The most captivating records are those that not only offer a window into the artist’s mind but also immerse the listener in the artist’s experience. Front-to-back records that do this coherently across every track are becoming increasingly scarce; mainstream music artists seem to be bridging the space between hit melodies with “filler tracks.”

 Abel Tesfaye, better known as The Weeknd, provides a perfect framework for captivating front-to-back albums for new artists with his 2011 debut record, “House of Balloons.” Across the nine songs, The Weeknd transports the listener into the drug-filled party lifestyle he experienced as a Toronto teen (the metaphorical “House of Balloons”).

 The album’s first track, “High for This,” is a stark recommendation for the next 48 minutes of music: Listeners might understand the album under the influence of drugs. It introduces the main sounds that distinguish the album: Echoey and subdued drums back the track, as if being heard from another room, and a boxy, crunchy synthesizer marks the highs of the track.

 The Weeknd does exceptionally well contrasting messages and feelings between the two sides of the track. In “House of Balloons,” The Weeknd’s voice is pleading; his vocal inflections seem stressed:  “Oh, this is a happy house / We are happy here / In this happy house.” He doesn’t believe the house party he is throwing is enjoyable and tries to convince himself — or the girl he’s with. The music communicates his drug-induced stress; an arpeggiating high synth plays minor chords that sound like an alarm. The Weeknd’s stress becomes the listener’s discomfort.

“The mood of this album is what sets it apart from other R&B albums. Everything about the album feels dark.”

 The second half of the track contrasts with the stressful first part. Behind a constant bass synthesizer (the same as in “High for This”), The Weeknd assumes a more laid-back demeanor. He raps the second part of the song, letting his smooth voice calm the listener, effectively placing us in the perspectives of both The Weeknd and the girl he brings to the party.

 The mood of this album is what sets it apart from other R&B albums. Everything about the album feels dark. A creepy monochromatic album cover of what seems to be someone in a bathtub covered by balloons sets the stage for the album’s mystery. Additionally, complemented by dark, crunchy synthesizers, the record’s lyrics are all about taboo and profane subjects.

 “House of Balloons” is an unparalleled record in the dark R&B genre. The Weeknd’s ability to draw the listener into anger-filled melodies marked by minor chords and moody synths is something that I haven’t found in any other corner of the music industry. Front to back, this album tells a coherent story and has a sound that’s so unique, it stands out as one of the best dark R&B albums of all time.