Instead of the typical pseudo-definitive ranking of the “Best Albums of 2016,” this December we’re trying something different. The Rutgers Review is bringing you 31 days of our writers’ favorite albums this year, from internationally anticipated releases to local debuts to a few guilty pleasures, without caring what critics have had to say.
One of the most beloved and cherished of geek rock groups released their fourth self-titled album this year. From blue to green to red, every few years Weezer have released records absent of title that have been dubbed by their distinct one-colored album art. This time around, we get their White Album, which believe it or not is their tenth studio album – surprising to those who have (understandably) forgotten about some of the less-acclaimed albums that have come out in more recent years, Everything Will Be Alright In The End (2014) and Hurley (2010). But their latest work seems to have broken the conception that our nerd rock grandfathers, Rivers Cuomo & Co., cannot still put together a respectable record.
Admittedly, much that there is to love about the album comes from a place of a nostalgia and an undeniable sense of déjà vu upon hearing a few of the tracks. “King of the World” is a hook-heavy tune that easily satisfies the ear for any Blue Album-era fan. They return to their roots on “Do You Wanna Get High?” whose intro is filled with feedback that builds toward a messy crescendo paired with familiar guitar squeals. Even the first few seconds of White Album have me thinking of a Weezer from twenty years ago; it opens with the sound of “Pink Triangle”-esque xylophone chimes that immediately spur warms thought of my sweet old friend Pinkerton.
The opening track “California Kids” sets the tone for this album. Cuomo sings of ocean waves and bare feet, painting the picture of a perfect California summer (“You don’t have to have the answers… The California kids will throw you a lifeline”). With a smooth flow into “Wind In Our Sail,” a playful piano echoes a message of euphoria. “(Girl We Got A) Good Thing” is also a catchy summer jam. These are songs that I found myself driving down to the beach listening to, with the windows down and my mind loose. Tunes like these are satisfying to those who discovered Weezer by hearing “Beverly Hills” on the radio without digging much deeper into their discography.
The spunk of Cuomo’s songwriting is not lost on this album, though. One of the lead singles, “Thank God For Girls”, is obscurely image-driven and tinged with his weirdness. Lines like, “And you may encounter dragons or ruffians and be called upon/ To employ your testosterone/ In a battle for supremacy/ And access to females glued to the TV,” highlight the odd and quirky nature that Weezer have branded themselves upon.
Over two decades have passed since Weezer’s debut album, and their latest release feels like it was reverse-engineered to harness flavors of classic Weezer that fans have been eager to taste for so many years. It is fair to say that I found myself rejoicing over the new record for good reason: it is a worthy successor to Pinkerton (that old fans and non-fans alike can enjoy). There is just enough spark here to make it feel fresh and be something genuinely new from my favorite sweater-wearing rockers that people can be excited to listen to. Oooh-weee-hoooo, it’s nice to have new, weird lyrics from the White Album to sing along to.