Tory Lanez called Alone at Prom his "1980s album." The '80s in this case means early- to mid-'80s pop driven by synthesizers -- retro-contemporary style, in the vein of the Weeknd's After Hours -- not post-disco R&B, new jack swing, ragga, or any of the other myriad styles that thrived during that decade. "Ballad of a Badman" makes the reaction to the Weeknd obvious with its driving rhythm resembling "Blinding Lights," while "Lady of Namek" is in the mold of romantic Europop, and "Pluto's Last Comet" is clearly patterned after Madonna's "Into the Groove." It works to Tory's advantage that he sounds as if he's in character and (perhaps as a consequence) doesn't resort to self-pitying histrionics. This is all conducive to passive listening, a soundtrack to idly browsing racks of distressed jeans.