Abel Tesfaye says goodbye to The Weeknd
ABEL Tesfaye, the Canadian singer who performs as a weekly Arian, may be the most committed psychologist in his generation. Early of his career, withholding his identity while his moody mixed mixed with a favorite mix. These early records presented a nihilistic and drug -added view, and the re -vision of R. & B. Tesfaye in the end of the shadow, while his star grew, became his aesthetic and narrative aspirations more effective. His music was a means of haunting fantasies, and often with himself as a villain. Over the years, he performed prizes in post -surgery. Troji’s “Halloween Horror Nights” has launched haunted in Universal Studios; He presented his musical vision in the form of a dark cinematic trilogy. His last album, “Dawn FM”, from 2022, took the FM Throwback Radio, which is punctuated by slow guest breaks and the sound of Radio Fuzz. Since it has become one of the most artists who flow into the world, his records have turned into materials around the nature of stardom pop.
In 2023, Tesfaye turned into a different way to express his ideas about celebrities: He participated in creating a TV series with Sam Levinson, director behind “Euphoria”, for HBO. It was partially photographed at the Tesfaye Palace in Los Angeles, “The Idol” tells the story of the tormented tortured pop star called Jocelyn, played by Lily-Rose Depp. She is at a crossroads in her career in the wake of the death of her abusive mother, and falls under a dark night club owner called Tedros Tedros, played by Tesfaye. TEDROS is the part of the mastermind, part of the clown, a partial worship leader, and all sedition. He and Jocelyn are crowned with Sadomasochetic, and their psychological and artistic struggle is crowned in a strange athlete on stage in one of the shows of the Jocelin Stadium.
The “idol” was afflicted by delaying the reported production, the reforms of the major employees, and rewriting and rewriting sabotage; The version that was eventually broadcast HBO presented a confused vision, and its lack of interconnectedness is completely not fully disturbed by aggressive corruption in and producing textual programs. He became a rocking line and a simple ethical source among TV critics, who were unable to find out exactly what Levinson and Titfai were trying to say. The exhibition is like a commercial and narrative failure, and it was canceled after the first five episodes season. Tesfaye, unusual that his severe misunderstanding has a rare break with his star -star personality, and hit to Twitter selection with a frustration that limits despair: “People who hate this have decided a long time ago … it’s good. If you hate it, Do not see it. Although “The Idol” had a lot of aesthetic synergy with the music made by Tesfaye a week, it turned out that his ideas about fame and deviation did not translate well into the screen.
“Tomorrow”, the first major project for Titfai since the release of the “idol”, a more clear and more effective document. Tesfaye-or at least his weekly personality-in a state of unusual anguish and self-destruction. The third in a trilogy (after hours after hours “from 2020,” Dawn FM “), and” Hurry Up Tomorrow “puts Tesfaye at the edge of the abyss, and the narration of drug use and its experiences close to death:” I have grown in the basin I have been paralyzed, ” It sings a verse from “baptism in fear”, which is a song that slows down his visionary style in the eighties of the last century, to a broken curb. “Big Sleep”, a course in the atmosphere, which was produced by Giorgio Moroder, there is a moment when recording seems as if it was immersed in water or fire. Well, you hardly put a fight / ready to sleep Forever Night / Big Sleep, Big Sleep, Oh. “
The Weeknd fans have become unpopular for this uncompromising depression. His brand was for more than a decade, and she often lost its strength to make an impression. The character created by Tesfaye during Weeknd is convincing but stubborn, leaving him a small space for development. As a result, his body of his work – which was moved through his individual vocal power and his undeniable ear to write pop songs – is impressive, if sometimes. The objective and colonial restrictions in the Weeknd Project Tesfaye project are forced to innovate in style and songs, and times when a form of more than more than more exciting is broken. “Hurry Up Tomorrow” has a handful of his most activated and novel songs. Early two paths in the Latin Rhythm album in Raamagine in the Pop Pop ridges. On “Sao Paolo”, a cooperation with Brazilian star Anita, Tesfaye seems active by hitting the intestine from Baile-Funk. These sharp and prepared periods are very rare, however, the back half of the album is drifting into a kind of dream that leaks from self -indulgence.
Despite the overwhelming fatalism in its first extension, “Hurry Up Tomorrow” strives for a form of spiritual salvation of Tesfaye. He is an artist who still provides the power of telling the album, and there are a few moments as it seems to look at the horizon in search of a solution. On “Give me mercy”, it looks like a religious turning in the glow of salvation. “Give me mercy as you do,” sings on the choir. The final path named the record takes the most turns and cardiac recognition that we see from it ever, as he apologizes to his mother and explores his fear of giving up. “I want the sky when I die / I want to change / I want pain anymore,” sings. These may be the final words Tesfaye Utters as Weeknd. In 2023, he told one of the interview that “Hurry Up Tomorrow” is likely to be his last album under the name of the theater. This announcement was amazing not because of its end, but because of his implicit confession that the changing ego had reached its borders.
The Weeknd performed his raging song from the last album in The Grammys, on Sunday night, an unexpected rupture in the boycott of this four -year party. In 2020, Grammys failed to nominate the “pre -lights” path for any awards. It was a blatant supervision: The song was not only the biggest success in Tesfaye, but also to confirm that he could translate his vision into a more motivated and superior voice. In the years after this, Tesfaye refused to present his music to consider it from the Registration Academy. Harvey Masson Junior, the academy’s executive director, presented his appearance on Sunday night, “I remember to wake up the main headlines that he called and the Academy of the Academy because there was no transparency in our prizes,” Mason told the crowd. “But you know what, criticism is fine. I felt his conviction.” It was a curious thing, a very artist on being a mystery, he wants transparency from an institution. Tesfaye appeared on the stage to perform a detailed display of the new song “Cry for Me”. It is shrouded in the hood and sunglasses, still seems conservative to surrender its protective shield. ♦