Someone post that AM description

I’m a versatile poster,not my fault you can’t relate

the obsession with wanting any artist to backtrack to their old sound is corny

It’s so lame. They wanna live vicariously through it. They wanna be that nigga taking d**** and f***ing models.

Oh yeah, but that's a given and those fans are annoying as f***. He can still evolve his sound while keeping core characteristics. This isn't going to sound like Trilogy, thank god, but that doesn't mean he can't play to his strengths from his early work.

Agreed. MDM was a great example of it imo

hey look at how xo i am i hate everything that happened after 2012!!!!

AFTER HOURS IN HOURS

My favorite Weeknd project so far

You’re 1-D

One direction?

My favorite since trilogy

Yes

The band?

You’re still in love with me huh

I wonder why 🤭

Yo can we get a mod in here

I did really love BBTM too tho 🤔

hi

Hey 😳

It's nice but uneven. I skip a lot of tracks on it.

I only skip Earned It tbh

“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.”

listening to it rn, sounds wayy better than i remember

That Weeknd quote at the beginning of the AM description has me f***ed up