No matter how good he may be in years to come, Abel Tesfaye’s music will always be doomed to comparisons with his breakout trilogy of mixtapes. It’s an inevitable fate. Those mixtapes ripped apart the skin of a genre that had grown a little too safe, and injected it with a generous dose of innovation. We heard it in the grimy nightclub party vibes of House of Balloons, in the noise-meets-acoustic mashup on Thursday, and in the sprawling yet epic Echoes of Silence. But let me stop myself before I too fall victim of these comparisons.
On Kiss Land, The Weeknd’s major label debut, the production is cleaner and the sounds are more ambitious. Album highlight “Belong to the World” opens with a crack of thunder and the chirping of birds, only to fade into a jarring, sped-up beat sample of Portishead’s “Machine Gun”. The vocal overdubs on the chorus are angelic yet dark, and Abel comes through with the lyrics, painting a somber love story full of heartbreak and regret. Another high point is the title track. It starts off mysterious and nocturnal, accompanied by haunting screams and shimmering wind chimes, but at the halfway point the beat picks up and the song descends into a hypnotic nightmare of blurred moans and swirling synths. I can’t help but think of Abel running through the dank, smoke-filled alleyways of Neo Tokyo, his figure illuminated by the neon signs that line every storefront.
Unfortunately, the songwriting and imagery run thin on Kiss Land. “Professional” could not be a more unfocused opener as Abel struggles to fuse two separate ideas. Its abrupt end doesn’t help either, and leaves much to be desired. “Live For” boasts an overly-repetitive chorus, and Drake’s verse, while not a bad one, doesn’t seem to fit the off-kilter beat. And when we’re on the topic of not fitting in, “Wanderlust”, with its straightforward beat and funky melody, sticks out on the album like a sore thumb. The song is catchy, and I find myself singing along with the chorus, but it should’ve been released as a separate track.
By choosing to work with a variety of producers (and without long-time collaborator Illangelo), The Weeknd was able to expand his sonic palette with Kiss Land. The consequence of that decision lies in the album’s rollercoaster ride of consistency. And although I promised to shut up about the trilogy, I can’t help but yearn for their grainy yet even production. Kiss Land offers up a few choice cuts, but little else.
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Tags: The Weeknd