Musical Over Dose is proud to present Since January 2002 another new release, have fun .: about release :. Name .:. The Weeknd - Hurry Up Tomorrow Genre : Pop Source : CDDA Type .:. Album Artist : The Weeknd Label : Republic (Universal Music) Titel : Hurry Up Tomorrow Tracks : 11 Playtime : 41:16 Size : 80,60 MB Encoder : VBRNEW - LAME3.100 - V0 Quality : VBR kbps / 44.1kHz / Joint-Stereo Bitrate : avg. 271kbps [ Tracklist ] 01.The Crowd 04:52 02.Cry For Me 03:47 03.Sao Paulo 05:03 04.How It Feels 02:56 05.Take Me Back To La 04:27 06.The Abyss 03:09 07.Open Hearts 03:29 08.Timeless 04:16 09.Africa 03:22 10.Runaway 03:20 11.Red Terror 02:35 Total 41:16 Min ôAll I have is my legacy,ö Abel Tesfaye sings over the funereal opening bars of ôWake Me Upö. Produced by French electronic pioneers Justice, itÆs a scene-setting moment for what, it soon emerges, is the Canadian artistÆs most ambitious project to date û a feature film-length album that supposedly serves as the final chapter for his enigmatic alter ego The Weeknd. Later this year, heÆll star opposite Wednesday actor Jenna Ortega and SaltburnÆs Barry Keoghan in an actual feature film inspired by this record û a psychological thriller underpinned by his restless, sprawling score. A noted cinephile, Tesfaye has always incorporated film influences into his work. His debut album, 2013Æs culture-shifting Kiss Land, tapped into the kind of jittery, menacing paranoia that directors such as John Carpenter or David Cronenberg made their calling card. Hurry Up TomorrowÆs predecessor, 2022Æs Dawn FM, enlisted Jim Carrey as a creepy radio host and borrowed the tagline of 1987Æs Less Than Zero (ôIt only looks like the good lifeö) for his track of the same name. Hurry Up Tomorrow, though, is the first album of TesfayeÆs that actually feels like a movie, scored by his trademark maelstrom of electronic and R&B. The third and final instalment of his After Hours ôtrilogyö, it has supporting characters (Brazilian superstar Anitta, Florence and the Machine, rappers Future, Travis Scott and Playboi Carti), props (the abrupt ring of a telephone and rattle of ice in a whisky glass on ôReflections Laughingö), and a character arc that casts Tesfaye in his preferred role: the brooding, mysterious anti-hero. The 34-year-old has previously suggested Hurry Up Tomorrow was inspired, in part, by a traumatic incident that took place in 2022. Emerging onstage in Inglewood, California, he called out to the crowd: ôHey, Los Angeles!ö His voice cracked. When Tesfaye tried to sing his next line, nothing came out. Footage of the moment shows the stunned artist, looking close to tears as his fans erupted into their own howls of dismay. The show was cancelled. Those screams can be heard here in the transition from a brief interlude (ôI CanÆt F***ing Singö) into the juddering ôSπo Pauloö, likely inspired by last yearÆs triumphant live-streamed stadium show in Brazil. Half the time, you donÆt know if Tesfaye is singing to a lover or personifying his tricky relationship with fame, that cruel mistress. ôAre you real or are you an illusion?/ Cos I feel your loveÆs my delusion,ö he asks on ôWake Me Upö, then, on ôReflections Laughingö, alludes to the pressure on his shoulders: ôI won't make a sound/ Blood on the ground/ When they take my crown/ If they take my crown.ö Though born and raised in the Toronto suburbs by his mother and grandmother, Tesfaye has always seemed magnetised by the dark allure of Los Angeles û its hypocrisies, its vanity, its strangeness. He delayed the albumÆs release due to the recent wildfires, with proceeds from the track ôTake Me Back to LAö going towards a charity providing emergency food assistance to those affected. The song in question nods again to that doomed Inglewood show (ômy voice cracking when we screamö). ItÆs certainly deliberate that his voice, with its Michael Jackson-influenced melisma, is at its most supple. Meanwhile, Tesfaye seems to yearn for those early House of Balloons days of releasing mix-tapes from a place of anonymity: ôTake me back to a place/ Where the snow would fall on my face/ And I miss my city lights/ I left too young.ö The transitions here are remarkable; skipping a single track feels akin to jumping three chapters in a novel. The Giorgio Moroder-indebted synths of ôTake Me Back to LAö melt into, wellà Giorgio Moroder on the synths for ôBig Sleepö. Tesfaye pushes the pedal down on ôDriveö and sends himself plummeting into ôThe Abyssö, an ornate flurry of glissando piano notes that fall like the snow of his beloved Toronto. Fast-forward and you risk missing a surprise cameo, from Lana Del ReyÆs spectral cries to the gorgeous sample of Nina SimoneÆs ôWild is the Windö on ôGiven Up on Meö. It would be easy to dismiss this album as indulgent û particularly after Tesfaye gave everyone the collective ick in HBOÆs ludicrous misfire of a series The Idol û but Hurry Up Tomorrow is impressive for its ambition alone. So many pop stars in TesfayeÆs multi-billion-streaming, Grammy- winning, stadium-selling position would have tried to placate fans with an album stuffed full of ready-made hits. ôFame is a disease,ö he declares on ôDriveö, having earlier confessed: ôI just wanna die when IÆm at my f***ing peak.ö By the title track, closing out the album on brighter (still Eighties-coded) piano chords, he sounds resolved: ôSo burn me with your light/ I have no more fights left to win.ö Then, a truly startling moment as Tesfaye offers the most personal lyrics of his career to date: ôI took so much more than their lives/ They took a piece of me/ And I've been tryinÆ to fill that void that my father left/ So no one else abandons me, IÆm sorry.ö If this truly is the last Weeknd album, you could hardly hope for a better finale. Roll credits. https://www.theweeknd.com