Weezer. The power pop outfit that started at what may be their highest with the "Blue Album" and "Pinkerton", they then took a tumble throughout the 2000s with a string of frankly horrible releases culminating in the insultingly generic and overproduced "Raditude". But with their most recent albums they've mounted a comeback with a return to their '90s roots in "Everything Will Be Alright in the End" and now the "White Album", exploring themes common in society whilst also sticking to their strengths, loud guitars, pop culture references and memorable hooks. (i.e. what made their first two albums so great.)
The album begins with no time wasted, jumping straight into its summer aesthetic with "California Kids". The Beach Boys' influence is immediately felt even in its opening seconds, a sugary opening riff welcomes you in as waves roll onto the beach, seagulls chirping and all. The perfect way to start your ode to the sunny beaches of L.A., essentially. It glorifies the Californian way of living, there's no stress to be found here: "The California kids will throw you a lifeline," [Rivers] Cuomo gives as a word of advice. In terms of contextualising the album's overall feel, "California Kids" does it more than enough justice.
The care-free nature continues with "Wind In Our Sail", where a loose concept begins to emerge and is strung throughout the rest of the album. A simple tale of boy meets girl, they share their time together before it ends and the summertime blues kick in. This track, in addition to its concept, feels like a little self-aware prod at their past work and how they've been trying to make it back to their glory days. They're back in their prime, their sound reinvigorated: "We've got the wind in our sail!"
It takes a turn for the downright bizarre with the delightfully weird "Thank God for Girls", consisting of rap rock verses and religious metaphors with an explosive chorus. It cheerfully plays with gender stereotypes, putting it on its head from the perspective of Rivers, quite the opposite of your generic hunky guy as he looks upon a girl. She's so big, she's so strong. Past this the drums in particular are to be commended on this track, punchy and always at the forefront, specifically when they kick in halfway through the first verse. But, if you thought the song was weird as I did, wait until you see the music video. (Which I can't embed due to YouTube's lovely settings in regards.)
The weak link in the chain is "(Girl We Got A) Good Thing" which, alongside "Summer Elaine and Drunk Dori" are passable. Still enjoyable, but ultimately forgettable, opting for a sound that is too sweet even for its own concept, the former having an almost Christmasy jingle bell persist throughout the whole track. The latter has lyrics that are somewhat cringeworthy, including a shoehorned reference to Radiohead's "Paranoid Android", taking their own strength of referencing pop culture and turning it against themselves for this one and thankfully only instance. These two tracks let down what would have been the perfect summer album, but by no means does it ruin the overall picture. Merely a sum of its parts.
"Do You Wanna Get High?" is a nod to their abrasive tone adopted on "Pinkerton", kicking things of with a wailing guitar all too reminiscent of its opener: "Tired of Sex". It honestly does feel as if it was an unused recording from that era plucked and placed onto this new release, a time capsule back to 1996. Perhaps it contrasts with the 'beach album' vibe that it has crafted to this point, but a return to this sound is forever welcome. A worthy track that harkens back to the good ol' days.
"King Of The World" immediately follows, an ode to his wife who was previously mentioned on "Pinkerton"'s "Across the Sea". It's written specifically for her at the height of their relationship, starting with some dark lyrics pertaining to the crash of MH370, abuse and nuclear bombs. Certainly dark for Weezer's standards anyway, throwing back to the Beach Boys once more, throwing darker lyrics against a contrasting upbeat instrumentation. A wonderful contrast. The opening riff is to be lauded, drilled into my head for many days after first listen, keeping me coming back with its crunch. It's a hopeful track, simply a man wanting the best for his loved one.
Now, what is by far and away the best cut on this album is "L.A. Girlz". It's a call for maturity, a plea to take Rivers' feelings into account instead of just disregarding him. "Please act your age," he cries. The tone is reminiscent of the "Blue Album" b-side, "Susanne", a tribute to a fan of Weezer. It's gleeful guitar riffs and innocent lyrics bring it all together, perfectly encapsulating what is album is and what it is trying to be. It's one for the sunshine, a bittersweet summer album with immense replayability, enough for me with this track alone. "Sweeten up your lemonade and meet me down at tower 28," is contender for one of the best lyrics of the year, that line alone bringing butterflies up in my stomach every time I hear it. An intangible feeling.
The two closing tracks, "Jacked Up" and "Endless Bummer" is where it all falls apart for our concept character, the hardships have come and on the latter track, the relationship is over. The finale to this album is down and out, pleading for the summer to finally end, to be over and done with. Forgotten. The Beach Boys influence once again arises, the track title itself being an allusion to their album, "Endless Summer".
Along with this and "Everything Will Be Alright in the End", Weezer have finally gotten their act together. There are some highlights on their weaker albums throughout the '00s, but on the whole they let themselves fall into generic pop complacency which is, you guessed it, completely and utterly forgettable. This however, is beyond worth it. Even on a rainy summer day, its sure to keep your spirits high and that's all it wants. It's a feel-good album, chock full of solid tracks, none of which stretch past three minutes. It's gone as quick as it starts, much like the season itself.
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