Wednesday, September 11, 2013

The Weeknd's Kiss Land

A version of this article appears on

Since sidling onto the music scene at the end of 2010, The Weeknd (a.k.a. Abel Tesfaye) has steadily garnered praise and critical acclaim for his mixtapes. After attracting the attention of fellow Canadian, rapper Drake, The Weeknd spent 2011 releasing House Of Balloons, Thursday, and Echoes Of Silence; three mixtapes that would ultimately be compiled into the 2012 album Trilogy. Now getting his first proper full-length studio release with Kiss Land, the Ontario native’s “debut” doesn't feel much like a freshman album.

While the notions of the sexy, boozy dreamland of House Of Balloons are still alive on Kiss Land, they don’t quite feel as novel or dangerous as they once did. That early mixtape felt mysterious and slightly acidic, but the risks feel more calculated here. This may be treated as The Weeknd’s “first studio album,” but it certainly feels like a second (if not a third) album; like a continuation rather than an announcement or breakthrough. A large part of that stems from the written material. Much of the subject matter of Kiss Land deals with being on the road, and the temptations and disappointments that accompany Tesfaye’s new-found notoriety.

On the album’s title track, Tesfaye sings about his encounters with girls on the road, while a light scream occasionally echoes in the background. It’s a scream of fright rather than one of ecstasy; almost subliminally suggesting that these events might be proving more perilous than pleasurable.  Halfway through, the track dissolves and regenerates as the singer longs to come home, and Tesfaye ends his phrases with a pronounced breathlessness. Before it’s over, the song moves into a final hook (“This ain’t nothing to relate to”) and explores the drunk and drugged haze of getting sucked into the life on the road.

Similarly, “Adaptation” and “The Town” are songs about romantic splits and the pursuit of other options. “Adaptation” pushes a darker, brooding sound, with fuzzy choruses backing refrains like “she might have been the one / I let it go for a little fun.” The tone is one of reflection more than one of remorse.

While critics have lamented that there’s no real “single” on Kiss Land, and certainly nothing as powerful as “High For This” or “Wicked Games,” the album’s strongest song may be the Eighties drenched “Wanderlust.” After a Foreigner-worthy intro, Tesfaye’s vocals occasionally sound like Michael Jackson on “P.Y.T. (Pretty Young Thing),” with the refrain “precious little diamond” repeating in the background. In general, the songs on Kiss Land don’t follow a conventional song structure, which is made clear from the outset with the six-minute long “Professional,” moving from a synth-y elongated opening to a smoother R&B sound.

What The Weeknd does exceedingly well on Kiss Land is marry R&B and trendy synth-tinged indie pop into what has rather tongue-in-cheek-ily been dubbed PBR&B (Pabst Blue Ribbon R&B). The songs work best when a strong hook accompanies the created mood. When that fails to happen, like on the flatly repetitive “Live For,” featuring Drake, it’s disappointing; in this case especially because the Tesfaye/Drake relationship seems ripe with the potential to produce something as strong as Drake’s “Hold On, We’re Going Home” or “Take Care,” but doesn't quite get there. It's unfortunate but, to paraphrase Tesfaye and Drake, this is what they live for; so it certainly won’t be the last we hear of them.

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