“I had to go and make a few mistakes, so I could find out who I am”, frontman Rivers Cuomo sings on the hard-rocking lead single “Back to the Shack”, clearly as a confession of his past experimental failures, but maybe even more so as a reminder that he – like all of us – is human. It takes a real man to admit that, and in doing so he clears the horizon and wipes his creative canvas from all previous notions of how he should make an album. The result is a comeback with bite, edge and a whole lot of geek-infused heavy rock.
It is no secret that Weezer has had a quite turbulent career, going from multi-platinum nerd rock and commercially disappointing introversy to trashy heavy metal riffs and awkward disco/rap fusions. A bold move for some, a turnoff for others. Regardless of which side you’re on, I think we can all agree that a healthy dose of perspective has been much-needed for the band in its latter years. With their latest effort, it finally seems as if the boys have sobered up, regained consciousness and delivered just that.
“Everything Will Be Alright In The End” is not just the Weezer record we’ve all been craving for so long. It’s also the sign of a band re-igniting the flame of passion, and re-discovering their love for rock n’ roll. From front to back, the 42 minute long endeavour is a proof of that, firing on all cylinders in order to create a sensational collection of post-modern hit-nuggets, where each track raises the bar even higher than the one before it.
“Ain’t Got Nobody” opens up the album in classic Weezer fashion, leading off with a chugging guitar riff and rising vocal harmonies, before bursting into an explosive chorus reminiscent of the best cuts from “The Blue Album”. Much like the rest of this record, it deals with personal relationships ( in this case, the lack thereof), and how the band is dealing with the inevitability of growing old and out of style – something that is quite different from Rivers’ recent attempts to appeal to today’s youth. He is starting to accept his age, and that makes for wiser and more mature songwriting.
“Go Away” and “Lonely Girl” both share a sonic bond with “Pinkerton”, being relatively simple of structure, but still maintaining the strength and classic feel of tracks like “The Good Life” and “Pink Triangle”. Same thing goes for “Cleopratra”, which features folky acoustic guitars and a Neil Young-esque harmonica melody. It’s a highlight for sure, just like the epic and ambitious “Futurescope Trilogy” that perfectly closes the album with sweeping solos, soaring pianos and grand production unlike anything Weezer has ever done before.