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"I just won a new award for a kids show/ Talking 'bout a face coming off a bag a blow," the Weeknd raps in one key line, nodding to his Teen Choice Awards nomination for "I Can't Feel My Face," becoming perhaps the first artist to put that particular award show on blast. It's very literally a reminder of who The Weeknd is and where he stands in the industry. The album's fourth track serves as the author's personal introduction to Starboy. It still communicates that depraved, hungry restlessness, as all good Weeknd music has, overlaid with enough pop veneer to make it palatable, but not inauthentic. "Starboy," the title track and the tightest composition on the album, is one of The Weeknd's most balanced pop tunes. Here are a few of Starboy's immediate standouts that may help the cautious listener ease into The Weeknd's new nightmare. Most of the album settles into The Weeknd's bleary trap-driven R&B, with satisfying shreds of melody and cunning lyrical turns scattered throughout. There are a few new sounds in the bag as well: a little vapor wavy synth jam in "I Feel It Coming," some more uptempo house in "Rockin'." Spanning 18 tracks, the album careens through many corners of The Weeknd's usual musical interests - dilated-pupil club jams and vengeful ballads.
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“I don’t criticise,” he adds, leaving a pause to give himself a pat on the back.The latest chapter of The Weeknd's evolving career, titled Starboy, has opened after a long tease - and it's a sinister one. “Where are you now when I need you most?” he mopes on the title track, while on slow-burn opener Alone Again you can imagine him padding mournfully around his apartment as he sighs: “I don’t know if I can be alone again.” Unfortunately, this being a Weeknd album, there are still moments of misogyny, specifically on the bloated Heartless, which seems like self-parody, and the risible, nearly six-minute epic Escape from LA, in which he details having very boring-sounding sex in a studio with women who have all had the “same work done on their face”. Even when he’s apologising or looking for reconciliation, however, it’s always to serve him and him alone. The featherlight, Limahl-esque Save Your Tears, meanwhile, offers up a hint of self-reflection. On the widescreen expanse of the excellent Faith he croons, “thought I’d be a better man but I lied to me and you” in his best choirboy voice. The album opens with a suite of songs that show a scintilla of remorse for failed relationships that never seemed to make it beyond the bedroom. Lyrically, he ventures into new territory too, albeit briefly. Just as those early mixtapes were buffeted by blog-friendly samples from the likes of Beach House and Siouxsie and the Banshees, the Phil Collins-esque ballad Scared to Live soars over a hilarious sample from Elton John’s Your Song, while new single In Your Eyes struts around a refreshingly uncool sax solo. Rather than sticking out like a sore thumb, the glorious 80s synthpop explosion of lead single Blinding Lights – No 1 in the UK for five of the last six weeks – blends in nicely with the album’s nostalgic palette of shape-shifting synth workouts, tactile minimalism and (on Too Late and Hardest to Love), splashes of drum’n’bass and UK garage.
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The agile After Hours might be his best attempt yet at fusing the two.