It was supported by the international top-ten singles " Starboy" and " I Feel It Coming", both of which features Daft Punk, and peaked atop the singles chart and received diamond certifications in France. The Weeknd's third studio album, Starboy, was released in 2016, and peaked atop the charts in Australia, Canada, Denmark, New Zealand, and the US. "The Hills" was certified 11× Platinum in the US. Supported by the US Billboard Hot 100 number-one singles " The Hills" and " Can't Feel My Face", the album had sold over one million copies in the US and 3.6 million copies worldwide by 2017. His second studio album, Beauty Behind the Madness, was released in 2015, and reached number one of the albums charts of Australia, Canada, Sweden, the UK, and the US. Both singles were top-ten entries on singles charts of Canada and the US. In 2014, the Weeknd recorded the single " Love Me Harder" with Ariana Grande for her album My Everything, and the single " Earned It" for the Fifty Shades of Grey soundtrack. His debut studio album, Kiss Land, reached number two on the albums charts of Canada and the US. The album spawned three singles, all of which were certified platinum or more in the US: " Wicked Games", " Twenty Eight", and " The Zone" (featuring Drake). Trilogy peaked within the top five on albums charts and was certified multi-platinum in Canada and the US. He signed with Republic Records in 2012, and released Trilogy, a compilation album of the three mixtapes he had released the previous year. The Weeknd released three mixtapes in 2011: House of Balloons, Thursday, and Echoes of Silence, the first of which was certified silver in the UK. According to the Recording Industry Association of America, The Weeknd has accumulated 12.5 million certified album units and 83 million certified digital single units in the US, based on sales and on-demand streaming.
When pared down to its ten best songs, Starboy sounds like Tesfaye's most accomplished work.Canadian singer and songwriter The Weeknd has released four studio albums, three mixtapes, one extended play (EP), and three compilation albums, and 51 singles (including 16 as a featured artist). The songwriting credits list just under 40 composers, and the productions - the majority of which involve Doc McKinney and/or Cirkut, low-lighted by maneater dance-punk dud "False Alarm" - are roughly as variable in style as they are in quality. At 18 tracks, the album is a "contracted edition" playlist toolkit. The album's lighter, comparatively sweeter parts - the Tears for Fears-sampling/ Romantics-referencing "Secrets" and the breezy and only slightly devilish "I Feel It Coming" among them - are all welcome highlights. There's some sense of joy in a one-night stand, and an echo of "Say Say Say" Michael Jackson, on the Luomo-ish house track "Rockin'." Contrition is shown in the slick retro-modern disco-funk of "A Lonely Night." Ironically enough, in the aching "True Colors," Tesfaye sounds a little insecure about a lover's past. He asks his lover if she'd feel guilty for not answering his call if he happened to die that night. It's followed with "Nothing Without You," a ballad of toxic dysfunction. In "Ordinary Life," he considers driving off a Mulholland Drive cliff, James Dean style, wishing he could swap everything for angel status. Lines like "I switch up my cup, I kill any pain" could have come from Tesfaye's mixtape debut, yet there are new levels of torment.
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While Starboy often reflects an increased opulence in the personal and professional aspects of Tesfaye's life - from more upscale pronouns to expensive collaborations with the likes of Daft Punk (two) and "Can't Feel My Face" producers Max Martin and Ali Payami (four) - the dark moments of vulnerability are pitch black.
He sings of being a "Starboy" with access to a fleet of sports cars, but he's a "motherfuckin' starboy," one who is 26 years old and proud to observe his woman snort cocaine off his fancy table.
It comes as no surprise that Tesfaye, on his third proper album, doesn't attempt to optimize the reach of his biggest hit by consciously targeting youngsters. He notes the absurdity in taking a "kids' show" award for "Can't Feel My Face," in which he was "talkin' 'bout a face numbin' off a bag of blow." The track actually lost to Adele's "Hello," but it clearly, somewhat comically, reached an unintended demographic. On this follow-up's fourth track, a blithe midtempo cut where Tesfaye takes a swipe at pretenders while boasting about drinking codeine out of one of his trophies, the level of success is a source of amusement. The extent of the 2015 Weeknd commercial rebound, symbolized by platinum certifications for Beauty Behind the Madness and all four of its singles, didn't merely embolden Abel Tesfaye.