On their 10th studio album, alternative rock titans Weezer continue the winning streak of 2014’s Everything Will Be Alright in the End by again combining the bittersweet melodicism of their early fan-worshipped output and the quirky eclecticism of their latter, less beloved, days. Their fourth self-titled overall, the record is already being dubbed the White Album because of the white color scheme of its front sleeve.

While no modern Weezer record may ever replace the nostalgia-tinted prowess of their 1994 self-titled debut (dubbed the Blue Album for its front cover color scheme), its emotionally naked follow-up, 1996’s Pinkerton (hated on its release, adored years later), and the unfairly maligned perfect pop of 2001’s second self-titled release (this one dubbed the Green Album), this latest effort by the band comes closest in terms of consistency and immediacy.

No song is dripping with off-putting gimmickry — lyrically or compositionally — and all 10 songs come packed with immediate verses and punchy choruses. Best of all, they feel connected to each other, not only thematically but songwriting-wise.

There’s also an awareness by frontman Rivers Cuomo to keep his self-satisfying wackiness in check this time. The 45-year-old reigns in the sometimes questionable playfulness that’s been his songwriting trademark for these past 20 years by never going too far in the weird-old-guy direction.

While a swift glance at the song titles still present a preoccupation with the young man’s world (girls, drugs, etc.), the songs themselves never rely on any lyrical schtick, instead build themselves with strong melodies.

As impressively self-focused on his songwriting Cuomo has been in the recent past — to the detriment of the average post-2002 song quality — the musician can’t deny the rousing pop-affection of his early-day formula.

That’s perhaps a regressive formula that Weezer’s main songwriter may not find most artistically challenging, but Weezer’s (and this record’s) most soaring moments come when those minor chords hop-scotch around with its major counterparts, while Cuomo emotes vocally above it all with his mastered pensive-triumphant counter-melodies.

Save for Everything Will Be Alright in the End and the odd-tracks here and there on subsequent records, those kinds of affections were last heard on 2002’s Maladroit. The self-borrowing of certain chord progressions makes this case clear.

As such we have “Do You Wanna Get High?” which, aside from being yet another questionable grammar choice from the Harvard-graduating Cuomo, borrows liberally from Pinkerton’s “Pink Triangle”, right down to its solo.

Yet, as manipulative as it may be, the song works in evoking – or re-evoking – the same sense of desperate romanticism that made its compositional influence so enduring.

Album opener “California Kids” gets right to it with crunchy guitars and drummer Patrick Wilson’s characteristic less-is-more choice of beats. The song is all hooks, with a sentimental undertone that marked many of the band’s year 2000 (unofficially released) demos.

“Thank God For Girls” and “King of the World” starts off with that quirky Cuomo-rap, harkening back to 2009’s relatively experimental Red album, but quickly punches into a stadium-ready refrain. Yes, it’s essentially rap-rock, but again strong melodies saves it from sounding like a nerdier Limp Bizkit.

The winky-winky intro of “Summer Elaine and Drunk Dori” makes way for a pop-metallic chorus, witty glam rock if there ever was one. “L.A. Girlz” is all about Blue Album/Pinkerton-era Weezer, all punchy melancholy and adorable desperation, and “Endless Bummer” borrows the same sense of pretty somberness, moving from an acoustic ditty to classic Weezer rocker. “Jacked Up” borrows some neo-burlesque touches courtesy of tour partners (and much younger band) Panic! At The Disco, while “Wind In Our Sail” slides along similarly with tinkling barroom piano and a massive chorus.

The white album’s strength comes from its uniformity. None of the songs really stand out as singles (probably why there has been so many singles released already in such a short timeframe) but they all stand on equally solid melodic and composition grounds. It’s very likely the fourth- or fifth-best Weezer album. At this point, that’s more than good enough.

– Marcel Thee

Popular

Luhut confirms Jakarta-Surabaya high-speed rail project will continue

Russia and Ukraine complete largest prisoner swap

Critical op-ed retraction tests freedom of expression