Devotion.
Abel Tesfaye’ latest venture is an album centred around a radio-themed evening with the guest host vocal stylings of beloved comedian Jim Carrey whom features fairly prominently throughout this body of work. Jim is the host of this evening’ radio styled show casually and flawlessly acting as a guide and upbeat host. Post-intro with titular intro track “Dawn FM” and succulently voiced over with Jim Carrey and fades out with instrumentals before the The Weeknd leads us into “Gasoline” which explodes in the ears as a poppy-synth falsetto-ridden sweet trip. The next is the house-music inspired track "How Do I Make You Love Me" which just screams all the beauty of the work explored in previous albums that dwelled in the late 70s, 80s and early 90s experimental synth. Leading into this is the “Take My Breath” which has synth, drum and bass galore reminiscent of an early Daft Punk inspired song. The production just from the first four tracks demonstrates the ever-evolving skill level from Abel. The latter, and the next song “Sacrifice”, are dance-floor bangers with deep basslines and the hallmarks of 90s romanticism. It also incorporates the current bedroom-style like albums that have become so evident in lockdown years; albums made in quiet absolution and kept secret – like current artists Billie Eilish, Ben Khan and others, it feels grandiose and instantly personal. “A Tale By Quincy” is a spoken-word interlude that feels ever so dreamy.
“Out of Time” is Abel’s signature Michael Jackson jam with all the sultry vocal cadence that mimics the master musician himself; an ode to a would-be unreleased track from Jackson’ repertoire. Abel is the closest in comparison to the control, range and talent to Jackson and this is a particular highlight to that influence and transitions with Carrey leading us into “Here We Go… Again.” This feature with Tyler, the Creator, is a slower early 2000s R&B track with slower spoken lyrics and brings album pace down a bit before leading out. “Best Friends” reinvigorates with a deep hard bassline as previous tracks that goes in a softer than the more experimental material aforementioned. “Is There Someone Else” draws us back to Abel’s more sensual and romantic beginnings, earnest and pure flowing in falsetto. Post interlude this is the pace change that feels organic to classic Weeknd music, where the day feels at its end and you play some modern jazz. “Starry Eyes” continues this reduced pace before slow boosting to an atmospheric bass and echoing vocals supported by synth – with all the feeling of a romantic film soundtrack that cleverly maintains its subtle pace without leading the listener on. “Every Angel...” is a transitional advertisement between songs, experimental and yet organic to the themes of the album. Feeling familiar like a radio station from GTA3 or 4 – where Abel clearly is also a fan of the series. “Don’t Break My Heart” is where Abel likes to try vocal cadences that don’t usually fit, he drastically changes his speaking and singing tone to a more authoritarian and then dives back into smoother changes – like “Gasoline.” The accent is accentuated – very much like the song; it’s punctuated with strong riffs and electronic beats.
After we get a featured track with Lil Wayne on “I Heard You’re Married” where Wayne adds that deeper layer to the song that doesn’t feel too out of place. We’re then treated to a blissful track “Less That Zero” which closes out as the penultimate as a bright light to the reduced pace at the interlude mark. An 80s driven synth track that feels like ecstasy. Using that up tempo chord change on keyboards prominent in 80s tracks to give a rounded off evening some stupor. The final track “Phantom Regret…” closes out the album with Jim Carrey’ poetic musings while Abel adds his atmospheric vocals in the background interweaving between Carrey’ words.
After a new but familiar start to the year which feels remnant and stagnant of 2021, and 2020; Abel has crafted probably the biggest album of the year at just seven days in. He offers some calm and wickedness for the beginning of this uncharted year that is very much in the vein of The Weeknd, pushing down ambiguity with his artistic certainty.