![]() ![]() Weezer have used glockenspiels for texture in the past ( Pinkerton’s “Pink Triangle,” last year’s “California Kids,” etc.), but here they follow ’80s-era Cheap Trick into the void between powder-puff rock and adult contempo, and the percussion instrument is front and center. “Weekend Woman” offers a clear example of just how these songs go wrong. ![]() This is all the more disappointing when you consider that even when Cuomo churns out dance-pop fluff such as “Feels Like Summer,” it’s still abundantly clear that he hasn’t lost his gift for coming up with earworm hooks. Pacific Daydream is the band’s first offering to fall far short for both camps-not because it’s one of the most extreme examples of Cuomo going for a radio-friendly sound (though it is that), but because he betrays the band’s mission in the process. If you like hooky Weezer, about half of the albums should appeal to you, while the same applies if you’re partial to the more out-there Weezer. Not only does Cuomo-something of a creative contrarian who’s been ultra-reactive to fan response in the past-get to buck expectations when he wants to, but he also gets to appease both sides of the aisle. There’s a bit of mad genius to this approach. ![]() At times ( The Blue Album, Everything Will Be Alright in the End), Weezer straddle the fence. One of them puts out experimental albums ( Pinkerton, Maladroit, The Red Album, etc.), and the other puts out commercially-minded records (The Green Album, Make Believe, etc). Long ago, Rivers Cuomo basically split Weezer into two different bands. ![]()
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