Few collaborations in modern music feel as natural and fated as those between The Weeknd and Lana Del Rey. Their artistic synergy, spanning nearly a decade, has yielded some of the most atmospheric and emotionally charged tracks in contemporary pop. From Prisoner (2015) and Stargirl Interlude (2016) to Lust for Life (2017), their voices – his drenched in tormented sensuality, hers draped in cinematic melancholy – have always intertwined beautifully. Each time they collaborate, there’s a sense of effortless cohesion, as if they exist in the same sonic universe of doomed romance and faded grandeur. With The Abyss, however, they take their trademark ethereal sadness to an even darker place. This is not just another melancholic love song – it is a funeral hymn for hope itself.

The track opens with a stark yet breathtakingly beautiful piano, played with a kind of divine restraint that makes every note feel like it’s teetering on the edge of silence. There’s a sacred quality to it, almost as if the music is playing from some celestial realm just beyond reach. The weight of the song builds gradually, with emotive synths creeping in like an encroaching storm, swelling and retreating in waves of despair. The opus expands with The Weekend’s signature soundscape of whirring baselines, intricate high hats and dimensional synths.

Lyrically, The Abyss is one of The Weeknd’s most harrowing compositions, confronting mortality, regret, and the desperate grasp for meaning in the face of oblivion – marking the end of an era as this record serves as his final in this format. An ode to his fans if you might.

The opening lines – “I tried my best to not let you go / I don’t like the view from halfway down” – immediately set a tone of despair, as if the protagonist is reflecting on a decision made too late to undo. The phrase “halfway down” evokes a terrifying moment of realization, where regret sets in mid-fall, but there’s no way back. When he asks, “Will I feel the impact of the ground?” it’s as if he’s caught in the limbo between action and consequence, unsure whether the final moment will bring pain or just an empty, weightless nothingness. His anguish deepens as he confesses, “I tried to be something that I’ll never be,” a stark admission of self-doubt and the futility of chasing an identity that was never his to claim. There’s an urgency in his words—”Why waste another precious hour? / Why waste another precious ounce?” – as if time itself is slipping through his fingers. The mention of leaving “somewhat of a legacy” suggests that even in the depths of despair, there is a desire to be remembered, a final attempt to leave a mark before disappearing entirely.

The chorus only amplifies this feeling of resignation and impending doom. When The Weeknd pleads, “Let me close my eyes with dignity / Let’s end it all, the world’s not far behind,” it’s as though he’s seeking solace in the idea that his fate is not just his own but part of something larger – a collapsing world where nothing is worth saving. The phrase “It’s going up in flames, I know” paints an apocalyptic picture, suggesting that destruction is inevitable, whether on a personal or global scale. The sense of finality is chilling, and yet there is an eerie calm to his delivery, as if he has already accepted what is to come.

The second verse shifts into something even more intimate, as The Weeknd clings to the last remnants of love before his descent is complete. “Just hold my heartbeat close to you / Remember how it always beats for you”, is a desperate plea for connection, a final grasp at something tangible before slipping into the void. As he falls “at the speed of light,” he watches his lover’s face shrink from view, begging her not to cry, even as he knows this is the last time they will see each other. When he whispers, “One last time, say that you want me too / The only words that gave me life,” it is utterly devastating. Love was his last tether to existence, the only thing that made life bearable, and now, even that is gone.

Lana Del Rey’s outro is ghostly, her voice floating like a disembodied spirit watching the tragedy unfold. “Mama, I’ll pray / I’m running away” is delivered with a dreamlike detachment, as if she is both participant and observer. The line “Is a threat not a promise?” lingers ominously, raising the question of whether the protagonist’s words were meant as a warning or an unavoidable truth. There’s an eerie ambiguity to it – does she mean that death is inevitable, not just for him but for everyone? Or is she implying that his cries for help were never taken seriously? The phrase repeats like a haunting mantra, blending into the final moments of the song, where voices overlap and dissolve into the abyss itself.

The Abyss is a masterpiece of despair, a sonic descent into darkness that lingers long after the final notes fade. The production is immaculate, balancing delicate piano with swelling synths to create an atmosphere of both intimacy and enormity. The Weeknd’s lyrics are some of his most raw and existential, capturing the terrifying beauty of finality, while Lana Del Rey’s spectral presence adds an almost supernatural dimension. As a continuation of their storied collaborations, “The Abyss” stands as one of their most powerful and devastating works – an intimate, symphonic tragedy that leaves us breathless. We have added the opus to our New Music Spotlight playlist,

The post The Abyss by The Weeknd & Lana Del Rey: A Hauntingly Beautiful Descent into Despair, Love, and the Inevitability of Oblivion appeared first on KIMU.

For those of you who follow me on Snapchat, this list will be of little/no surprise to you. So here goes. The top three are in order and the remaining seven are all even with a couple of super fucking honourable mentions at the bottom.

1. Lana Del Rey – High By The Beach

From the moment this leaked in HQ to this day, the track has resonated with me, for a number of reasons (cc Teddy Sinclair, Illyse Singer, Willy Moon and a beach in New York about two weeks before the track came out). But also, the video and the message behind it – the strength of lyrical message making somewhat of a change from Ultraviolence, the past reference to “lights, camera, accion”, the rebellion, honesty and openness opening us up to a new era from Lana – something almost more tech-experimentative which fits with where she is at culturally right now. Oh and if I was doing an album list then Honeymoon would be at the top along with Grimes’ Art Angels.

2. Future – Thought It Was A Drought

Angel Haze introduced me to this track from Future, the week that the album dropped. Again, we were in New York at her apartment and we consistently play it on loop. Sonically, the thickness and depth of the track, again coupled with totally rebellious lyrics nailed if for me. It’s been a staple both through meme value and personally with my friends ever since. Literally cannot wait for the video to drop which is co-directed by A$AP Ferg.

3. Travis Scott – 3500

Current Rihanna controversy aside (this is not a speculation site!), from the entire Rodeo album (and Deluxe) this is 100% my favourite track. No explanation as to why – I mean it is produced by Metro Boomin, Zaytoven, Mike Dean, Million $ Mano and Allen Ritter (Metro and Allen also produced Thought It Was A Drought) so sonically it is completely in line with what I fell in love with this year.

Here’s my Spotify playlist for the full list of ten which also features REALiTI from Grimes (after it had been reworked from the demo), The Hills from The Weeknd, Music To Watch Boys To by Lana Del Rey, King Kunta by Kendrick Lamar, Hands To Myself by Selena Gomez (she had one of the best albums of the year and the first three singles are beyond compare), All Day by Kanye West (duh) and Bitch Better Have My Money by Rihanna.

On an equally interesting note, onto the honourable mentions. It was really hard because I wanted to include two Grimes tracks on the original list but REALiTI trumped this by a traction because I think it has more longevity and slower burnout, but Venus Fly featuring Janelle Monae is where Grimes goes the hardest on Art Angels. What she delivers is pretty fucking unparalleled – harder than any EDM track out there right now and also more beautifully executed than anything I have ever heard on a dance level in the last ten years.

Second honourable mention to my girl Alo Lee – for her entire EP Twice Burned and the full three-track produced by Liam Howe (Adele, FKA, Lana) and Exmoor Emperor, plus all of the SoundCloud content which has been incredibly strong – from covers of The Weeknd, Rihanna and Drake to original content like Blindsight with Lox Chatterbox and Blood with Su Na. Enjoy!

https://soundcloud.com/sunabeats/blood-feat-alo-lee

https://soundcloud.com/alolee/sets/twiceburnedep

https://soundcloud.com/alolee/sets/videos-3track

The post Playlist: Best Hip-Hop and Dark Pop Songs of 2015 appeared first on KIMU.

In a genius move, Abel / The Weeknd has named his album preview as ‘The Leak’ – the album Beauty Behind The Madness / BBTM has started surfacing online over the last few days, but this counter move in naming an official preview as “The Leak” is all kinds of smart. Nice one Abel – this is just another one of the reasons why you are legit at the top of the game. Enjoy the preview below which includes the stunning track Prisoner featuring Lana Del Rey.

Pre-order ‘Beauty Behind The Madness’ here.

The post The Weeknd’s Beauty Behind The Madness ‘The Leak’ appeared first on KIMU.

Obsessed with the original of The Weeknd’s The Hills, even more obsessed with Alo Lee and SubtomiK’s cover. Keep it coming, keep it coming – and make sure to check out Twice Burned.

The post Alo Lee and SubtomiK – The Hills (The Weeknd Cover) appeared first on KIMU.