Every story must have a conclusion, and The Weeknd has concluded his musical story in a nearly perfect way. The Weeknd’s sixth and final studio album, “Hurry Up Tomorrow,” serves as the end to the “After Hours Trilogy.”
Prior to the album’s release on Jan. 31, The Weeknd stated “Hurry Up Tomorrow” would be his last edition under his stage name, although he will continue to release music under his birth name, Abel Tesfaye.
Every song on “Hurry Up Tomorrow” makes its own journey. The synths gradually build through each track, making it feel like a voyage that culminates with every beautiful element coming together. These build-ups make every song feel like a thrilling and stirring tale coming to its end.
This is exemplified by the song “Cry For Me.” The track starts with Brazilian-phonk dance production but transitions to an incredible synth section, featuring trap-style drums from executive producer Metro Boomin. This synth switch up adds a mind-blowing amount of energy to the track, resulting in an explosive, extravagant end to the song.
While the incredible instrumentals of “Hurry Up Tomorrow” create an action-packed atmosphere, the cinematic quality of the album is derived from the transitions between songs. Almost every track seamlessly transitions to the next, adding connectivity and structure to an album that does not emphasize its lyrics.
Despite the album’s suppressed lyrics, there is still a story to be heard. In “Reflections Laughing,” featuring Travis Scott and Florence Welch, The Weeknd sings, “I’m trapped inside a gilded cage.” Through melancholic guitar instrumentals, he reflects on how his music career has trapped him in an endless cycle of harmful behavior.
This is a topic that I have seen many artists sing about. However, The Weeknd tackles it in a special way, providing an interesting narrative that kept me engaged throughout the project.
In Welch’s interlude, she acts as a love interest of The Weeknd, concerned about his habits. To the eerie sounds of pouring and drinking, The Weeknd slowly succumbs to the substances he is consuming. As he continues to drink, the voices get deeper, until a fully pitched-down Scott comes in for the outro, finishing off the song by giving it a dark, heart-wrenching feeling.
This usage of vocal modulation and pitch shifting is incredibly effective. Instead of The Weeknd just talking about his bad habits, he displays them through interesting musical techniques that demand attention. Choices like these are what sets “Hurry Up Tomorrow” apart from other albums with similar subject matter.
While the end of The Weeknd is somber in theme, it is triumphant in execution. “Hurry Up Tomorrow” is truly an incredible piece of work and is easily The Weeknd’s best album. My only hope is that Tesfaye can continue to expand on innovative genres and themes, creating new artistic identities for himself.
