Holly MacGibbon and Andy Simmons form two halves of this dreamy synth outfit. But don’t get them confused with the analogously-named, but completely unrelated, The Weeknd. Unlike that raunchy hip-hop musician, Weeknight veer towards tamer subject matter with more tranquil tones, giving you more work-appropriate music to round out every day of your calendar.
The music on this debut disc falls into a category of its own (or deftly meshes a bunch of au courant ones), infusing dark-pop and shoegaze elements with pulsating synth beats and the blend of Holly and Andy’s disparate vocals. Both sing simultaneously throughout the entire album, but it’s clear that Simmons’s lower register resonates more profoundly than MacGibbon’s breathy accompaniment. Regardless, their unique mélange serves a welcome fit, somewhere between The National and The xx.
The album opens with the lush and echoey Hallowed Ground which builds into a glittery pop ballad, all the while keeping the detached vocal stylings and adding some dissonant plucking to maintain a mysterious atmosphere. On Tonight, the tempo is pushed forward with screeching and experimental instrumentation following the path of pioneers like The Knife.
The Devil and I’m The Beaches may be the perfect tracks to grasp Weeknight’s style. Over rapid electronic arpeggios are drawn out guitar riffs and MacGibbon and Simmons’ signature aloof vocals. The feeling persists that there’s some sort of potential energy itching to be released, but the singers don’t let themselves get caught up in it. They’ve really mastered the art of sounding careless and chill, even though there’s plenty of intensity around them to vibe with.
As the album’s lead single, Dark Light also stands out among the tracks as having a distinctly brighter tone. In this tune, the melodies seem to connect more than ever to the music, as the sublime sound is counterbalanced with more passion evoked by the singers, giving the song a more vigorous life. It’s no wonder Com Truise chose this song to remix. The closing track, Heartaches, has a somber mood that you can feel in the drawn-out lyrics, redeemed towards the end as it shifts towards a sped-up coda. That being said, the album as a whole can be described as having a murky ambiance that is consistent until the very end.
Although Weeknight’s nonchalant vocal style may impede lyrical comprehension, their music is structured and layered so systematically that it’s obvious their tranquil attitude is just a front. Everything from the pulsating rhythms, to the distinct register of each singer’s voice, to the distant melodies, is all so contrastive, yet somehow each aspect exhibits a necessary function. Whereas one might imagine such discord would result in a muddled mess, Post Everything stands out as an imaginative organization of a range of incongruous musical components.