Even upon first listen, “The White Album” clearly marks a return to form for Weezer. After a decade of mixed criticism, the band has returned to its roots with distorted guitar leads, tight song structures and catchy choruses.
Musically, the album takes advantage of the winning verse-chorus-verse formula, and mostly avoids falling victim to the ennui and monotony, which at times plagues this well-explored song structure. The choruses are loud and ready to be recited at the top of your lungs, while the melodies are prominent and hummable. The pop appeal is definitely there.
Lyrically, the album is entertaining to say the least. Frontman Rivers Cuomo’s whimsical lines about the girl “waiting for you with a fire in her eyes / And a big fat cannoli to shove in your mouth” on “Thank God For Girls” live in odd symbiosis with the more sincere and straight-forward “You don't have to / Have the answers / Don't you worry” of “California Kids.”
These elements result in a clear restoration of the band’s breakout sound. If one were to listen to Weezer’s 1994 “The Blue Album” and 1996 “Pinkerton” immediately prior to “The White Album,” a natural musical progression would be evident. This similarity may be attributed to “The White Album” producer Jake Sinclair, who has vocalized his affinity for the group’s early albums. The album artwork may also be reflective of this homecoming, as white is often symbolic of youth, innocence and purity.
Album opener “California Kids” is an ode to the fertile California soil which first allowed the Weezer seed to sprout. With Beach Boys-inspired backing vocals, the track makes for an effortlessly serene commencement.
Though the album has clear high points, it is not without shortcomings. The more earnest ‘90s pop-rock tracks are sometimes overshadowed by the shallower, cookie-cutter alt-rock anthems scattered throughout the tracklist. For instance, lead single “Thank God For Girls” features trite musical cliches such as quiet verses, loud choruses, repetitive eighth-note piano accompaniment and an overly-simple refrain. Its memorable verse lyrics don’t save it from marking one of the album’s lower points.
However, the lyrical superficiality of the pop-machine songs is countered by tracks like the more intimate “King of the World.” On this track, Cuomo maintains his lyrical modus operandi of forthright eccentricity while writing an endearing ovation to his wife, Kyoko Cuomo.
Long-time listeners of Weezer will view “The White Album” as a revitalized comeback, and new listeners will enjoy it as a decent album full of ‘90s alt-rock nostalgia.
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