Abel Tesfaye has finally made his entry in the love-is-a-drug pantheon with his new song “Can’t Feel My Face”, probably the best song of the week. The Weeknd gave a surprise performance at Apple’s Worldwide Developers Conference to debut their new track, after being greeted to the stage by Apple CEO Tim Cook.
The track got leaked late May 2015, The Weeknd finally released the track on June 8, 2015 after its immense popular demand. The major hit was the outcome of the collaboration of Canadian PBR&B, erstwhile Drake protégé and the hitmaker Max Martin.
“Can’t Feel My Face “is a fusion of shimmering pop and a sizzling edginess with an earworm of a chorus that sounds exactly like the one that Michael Jackson would be composing today if he was still around. The critics also welcomed it with their positive remarks and observed the influence of Michael Jackson. But it still has all the impressions of The Weeknd’s classic sound in its echoey falsetto, irrefutably introducing a pop sensibility reminiscent of MJ’s Bad album of 1987.
It was written by Savan Kotecha, Ali Payami, Abel Tesfaye, Max Martin and Peter Svensson and produced by Martin, Payami and Svensson.
Abel Tesfaye has finally made his entry in the love-is-a-drug pantheon with his new song “Can’t Feel My Face”, probably the best song of the week. The Weeknd gave a surprise performance at Apple’s Worldwide Developers Conference to debut their new track, after being greeted to the stage by Apple CEO Tim Cook.
The track got leaked late May 2015, The Weeknd finally released the track on June 8, 2015 after its immense popular demand. The major hit was the outcome of the collaboration of Canadian PBR&B, erstwhile Drake protégé and the hitmaker Max Martin.
“Can’t Feel My Face “is a fusion of shimmering pop and a sizzling edginess with an earworm of a chorus that sounds exactly like the one that Michael Jackson would be composing today if he was still around. The critics also welcomed it with their positive remarks and observed the influence of Michael Jackson. But it still has all the impressions of The Weeknd’s classic sound in its echoey falsetto, irrefutably introducing a pop sensibility reminiscent of MJ’s Bad album of 1987.
It was written by Savan Kotecha, Ali Payami, Abel Tesfaye, Max Martin and Peter Svensson and produced by Martin, Payami and Svensson.
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