Tag: Reprise Records

Weezer – “The Gold Album” review

Weezer is a power pop/alt-rock band from Los Angeles, California consisting of bassist Scott Shriner, guitarist Brian Bell, drummer Patrick Wilson & frontman Rivers Cuomo. These guys’ 1994 debut The Blue Album & the 1996 sophomore effort Pinkerton under Geffen Records are both hailed as their finest material, following it up with The Green Album & Maladroit to moderate reception. Make Believe produced by Rick Rubin was a let down, their Interscope Records debut The Red Album was alright, Raditude’s the worst thing they’ve ever made & the Epitaph Records-backed Hurley’s ok regardless of “Memories” being one of their best tracks. Everything Will Be Alright in the End through Republic Records & their Atlantic Records debut The White Album were both some of their finest material in years, but Pacific Daydream was trash as were The Teal Album & The Black Album. I found myself loving OK Human in 2021 despite Van Weezer being a letdown, coming of the SZNZ saga of EPs to have Kenny Beats produce their 16th studio LP albeit first for their new home at Reprise Records/Warner Records.

“Say Yes” was a solid alt-rock/power pop intro singing about being down if Rivers’ partner is whereas “Shine Again” takes us to an alternate universe thematically incorporating elements of post-grunge, stoner rock & hard rock whilst maintaining the other 2 sounds. “Don’t Make It Weird” awkwardly sings about everything being cool if this person lets it be while “We Might as Well Be Strangers” featuring Wednesday has a real chance of becoming Weezer’s best single this decade from the power pop, indie rock & slacker rock vibes to the romantic lyrics.

Alternative rock, post-grunge, power pop, spoken word & slacker rock all make up for the other single “C.E.O.”confirmed to be a “Undone (The Sweater Song)” sequel & I’ll certainly take that instead of “Hoops” unceremoniously kicking off the 2nd half of The Gold Album with what could likely be my least favorite track here despite the shoutout to WWE Hall of Famer Snoop Dogg in the final verse. “Nowhere” thankfully is where things begin to pick back up fusing alt-rock, power pop & post-grunge singing about wanting to be with someone if the snow’s cold or the sky’s grey.

“The Show Must Go On” has more of a self-referential tone than any other song here using a riff reminiscent of “Rock & Roll” by Led Zeppelin while “Up in the Clouds” comes through with what I’d consider a top 5 track & maybe the best example of the post-grunge undertones explored pairing that with Rivers Cuomo’s optimistic performance. “The LA Sound” triumphantly concludes The Gold Album singing about how you can’t fake their knack of digging into each other’s individual collective chops & flipping the concept of pop music on it’s head.

In addition to becoming the Coloring Book saga’s most gratifying installment since The White Album an entire decade earlier, it doesn’t surprise me that I’d have The Gold Album became Weezer’s most reinvigorating statement since OK Human with the only exception being this surpassing it. Kenny Beats’ alternative rock, power pop, post-grunge & slacker rock production combined with the entire band making songwriting contributions gets back to their sense of wonder & hopefully keeping it that way.

Score: 4.5/5

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Deftones – “Private Music” review

Deftones are a groundbreaking alternative metal band from Sacramento, California consisting of DJ/keyboardist Frank Delgado, bassist Fred Sablan, drummer Abe Cunningham, lead guitarist Stephen Carpenter & frontman Chino Moreno. Adrenaline, Around the Fur, my personal favorite White Pony, Saturday Night Wrist, Diamond Eyes & Koi No Yokan would all become classics for their own individual reasons & are returning 5 years after Ohms made up for Gore’s averageness to put out their 10th full-length album.

The lead single “My Mind’s a Mountain” sets the tone by combining alternative metal, shoegaze, post-hardcore, post-metal & doomgaze singing about the cycles of depression & non-depression whereas “Locked Club” suggests to either join the parade or be left out entirely. “Ecdysis” throws it back to the band’s nu metal origins singing about a new phase arriving just before the alt-metal/shoegaze crossover “Infinite Source” realizing a love they were chasing has been found.

“Souvenir” pushes forward with a 6-minute skull smasher singing about hurdling through space & discovering each other’s ways embracing the night leading into “cXz” finds their thoughts reappearing as lost time. “I Think About You All the Time” reminisces over a friend of the band’s who passed away some time ago leading into the 2nd & final single “Milk of the Madonna” blending alt-metal, post-hardcore & shoegaze to sing about being lost in religious ecstasy.

What could possibly be the heaviest track here “Cut Hands” assuring that they can’t be pulled out of their graces in the midst of these adversaries hitting a crossroads because of their lives failing in front of the band while “~Metal Dreams” sings about envisioning the gold drenched days laid ahead & sinking in perfect pose forever sooner rather than later. “Departing the Body” sends it all off with the realization that a brand new phase of their movement has started to change.

Private Music not only continues the ethos of Koi No Yokan & Ohms, but it’s another testament to Deftones rightfully becoming the Radiohead of alternative metal whilst striking a middle ground between the rest of their discography. Contemplating the attractiveness & dangers of nature as well as the challenges of tending a positive mindset & images of a trip beyond the physical realm, they revisit all 4 styles of it’s predecessors explored during the COVID-19 pandemic with more interesting ideas & intricate pacing.

Score: 4.5/5

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