Salaryman

6y

Album secured.

Salaryman

6y

Album secured.

Berk

6y

Can’t decided if I start smoking at 11:30 so I’m faded when the album starts or start smoking at 12 when it drops lol

Salaryman

6y

Album secured.

HopOffMySackDawg69

6y

The description of the album on Apple Music is KILLING ME

Worldpremiere_

6y

What does it say?

darklex150

6y

The general rule is that you smoke before the first listen and in the middle of the listening session if s*** is too dope.

HURRY UP TWO

6y

"You can find love, fear, friends, enemies, violence, dancing, sex, demons, angels, loneliness, and togetherness all in the After Hours of the night.” —The Weeknd
Ever since The Weeknd emerged in 2011 with the mysterious and mesmerizing House of Balloons, the Toronto native has kept us on our toes: There was a trio of d***gy, lo-fi R&B mixtapes, the Top 40 cake-topper “Can’t Feel My Face,” and the glossy, Daft Punk-assisted rebirth that came with 2016’s Starboy. On After Hours, his fourth studio album, the singer returns to early-era Abel Tesfaye—the fragile falsetto, the smoky atmospheres, the whispered confessions. But here, they’re bolstered by some seriously brilliant beatmaking: muted, shuffling drum ’n’ bass (“Hardest to Love”), whistling sirens and staccato trap textures (“Escape From LA"), and flickers of French touch, warped dubstep, and Chicago drill that have been stretched and bent into abstractions. It’s as if Tesfaye spent the past four years scouring underground warehouse parties for rhythms that could make his low-lit R&B balladry feel hedonistic, thrilling, and alive. When the album does lift into moments of brightness, they’re downright radiant: “Scared to Live” is sweeping and sentimental, fit for the final scene in a romantic comedy, and “Blinding Lights”—a Max Martin-produced megahit boosted by a Mercedes-Benz commercial—is about as glitzy, glamorous, and gloriously ’80s as it gets.

Berk

6y

Maybe spark up again when Escape From LA starts

ess

6y

listening to too late snippet one last time i promise 🤭

Worldpremiere_

6y

Ur def gonna be disappointed when u hear the actual track lmfao

ess

6y

that was the last time bro i swear to god

Worldpremiere_

6y

Nah fr tho u ruined the track for yourself. Now u gon be spewin nonsense itt when it drops

HURRY UP TWO

6y

"You can find love, fear, friends, enemies, violence, dancing, sex, demons, angels, loneliness, and togetherness all in the After Hours of the night.” —The Weeknd
Ever since The Weeknd emerged in 2011 with the mysterious and mesmerizing House of Balloons, the Toronto native has kept us on our toes: There was a trio of d***gy, lo-fi R&B mixtapes, the Top 40 cake-topper “Can’t Feel My Face,” and the glossy, Daft Punk-assisted rebirth that came with 2016’s Starboy. On After Hours, his fourth studio album, the singer returns to early-era Abel Tesfaye—the fragile falsetto, the smoky atmospheres, the whispered confessions. But here, they’re bolstered by some seriously brilliant beatmaking: muted, shuffling drum ’n’ bass (“Hardest to Love”), whistling sirens and staccato trap textures (“Escape From LA"), and flickers of French touch, warped dubstep, and Chicago drill that have been stretched and bent into abstractions. It’s as if Tesfaye spent the past four years scouring underground warehouse parties for rhythms that could make his low-lit R&B balladry feel hedonistic, thrilling, and alive. When the album does lift into moments of brightness, they’re downright radiant: “Scared to Live” is sweeping and sentimental, fit for the final scene in a romantic comedy, and “Blinding Lights”—a Max Martin-produced megahit boosted by a Mercedes-Benz commercial—is about as glitzy, glamorous, and gloriously ’80s as it gets.

darklex150

6y

I'm saving my last weed for tonight, this cuarentine s*** hasnt let me go grab more so I'm putting all my hope and happiness into this moment.

I haven't been so hype for a weeknd's album since BBTM, hopefully boy gonna deliver his magnum opus

HURRY UP TWO

6y

"You can find love, fear, friends, enemies, violence, dancing, sex, demons, angels, loneliness, and togetherness all in the After Hours of the night.” —The Weeknd
Ever since The Weeknd emerged in 2011 with the mysterious and mesmerizing House of Balloons, the Toronto native has kept us on our toes: There was a trio of d***gy, lo-fi R&B mixtapes, the Top 40 cake-topper “Can’t Feel My Face,” and the glossy, Daft Punk-assisted rebirth that came with 2016’s Starboy. On After Hours, his fourth studio album, the singer returns to early-era Abel Tesfaye—the fragile falsetto, the smoky atmospheres, the whispered confessions. But here, they’re bolstered by some seriously brilliant beatmaking: muted, shuffling drum ’n’ bass (“Hardest to Love”), whistling sirens and staccato trap textures (“Escape From LA"), and flickers of French touch, warped dubstep, and Chicago drill that have been stretched and bent into abstractions. It’s as if Tesfaye spent the past four years scouring underground warehouse parties for rhythms that could make his low-lit R&B balladry feel hedonistic, thrilling, and alive. When the album does lift into moments of brightness, they’re downright radiant: “Scared to Live” is sweeping and sentimental, fit for the final scene in a romantic comedy, and “Blinding Lights”—a Max Martin-produced megahit boosted by a Mercedes-Benz commercial—is about as glitzy, glamorous, and gloriously ’80s as it gets.