|
Before I say anything about the brand new Weezer record,
let me clear up a few misconceptions that are running rampant
lately.
First of all, Weezer's surprising return to prominence in
the rock world isn't a fluke, or for that matter, without
explanation. I've read more than one critic's dissertation
about the band's "staying power" in trying to assess
their unexplained popularity with an entirely new generation
— one that was not even exposed to them the first time
around. Sure, we've heard nary a peep from them since 1996's
Pinkerton, sans a few soundtrack contributions and
a song on the Pixies tribute album, but that doesn't mean
they were flying that far beneath the radar. I'm convinced
there are multiple contributing factors that kept Weezer from
being relegated to the bargain-bins, like many of their proteges
of the early '90s.
When a band is consistently name dropped by such luminaries
as The Get Up Kids and The Deftones, it shouldn't
be too shocking that the band enjoyed a semi-revival with
the chain-wallet-wearing disciples of the new school. And,
like it or not, the advent of peer-to-peer file-trading technology
played a huge role in their presumed renaissance, making it
far easier for ardent fans to build bootleg collections and
trade amongst themselves. Although, it probably didn't hurt
that Weezer—or more specifically, Rivers Cuomo—had
mastered the art of writing the perfect hook.
Secondly, contrary to popular opinion, the oft-maligned Pinkerton
didn't suck, as most pundits would have you believe. Sure,
it sold only a third of the 2.3 million that their debut sold,
but commerce is hardly a measure of good art. (Hell, N*Sync
sold more in two weeks than Pinkerton has sold in it's
entirety. Does that mean it's good art? That's debatable.)
As a result, Pinkerton had the chance to grow organically,
if you will.
Which brings me to The Green album. Upon listening
to the new album, I can't help but think of that scene in
the Breakfast Club when Brian (Anthony Michael Hall)
asks Claire (Molly Ringwald) if they'll still be friends at
school on Monday. In which she pointedly answers, "..honestly,
probably not."
The Blue Album was the awkward pimply-faced geeky
kid, surrounded by the jocks, burnouts and prom queens of
the early '90s. Even then, the critics blasted Weezer proclaiming
them a "one-hit wonder". With Pinkerton,
Rivers and Co. brought us upclose and personal. It exposed
everything, warts and all. With songs like "The Good
Life" and "Pink Triangle" how could you not
be endeared by Cuomo's lyrical poignancy. Who hasn't felt
like they were 'as good as married in their mind' at one point
or another? The familiar vulnerability gave the sensation
of one of those Saturday afternoon, epic conversations in
High School detention, which somehow forged an unexpected
and unspoken bond. The Green Album is what happened
on Monday morning. The jocks, burnouts and prom queens went
back to being, well, jocks, burnouts and prom queens. Weezer
went back to being the awkward pimply kid that doesn't quite
fit in.
Picking right up where they left off with The Blue Album,
The Green Album kicks in with "Don't Let Go"
and "Photograph," songs that are equal parts Beach
Boys and The Cars. Although both songs are melodically and
structurally sound, neither track comes close to matching
the substance or rawness of even the weakest songs on Pinkerton.
Don't get me wrong, there's nothing wrong with happy-go-lucky-feel-good-rock.
However, can you imagine if the Beach Boys re-created
Endless Summer after dropping Pet Sounds? Or
if the Beatles released Meet The Beatles after
The White Album?
Instead of continuing to grow, Weezer has regressed. Cuomo
continues to pour syrup on what is conceivably a pile of shit,
with the anemic, cock-rock anthem "Hash Pipe". Face
it folks, Guided By Voices does three minute pop better
and more believably. The rest of the album is weighed down
by Ric Ocasek's (The Cars) shimmery production.
It's apparent that the Green Album is Weezer's attempt
to recapture the commercial accolades of past efforts at the
expense of creating memorable songs. Although there's glimpses
of brilliance on the new record ("O Girlfriend"),
overall it's mostly an exercise in mediocrity. There is nothing
worse than trying to compete with ones former self. Here's
to hoping that Rivers stops listening to the critics and goes
back to writing heartfelt songs.
-- Rothroc
Track Listing:
01. Don't Let Go
02. Photograph
03. Hash Pipe
04. Island In The Sun
05. Crab
06. Knock-Down Drag-Out
07. Smile
08. Simple Pages
09. Glorious Day
10. O Girlfriend
|
