IN REVIEW: The Weeknd

IN REVIEW: The Weeknd - "Dawn FM"

I can't promise that this previously completely rock-centric blog will cover other genres of interest with any kind of regularity, nor can I say with any kind of certainty that I'm qualified to offer insights on genres I don't have as much experience with. What I can say absolutely is that if I'm listening to an album that elicits a reaction and I'm in a position to gather my thoughts as words on the proverbial page, why wouldn't I do it regardless of whether or not it neatly fits into a perceived box? When talking about Run the Jewels' fourth album in 2020, I decided to strive for more diversity and inclusion in my writings, so now that I've decided to revive Sound Bites I feel obligated to make good on the promise I made to myself and to you, dear reader.

So with all that said, I never expected to be excited about a new album by The Weeknd, ever; though I'm familiar with a handful of his hits, I hadn't paid much attention to what he was working on (I hadn't even bothered to take in lead single Take My Breath). Then, in a whirlwind week of hype, his fifth album went from rumour to existing in full. Caught up and intrigued, I gave it a try.

And I'm so glad I did, because Dawn FM is really, really good.

Far be it for me to dig in to the nuances of what's happening here or to compare it to previous albums I haven't heard, but what's coming through the headphones here is pure pop bliss; a conceptual piece narrated by Jim Carrey (another thing I couldn't fathom experiencing before a few hours ago), Dawn FM guides the listener toward the light with thick grooves and smooth, synth-laden melodies. Lead track (after the into) Gasoline is an instant ear candy smash, with pristine production and pitch shifted vocals that act as a showcase for Abel's impressive vocal range. It's the first of four consecutive bangers that include the previously mentioned Take My Breath (which packs just a little Pink Floyd flavour into its grooves) and the slinky electro-funk highlight Sacrifice.

The album's midsection (beginning with an interlude by Quincy Jones) slows it down somewhat, with the retro R&B jam Out of Time stood back-to-back with the equally old school ballad Here We Go... Again, the latter of which features a guest spot from Tyler, the Creator. Best Friends and Is There Someone Else? are paired together as well, and also boast slow to medium tempos; this section concludes with the reprisal Starry Eyes and an interlude, marking the seven tracks as a section that feels like a cohesive EP-sized island in the middle of the record.

The audio trailer for Afterlife leads us into the home stretch, which features the smooth and new wave inspired Don't Break My Heart and the funked-up I Heard You're Married (featuring Lil Wayne, whose verse is fine), before the surprising last (actual) song Less Than Zero, which features a strummed acoustic guitar and ascending synths that pierce the clouds; I'm no expert on pop music, but Less Than Zero is a guaranteed smash hit. This leads us to the end, and another Jim Carrey appearance that is better and more impactful than most of his movies.

All told, I couldn't wait to dig into Dawn FM again after my first listen, which has always been a reliable gauge for me when determining what makes a record great. Its flow, consistent quality and conceptual cohesiveness make for an incredibly engaging album experience, one that's likely to best most rock albums I listen to this year.

January 7, 2022 • The WeekndXO/Republic

Highlights Gasoline • Sacrifice • Less Than Zero

Year in Rock 2025

Alright, I've got some explaining to do. By now anyone who's visited this blog is well aware of how infrequently I've used this space in recent years; aside from the occasional fertile year of content, I really haven't posted all that often over the last five years or so. There are many reasons for this, which have already been outlined in previous apology posts; but, essentially, it boils down to my own laziness and the cold reality that blogs are, like Refused (again), fucking dead. So, I wouldn't hold my breath for a triumphant return to reviews, or even semi-regular posts, but: a) I feel like Year in Rock posts have always belonged here and, even though I've experimented with different methods of presentation recently and been satisfied, the "blink and you missed it" unveiling via Facebook stories this year was perhaps ultimately a disservice to the records I lauded. After all, cramming the list into short videos isn't too far off from ju...

Year in Rock 2011 Nominee: Sam Roberts Band

SAM ROBERTS BAND I Feel You From: Collider Released: May 10 Having already endured the breakout success ( Brother Down was Canada's it rock song of 2002), the tentative dabbling in the U.S. market, as is the rite of passage for all moderately successful Canuck artists (2003's debut We Were Born in a Flame was the best time to try; one of the best albums of the year, it made a small dent in the American mindset upon its release there a year later), the difficult, druggy third album (the aptly named 2005 disc Chemical City ), and the subdued creative step backward (2008's Love at the End of the World , aside from hit single Them Kids , was really kinda bland), it seems according to script that Sam Roberts would start settling in on his fourth album (and first with the band credited as equal contributors), Collider (you know, I think it was a bad idea to give me brackets). Well, as far as settling in goes, Roberts does and doesn't on Collider . W...

IN REVIEW: Rancid - "Trouble Maker"

As far as punk rock goes, it's hard to name a hotter hot streak than the trio of records Rancid cranked out between 1995 and 2000; the star making ...And Out Come the Wolves , the far-reaching Life Won't Wait and their balls-to-the-wall second self-titled album solidly positioned Rancid as leaders of the second generation of punk. It also preceded a period of slow progression, as Rancid would take eleven years to release their next three records. By the time ...Honor Is All We Know came in 2014, many fans (myself included) had to wonder whether or not this was the end of the road. Such concerns are handily dealt with on the closing track of the standard edition of their ninth record, the positively punishing This Is Not the End . Well, okay then, that's sorted. Now, what of this new record? What do we make of the use of their original logo on the cover, a logo that hasn't graced a Rancid record in 25 years? Is this a throwback to the band's heyday, a new begin...

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