past, or even the hazy beats found on “Heartless.” If anything, his more uptempo songs should mirror the production of “Lost In The Fire,” his February collaboration with French DJ Gesaffelstein, which is the perfect mix of melancholy and merry. While artistic shifts are always appreciated, there’s no denying that, when it comes to The Weeknd’s production, the more balance, the better. It could prove beneficial for The Weeknd to follow suit, but given his track record, it’s a toss-up. There’s a chance he may want to let the production simmer in the listener’s mind, but it appears that the sweet spot for many 2019 albums fell between 30 to 45 minutes in length.
However, all three of his earliest mixtapes ( Echoes of Silence, Thursday, and House of Balloons) fell between 45 to 50 minutes, and last year’s My Dear Melancholy, was a seven-song, 25-minute appetizer to whatever comes next. Starboy clocked in at over an hour with a whopping 18 songs, while his 2015 effort Beauty Behind The Madness passed the 60-minute mark. Should their collaboration be a song itself, or should The Weeknd’s vocals stand alone while the Houston native provides his production prowess? Either way, we’d be glad to see La Flame’s name somewhere in the credits. The song, which also features SZA, implements bits of the electro-pop sound found on the Starboy LP, yet it leans more towards the darker sides of both musicians’ catalogues. The two worked together earlier this year on “Power Is Power,” which was found on the Game Of Thrones-inspired soundtrack For The Throne. What lies ahead for the Weeknd? Below are five things we’re hoping to see from his highly anticipated next project.
Five Burning Questions: Billboard Staffers Discuss The Weeknd's Top 40 Debut For 'Heartless'