But while Tesfaye has swapped the gross lyrics of his mid-period for standard issue sports car purchase orders and ivory-on-ebony drug metaphors, I still find him as vacuous and – worse yet – boring as ever. The ‘Starboy’ beat puts this a notch above anything on Beauty Behind The Madness, and it’s the best thing Daft Punk have done in ages (does anyone think about Random Access Memories anymore?). (6)Ĭhris Kelly: The Abel Tesfaye that used to reside in the House of Balloons is long gone, yet even after ‘Can’t Feel My Face’ I’m still having trouble reconciling his mainstream pop career. This screams “album cut turned into a single cause we roped in Daft Punk”, whose contribution remains fairly opaque. The problem here is that this is too clean, and not in the A1 coke ‘high kind of way. Son Raw: Let’s give Tesfaye credit for being consistent: a switch to in-vogue social consciousness would have been both predictable and ridiculous considering his rep as R&B’s king of debauchery and bad behavior.
Meanwhile, the Black Beatles are popping wheelies on the zeitgeist, rapper Cakes Da Killa is on the cusp of breaking out, and we rate the return of Simian Mobile Disco and Dirty Projectors. This week we squint into the blinding horizon of a new age to digest the first ever pop song written by artificial intelligence, and we hear the sound of everyone’s favourite robot duo teaming up with the king of pop debauchery. Each week on the FACT Singles Club, a selection of our writers work their way through the new music of the week gone by.
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