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Earlier this month, I visited Kara Walker’s Fons Americanus sculptural installation at London’s Tate Modern. In the Tate’s photo book prepared for the show, British writer Zadie Smith penned an analytical essay about the artist, specifically on the complex and varied reactions spectators had and continue to have to Walker and her art. To many, Walker’s work is “salacious”, as Smith wrote. She went on to add that some opinions on Walker’s methodology insinuate that it “eroticises, aestheticises, fetishises, and dramatises…” to capture public attention. In Smith’s analysis and in subsequent conversations I’ve had with friends about Fons Americanus , opinions were split: to some, Walker’s preoccupation with ruin and history rejigged reads perverse. Unthinkable. Boring. Careless. But to others, Walker is an expert of performance. Her career-long attempts at unpacking the strange and inglorious truths of sex, violence, and power don’t read as redundant, but rather, as disciplined artistic graduation. In the same essay, Smith critiqued Walker’s 2007-8 show, — titled My Complement, My Enemy, My Oppressor, My Love — and wrote the following: “The images themselves — violent, scatological, sexual, hateful, loving — exist in unholy mix, like the show’s title. They are given no hierarchy, moral or otherwise. All elements are presented simultaneously.” All in all, a wholly jarring, dramatic spectacle. Read Next: The Weeknd shares new song/video “Take My Breath” In a statement to Apple Music about his fourth studio album, The Weeknd offered a quote that could be described as Walkerian: “You can find love, fear, friends, enemies, violence, dancing, sex, demons, angels, loneliness, and togetherness all in the After Hours of the night.” Alternatively, Spotify’s artist blurb paints Weeknd as an “alternative R&B enigma-turned-pop star… whose aching accounts of emotionally and physically toxic indulgences have translated to multi-platinum sales and Grammy recognition.” To state the obvious: since his introduction in 2011, The Weeknd has perfected the sound of a generation of moody vocalists that can sometimes be categorized as R&B singers, but regularly diverge from its stylistic cues. In the case of The Weeknd, not unlike Walker, his reputation precedes him; the crafting of the persona is just as important as the work created under the name. Specifically, all roads lead back to House of Balloons , the seminal mixtape that changed music and Abel Tesfaye’s life. For someone whose music is so present in its pain and pleasures, much of The Weeknd’s allure and notoriety — at the minimum, amongst fans — is rooted in nostalgia for HoB . Similarly, amid the clamour and sensationalism of Walker’s work lives a sensitive, fragile question, and the title of Smith’s essay: what do we want history to do to us? While both Weeknd and Walker present impenetrable fronts, the work they produce comes often from a place of deep sadness. Over the course of years, their motivations and general approach are clear. Where Weeknd is obsessed with the darkness of the human condition (self-inflicted and otherwise), Walker is fascinated with history, and the vile, unspeakable horrors obscured in plain sight. Both practice repetition of narrative and rebirth after rebirth of ideas within the same vein. Both are consistent in the tone of their art. Each project (installation, album, et cetera) is a building block. A piece that, each time, adds a touch more complexity to a bigger, already fully architected story. (It bears noting that the comparison drawn between the two artists is made with the critiques Walker and Weeknd earn in mind; it isn’t an insinuation in sameness of their art, but in their aims to, in their own ways, shed light on the ugliest traits and events of humans.) I’ve previously written about The Weeknd on two occasions. My first take was during the Ethiopian-influenced, cross-bearing Starboy era. My second was on My Dear Melancholy , his half-hearted return to the atmospheric din that made him famous. In my writing at the time, I argued that Starboy-era Weeknd was slowly coming into his own self and identity, and that Melancholy,-era Weeknd was revealing a thinly concealed transitory phase. But in his latest offering, After Hours , The Weeknd is in urgent need of shedding. He craved newness, as was willing to forfeit all that he knew — people, places, dreams — for the possibility of what lived beyond him. Escapist and melancholic as always, the After Hours iteration of the artist is a peculiar, emboldened character. He’s in love and then he’s not and then he’s sad and then he’s euphoric. His mind’s racing and the thoughts conflict. But the album doesn’t sound haphazard, or come across as sonically or lyrically abrasive. (The timing and flow of its sequencing, actually, is quite impressive and almost score-like.) In just under an hour of run-time, The Weeknd paints himself to be an endlessly privileged person who is incredibly dissatisfied with his circumstances. Yet, it’s on After Hours that The Weeknd is his most lucid artistically, fuelled by confidence that took him from the backseat to behind the wheel. On this album, The Weeknd is both comfortingly familiar and damn near unidentifiable. After Hours is a curious listen. Thematically, the majority of the album is a trip down the contradictory, impassioned emotions of a regretful and disengaged rich kid who can’t seem to get love right, but also doesn’t have a vested interest in doing so. While I can’t imagine non-fellow- millionaire-star-studded listeners to feel for that narrative, tracks like “Snowchild” and “Escape From LA” inspire empathy, serving as reminders of the man behind the celebrity. The Ethiopian boy from Scarborough who copped a $20 million mansion that he ironically never lived in. The faithful supplicator who dreamed, then achieved, brandishing a middle finger to any doubter. The adult who now realizes that none of it was truly as fulfilling as he thought it would be when he had nothing. “Spendin’ all my money on these niggas that I brought up/Taking care of families for my brothers when they locked up,” he mournfully sang on “Snowchild.” “And I had nothing to believe in/Double cup leanin’, couldn’t even breathe and/For that money I was fiendin’/Cali was the mission, but now a nigga leavin’.” During the early promotional run for After Hours , The Weeknd tweeted about the “Blinding Lights” release, calling the album rollout “A BRAIN MELTING PSYCHOTIC CHAPTER”. In the short film accompaniment by the same name of the album, he is the emotionally distressed star of his own show. Video pairings to the singles released at the time of this writing (“Heartless”, “Blinding Lights”, “In Your Eyes”, with more on the way) surprise viewers with more animated, enthusiastic acting. The cinematic quality of the album doesn’t seem to be an accidental bonus; with the productions of the music videos (and even his guest appearance in Uncut Gems ), Tesfaye has film on his mind. The reluctant character he’s cultivated is undergoing metamorphosis. That could be understood as growth. As The Weeknd choosing to embrace his stardom and jump in headfirst, no longer concerned with claims that he’d gone mainstream or pop by longtime fans and critics alike. After Hours is traditional and experimental, but not overwhelmingly dark or optimistic. Uncharacteristically for him, the offering is a well-balanced one, once listeners get past the jolt of new production styles (that aren’t unchartered territory for the artist either, by the way). Cuts like opener “Alone Again” and “Too Late” are simple, classic Weeknd — the credits for the introductory two-piece also include long-time collaborator Illangelo, who is credited all over the album. “Hardest To Love,” with its video-game-electronica production, is an example of a trend that shows itself a couple times on After Hours : strong technical creativity paired with writing that isn’t necessarily bad, but does leave more to be desired this far into his career. “Scared To Live,” despite its ready-made-for-soundtrack feel, is a nice departure for Weeknd that feels fresh, but not totally foreign. Head-turning one-off lyrics are scattered across the album, too — “And for that pussy, you know I’m a slave” on “Escape From LA,” for one. (“Amphetamine got my stummy feeling sickly” from “Heartless” is my personal favorite.) “Faith” and especially “Repeat After Me (Interlude)” are so reminiscent of early Weeknd that they could easily live in the trilogy series undetected. After Hours , sonically, is standard fare, and not a remarkable elevation from the rest of his catalogue. What’s different is that with this release, The Weeknd is living up to his name. He’s making music that sparks nostalgia and music that sounds weird and futuristic. He’s performing on late night television and playing a leading role. And who would’ve thought that he’d ever step out from the shadows, let alone create an image for himself that’s active, vibrant, and fun? To some, artists like Kara Walker or The Weeknd are metaphorically beating a dead horse. In much critique, both are accused of having found a “groove” or a “pocket”, and refusing to budge. How can you be one of the biggest names in your industry and refuse range? some would say. But what’s lost in that argument is the broadness of experience, emotion, and take on any one thing. The perspectives are endless. And in their multiple tries, failures, deviations, and returns to sameness, inevitably, craft is perfected. A signature is made. A blueprint is drawn up. Inspiration is born and people become auteurs, icons, legends. Love him or hate him, there is no understating the cultural weight of The Weeknd. With nothing left to prove, musically, After Hours is just Abel having fun with it. Tink Pain & Pleasure. Free from her ill-fated deal with Timbaland's Mosley Music Group, Tink hops in the driver's seat of her own career with Pain & Pleasure . It's a simple, sensual effort with a vintage R&B feel, and although there's no rap on this one, Tink still manages to showcase her signature breakneck flow with a precision that rivals most of today's emcees. Her sultry vocals, paired with the project's smooth production, make for a pleasant listen, but considering Tink's abilities and immense potential, Pain & Pleasure leaves much to be desired. Straying from the intimate candour of her Winter's Diary mixtape series, Tink opts for more generic subject matter throughout: each song is a trite lament over romance's trifles that goes down easy, but fades from memory soon after it plays. There was an opportunity to speak about surmounting her label issues or, at the very least, embrace her newfound freedom by experimenting with her sound, but Tink dodges it, making for a rather conservative comeback. Sonically she's on top of her game, but artistically, she has yet to find her voice. Now that the stresses of escaping her record deal are behind her, Tink has the luxury of owning her independence and truly coming into her own as a creator. Pain & Pleasure is a bit of a rough start, but she'll surely get it right with time. (Independent) Tink (musician) Trinity Laure’Ale Home (born March 18, 1995), better known by her stage name Tink , is an American rapper, singer and songwriter. She is best known for the single “Treat Me Like Somebody” and for the collaboration with singer and producer Jeremih on “Don’t Tell Nobody.” Since 2012, she has released seven mixtapes and has gone independent due to label issues regarding the release of her debut album. Her 2014 mixtape, Winter’s Diary 2: Forever Yours , was featured as a top 10 R&B album in both Rolling Stone and Billboard magazines. [2] [3] She was also chosen as part of the XXL 2015 Freshman Class. [4] Contents. Early life and education. Trinity Home was born on March 15, 1995, in Calumet City, Illinois. [5] [6] Home was nicknamed Tink by friends in elementary school and she has used the name ever since. [5] [7] Tink started singing in church when she was five years old [8] [9] and began writing songs at age 11, including some for her father’s friends. [10] She attended high school at Chicago’s Simeon Career Academy where she participated in talent shows [5] and joined the school choir. [9] She counted English as one of her favorite subjects because it helped her become a stronger writer. [11] She started rapping and recording music in her father’s basement studio at the age of 15. [12] At age 16, she and her brother posted a clip of her freestyling over Clipse‘s “Grindin’” to Facebook and received local buzz. [5] [8] Career. 2011–2014: Winter’s Diary 2 & Timbaland. Tink’s career officially began with the release of her 2011’s mixtape, Winter’s Diary , while she was still in high school under Lyrical Eyes Management. [13] In 2012, she followed that up with two more mixtape releases Alter Ego and Blunts & Ballads . [14] [15] In 2013, she released her fourth mixtape, Boss Up , and she was featured on Future Brown‘s debut single “Wanna Party”. [16] In 2013, the buzz surrounding her mixtape releases and her collaboration with Future Brown, which led her to have a meeting with record executives in Los Angeles. At the time, Tink noted that she was comfortable staying independent. [14] Tink’s next mixtape, Winter’s Diary 2: Forever Yours , which was named the eighth-best R&B album of 2014 by Rolling Stone and the ninth-best R&B album of 2014 by Billboard . [2] [3] In 2014, Tink performed alongside Sleigh Bells at South by Southwest (SXSW), and the acts released a joint single, “That Did It,” on the same year. [17] She also collaborated with Kelela on a song, titled “Want It” and collaborated with Jeremih on a song, titled “Don’t Tell Nobody”. [18] In October 2014, Tink signed a deal with Timbaland‘s Mosley Music Group, an imprint of Epic Records. Tink appeared in the Worldstar Hip Hop documentary showcasing Chicago’s burgeoning Hip Hop scene entitled “The Field: Chicago” in January 2014. 2014–2017: ThinkTink & label issues. Her debut studio album had been scheduled to be released in 2015 [5] [19] and was preceded by the single “Ratchet Commandments”. [20] [21] Timbaland made headlines in 2015 by indicating at SXSW that Aaliyah had appeared to him and described Tink as “the one.” Tink would later perform an unreleased track that samples Aaliyah’s “One in a Million“. [22] In April 2015, the unreleased track, now entitled “Million”, was released. [23] Epic scheduled a July 2015 release for Think Tink but Timbaland decided to delay the project. “The album was actually finished. There was an intro, I had interludes.” Tink told the FADER in February 2018. “It was [Timbaland’s] call to hold back on it, and I think, I want to say, for the benefit of the doubt, he did want to perfect it. But it was Tim’s call not to put it out.” [24] Frustrated by Mosley and Epic’s resistance to letting her share new material with her fans, Tink returned to the formula that had initially earned her a loyal following, and released her third mixtape in the Winter’s Diary series called Winter’s Diary 3 [25] which featured one of her most famous songs to date named “I Like”. In 2016, Tink released several tracks throughout the beginning of the year and dropped her seventh mixtape named Winter’s Diary 4 . The mixtape was mentioned on Rolling Stone’s “40 Best Rap Albums of 2016” and ended up on number 20. In 2017, Tink released few songs and had a six month long social media break, the reason for which would later become clear. In a February 2017 interview, Tink told DJ Vlad that she hadn’t spoken to Timbaland in three months and said that the ball was still in his court when it came to releasing Think Tink . That spring, she began to seek a permanent solution that would get her out of her contract with Mosley, eventually reaching an agreement with the label at the end of the year with the rights to her unreleased music. Tink is now an independent artist. She does not have any interest in releasing any of her songs with Timbaland as she wants to start from scratch. [24] 2018–present: Independence & Pain & Pleasure. In January 2018, Tink’s mixtape catalog appeared on all streaming services. After leaving all the label troubles behind by leaving Mosley Music Group and Epic Records, Tink is releasing her first Extended Play Pain & Pleasure in March 2018 through Machine Entertainment Group & Sony RED. On April 28, 2019, Tink released her new mixtape Voicemails , under Empire. The lead single was Bad Side. Musical style. Tink has been compared to Lauryn Hill, Ms. Jade and Da Brat. [5] [12] [15] Her first mixtape, Winter’s Diary , was largely filled with R&B ballads, but her second mixtape, Alter Ego , established her rapping skills. Her subsequent mixtapes have blended her R&B and rap styles. [14] [15] Tink has also been loosely associated with the Drill movement that was birthed in Chicago. Some of her early songs (like “Bad Girl”) display some of the genre’s hallmarks like aggressive beats and violent lyrics. She has since distanced herself from that movement, saying that she wants to become “a positive, realistic vision of female empowerment.” [5] Much of the lyrical content in her music deals with complex emotional issues [5] that are geared toward a primarily teenage demographic. She often uses a Chicago setting to convey her feelings about love, heartbreak, faithfulness, and teenage melodrama. [10] [12] Tink has been praised for her storytelling ability. [14] Her music has also taken on issues like female empowerment and the Black Lives Matter movement. [5] [12]