The Weeknd - Echoes of Silence Album Review

In the 3rd and final episode in the sequence that is The Weeknd’s mix tape trilogy, Echoes of Silence does not fail to not only continue the essentially dark mystique that we as fans have come to appreciate in his music but to also introduce an element of transparency, including half of a verse dedicated to his mother in the song “The Fall”- a refreshing aspect that was missed in Thursday and eluded to in House of Balloons. Artist Abel Tesfaye, aka The Weeknd, has seen one of the most rapid growths in popularity amongst music junkies and is slowly cracking the underground ceiling into mainstream popularity, especially after the endorsement and an exchange of cameos on each other’s projects with fellow Toronto native and headliner Drake. Needless to say, when Echoes dropped on December 21, 2011, our dark knight had a reputation to live up to and, in my opinion, he delivered.


The opening track, titled “D.D.”, is a cover and a tribute to the song “Dirty Diana” made famous by the late/great Michael Jackson originally off of the album Bad released in 1988. In the song, which is a ruckus in a quality set of headphones, Abel eerily resembles his influence, hitting each note with the same precision and convincing passion that MJ was so known for, an ambitious venture that few other artists have dared record, let alone introduce an album with. A louder side of The Weeknd we haven’t really seen, or rather heard, before, “D.D.” demands attention and is worthy of some respect. Rest in peace Michael Jackson.
As we know, The Weeknd is no stranger to indulgence and is constantly engulfed in a lust for women and drugs, a reminder that the songs “XO/The Host” and “Initiation” celebrate as The Weeknd returns to form. Both songs commemorate the nights that “pass so much quicker than the days did” and take us on a tour of the life of young girl trying to hang with his crew and keep up with the way he lives. “Initiation”, produced by Illangelo and DropxLife and the first song released from the album in early October, references the introduction of The Weeknd’s “boys” to the girl with an evolving voice distortion feature that almost makes you feel like your on one as well. Her initiation can be interpreted as either the consumption of drugs or a gang bang with his literal crew, a process that she must go through in order to be down with him, thus the song title. As always, his lyrics leave a few figurative blank spaces open for penciled-in translation so, please, decipher them however you see fit and you’ll probably be right.
Now, if there was any kind of lack of moisture in your wife, girlfriend or side piece’s panties from the sunless concepts that Thursday presented, Tesfaye more than compensates with what might be the bedroom anthem of the year and his first melody since “What U Need” meant solely for getting you laid. The song “Outside”, sung to a slow, steady and simple beat with a hint of Asian instrumental influence, offers promise after promise and countless lines to be recycled on Twitter or whispered in the ears of naïve pretty young things that haven’t heard his music before- specifically in the chorus where he promises that once he’s done with her she won’t want to go outside. With a delivery oozing with confidence sung in his signature octave, “Outside” provides whatever background music you may need in your attempts to get your lady undressed, a common objective for The Weeknd with his chick as he gives her lines to make her forget about her ex like “I’ma work you like a pro, baby, and you gon’ take it like one, “I’ma give it to you like you asked for it”, and my personal favorite (pause), “You gon’ make me show off”. Play this track while making love to yours and she might not want to move on to the next song.
The final of the 9 tracks, and the shortest in length, ends the project with a simple piano melody that tells a story of none other but one of his lovers after an affair, depicting the pillow talk they have as he begins to leave. The general concept of the ballad lacks originality but is a pleasant conclusion (as I held my breath until the final track) reassuring fans that Tesfaye has not compromised his deeply shrouded and shadowy persona for a light-hearted mainstream attempt at attention and has stayed true to his essence, retaining his rightful crown as an underground king. Though depth and originality aren’t as commonly found in Echoes of Silence, especially compared to House of Balloons and some parts of Thursday, one can respect the lyrical maturity and artistic growth we’ve seen in this young artist who was virtually unknown to the masses only 12 months ago. Echoes of Silence leaves you, the listener, anxious to replay the album and argue its concepts, if not with your peers, in your own mind and with a curiosity of what is next for our conflicted and seemingly tormented young genius.