For The Weeknd, tomorrow has finally arrived.

Abel Tesfaye – the Canadian superstar who performs under the moniker The Weeknd – released his sixth studio album “Hurry Up Tomorrow” on Friday, which arrives three years after his last full-length LP “Dawn FM.” The new project covers 22 songs over 84 minutes of music and marks the end of a trilogy of The Weeknd’s albums that began with “After Hours” in 2020. With speculation that this could be Tesfaye’s last album released as The Weeknd, “Hurry Up Tomorrow” comes at an important junction in the four-time Grammy winner’s career. Although flawed in some ways, the album is at its best when it leans back into the electrifying synth-pop of its predecessors and falters when its cinematic elements verge on being melodramatic.

The album begins with two of its strongest tracks, starting with “Wake Me Up.” For almost the first two minutes of the song, “Wake Me Up” slowly builds before it blossoms into a synth-heavy composition that launches headfirst into discussions of mortality with lyrics such as “Wake me up, come find me / It feels like I’m dying.” Next, “Cry For Me” is the new track on the album with the most hit potential, as its dark synths and pounding bass are instantly reminiscent of “The Hills” as The Weeknd passionately sings “And I hope you cry for me like I cry for you.”

The transitions between the album’s first few tracks are some of the most effortless and thrilling that The Weeknd has ever done, perhaps best exemplified by the seamless shift between the ruminative “Baptized In Fear” and the punchy “Open Hearts.” The former is a dark, foreboding, introspective track featuring lyrics such as “voices’ll tell me that I should carry on.” The latter proves that The Weeknd’s knack for delivering a synth-infused romantic banger is still in peak form with the help of frequent collaborator Max Martin, the songwriting genius with whom he has created songs such as “Can’t Feel My Face” and “Save Your Tears.”

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More experimental numbers such as “São Paulo,” which dips into Brazilian funk and features uncredited vocals from Anitta, are less successful, but still energetic and lively. Likewise, there are a few awkward interlude-like tracks toward the beginning of the album’s tracklist – namely “I Can’t Fucking Sing,” “Until We’re Skin & Bones” and “Opening Night” – that serve to bolster the sonic transitions between songs but do not measurably add to the immersion of the album or its themes of death, love and fame.

The record sacrifices momentum for thought-provoking introspection starting with “Reflections Laughing,” which features uncredited vocals from Travis Scott. “Enjoy The Show,” which similarly includes uncredited vocals from Future, and “Given Up On Me” follow suit, creating a one-two-three wallop exploring self-doubt, anxiety and depression. “Reflections Laughing” includes what sounds like a voicemail where a woman expresses her concern for The Weeknd, while “Enjoy The Show” includes lyrics such as “I just wanna die when I’m at my f**kin’ peak.” The Weeknd has addressed his own mental health and mortality in many past songs, but perhaps never with as much rawness as these tracks evoke with their chilling samples and honest lyrics.

Despite the melancholy tone and lethargic pace of the aforementioned tracks, their emotional value and reflection justify their inclusion on the LP. The same cannot be said for the three tracks that follow, which comprise one of the weakest runs in The Weeknd’s discography. “I Can’t Wait To Get There” fails to leave an impression, while the Playboi Carti collaboration “Timeless” is a disjointed mess with a repetitive melody. “Niagara Falls,” which features overproduced vocal effects to sound child-like in some places, is an especially excruciating listen and probably the worst song on “Hurry Up Tomorrow.”

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After listeners make it through these underwhelming songs, the final stretch of the album wavers between different tempos of moody alternative R&B and features a few standout tracks. “Take Me Back To LA” is particularly evocative as The Weeknd laments “I hate it when I’m by myself.” “The Abyss” is not a masterpiece by any means, but Lana Del Rey’s uncredited guest vocals add a huskiness that plays well off The Weeknd’s croons. “Hurry Up Tomorrow” ends on its title track, which is just haunting enough to sound as if it would make a compelling end-credits song.

Relative to the rest of the trilogy within which it falls in The Weeknd’s discography, “Hurry Up Tomorrow” occupies a curious place. The extra length on the LP means that it is not as concise and consistently excellent as “Dawn FM,” which remains not only the best of the trilogy but the strongest release of The Weeknd’s career. “Hurry Up Tomorrow” also lacks the replay value that “After Hours” possesses in the absence of enduring earworms such as “Blinding Lights,” “Heartless,” and “In Your Eyes.” The album does not have as clear of a point of view as its predecessors, and the cohesion of the entire LP suffers as a result.

If a comparison can be made to a past project from The Weeknd, “Hurry Up Tomorrow” most closely resembles 2016’s “Starboy.” Both albums are guilty of sporting a bloated tracklist and retreading the sonic soundscape of their predecessor, but each manages to showcase a handful of career-best tracks hidden between the songs where listeners would be advised to press skip. In spite of its shortcomings, “Hurry Up Tomorrow” has enough substance that fans of The Weeknd are likely to revel in the album and its variety of angles, lyrics and themes for months to come.

Before The Weeknd hurries off to his next artistic pursuit, there is plenty to enjoy with “Hurry Up Tomorrow.”