Mainstream RnB Juggernaut The Weeknd returned this month with Dawn FM.
Announced out of the blue, this record is very obviously a continuation of 2020’s After Hours, with a distinctly nocturnal 80’s vibe, heavy makeup, and mysterious video rollout.
I was not upset about this whatsoever, as After Hours was The Weeknd’s (and mainstream RnB’s) most interesting projects in a while.
I am not, historically, a massive fan of Abels work. I find most of it pretty serviceable, with albums exceptions like the generally solid House of Balloons and Beauty Behind the Madness being pretty remarkable and seminal alternative RnB records.
I understand his importance, and I definitely understand his influence, but I would never go as far as to call him a favorite of mine.
After Hours, however, was a welcome change of pace for me. I appreciated the synth work and general level of execution on After Hours, as it’s 80’s setting didn’t seem to me like nostalgia bait, but a genuine attempt to revive these 80’s RnB and synth pop sounds.
Certain tracks fell flat for me, and this combined with the relatively unremarkable production and lack of experimentation, prevented this album from having quite the bite I wanted it to. Still a solid album, but room for improvement was definitely there.
Dawn FM, on the other hand, is, like, too good.
Almost, impossibly good. Honestly, I could not believe my ears listening to this record.
The opening and title track, ‘Dawn FM’ automatically introduces the core strengths of this record. The lavish synthesizer layers, gorgeous vocal harmonies, Jim Carry outro, and downright perfect mixing.
The production on this record is absolutely pitch perfect, and this track does a great job of displaying how far Oneohtrix Point Never takes it.
Daniel Lobatin (Oneohtrix Point Never) is honestly the MVP of this record. Having done the scores for movies like Good Time and Uncut Gems, and outstanding IDM and electronica records like Replica and R Plus Seven, it’s no surprise that the synth-based production on Dawn FM is so impressive.
The production on this record is impossibly great, with each instrumental and vocal performance being equal parts impressive and exciting.
The Following track, ‘Gasoline’, is quickly becoming my favorite Weeknd track. The stuttering synths, breakbeats, heavy bass, and Bernard Sumner verse delivery give this song a uniquely New Wave sound, one that The Weeknd sees himself often taking influence from but never diving this extensively into.
This songs vocal performance is one of Abels most varied and impressive, the mixing here is crystal clear, and I haven’t been able to stop thinking about it since I heard it first. This is an undeniably catchy and amazing pop song.
‘How Do I Make You Love Me’ is another one of my favorites, with it’s dancier focus, ascending pre chorus, and a euphoric chorus that feels intensely cyberpunk. This track is pure 80’s, with it’s industrial synth lines, smoky atmosphere, and poppy structure, but it executes all of this so tastefully.
‘Take My Breath’ scratches a lot of the same itches as the previous track, but it’s extended dance intro and housy bass licks give this a distinctly Daft Punk energy that is utterly infectious. This is a really great dance pop single, and serves as a pretty good emblem of what Dawn FM has to offer.
‘Sacrifice’ is another song that feels aimed at the dance floor, but the guttural, scratching bassline, and one-two percussion make this one of the most unique and lively songs on the record. The chorus pops, too, and is honestly one of the catchiest choruses I’ve heard in a while. The dry and forward production adds everything to this song, and it serves to cement the first leg of this record as outstanding.
‘Out Of Time’ is another standout, but for entirely different reasons. Everything until this point has been danceable and poppy, but this track slows down the tempo for a synth layered soul cut. The stunning, expressive vocal performance, gently plucked bass, and sparkling production make this yet another fantastic track.
‘Here We Go… Again’ continues this pattern, this time featuring rapper Tyler, The Creator. This track is pillowy, expansive, cinematic, and pretty funny. Tyler’s tongue in cheek lyrics, the beautiful synth work, and Abel’s campy vocal performance help this song become the dream collaboration it should be.
‘Best Friends’ maybe feels the least 80’s on this album, which is not inherently bad. The tune at the core here is still really solid, and I love the rhythmic, bassy instrumentation, but it just doesn’t fit in as well with the rest of the songs here. I still really like this song- on any other album by The Weeknd, it would easily be a favorite of mine- but for what this record is going for, I’m not sure if it’s inclusion was necessary.
We then enter a really interesting run of tracks starting with ‘Is There Someone else?’ and ending with ‘Every Angel is Terrifying’. These tracks seem somehow connected to each other, and feel less like individual songs, instead they support each other.
These songs all dwell in similar sounds, similar vocal styles, and all feel like an extension of the same forlorn, sparkly, druggy idea, with ‘Every Angel is Terrifying’ having a really cool spoken word passage.
‘Don’t Break My Heart’ has my favorite vocal performance on the whole album, with the low, hypnogogic, accented singing totally unlike anything Abel has ever put on a song before. This track feels so 80’s it almost distracts from the actual sound, but the core song still manages to shine through.
The track ‘Heard You’re Married’ starts out as a piece of pretty solid contemporary pop, with a pretty generic Weeknd performance, but the hook is one of the catchiest on the record. The muted bass lines and decent Wayne feature make this an alright moment on the album, if not my favorite.
The last real song on this album is the guitar led ‘Less Than Zero’. This track is pure anthemic stadium rock, complete with soaring chorus vocals, strummed acoustic guitar, and crunchy, danceable drums. Its pure bliss, and an extremely fun listen.
‘Phantom Regret By Jim’ is a fittingly sinister outro for Dawn FM, with Jim Carry hauntingly delivering spoken word over a ghoulish organ synth. Its a really creative and weirdly ominous ending to this album that fits way too well.
Dawn FM, Wow.
I had basically no expectations for this record, but its pretty easy to say that The Weeknd blew me away with this one. Amazingly produced, blindingly blissful, gorgeously cinematic, and perfectly atmospheric. I loved it.

SCORE: 9/10