Newer Music:
Weezer : Van Weezer and OK Human
This week, I met up with a fellow music fan with similar tastes to mine who surprised me by attempting to convince me that Weezer is continuing to put out worthwhile music. To be honest, I have somewhat immediately written off every Weezer album since 2002 as not being worth my time. I think it was the song Beverly Hills from their 2005 album Make Believe that started to turn me off and then the painful single Pork and Beans off of the 2008 record Weezer (Red Album) sort of sealed the deal in terms of me considering them not much more than a kitschy novelty act running on fumes and recycling the same stuff over and over.
That said, I will forever carry warm sentiment for Rivers Cuomo and gang for their excellent first three albums (and we will be generous and include Maladroit from 2002 which feels a bit underrated to me). So with that in mind, and in deference to my late-era Weezer appreciating friend, I decided to give both of the recently released Weezer records, OK Human and Van Weezer, a proper listen this week with as open a mind as possible.
I’ve seen OK Human, released in late January, described as Weezer’s Chamber Pop album, and I guess that makes sense given the sizable presence of orchestral instrumentation throughout the album. At times reminiscent of Belle and Sebastian, Badly Drawn Boy, and even The Killers; the record at other times is very much on brand as average-at-best past-their-prime Weezer. Still, I must admit that a couple times through the record did lead to several songs growing on me. First single and album opener All My Favorite Songs and album track Aloo Gobi are pure sugary pop gold; on the opposite side of the emotional spectrum, contemplative songs Numbers and Bird With A Broken Wing are surprisingly effective ballads of vulnerability and beauty. I’m not ready to call this a return to peak-era Weezer form, but I’m glad I gave this record another listen and I plan to add it to my record library.
Next up was their recently released rock album Van Weezer, featuring a more classic and hard rock sound and apparently named in honor of recently deceased guitar god Eddie Van Halen. Listening through this record, I just can’t escape the thought that this retro electric guitar sound sounds very dated to me, and not in a positive way. I appreciate the on-point homage to Van Halen on early track The End of the Game, but it doesn’t translate into me wanting to listen to this Weezer song or album ever again—in the unlikely event I have a hankering for this sound, I am just going to pop in an 80s Van Halen record. By the fifth or sixth track, I was already skipping through the tracks to see if there was anything that caught my ear. Alas, by the end of the record I found myself pretty convinced that I don’t ever need to revisit this album ever again, with the possible exception of moderately appealing song All Of The Good Ones.
Standout Tracks: All My Favorite Songs; Bird With A Broken Wing; Numbers; Aloo Gobi; All Of The Good Ones;
Sons of Kemet : Black To The Future
The Shabaka Hutchings-led British jazz juggernaut Sons of Kemet released their fourth album, and second consecutive on legendary jazz label Impulse! (after monumental 2018 album Your Queen Is A Reptile), earlier this month. Sons of Kemet are fascinating to listen to for many reasons, but primarily because the band includes a tuba and two drummers along with Hutchings’ sax and clarinet. The result is a very Caribbean and African sound, and an often very prominent role for Theon Cross’ tuba. An invigorating and thought-provoking modern jazz record.
Standout Tracks: Hustle; Pick Up The Burning Cross; Let The Circle Remain Unbroken; To Never Forget The Source; Think Of Home
Jorja Smith : Be Right Back
One of the most promising British artists of the last few years, Jorja Smith has shown impressive versatility through colloborations with rappers Drake and Stormzy, as well as contributing vocals to recent Blue Note contemporary jazz single Rose Rouge. Her 2018 debut record Lost and Found, led by standout single Blue Lights, won several British music awards.
A couple weeks ago, Smith released her follow-up record entitled Be Right Back. Just eight tracks and not much more than 25 minutes long, she packs plenty of quality into that relatively short amount of time. Lead single and album opener Addicted is a fantastic showcase for her addictive voice (obvious, bad pun intended). She’s a star and deserves comparisons to one of her inspirations, Amy Winehouse.
Standout Tracks: Addicted, Bussdown (featuring Shaybo); Burn; Weekend; Gone; Rose Rouge
Lord Huron : Long Lost
This month, Los Angeles-based indie rock band Lord Huron released their fourth album Long Lost. Led by Michigan transplant Ben Schneider, the band is known for its cinematic folk sound exploring many retro-sounding subgenres. If you’ve heard only one of their songs, it most likely their 2014 single The Night We Met, which has featured in many TV shows and movies and has a staggering 753 million spotify streams. New album Long Lost is a pleasant listen and lead single Not Dead Yet is one my favorite folk-adjacent songs of the year so far.
Standout Tracks: Not Dead Yet; Mine Forever; Long Lost; I Lied (with Allison Pointhier); Love Me Like You Used To
Throwback Selection:
Weezer : The Green Album
Continuing with the Weezer theme, this week’s throwback selection is 2001’s the Green Album, the last great Weezer record. 20 years ago this month, I was doing a study abroad program in Kyoto, Japan and this record came out to deserved fanfare even with the Japanese. I can still remember listening to this record on repeat as I rode the trains and subways around Kyoto and Osaka that spring and summer. This was the first record without founding member Matt Sharp (of the brilliant side band The Rentals), but the absence of his cosmopolitan pop sensibility wasn’t immediately felt. The entire record is catchy and charming as hell. Album opener Don’t Let Go is the protypical endearing Weezer song and the ubiquitous Island In The Sun, with its over 370 million streams on Spotify, is the unstoppable lead single.
I can fully appreciate that there may be those out there who wonder if the post-2002 Weezer output is actually much different in style, substance, or quality from the first 3-4 records. I would disagree, but I consider that argument a pretty defensible position. I guess I would liken Weezer’s discography to the careers of comedic actors such as Melissa McCarthy or Kevin Hart; the brilliant talent and schtick that sets one apart to find greatness and fame sometimes only maintains the same level of freshness and value and flavor for a few times before it starts to lose some staying power. And that’s okay! Actually, Weezer deserves better than those comparisons—why don’t we go with Zach Galifinakis (my occasional doppelganger depending on beard length)!
We can all hopefully agree that The Blue Album, Pinkerton, and The Green Album are all classic records to be celebrated. Rivers Cuomo is a lovable genius and no amount of bland, mediocre late-era albums is going to change that. OK Human does have its moments, though!
Standout Tracks: Island In The Sun; Photograph; Don’t Let Go; Simple Pages; Crab; Hash Pipe
More Related Music You Should Also Check Out: Badly Drawn Boy : Have You Fed The Fish?; Van Halen : 5150; Sons of Kemet : Your Queen Is A Reptile; Amy Winehouse : Frank
