Album: Van Weezer
Released: May 7th, 2021
Highlights: Hero, The End of the Game, I Need Some of That, Sheila Can Do It
In a career that has spanned over twenty-five years and produced more than a dozen albums, there is one specific criticism that has constantly followed Weezer wherever the band has gone: the fact that their leader and songwriter, Rivers Cuomo, has frequently fallen victim to his uncontrollable corniness. With the exception of the band’s debut, the classic “Blue Album”, there is not a single record in the group’s whole discography that can escape such comments. Most of the time, the fair complaints have stemmed from Rivers’ inability to stop himself from sounding absurdly melodramatic as well as from his apparently non-existent capacity to approach his feelings with maturity. However, negative remarks of the sort have also been caused by the band’s numerous failed attempts to come off as hip, modern, and cool, which have all gone as spectacularly as one would expect given they were executed by an extremely geeky group of guys.
With that in mind, the choice to give their fifteenth album the ridiculous name of “Van Weezer” is absolutely genius. In a way, it is yet another unbelievably corny move: after all, not only are they paying homage to Van Halen in the most awkward possible manner, but they are also inevitably setting themselves up for comparisons against the genuinely cool hard rock legends. As if that were not enough, the title and cover may also trigger thoughts of the extravagant hair metal produced during the 1980s: a scene heavily influenced by Van Halen and that coined a type of sound and aesthetic which, much due to their cheesiness, have radically fallen out of favor with contemporary audiences.
“Van Weezer”, therefore, concentrates in concept alone a shocking amount of corniness in the same package. And it is precisely because of that high density that the album is so smart. There is so much cheesiness to it that the only explanation for the embarrassing awkwardness is that it was deliberate. More than being a homage, then, the record is one of those bad jokes told by a comedian who is fully aware of its foul quality. If the audience opts to laugh, they are admitting to have some fondness for the terrible material; if the public chooses to criticize the act, that means they are too sour and dull to appreciate the lovable silliness. In conclusion, there is no way those listening to the joke will come out of the experience looking too good; it is impossible to win against such cleverness.
The title of “Van Weezer”, though, is not just an open declaration of corniness. It also happens to be a letter of stylistic intentions, as the band signals that after five albums hopping between a myriad of genres, they are ready to rock out again. And as the nod to Van Halen reveals, Weezer pulls out pedals and amplifiers aiming for the loudness of hard rock. It is a premise that should make longtime fans think of “Maladroit”, the fourth release by the group, which exchanged their usual power pop sound for large riffs of heavy metal inspiration. But, truth be told, “Van Weezer” is not as weighty as that work, emerging – instead – as a solid compromise between the group’s signature constant distorted strums and the testosterone-infused riffage of the heavy metal world.
Much of that needs to be credited, for the good and for the bad, to the production. “Maladroit” was raw and dry; it felt like a series of tracks recorded by a band playing live and loud inside a garage, with little to no touches being added after the music was first committed to tape. Contrarily, in “Van Weezer”, there is a bit of a hair metal gloss. Thankfully, the drums drenched in gated reverb and the tacky keyboard noises (two hair metal staples which were also among the greatest musical plagues of the 1980s) are nowhere to be seen. Yet, “Van Weezer” clearly trades part of its potential roughness for a brand of hard rock with pop leanings, meaning that even though it is among the heaviest works by the band, it does not go as far in that direction as it could have.
That subdued approach is somewhat harmful to “Van Weezer” because it diminishes its capacity to be a rather unique entry in the group’s discography, since the combination of distorted guitars with simple song structures and catchy melodies seen here has been prevalent in more than half of Weezer’s albums. Nevertheless, the record carries a few exclusive traits. For starters, the fact it balances the band’s usual strumming with extravagant riffing makes the segments of a few songs be more heavy metal than power pop; the opening of “Blue Dream”, for instance, flagrantly borrows from Ozzy Osbourne’s “Crazy Train”. In addition, the tones of the solos tend to have a bright screaming quality to them, recalling the ones seen in the early albums of Metallica. At last, as a whole, the choruses of the tunes are anthemtic energetic singalongs, exhibiting melodies that would cause metal fans in a stadium to do some fist-pumping before realizing the music is excessively poppy and the lyrics talk too much about feelings.
Undoubtedly, there are some dull moments in “Van Weezer”, and they happen to be concentrated towards the second half of the record: “Blue Dream” has a great riff, but does not build to anything significant; “1 More Hit” has an embarrassing pre-chorus and a heavy metal break that does not gel with the rest of the track; “She Needs Me” is melodically uninspired; and “Precious Metal Girl” is a forgettable acoustic closer. But everywhere else, the combination brought by “Van Weezer” works. “Hero” explodes out of the gate; “All the Good Ones” begs for listeners to clap along; “The End of the Game” has a chorus whose melodic beauty would be worthy of the “Blue Album”; “I Need Some of That” has an irresistible call-and-response refrain; “Beginning of the End” is melodically moving; and “Sheila Can Do It” is pure power pop goodness.
Despite the fact it uses deliberate excessive cheesiness as a shield, it is impossible to let “Van Weezer” get away from criticisms concerning clumsy lyrics, which are indeed abundant. Yet, even if combined with the weaker tracks, which make up almost half of the record, Cuomo’s unshakable corniness is not enough to bring the work down completely. In a discography that has nearly as many good album as it has bad ones, “Van Weezer” can be easily filed among the enjoyable group. The heavy metal motif could have yielded more significant results with a rawer production, but the bottom line is that, through ups and downs, “Van Weezer” is a fun listen. Clocking in at thirty minutes, it is a short, relaxed, and satisfying effort put together by four guys who were clearly having a blast trying to emulate their hard rock heroes as best as they could. And in the midst of muscular riffing, screaming guitars, and fist-pumping choruses, the band finds enough inspiration to breathe a little freshness into their sound while being able to both take advantage of their well-known strengths and showcase their familiar awkward weaknesses.