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Weezer – Weezer (Black Album)

Weezer (Black Album) is a pretty crap record. Don’t get mad at us, we’re just being honest.



It is a sad indictment of a band that you approach their music with the kind of trepidation you reserve for one of those zany Japanese game shows. You have no idea if opening the door means you end up in a place of happiness, or naked and humiliated in the snow, or punched in the face by a giant wrecking ball. But here we are with Weezer, their fifth album in as many years (6! if you count that horrid covers album they released less than two months(!) ago) and so many forgettable songs that you have a hard time remembering a moment, any moment, that stands up in the last decade. It felt like just yesterday that the first few songs from Pacific Daydream had shown promise. Now you’re telling us that was two years and three releases ago?

Almost ten years ago we lamented that we hadn’t heard a great Weezer song for some time. And while it was a longer wait between the Blue Album and Hurley as it is from Hurley to today, it certainly FEELS like it has been forever. Rivers is prolific, no doubt, and on the occasion he manages to pull an old trick out of the well worn hat, you are shocked into a state of disbelief that yes, at one time, everything the man touched turned to gold.

Not yet long enough to get the terrible cacophony of the Teal Album out of our ears, Weezer has released the Black Album. It’s 10 more songs that will mostly test your patience but in a surprising twist, there are some actual moments on the album that thankfully, don’t make you want to rip your ears off the side of your head. Let’s talk about those because it’s nice to think that Rivers can still write a few great songs. “High As A Kite” serves as the album’s highlight; its piano-laden composition and fuzzed out chorus is the closest the album gets to anything on the Blue Album. Yes, the video is nice, but its the song that’s the throwback to Cuomo at his best. In “I’m Just Being Honest”, the band channel sparkling pop nuances to bring to life someone in a band handing Rivers their demo on the way to a show. Rivers listens to half it, realizes its pretty crap (“your band sounds like shit”), and the song swells in a rather joyous and humorous hooky pop song that culminates in its succinct honesty; “don’t get mad at me, I’m just being honest”. “The Prince Who Wanted Everything” is a nice trek to toe-tapping, finger-snapping 60s pop. It’s a good balance between light-hearted songwriting and the kind of musical experimentation (baroque pop in this instance) that Weezer have a fondness for.

Why can’t there be more of this and less of everything else?

Who knows, actually, Rivers does, but he hasn’t told us why for the better part of 20 years.

The opener “Can’t Knock The Hustle” is meant to the over-the-top cheek. Yet its groove driven, jazzy atmosphere is burdened by the “hey kids I’m cool” lyrical waxing (“leave a five star review, and I’ll leave you one too”). It just tries too hard. “Zombie Bastards” is held back by the opposite. Its Zombie-themed musings are quite fantastic, but the song, sounding like Jack Johnson just found out his guitar plugs in, is just no good. “Living In LA” sounds like a less crap Maroon 5, so it has that going for it. “Too Many Thoughts In My Head” is the kind of song you forget you’re listening to halfway through it’s that bland. You spend most of the avant-pop “Byzantine” skipping ahead before realizing the song is over, while the closing “California Snow” is only just OK. Faux hip hop over its EDM-inspired sounds is unfortunately as 2019 Weezer as it gets.

When you look back at the last 15 years of Weezer you see that amongst it all, there are enough songs that remind you that Rivers Cuomo is indeed a talented songwriter. Unfortunately it seems that he’s often bogged down by what one can only imagine are record label deadlines, songwriter insecurities and the constant need to be releasing stuff. It’s a shame because you can pick 10 songs from this time that would have made a pretty great follow-up to Maladroit. But here we are. The Black Album sounds like the record someone hands to you at a show before you’re about to go on, and so you politely say, “sure I’ll have a listen”. I listened to it, but halfway through it I had to quit, sorry Rivers, your band sounds like shit. Don’t get mad at me, I’m just being honest.

(Atlantic Records)


Good Riddance – Thoughts and Prayers

The fire still burns brightly for Good Riddance



good riddance

It would seem that the current US administration has proven to be fertile fields for political punks. If there is a positive to have come out of the past few years, it is in the form of angry punk rock records. The aptly titled Thoughts and Prayers, the new record by Good Riddance, could very well be the best of them. For many like myself, Good Riddance was the gateway to a world of punk rock socio-political commentary; wrapped in aggressive, melodic hardcore that opened your mind as much as it punched a hole in the wall. 1996’s A Comprehensive Guide to Moderne Rebellion and the really terrific 1998 record Ballads from the Revolution, were eye-opening propositions for a wide-eyed kid. Good Riddance resonated because their songs were hard-hitting commentary that sounded like broken-hearted punk rock songs. They sang intelligently about inequality, human despair, and the sometimes broken system in which we live in. And when their broken-hearted punk rock songs weren’t about society and politics, they were broken-hearted punk rock songs about broken hearts (don’t think there have been love songs as good in the genre as “Jeannie” and “Not With Him”).

Four years since their comeback record, Peace In Our Time, we get the much more furious Thoughts and Prayers. 12 songs of trademark breakneck melodic hardcore that talks about the divisive current political climate without going as far as saying things like “Trump sucks”. But that’s never been the Good Riddance way. Vocalist and chief lyricist Russ Rankin has always found a way to express his anger and disappointment with poise and intelligence- sounding more like a well-read poet than a man yelling on a street corner.

In the track “Don’t Have Time”, he sings about the futility of repeating history to trumpet nationalism; “And those same old fears arise / With eyes too drawn to counteract / The ghost in you comes rushing back / Too caustic to subside / Just what have we done? / We killed a mother’s only son / Just to remain at number one“. And lyrically, much of takes a similar route of well-written stanzas that question a lot of what is going on in the world at the present time. Songs like the opening “Edmund Pettus Bridge” (let’s hope everyone knows the significance of this landmark), replete with Michael Douglas Wall Street sound byte, sings of social inequality but does it with a trace of hope. While songs like “The Great Divide” are an example of melodic hardcore’s finest moments; unrelenting sonic pummeling that is as melodic as it is potent. “Wish You Well” takes cues from Good Riddance’s “softer” tones of catchy choruses and mid-tempo verses; akin to the track “Saccharine” (from 2003’s Bound by Ties of Blood and Affection). Perhaps the best thing about the 12 songs here is that they are all very succinct, potent, with rarely a moment of filler. The album is consistently good, and while it rarely deviates from the Good Riddance sound, it never lacks in the fire and fury we’ve come to expect.

The album itself SOUNDS fantastic, credit again to Bill Stevenson and Jason Livermore at The Blasting Room for their production. The guitars rip at the right levels while the percussion work hits just right. The mixing levels are as close to perfect as you can get without any one element dominating over another- a constant the band have found since 1999’s Operation Phoenix (no surprise, the first of their albums to have been produced at the Blasting Room).

The appeal of Good Riddance has always been two-fold. Firstly, their music has shown steadfast quality, and the albums have found longevity due to the way Rankin and company write their songs. With lyrics referring to and talking about a multitude of humanist issues without having to directly reference them, they remain political, timely, writing music as urgent as it was through the 90s as it is today. That may be a sad indictment of society itself, but it doesn’t take away from their effectiveness and influence. Rankin himself has said that their music may not have changed the world per se, they continue to open eyes and minds. This writer can attest to the latter- and the importance of that can’t be underlined enough. Their early discography spoke to my generation about life, self, and the interconnected reality of the world we live- no matter how hard to try not to believe it. Thoughts and Prayers is a furious, timely, and potent slab of hard-hitting melodic hardcore and shows that the fire clearly still burns as passionately for Good Riddance as it did all those years ago. And perhaps it’ll be what A Comprehensive Guide to Moderne Rebellion and Ballads From the Revolution was to me for a whole new generation.

(Fat Wreck Chords)

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Hatriot – From Days Unto Darkness

From Days Unto Darkness is a relentless pummeling of thrash metal’s best qualities




When it comes to Bay Area thrash metal, there are two bands that sit atop the mountain forever entwined to its history; Metallica and Exodus. Both bands linked together by Kirk Hammett, both bands crucial to the Bay Area’s most destructive form of music. Exodus may not have their name in lights as Metallica does, but Exodus’ influence cannot be mistaken- and many point to them as being the one true progenitor of Bay Area thrash. Hatriot, a band that was started by Exodus vocalist Steve Souza in 2011, are a real chip off the ol’ block. Surprisingly, it isn’t just musically that Hatriot follows suit from Exodus, its a family thing too. While Steve Souza left Hatriot in 2015, his sons Nick and Cody continue on percussions and guitars with the latter taking on vocal duties once the older Souza returned to Exodus.

Hatriot does more than just follow on the Exodus path; they’ve loudly carved their own slice of the thrash pie. Led by Kosta Varvatakis shredding guitar work and Cody Souza’s blistering (sometimes ominous) vocal work, Hatriot may have found their Fabulous Disaster, ironically, also three albums in.

From Days Unto Darkness is a relentless pummeling of thrash metal’s best qualities; machine gun percussion work (I’m a sucker for some great double bass drums), shredding guitars, soaring solos, and vocals that does the growling well, and the screaming even better. Tracks like “Organic Remains” and the blistering “Carnival of Execution” showcase the band’s ability to craft songs that are equal parts urgency and solid musicianship. Thematically, From Days Unto Darkness covers the usual thrash metal spread; the end times, death, destruction, and humanity’s failing graces- all done with equal breakneck, ear piercing destruction sonically. “World, Flesh & Devil” is perhaps the album’s best outing- a raging beast of a song, that if carnage could be written in music form, this is it incarnate. At 4:26, it is one of the shorter tracks of the release, but much of the album features in at the 6-7 minute mark- a trademark of thrash metal’s desire to not only showcase talent but to do it over extended periods.

What the album lacks perhaps is that one magnum opus of a track. Sure, it’s not easy for any band to write “Master of Puppets”, but From Days Unto Darkness rarely takes a breather. It’s mostly positive, but while Master had at times, slow interludes to let you catch your breath, Hatriot takes absolutely no prisoners- staying true to their thrash metal heritage. If you’re not quite up for it, this album will hammer you into a stupor.

The halcyon days of Bay Area thrash metal may be long resigned to nostalgic documentaries, but Hatriot are not interested in just being a throwback to their roots. From Days Unto Darkness is not for the weak and if this is the sign that thrash metal is alive and kicking, then the future and present are in damn good hands.

(Massacre Records)

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