Review Summary: It took a long long time, but it seems as if Weezer has finally released their true 4th album.
2014 was a shocking year for everyone. There was the Ferguson riots, various celebrity deaths, Ukraine at war, and Weezer proving that they could still make good music. With the band's surprise return to form Everything Will Be Alright In The End, the future seemed bright for the boys who had previously churned out four albums over a decade that ranged from mediocre to god awful. The record was ardent, honest, and down to earth, but still seemed to be missing something. Almost two years later, the band returns with their fourth self-titled record; The White Album. An unfortunate name perhaps, but nonetheless still kept with their tradition of colored self-titled releases. Now, the question that's in everyone's minds is: Is the album any good, or was their previous output just a fluke?
Well, after listening to this many times, I can safely say that Weezer are officially back. It's not as if they went anywhere per se, since they have been consistently making music throughout their career. What I mean is, Weezer are officially relevant again, more so than they've been for ten whole years. Ironically, they seem to be more relevant and well-received when they don't try and shamelessly copy the popular trends in music at the time and simply just do what they do best; write catchy and easy-on-the-ears rock music.
Frontman Rivers Cuomo has stated that his time in California has inspired the overall sound and vibe of this album, and it couldn't be any more obvious. It's a very bright, poppy, summery record. Immediately as the record starts with its first track 'California Kids' your ears are met with the sounds of waves crashing on a beach shore, seagulls flying in the air, and light guitars very reminiscent of The Beach Boys, an influence that the band will continue to channel throughout the course of the record. It then launches into a laid back verse, contrasting rather nicely to its grandiose anthem of a chorus. The track is fun, upbeat, and full of youthful energy that could be found on their earlier releases. (Funny, since the whole band is in their 40s at this point.) This segues seamlessly into 'Wind In Our Sail', another lighthearted and simple track with quirky lyrics. It's nothing offensive, but it also is rather standard-fare and seems a tad safe.
One of the most controversial pieces on here is the lead single off the album, 'Thank God for Girls'. While many seemed to be hostile towards the track and eventually warmed up to it, I've always took a liking towards it. It's so sporadic, zany, and unexpected from Weezer. It's a fun song with a hard hitting, soaring chorus and interesting spoken word verses. However, it really sticks out like a sore thumb within the context of the record. The same can be said about 'Jacked Up', another track that came out of left field. Rivers really displays his vocal range here, with a somewhat moody and piano-driven melody. Pat's drums sound great as well.
Not all songs are fun and games, though. 'Do You Wanna Get High?' is a rather abrasive song for Weezer standards, and one that absolutely floored me upon first listening. Tackling the issues of drugs and the unwanted dependency towards them, the somber lyrics are met with equally somber and progressively messy and chaotic instrumentation. It's almost as if this was a hidden track off of Pinkerton, just discovered and released almost 20 years later. In fact, this record seems to have a blend of previous styles that the band successfully proved they could pull off. The track 'Summer Elaine and Drunk Dory' sounds like it was ripped straight from their debut album, in the best way possible.
One thing I can appreciate in this record is just how GOOD it sounds. I'm not necessarily talking about the production, even though it is indeed well produced. Every instrument can be heard clearly and in all their glory without anything sounding muddy or washed out. Rather, I'm talking about the band itself. They have not sounded this good in ages. The instrumentation is tight, the drumming is solid and punchy, guitars are fuzzy and have that classic Weezer feedback and messiness to them, with enough solos to make anyone happy. Rivers' vocals are charming and delivered with passion. The melodies this guy is belting out this time around are off the chain. They sound like they're making music because they want to, not because they feel like they have to. '(Girl We Got A) Good Thing' displays what I'm talking about. It's charming and playful, even innocent. Brian Bell's distinct guitar and Rivers' amazing ability to write a catchy hook are at full display. I can see this track playing on alternative stations across the country soon.
However, no track better exemplifies these great qualities than 'LA Girlz'. Don't let the title mislead you; this is an amazing song. In fact, I am going to go on record and say that this is one of the greatest Weezer songs ever. Everything works. From the inquisitive lyrics about love and devotion, to the amazing bridge and guitar solo, to Rivers' satisfying falsetto, to the light and summery vibes it radiates, everything about this is simply perfect.
The lyrics have also taken a rather strange but welcome turn. Of course it being Weezer, there are many tracks about girls and love (which may I add, still sound genuine even when Rivers is married and in his 40s), but I've noticed some quirks to them on this record. Cuomo has seemed to adapt a rather stream-of-consciousness lyrical style this time around. There are various references to Indian religion and culture, or just religion in general, and some tracks paint oddly specific scenes. It's a welcome change, as Cuomo always had potential to tell interesting stories and scenarios with his lyrics, and that potential seems to be tapped within this record.
This also makes for some rather interesting lyrical dissonance at times. For example, the verses in 'King of the World' talk about the Malaysian flight disaster, child abuse, and the atomic bombings of Japan and still manage to make it sound upbeat and accessible.
'Endless Bummer' is a perfect closer, starting as a soft acoustic ballad as progressively more and more members enter the fray, before exploding with energy as the band jams and does their thing. Once the track fades out, the record ends as it began, with the relaxing and lively sounds of the beach in summertime...
Overall, this is a great return to form for the band, and it seems like they're back for good. I haven't heard everyone sounding so lively and energetic in what seems like forever. This is nothing eye-opening, profound, or revolutionary. The White Album is simply a fun summer power pop record that will stay in your head for weeks to come. For Weezer, this is a major step in the right direction. I am definitely anticipating their next release.
