Written by Molly Boekenheide
Weezer has been through (and put their fans through) a lot over the past decade. Whether it be Lady Gaga covers, children’s show appearances, random rapper collaborations, 2009’s Raditude, or Hurley (from Lost) bromances, we’ve stuck with them.
Weezer’s ninth studio album, Everything will be Alright in the End, reminds us why.
The album is a trip back to Weezer’s glory days, and to the sound that made them household names. Stripped down, no-frills alt-rock is the name of the game, and Weezer wins with every track on this one. The album kicks off with the take-no-prisoners “Ain’t Got Nobody.” From the very beginning riffs, you can tell that Weezer is ready for action – the instrumentals simply ooze a very welcome feeling of self-confidence. For such a strong track, the vocals are a surprisingly unsure cry for help, with frontman Rivers Cuomo keening, “Ain’t got nobody, ain’t got nobody…ain’t got no one to really love me…”
Weezer makes humble apologies in “Back To The Shack,” the band’s first official single from The End. A clear message to fans, Cuomo addresses the missteps of recent years: “Sorry guys, I didn’t realize that I needed you so much, I thought I’d get a new audience, but I forgot that disco sucks…I ended up with nobody and I started feeling dumb – maybe I should play the lead guitar and Pat should play the drums…” Weezer is in prime form here: confident without being cocky, and accepting of what is to come. Love them or hate them, Cuomo owns it, crooning, “I’m letting all of these feelings out even if it means I fail…cause this is what I was meant to do, and you can’t put that on sale…” It’s refreshingly self-aware.
“Eulogy For A Rock Band” is – if I HAD to pick one – the weakest track on EWBAITE. Instrumentally, it’s generally a cookie-cutter Weezer tune; sharp, strumming guitars and consistent percussion. The fault lies in Cuomo’s vocal performance, which comes off as noticeably more tame than previous tracks, and fails to deliver THAT great of a hook. “Lonely Girl” takes listeners back to classic Weezer: slightly awkward, yet somehow relatable, as heard in Cuomo’s plea, “I’m lonely, so homely…can’t you relate?” (Yes. Yes we can.)
“I’ve Had It Up To Here” is a radio-friendly open letter to listeners, tackling the band’s apparent frustration with the mainstream music industry, the complaints and comments from haters, and generally, never feeling good enough. Cuomo reflects upon reactions to his past decisions, crying, “I tried to give my best to you, but you plugged up your ears…And now I just can’t take no more, I’ve had it up to here…” The song ends with a truly insane guitar solo that would make Brian May proud. Cuomo meanwhile, pulls himself out of his misery, and blares with unprecedented passion, “If you think I need approval from the faceless throng…that’s were you’re wrong, so wrong!”
“The British Are Coming” fades in with a determined drum line before segueing into complex plucked guitars. It’s a expletive-ridden history lesson, with Cuomo telling a tale of “punk ass redcoats trying to ruin the show” as he races against time as a pseudo Paul Revere to warn of the impending British invasion. Give em hell, boys!
“Da Vinci” is an endearingly quirky stand-out about an all-consuming love. Steady guitars blare as Cuomo croons, “Even Da Vinci couldn’t paint you, and Stephen Hawking can’t explain you. Rosetta Stone could not translate you…I’m at a loss for words, I’m at a loss for words…” Tinkling keys accompany a gushing Cuomo, who can’t seem to share his joy enough: “I couldn’t put it in a novel, I wrote a page…but it was awful. Now I just want to sing your gospel…I’m at a loss for words, I’m at a loss for words…”
Cuomo collaborates with bestie Bethany Constantino of Best Coast in “Go Away,” an undeniably catchy throwback jam that is guaranteed to put a smile on your face. “Cleopatra” is another stand-out track, alternating between soft strummed guitars and unyielding percussion. The track tells of denying someone power, with Cuomo warbling, “Your beauty is faded, you’re a broken shell…it’s only the weak that fall for your spell…” Guitars crash wildly as he wails out a chorus that is just begging for a sing-a-long: “You can’t control me no more Cleopatra, patra, paaaatra…”
“Foolish Father” sees Weezer dive back into their aggressively angsty Pinkerton days, waxing lyrical about troubled relationships between parent and child. Cuomo recently told NME.com that “‘Foolish Father’ could be me singing about my father or me singing about my daughter,” although the finished product seems to sway more in favor of the latter. Cuomo wails helplessly, “forgive your foolish father, he did the best that he could do…you are his daughter, he’d do anything for you…” Just go ahead and TRY not to sob inside at that, I dare you.
“I. The Wasteland” is a completely instrumental, heavily guitar-based track that exudes an aura of post-apocalyptic destruction. In the end, Weezer emerges victorious, diving headfirst into “II. Anonymous.” Cuomo’s vocals weave in between complex guitar solos as he thanks an imaginary hero: “I don’t even know your name, I don’t have the words to say, so I call you anonymous…” before finally finding his resolve, declaring, “I know what to call you!” The album concludes with the epic instrumental, “III. Return To Ithaka,” securing their place back in the rock royalty spotlight.
Welcome back, Weezer!
Rating: 8.5 out of 10
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