This is not Pinkerton.

Now that we have that out of the way, let’s examine where this 10th LP (fourth self-titled) fits within The Curious Case of Weezer.

To many, Weezer are hacks; they’re notorious for “selling out” (whatever that means), a band who’s switched not only styles but a frontman who famously experimented with hundreds of songwriting methods just to reach the heights of the band’s classic debut, Weezer (The Blue Album). But it’s what’s happened between the time of The Blue Album and now that makes the band (and their enigmatic frontman, Rivers Cuomo) so endearing. There was critical success followed by critical failure; addiction followed by isolation, all in the name of goofy songs like “Hash Pipe” and “Island in the Sun.” There was celibacy, meditation, marriage, divorce, a Lil Wayne feature, and a “return to form” all in the past two decades.

Read More “Weezer – Weezer (The White Album)”

Let it go. Weezer’s days of recording classic material that ranks anywhere near their self-titled “blue” album or Pinkerton are done; that Weezer sound is dead. Yet, that anticipation from fans everywhere has continued upon the arrival of each new Weezer record. Five albums into their new millennium comeback and well, nothing has changed: Rivers Cuomo and his band of brothers are still recording goofball pop music with joyful rhythms and tepid lyrics… and by now, you’d be ignorant to believe it will change. Raditude is Weezer’s seventh full-length release and their most widely-collaborative effort. After last year’s third self-titled “red” album failed to impress many fans with the band’s experimental side, Weezer changed things up and hired veteran pop producer Butch Walker to helm the boards, as well as co-write a few songs. Jacknife Lee was also brought back, and despite their last effort’s lack of appeal, the band stuck with a few ideas that continue to amplify their teamwork mantra (for example, all members share songwriting duties).