why weezer is the absolute worst
It takes your memories and your relationship with music and turns it into a disease; then it crawls inside the fetid, feculent death swamp it has created and laughs at you. Maladroit is frequently cited as the band’s most underrated work, and for good reason. For a band so noteworthily adept at catchy, sweet melody, this is a problem; the album does not play to the group’s strengths in the least (the 45-minute running time doesn’t help — this is a Weezer album!). ‘I Don’t Want To Let You Go’ is a banal – perhaps pleasant – finisher, made more tolerable by the preceding cut, ‘In the Mall,’ whose riff and melodies are energetic (and under 3 minutes! I’ll always hold a unique personal connection to this one, more than any of their other albums – even this list’s #1. succeeds as the band’s best work, as a driven and arrestingly produced record – one that oozes personality from all of its corners and crevices, all of its excellent performances (Cuomo, Sharp, Wilson, Bell), and all of its superbly placed influences. The Conundrum Around Three Bare-Metal Shelby Cobras. Fine, whatever: so far, so OK. Then, fourth, comes the offensive synth of ‘Can’t Stop Partying,’ the fan experience of listening to which is comparable to watching your closest friend stab themself repeatedly. What’s With All the Old Rock Bands on “SNL” Lately? Copyright © 2021 InsideHook. Raditude . So much about its approach justifies its position as a classic; the cyclical, chugging guitars of ‘The World Has Turned,’ or the irresistible hook of ‘Say it Ain’t So’; the doo-wop-infused charm of ‘Holiday’ or the addictive, inspiring opener ‘My Name is Jonas’; the endearing, miserable wit of ‘Surf Wax America’ or the romantic buoyancy of ‘Buddy Holly.’ This isn’t mentioning the nerd-rock pleasure of ‘In the Garage,’ or the scrumptious weirdness of ‘Undone – The Sweater Song,’ or, indeed, the glorious, glorious, glorious masterpiece ‘Only in Dreams’ – surely, one of the best album closers of all-time. I am immensely grateful to have someone like that … It does little to detract from the experience, though, and the record’s clumsy, B-side feel works greatly in its favour. The blog header is from Princess Mononoke (1997, dir. Description really grants these songs no justice.Blue succeeds as the band’s best work, as a driven and arrestingly produced record – one that oozes personality from all of its corners and crevices, all of its excellent performances (Cuomo, Sharp, Wilson, Bell), and all of its superbly placed influences. ‘I’ve Had it Up to Here’ features a slicing guitar lead and shimmering chorus, whose lyrics sensitively reflect on the band’s less-than-spotless critical run and Rivers’ personal frustration with how fans have come to view his work, and ‘Back to the Shack’ flagships the “return to form” characteristic that’s tied to this record’s release with a big, choppy hard-rock riff and appropriately melodic chorus and victorious bridge that champions the band’s earlier sound (“we belong in the rock world”). Handful of good tracks on this thing. Kudos to those responsible for the amazing album title and cover art. The album ends with the Futurescope Trilogy, an unstoppable triptych of guitar work and explosive performances (Pat bloody Wilson, man) — it is the most triumphant closer of Weezer’s career, and warrants listen after listen after listen. And awesome. Look – It starts off well enough. By the way, Toto’s reciprocal cover, “Hashpipe,” isn’t nearly as repellant, because as horrifying as it is, it is sincere. All credit to Studio Ghibli. Oh, and the lyric video is either the best or worst cannoli on youtube depending on my mood. Pinkerton never quite comes together for me in the ways of the two higher-ranking albums on this list, but this is not a redaction of praise. The album’s exercising of pent-up sexual and romantic frustration is profound and made even more compelling when keeping in mind the circumstances surrounding the album’s production as well as its widespread critical panning on release; its growth into cult status is quite the wonderful thing. ‘The Girl Got Hot’ is a lull; unmemorable, if irritating. These include the era of super-ubiquitous music streaming, which enabled both instant market testing and immediate satisfaction; the inability of our nihilistic and complacent era to distinguish memory from nostalgia and tribute from irony; and the replacement of creativity and originality with the crowd-pleasing Cup-O’-Tears of the TV talent competitions. Black’s mostly OK, and pleasant, but nothing more. If nothing else, this album is consistent, but its regression of Weezer’s sound – affirming their recent tendency to compile unexceptional cuts that only come together as list items that footnote an album – is regrettable; only a single track here really transcends this mediocrity. and is one of band’s only songs — ever — that makes me dread the eventual inrush of crunchy guitars thanks to a diabolically grating hook. It is bleak, but an endlessly emotive glimpse into life following sudden stardom and fascinating characterisation of the loneliness of romantic deprivation and its fantasies. The harmless ‘La Mancha Screwjob’ avoids these sonic trappings, however, and ‘Any Friend of Diane’s’ is a catchy closer that ends things on relative high. From the Juba beat of antebellum Tuckahoe Plantation to the modified Appalachian howls of Jimmie Rodgers and Hank Williams to the sex-calls of Louis Jordan and Elvis to the rhymes of Run DMC and all the manifold descendants of all these pioneers, American music is the creation of those forgotten by the American dream. Weezer has ten fully released albums, and one due to be released on October 27th. ‘California Snow’ is a fine closer; I like the unabashed silliness of the introductory section (“walk soft with a big stick / woo!”), but the song as a whole doesn’t do a great deal for me – something about those synths just doesn’t quite draw my ear. Fei519 (Topic Creator) 4 months ago #22. 19 min read. I even enjoy the sugary island-pop tune ‘Byzantine.’ Also lining the tracklist is the woozy piano verse of ‘Piece of Cake’ and acoustic-led ‘Zombie Bastards,’ which, along with ‘Too Many Thoughts in My Head,’ act as relatively pleasant, inoffensive slices of pop to fill out the run-time. Here are the 15 Reasons Iron Man Is The Worst Member Of The Avengers. Weezer’s “Africa,” on the other hand is a disgusting record, a record that literally mocks the meaning and power of rock’n’roll by reducing it to a saggy, sick, and unfunny in-joke. Weezer have released the worst record of all time. 1. I slightly lost myself in the process of writing and revising for this project, so, uh… enjoy. ‘Pork and Beans’ is a band classic at this point, and ‘Heart Songs’ is an instrumentally arresting ballad with charming lyrics that reminisce Rivers’ experience with various musical influences. “Can’t Stop Partying” (from Raditude, 2009) The worst song on the record with some of Weezer’s most dismal songs,... 3. It will always hold a place as the Weezer album that introduced me to the group (I loved it at the time), but with the full picture of their discography, it doesn’t hold up nearly as well as I’d like it to. Sorry! Unfortunately, I'm leaning towards absolute … It is warm turned cold, the sobering of fantasy and the reconfiguration of hope; that feeling of evening melancholy but a simultaneous surge of aspiration. Whether tongue-in-cheek or not, it succeeds as Weezer’s worst work. Weezer. is mainly just really boring. Of all the debuts of all the world… this one takes the cake. Even the terribly cheesy ‘Smart Girls’ just-about gets away with some of its songwriting (those verses, man!). Weezer is an American rock band formed in Los Angeles, California, in 1992. All of the bigger things that might disenchant me with one of their records may well become the overarching sentiment that attracts me to it after some time — this has been the case for maybe three items on the list. (It becomes clear pretty quick.). (Photo by Miikka Skaffari/Getty Images), The Weezer version is so bad that it makes the original by Toto, pictured here in 1988, sound good. ‘Memories’ and ‘Ruling Me’ are wicked singles, and ‘Trainwrecks’ has been a massive grower; I love the chugging guitars and Rivers’ more strained, drawl-like delivery (consistent on this record). I don’t know why I say “lately,” as if it’s not something I do basically all the time, but I do know that it’s something you should do, too. It secures a high-ranking spot on this list. Complementing the tracks mentioned, though, is the skin-crawling ‘Beach Boys,’ and ‘Feels Like Summer,’ which really merits no further mention. ‘Pork and Beans’ is a band classic at this point, and ‘Heart Songs’ is an instrumentally arresting ballad with charming lyrics that reminisce Rivers’ experience with various musical influences. Raditude (2009) Of course, this is how any Weezer list should begin, as it is absolutely atrocious. If I want covers of songs that straddle the line between re-imagination and tongue-in-cheek irony, my go-to is P.O.T.U.S. Make Believe isn’t laughably bad, but nor does it have enough good moments to really warm to – it’s the sort of thing whose songs might mildly annoy, or bore, or serve as nothing more than a mindless “I can’t recall anything I just heard” venture. Now, I never felt much one way or another about Weezer, apart from the fact that they had a damn good churning guitar sound that took a Mick Ralphs/Johnny Ramone kind of wallpaper slobber and made it into something machine-like and hypnotic. ’s ‘Butterfly,’ and tinges the track with nostalgia. I deeply love this record, for these personal reasons – ones that would need an essay to explore – but as well as its consistency in delivering, pop-rock tunes. Truck driving sons of Parchman convicts, the urban and rural poor, the immigrant Jews, Italians and Irish — all the people who had nothing and built America, they built American song, too. I wrote this article for a … Every single time you enter the word “Africa” into Spotify or YouTube it laughs at you some more, with the mad drooling cackle of a syphilitic over-privileged aging fratboy. (Also: there are some great bonus tracks on this thing. comes together for me in the ways of the two higher-ranking albums on this list, but this is not a redaction of praise. It does little to detract from the experience, though, and the record’s clumsy, B-side feel works greatly in its favour. It’s an album highlight. User Info: Fei519. So at … As they are one of my favorite bands (when they are at their best), I've decided to give my personal ranking of the Weezer discography. ‘The Greatest Man Who Ever Lived’ continues in the prior-cultivated pop-oddball feeling of the record with one of the most experimental and successfully aperiodic Weezer tracks to date, jumping to a new sound every several bars but retaining a melody to draw them together. ‘Unspoken’ is a lovely fireside acoustic break and one of Weezer’s best ballads, easing into the outrageous ‘Where’s My Sex?,’ an appropriately ridiculous cut that manages to make the dumbest lyrical crux of Weezer’s career work. There is not a touch of irony to it. As if you needed further proof. But there was always a moldy thrift store stink of irony about Weezer; and irony is to art what kryptonite is to Superman. Weezer’s “Africa,” too, reduces the entire rock era to a joke, a joke Simon Cowell and all those awful Jennerdashians would approve of, because it is stylish and ironic and accomplished. Even the terribly cheesy ‘Smart Girls’ just-about gets away with some of its songwriting (those verses, man!). is not egregious, but it’s certainly cocky, phoned-in and frequently annoying. Closer ‘Haunt You Every Day’ is enjoyable enough, but one that’s injured by the preceding formula of the album; it very much becomes the same noise as the previous forty minutes. In 1996, Pinkerton was panned. A perfectly executed, beautiful pop-rock, power-pop, alt-rock album. Brutus Buckeye is randomly running around EVERYWHERE. I don't care if it shows a return of creepy lyrics about women or that it conjures up the picture of a young mastubating Cuomo every time the second verse rolls around, this song is way too cannoli for me to hate. Go to AdamandEve.com Use Code: "Midnight" for 50% Off 1 Item + Free Shipping in the US & Canada. And awesome. The bonus track ‘Friend of a Friend’ and Fan Club exclusive ‘The Last of Days Summer’ are sweet as hell and you should listen to them!). For me it's, Let it all hang out, Can't stop partying, Tripping on the freeway, Perfect Situation and Only in dreams (please don't ask why). bleeds absolute personality – it seeps summer sadness, nostalgia and heartbreak. I deeply love this record, for these personal reasons – ones that would need an essay to explore – but as well as its consistency in delivering perfect pop-rock tunes. ‘Beverly Hills,’ though far from their best work, is not the car-crash that some fans make it out to be – I can enjoy it as a fun diversion. Closer ‘Haunt You Every Day’ is enjoyable enough, but one that’s injured by the preceding formula of the album; it very much becomes the same noise as the previous forty minutes. is an absolute mess, but this is largely why it’s compelling. I know. Overall I liked the idea of many things they did (more adult characters, "programmable" characters, big world, etc) It took me a second to remember the name, gambits. Enough has been written about its influence; if you haven’t stumbled onto yet, it is the opinion of mine and many others that the record is incredibly worth your time – if for no other reason, to say that you’ve heard it. It just lacks texture, depth, and personality, and is smoothed to consistency in a way that doesn’t strike me all that much. ‘The Prince Who Wanted Everything,’ though, is dry and plodding, and ‘Living in L.A.’ is an over-produced “whoa, whoa!”-style cut – you know, the type we thought the band was done with. “Beverly Hills” (from Make Believe, 2005) 2. It is a far-cry from the band’s talents. It sounds as though a sadness is being fought off between these sections and the enveloping verse hi-hats and wistful chorus. I seem to like this record more than most fans – ‘High As a Kite’ is a euphoric slice of dream-pop and another treasure from the band, and ‘Can’t Knock the Hustle’ is a swaggering lead-single that sees Weezer successfully (finally) blend with that faux-hip-hop sound they’ve been toying with for years, even if the result approaches staleness after a couple of listens. ); the song might remind of Maladroit if the production weren’t so crippling. 15 HE CREATED ULTRON. 14. The band pull from copious musical corners, assembling a patchy collage of their various influences that never quite comes together but succeeds as generally interesting regardless. Girlz,’ soaring ‘Wind in Our Sail’ and painfully bittersweet closer ‘Endless Bummer.’ Pretty well every track here is a wonderfully executed burst of Weezer at their best, though, and the record is kept to a tight 34 minutes that only adds to the addictive experience of the tracklist. not Weezer. As one of my favourite bands, Weezer are tough to evaluate. The album’s exercising of pent-up sexual and romantic frustration is profound and made even more compelling when keeping in mind the circumstances surrounding the album’s production as well as its widespread critical panning on release; its growth into cult status is quite the wonderful thing. It should never treat your ability to find a friend in a song as a joke. It gives hit after hit after hit, underscored by endlessly endearing, charming lyricism, with wicked hook after wicked hook and a shocking amount of excellent performances (it’s worth noting the sly bass homage to Blue’s ‘Only in Dreams’ in the bridge of ‘King of the World’). The band’s second concept album afterPinkerton, White bleeds absolute personality – it seeps summer sadness, nostalgia and heartbreak. Favourites include the shimmering ‘L.A. Girlz,’ soaring ‘Wind in Our Sail’ and painfully bittersweet closer ‘Endless Bummer.’ Pretty well every track here is a wonderfully executed burst of Weezer at their best, though, and the record is kept to a tight 34 minutes that only adds to the addictive experience of the tracklist. She's the worst because she's the best and has set the bar so high for me when I become a mother someday. This is perfectly encapsulated by easily-top-ten-Weezer-track "Ruling Me," an absolute clinic in how to write the perfect power pop track. It that tells the story we all share. Was rock’n’roll something that allowed you to both separate from your parents yet find your tribe? It is Weezer’s lowest low, as well as the longest song on the album because of course it is. Weezer’s “Africa” is literally a parody of music, a cruel burlesque that mocks you for ever being touched or moved by music in the first place. Or: subscribe to the blog through Wordpress to the right. It's free. If nothing else, this album is consistent, but its regression of Weezer’s sound – affirming their recent tendency to compile unexceptional cuts that only come together as list items that footnote an album – is regrettable; only a single track here really transcends this mediocrity. Weezer’s “Africa” is the worst record ever made. Eh! 6 reasons Betsy DeVos is extremely the worst, in case you forgot why she makes you angry this link is to an external site that may or may not meet accessibility guidelines. I will put them in a worst to best list based on my enjoyment of them. This enjoyable streak of songs is kneecapped, however, with the dreadful ‘Everybody Get Dangerous,’ an unholy Red Hot Chilli Peppers impression with a grating guitar lead and an equally annoying hook (“BOO YAH!”). Raditude is not egregious, but it’s certainly cocky, phoned-in and frequently annoying. Why Chocobo Catcher is the absolute worst; User Info: Fei519. So, me and my friend Moebin Hafiz (who has travelled the country for his Travel Diaries) have set out to prove why Pakistan really is the worst place on earth. ‘Brave New World’ is expansive, the chorus featuring one of the most exciting chord changes of any Weezer song, and ‘Time Flies’ is a neat little closer that aptly caps-off an album that knows exactly what it is and tries to be nothing more. ( Log Out / Put this in your hash pipe and smoke it: Weezer doesn’t have a bad album. The 90s Weezer crunch breaks the polished sound in a few places, of course, though, most notably on the ultra-sweet ‘Da Vinci,’ whose chorus hits like a ton of bricks (in the best possible way!). Please leave my food untainted by the abomination that is stuffing. Clearly, though, it isn’t straight bad (especially for Weezer); it’s at least consistent in delivering fine songs. All this is fronted by some of Weezer’s best tunes – ‘El Scorcho,’ ‘Why Bother?’ – tunes which possess more ingrained loneliness than any modern emo band could dream of. I actually appreciate trying new things in music. is frequently cited as the band’s most underrated work, and for good reason. Full disclosure: we once asked Christmas is the absolute worst, and we're here to tell you why. The album ends with the Futurescope Trilogy, an unstoppable triptych of guitar work and explosive performances (Pat bloody Wilson, man) — it is the most triumphant closer of Weezer’s career, and warrants listen after listen after listen. Why does one song get me so angry? Weezer should have done a bit more to make the song unique to them while maintaining the core elements. Make Believe is mainly just really boring. To Drive or Display? Listen,Pinkerton absolutely deserves its place as an emo-before-emo masterpiece. ‘I’ve Had it Up to Here’ features a slicing guitar lead and shimmering chorus, whose lyrics sensitively reflect on the band’s less-than-spotless critical run and Rivers’ personal frustration with how fans have come to view his work, and ‘Back to the Shack’ flagships the “return to form” characteristic that’s tied to this record’s release with a big, choppy hard-rock riff and appropriately melodic chorus and victorious bridge that champions the band’s earlier sound (“we belong in the rock world”). ‘Keep Fishin’ is, I feel, still overlooked, and ‘Burndt Jamb’ persists as the band’s great underrated track. ‘California Snow’ is a fine closer; I like the unabashed silliness of the introductory section (“walk soft with a big stick / woo!”), but the song as a whole doesn’t do a great deal for me – something about those synths just doesn’t quite draw my ear. It’s a band favourite for me, each section quite compelling in its own right (my favourites are 0:35-1:00, 1:26-1:51 and 3:08-3:33). Listen for yourself: News, advice and insights for the most interesting man in the room. Rock’n’Roll is the sound of America’s disenfranchised, made electric. The introduction (and later bridge) to ‘Run Away’ reeks of. ‘The Angel and the One’ drips with melodrama and supplies a certifiable ‘big finish’; it’s an odd turn for an album that been so joyously crackpot — but perhaps not surprising for Red’s such spastic spread of songwriting. In Toto’s archaic worldview, the style in which they perform “Hashpipe” — let us describe it as Skunk Baxter jamming with Night Ranger, or G.E. The sound of the record is fleshed out by ‘Eulogy For Rock Band’ and personal favourite ‘The British Are Coming,’ which see Rivers embrace some higher-concept stuff more directly than before. Handful of good tracks on this thing. Change ), You are commenting using your Facebook account. Rubbish Christmas Films . The intentionally sloppy production is great – I love those ringing, tuned-way-too-low toms and the unsynchronised vocal harmonies – and the lyricism under Cuomo’s delivery has a poignant duality; are we supposed to find these things amusing, or terribly sad? Not only is it deeply human and well written, but on top of that it is a very pleasant musical experience, adorned with catchy melodies and charming orchestration. Or was rock’n’roll where you first tasted rebellion, identity, joy, lust, and companionship? Previewing the NBA Season's Second Half With Kenny "The Jet" Smith, Prince Harry’s Fashion Faux Pas Can Be Fixed With a Better Pair of Socks, With Bombshell Oprah Interview, Prince Harry Refuses to Let History Repeat Itself. It’s a band favourite for me, each section quite compelling in its own right (my favourites are 0:35-1:00, 1:26-1:51 and 3:08-3:33). Weezer are screwing with you, mightily, on any number of levels, all of which basically add up to them announcing, “We are smarter then you.” They want to make it all a joke because in the New Streaming Reality, they want to prove that Nothing = something. The lyrical hook of ‘Let it All Hang Out’ speaks for itself: “I’m going out with my homies and we going to let it all hang out.” Yes. The production is laid on thick to the point of being over-dense, and the songwriting uniformly follows a pointedly structure. It just lacks texture, depth, and personality, and is smoothed to consistency in a way that doesn’t strike me all that much. ’s mostly OK, and pleasant, but nothing more. It’s an album highlight. . Giphy. Sorry! At the beginning of Avengers: Age of Ultron, the Avengers stop Wolfgang Von Strucker from experimenting on human subjects and retrieve Loki's scepter from him. This enjoyable streak of songs is kneecapped, however, with the dreadful ‘Everybody Get Dangerous,’ an unholy Red Hot Chilli Peppers impression with a grating guitar lead and an equally annoying hook (“BOO YAH!”). ‘Beverly Hills,’ though far from their best work, is not the car-crash that some fans make it out to be – I can enjoy it as a fun diversion. I don’t know what else I can say – you really just have to listen to it. The transition back from the bridge is noteworthily dreadful, but it doesn’t do a great deal to kill the song. Weezer is my favorite band ever, and I have cleared their entire discography. These songs are really enjoyable stuff, with ‘Cleopatra’ acting as another great footnote, its lyrics discussion of going free furthering the album’s ideas of breaking from the past, with an awesome bridge section tastefully sanitary chorus. “Africa” is pop music’s ruffle-hair moment, where it dies, babbling, in its own waste. It’s quite sweet. ‘I Want You To’ is an absolute gem and ‘I’m Your Daddy’s hook is annoyingly infectious if the cringe-inducing lyrics can be overlooked. The sound of the record is fleshed out by ‘Eulogy For Rock Band’ and personal favourite ‘The British Are Coming,’ which see Rivers embrace some higher-concept stuff more directly than before. It is warm turned cold, the sobering of fantasy and the reconfiguration of hope; that feeling of evening melancholy but a simultaneous surge of aspiration. There are duds, to be sure. Clearly, though, it isn’t straight bad (especially for Weezer); it’s at least consistent in delivering fine songs. If I see another Christmas Pret sandwich, Starbucks gingerbread latte, or Greggs Festive Bake then I’m going to scream. Since 2001, the band has consisted of Rivers Cuomo (lead vocals, lead guitar, keyboards), Patrick Wilson (drums, percussion, backing vocals), Brian Bell (guitar, backing vocals, keyboards), and Scott Shriner (bass, backing vocals, keyboards). I’ll always hold a unique personal connection to this one, more than any of their other albums – even this list’s #1. Rolling Stone readers voted it as the third worst album of the year, before doubling back in 2002 to name it the 16th greatest album of all time. The production, though inconsistent, tends to embrace a squeaky-clean, undefiled sonic approach, with ride cymbals that dial up the brass and guitars that act only as a backdrop to Rivers’ generally-undisturbed vocal delivery. The “Push-Pull Routine” Is My New Favorite Lifting Hack, 5 Japanese Appliances You Need to Add to Your Kitchen, Another Lost Neil Young Album, "Johnny's Island," Readied for Release, Sons of Guns N' Roses, Stone Temple Pilots and Metallica Members Start Band. ‘Don’t Let Go’ is a fun, straightforward opener, and ‘Hash Pipe’ is a good burst of energy; as well as this, ‘Island in the Sun’ is a pleasant ride and I like the chords in ‘Smile’ – the album as a whole, though, fails to be compelling. Rock’n’Roll, which filled every stage of your life with joy, distraction, companionship, poetry, and energy, whose sages and fools put your feelings into words and your happiness and frustration into a beat, is a common language of the heart. ADVERTISEMENT. ’s ‘Only in Dreams’ in the bridge of ‘King of the World’). Get InsideHook in your inbox. If you don’t agree, keep reading! I do not like what they do, as their “Hashpipe” is unlistenable, sub-Asia garbage, but Toto at least come to it honorably. And if you don't agree I'm here to change your mind because, he truly is the worst person ever. It is a masterclass in writing a pop record; it is sly, witty, pounding, sincere, slick, clean, dirty, joyous, melancholy and hopeful – one delicious package of everything that can be right with music when a songwriter simply wishes to write a handful of evocative, playful tunes. isn’t laughably bad, but nor does it have enough good moments to really warm to – it’s the sort of thing whose songs might mildly annoy, or bore, or serve as nothing more than a mindless “I can’t recall anything I just heard” venture. Missing here in comparison to the band’s other, better work is a thematic intactness to underscore the songwriting with that sense of sadness or nostalgia that’s so tied to Weezer’s prime material. The band’s attempt at emulating millenial pop generally struggles to come together convincingly, but the songwriting illuminates several highlights; ‘Get Right’ joyously embraces a folk-rock influence, and ‘Sweet Mary’ and ‘QB Blitz’ are noteworthily emotive, the latter a lovely ballad with an entertainingly quirky lyrical hook and satisfying bridge section. If you like what you see here, and wish to support independent content, consider following for articles on a range of topics. The opener ‘Troublemaker’ ramps up the silliness, with intentionally witless lyrics (some of which consistently get a chuckle out of me). I know that a lot of people likeGreen a lot, but, for me, it features some of the band’s most bland and uninteresting material. Especially today where a lack of original art is severely lacking. ‘The Girl Got Hot’ is a lull; unmemorable, if irritating. The 90s Weezer crunch breaks the polished sound in a few places, of course, though, most notably on the ultra-sweet ‘Da Vinci,’ whose chorus hits like a ton of bricks (in the best possible way!). ‘Dreamin’ is a compelling, swaggering tune, though, but with a bafflingly choppy, unfitting bridge section that derails the track. Oh, and sometimes they sounded like the Undertones if the Undertones has decided to get down on their knees and fellate MTV for years and years; that’s not necessarily a bad thing. (P.S. 10 Reasons Why Mondays Are The Absolute Worst. However as rock moved into the new millennium, Weezer's discography seemed to falter, leading many fans to leap from the band wagon in large numbers. By ‘Ruffle Hair Moment” I am referring to that incident when Jimmy Fallon (that distasteful, smirking human sow who giggles like a terrified eunuch five nights a week when most of America is watching Netflix) turned Donald Trump into your awkward uncle, totally negating meaningful dialogue for the sake of a “share worthy” moment. ‘Don’t Let Go’ is a fun, straightforward opener, and ‘Hash Pipe’ is a good burst of energy; as well as this, ‘Island in the Sun’ is a pleasant ride and I like the chords in ‘Smile’ – the album as a whole, though, fails to be compelling.