Back in 2011, The Weeknd (real name Abel Tesfaye) rose in prominence as an underground R&B singer who gained notoriety thanks in part to a Drake co-sign. Fast forward to 2016 and he is one of the biggest stars in the music industry and shows little sign of slowing down. His last album, "Beauty Behind the Madness," served as his breakout project and propelled him into the pop music elite. And now The Weeknd is back with his fourth album "Starboy," but does it continue his streak of pop stardom, or does the album fall flat?

Following the mainstream success The Weeknd achieved with his last album, fans found themselves wondering if he would continue his new pop star ways or return to the old, atmospheric music of his mixtapes. Well for the most part, "Starboy" sees Abel continuing to hone his craft within the pop genre, but there are still moments old fans will enjoy.

The album starts off strong as the first two tracks, "Starboy" and "Party Monster," are standout tracks. The title track is one of two collaborations with Daft Punk and features The Weeknd's signature crooning over hard hitting drums. The latter track should certainly stick out to long-time fans as it has a very dark tone and is likely to be a big hit at clubs for the foreseeable future. Other album standouts include the second Daft Punk collaboration, "I Feel It Coming," which has a heavy Michael Jackson vibe, as well as "Reminder" and "Sidewalks" with Kendrick Lamar.

The production on this album is smooth from front to back, featuring some of the most sonically beautiful tracks The Weeknd has ever released. However, one problem with the album, particularly the album's latter half, is how similar some of the songs sound. Songs such as "Die For You" and "Nothing Without You" are not necessarily bad songs, but they can come off as generic and even boring when listening through the album. Also, the Daft Punk collaborations and the verse from Kendrick are welcome additions, but the other collaborations didn't add much to the experience. Lana Del Rey's haunting voice is as majestic as ever on "Stargirl Interlude," but the track seems out of place and unnecessary. Then there are two songs where Future pops up, and both times I wish he hadn't, especially on "Six Feet Under" where Future's vocals pop up in the background and don't compliment Abel's hook very well. 18 tracks is a long time to keep the listener's attention, and the album could definitely use some trimming on the back end.

Lyrically, The Weeknd doesn't really bring anything new to the table, but fans shouldn't be disappointed. There are the usual plethora of sex and drug references, but the most intriguing lyrics usually stray from these topics. Songs such as "Reminder" find The Weeknd speaking out against the people who claim the old Abel is gone. Ever since the beginning, The Weeknd has remained mysterious and caged up, but "Starboy" seems like the work of an artist who is more confident than ever in himself and his craft.

Overall, "Starboy" is not the best, or even most daring, pop/R&B album of the year, but the high points easily outweigh the lows. While the album suffers from a few filler tracks toward the end, the majority of the tracklist impresses. If you enjoyed last year's "Beauty Behind the Madness," then this album is easy to recommend. If you find yourself missing the old Weeknd, then this album as a whole will likely be a disappointment, but there are certainly tracks worth keeping in your library. It seems that The Weeknd is comfortable with his position as a pop superstar, and who are we to blame him?

Score: 8/10

Top Tracks: "I Feel It Coming," "Reminder," "Party Monster"