When is the weeknd trilogy coming out

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On House , the Weeknd introduce an aesthetic that, over the course of the rest of the three tapes, gradually evolves into something deeper and less based in traditional songcraft.

But the Weeknd show a flair for melody that allows every richly atmospheric song on House to stand on its own, boasting strong and sometimes borrowed hooks that embrace repetition without feeling manipulative.

The cyclical choruses of "What You Need" , "The Morning", and "High For This" in particular are both immediately striking and subtly ingratiating, overtures to pop radio that operate outside of it. Those borrowed hooks mean that House of Balloons is the part of Trilogy most affected by the remaster.

If you can't catch how the guitars hit a little harder and the drums have a bit more pop on "High For This", you'll definitely notice how the sample from Aaliyah's " Rock the Boat " has been wiped from "What You Need". If I had to choose, I prefer the original House of Balloons for its spontaneity, but it's kind of like familiarizing yourself with your partner after they get a new haircut; it's just different for a while, and if you want, you can always go back.

Thursday is exactly the kind of "difficult" second record you'd expect from the Weeknd had they disappeared for two years and holed up in the studio as a reaction to House 's success. But it came just a few months after. The title is a loaded metaphor; Thursday is a day for the most dedicated partiers, the one that separates a lost weekend from a week full of blackouts.

Accordingly, the album is an hour-long exploration of people acknowledging a point of no return. What had been seductive has become menacing. Outside of Drake's guest verse on "The Zone", there's not much indication that the songs take place in a club of any sort. The pleasure on House of Balloons felt consensual; here, it feels codependent. Echoes of Silence benefits considerably from the Trilogy context and now seems on equal footing with House of Balloons and Thursday.

As Juicy J helpfully reminds us out of nowhere at the end of "Same Old Song", Echoes was released near Christmas, a refractory period between the publication of year-end lists and the turn of the calendar. It's easy to overlook new music that drops at that point, especially in this case, where the lack of immediate hooks suggests that it could have been a rush job.

But get familiar with Echoes ' aims and you can hear its value. For one, the lyrical and thematic callbacks make clear that Echoes was meant to interact with what preceded it, to serve as an epilogue and appendix in addition to a denouement. More importantly, it's easier to tune into the final third's resounding depression after having been tenderized by the preceding two hours. It's a morning-after record for a night that never ended, where people have to go into their day shift with no sleep, where club stars still live with parents and the parents find drugs in the laundry.

And it's where people who only hours before were perfectly fine to snort their life away simply cannot fucking stand to be around each other for another minute. But the arresting music redeems that potentially alienating emotional view. He makes repeated mentions of "potential," and being "next," fixating on those particular words like he's holding onto something a girl told him in 7th grade. If you turn your ear right, Trilogy is the most in-depth exploration of male sexual neuroses this side of Pinkerton.

That line could be a reference to marathon drug use or the progressive demoralization of his narrator, which bottoms out amidst the pall of gang rape coursing through the very uncomfortable "Initiation". Tesfaye's narrator celebrates his own irresistibility and embraces the poisonous justifications of victimhood.