Late
last year, Weezer released a new album, Everything Will Be Alright in
the End. The release was accompanied by the same press blitz that seems
to accompany every Weezer album. Band leader Rivers Cuomo gives
interviews about how they got away from their core sound on their last
album, but that this new album has fixed all that. To me, it always
feels like a ruse, trying to beg old Weezer fans (who think everything
but The Blue Album and Pinkerton were sell-out crap) to come back and
try the new album. This time, however, I don't think Cuomo is just
blowing smoke -- the band really has given up on experimentation.
Actually,
Weezer sounds rather like a Weezer tribute band on this new album.
Virtually every track on it sounds like what someone trying to craft a
Weezer sound-alike song would do. Many of the tracks have overtly
self-referential lyrics. All of them feature a stripped-down verse
leading into a distortion-laden chorus. Most of them use a familiar
four-chord progression. (One song, "Back to the Shack," dares to use
only two chords.) Some songs even feel like they're riffing on specific older Weezer songs; "Ain't Got Nobody" is a double-time version of the
Red Album's "Dreamin'," while "Lonely Girl" has a strong "Buddy Holly"
vibe. None of the songs are copies to a degree where, say, Weezer could
sue another band who released an album like this. Still, they're awfully
close at times.
It
does make very welcome the few moments where the band tries some minor
departure from formula. "Cleopatra" is the only song on the whole album
that isn't in common 4/4 time (and even it only tosses in a single 5/4
measure before each repetition of the chorus). "Go Away" has a female
voice, bringing in Bethany Cosentino to duet with
Rivers Cuomo. "The British Are Coming" plays with a falsetto chorus
sung to an interesting melody.
The
thing is, it's not like any of these songs are "bad" as such. It's just
that listening to an entire album of them gets very monotonous, very
quickly. How fortunate for Weezer, I suppose, that no one listens to
whole albums in this day and age. Nearly any one song here, coming up on
shuffle or Spotify, would be enjoyable on its own. And maybe
experimentation isn't really want anyone wants from Weezer anyway.
Hypocritical as it might be of me to say, I didn't actually like the one place on the album where the band does try something different ("The
Waste Land," the instrumental introduction to the so-called "Futurescape
Trilogy" that closes the album).
On
my iPhone, I've rated nearly every song on this album four stars. (So, B
grade?) That's good enough in small doses. But the whole is much less
than the sum of its parts. I'd only give the album itself a C+ overall.
No comments:
Post a Comment