The Weeknd’s signature sounds are most evident in the middle of the album: the fourth track, “XO/The Host”, showcases a trademark Weeknd technique, two songs mashed into one without any transition or pause. While Echoes of Silence shows flashes of excellence, Tesfaye is caught like the Greek god Janus, looking backward and forward at the same time - while one side of him looks towards pop, the other harks back towards his previous mix of scary themes and sneakily catchy tunes. The earlier aggressive sound has now been significantly toned down in favor of less threatening noises. While several songs are still rooted in the anomie and destruction of Tesfaye’s initial output, he is beginning to embrace more mainstream forms of R&B. Now comes Echoes of Silence, which continues to expand the Weeknd’s range.

These tracks diluted the startling thematic unity of his first record by introducing softer sounds. The second, Thursday, expanded Tesfaye’s sonic palette, including the reggae tinges of “Heaven Or Las Vegas” and the gorgeous “Rolling Stone”, which featured only Tesfaye and acoustic guitar. Tesfaye’s threatening vocals were combined with industrial clatters, menacing synths, and excruciating guitars. The first, House of Balloons, startlingly used R&B to explore not love and longing, but hostility, depravity and disregard. A project of Canadian-Ethiopian singer Abel Tesfaye, the Weeknd has maintained a steady trajectory in his releases. Echoes of Silence is the Weeknd’s third release in the last year.

Echoes of silence