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“All I have is my inheritance,” sangs Abel Tesfaye on the funeral bars of “Wake Me Up”. It is a moment of staging for what, he emerges soon, is the most ambitious project of the Canadian artist to date – a feature film album which serves to be the last chapter of his enigmatic alter -ego The Weeknd. Later this year, he will play opposite Wednesday actor Jenna Ortega and SalinburnBarry Keoghan in a real feature film inspired by this disc – a psychological thriller supported by his extended and agitated score.
Cinephile renowned, Tesfaye has always incorporated cinematographic influences in his work. His first album, the 2013 culture change Kiss the earthExplained the kind of nervous and threatening paranoia that directors such as John Carpenter or David Cronenberg have made their business card. Hurry up tomorrow ‘S predecessor, 2022 Dawn FMEnlisted Jim Carrey as a scary radio host and borrowed the slogan of the 1987 Less zero (“It only looks like good life”) for its track of the same name.
Hurry up tomorrowHowever, is the first album of Tesfaye which in fact feel Like a film, marked by its Maelstrom brand of electronics and R&B. The third and last episode of his “trilogy” after the hours, he has supporting characters (Brazilian superstar Anitta, Florence and The Machine, Rapters Future, Travis Scott and Playboi Carti), accessories (the steep ring of a phone And an ice cream in a glass of whiskey on “Laughing reflections”), and a character who throws Tesfaye in his favorite role: brooding and mysterious anti-hero.
The 34 -year -old man previously suggested Hurry up tomorrow Was inspired, in part, by a traumatic incident that took place in 2022. emerging on stage in Inglewood, California, he called the crowd: “Hey, Los Angeles!” His voice cracked. When Tesfaye tried to sing her next line, nothing was released. Images of the moment show the amazed artist, closely looking at the tears while his fans broke out in their own howls of dismay. The show was canceled. These cries can be heard here in the transition of a brief interlude (“I cannot f *** ing sing”) in the “São Paulo” loaded, probably inspired by the triumph of the triumphant stadium from last year at Brazil.
Half of the time, you do not know if Tesfaye sings to a lover or personify his delicate relationship with renown, this cruel mistress. “Are you real or are you illusion?” / Because I feel that your love is my illusion, “he asks on” Wake Me Up “, then, on” Laughing reflections “, refers to pressure on his shoulders:” I will not make sound / sound / sound / sound / sound / sound / sound / sound / sound / sound / sound / sound / sound / sound Blood on the ground / when they take my crown / if they take my crown.
Although born and raised in the suburbs of Toronto by his mother and grandmother, Tesfaye has always seemed magnetized by the dark attraction of Los Angeles – his hypocrisies, his vanity, his strangeness. He delayed the release of the album due to the recent forest fires, with the product of the song “Take Me Back to La” to a charity providing emergency food assistance to affected people.
The song in question again agrees to this show condemned to Inglewood (“My voice cracks when we cry”). It is certainly deliberate that his voice, with his melisma influenced by Michael Jackson, the most flexible. Meanwhile, Tesfaye seems to aspire to these days of the house of Liberation Ballons of Mixtapes from an anonymity place: “Bring me back in a place / where the snow would fall on my face / and my lights from the city I miss / I left too young. “”
The transitions here are remarkable; Jumping a single track seems to jump three chapters in a novel. The synths of Giorgio Moroder to “bring me back” melt, well … Giorgio Moroder on the synths for “Big Sleep”. Tesfaye pushes the pedal on “Drive” and sends itself into a fall in “The abyss”, a wave decorated with glissando The piano notes that falls like the snow of its beloved Toronto. Quick advance and you risk missing a surprise cameo, spectral cries of Lana Del Rey to the magnificent sample of “Wild is the Wind” by Nina Simone on “Abandoning up on me”.
It would be easy to reject this album as indulgent – especially after Tesfaye gave everyone the Ick collective in the playful bravo of a series of a series The idol – but Hurry up tomorrow is impressive for its ambition alone. So many pop stars in the position of several billion dollars of Tesfaye, the position of the stadium, winner of a Grammy, would have tried to appease fans with an album filled with ready -to -use success.
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“Fame is a disease,” he said on “Drive”, having confessed earlier: “I just want to die when I am at my peak of F ***.” According to the title song, closing the album on brighter piano chords (still coded by the 80s, it seems to be resolved: “So burn me with your light / I have no more fights to win.” Then , a truly surprising moment when Tesfaye offers the most personal words of her career to date: “I took much more than their life / they have taken a piece of me / and I tried to fill this void that My left father / So no one else abandons me, I am sorry.
