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Meanwhile, the band shout the title in distorted voices, as though singing through telephones, and the guitars crunch and wail in a parody of guitars that crunch and wail. And it probably will go viral. In fact, right now people are posting that self-consciously zany video to their social medias, even though the song itself is a non-song that touches on enough hot topics—gender equality, dragons, Creationism, pastries—to sound like it might actually be saying something about something.
This is not a new thing.
No, Weezer are singing about themselves and how weird and wacky and lovable they are. Rather than celebratory, it comes across as cynical.
Weezer and Toto: the inside story of music’s unlikely love-in
More than 20 years after they formed and nearly 15 years after they re-formed, Weezer have become the most grossly cynical band around. They still release event albums, still sell well enough in their first week, still fall off in their second, still tour large venues, still play shows under that ironic winged W. To be fair, Weezer were great when they were underdogs. Two decades ago, they mixed semi-heavy riffs with witty lyrics and trenchant self-loathing, and even at a time when rock-and-roll exorcisms were all over the radio dial, Cuomo dispensed messy emotions via precisely structured pop songs.
It tanked, of course, but at least Cuomo owned up to some of the uglier aspects of relationships.
The resurrection of Pinkerton from sophomore slump to generational milestone is still a pretty remarkable story, even if the band had to shed its underdog status once and for all. He played the part of the rock-and-roll loser beautifully on those first two albums, but since then, Cuomo has never been especially convincing as a rock star, perhaps because the role was thrust upon him and accepted only reluctantly.
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