Weezer – OK Human (2021)
FLAC (tracks) 24 bit/192 kHz | Time – 30:31 minutes | 1,16 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Atlantic Records
Heralds of alt-rock, the Californians Weezer keep churning out albums one after the other as if it was no bother at all. This is their fourteenth album: a sign of rare vitality for members of this scene. Under the leadership of their frontman, songwriter and lead singer Rivers Cuomo, the group still affects the same nervousness crossed with a certain melancholy. They endure thanks to an extraordinary ability to adapt to a perpetually-changing environment. They have moved onto YouTube and are cracking the codes of new networks in a way that few groups of the same genre have managed to do. Weezer, with an unfailingly creative approach to their music videos, are still there – and so are their fans. With the offbeat and retro aesthetic which they have cultivated since their debut in 1994, which was produced by the great Ric Ocasek (leader of Cars), it was an easy choice for Weezer to make an album of covers of powerful eighties songs: 2019’s Teal Album. With a cover of A-Ha’s Take On Me garnering more than 23 million views on YouTube… Another post-modern hobby of Cuomo’s is making concept albums with the help of an orchestra. Inspired by a 1970 album by Harry Nilsson featuring songs by Randy Newman (Nilsson Sings Newman) as well as The Beach Boys’ 1966 landmark Pet Sounds, Weezer are in gala attire here, accompanied by an army of thirty-eight musicians. Piano, violins, cellos, flutes… From the first piece, All My Favorite Songs, the stage is set, Rivers Cuomo is enjoying himself and cheerfully pastiching the Beatles and McCartney’s Wings (the strings were recorded at Abbey Road Studios). This is a powerful influence on Playing My Piano and its syrupy vocal flights. OK Human shows a new facet of Rivers Cuomo’s immense talent, leaving behind his saturated guitars for a classic pop sound that is a little unctuous: but the writer’s irony is never lost from sight. The irony is even in the title of the record, OK Human, a nod to Radiohead’s OK Computer (1997). Another familiar feature: the CD’s playtime is 30 minutes. OK Human is a pleasant interlude before a return to the rock and guitars of the next album, Van Weezer, a tribute to Van Halen, which is set to arrive just a few weeks after this release… – Yan Céh
Read more
Weezer – Everything Will Be Alright In The End (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 42:14 minutes | 960 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Universal Records
Los Angeles, CA’s very own, Weezer, will release their highly anticipated ninth album, Everything Will Be Alright In The End, on October 7th, 2014. Produced by Ric Ocasek, who previously helmed production on the band’s first and third records (The Blue Album and The Green Album),Everything Will Be Alright In The End is the band’s first collection of new material in four years.
Read more![Weezer - SZNZ: Spring (2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/05/01/vzxr9vvy9t08b_600.jpg?resize=500%2C500&ssl=1)
Weezer – SZNZ: Spring (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 20:54 minutes | 441 MB | Genre: Alternative Rock
Studio Masters, Official Digital Download | Front Cover | © Crush Music – Atlantic
Oh, Weezer. At the beginning of 2021, the eternal college punks apparently finally graduated with “OK Human” and once again presented an album that really – yes, really – sounded fresh. Classic Weezer songwriting, but in a new guise. Accompanied by orchestral instrumentation, it sounded surprisingly grown-up when Rivers Cuomo sang typical Rivers Cuomo stuff like “All my favorite songs are sad and slow”.
(more…)
Weezer – Weezer (1994) {Blue Album} [MFSL ‘2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 41:20 minutes | Scans included | 1,68 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 828 MB
Mobile Fidelity Sound Lab # 2160
Even if you lived through it, it’s hard to fathom exactly why Weezer were disliked, even loathed, when they released their debut album in the spring of 1994. If you grew up in the years after the heyday of grunge, it may even seem absurd that the band were considered poseurs, hair metal refugees passing themselves off as alt-rock by adapting a few tricks from the Pixies and Nirvana songbooks and sold to MTV with stylish videos. Nevertheless, during alt-rock’s heyday of 1994, Weezer was second only to Stone Temple Pilots as an object of scorn, bashed by the rock critics and hipsters alike. Time has a way of healing, even erasing, all wounds, and time has been nothing but kind to Weezer’s eponymous debut album (which would later be dubbed The Blue Album, due to the blue background of the cover art). At the time of its release, the group’s influences were discussed endlessly — the dynamics of the Pixies, the polished production reminiscent of Nevermind, the willful outsider vibe borrowed from indie rock — but few noted how the group, under the direction of singer/songwriter Rivers Cuomo, synthesized alt-rock with a strong ’70s trash-rock predilection and an unwitting gift for power pop, resulting in something quite distinctive. Although the group wears its influences on its sleeve, Weezer pulls it together in a strikingly original fashion, thanks to Cuomo’s urgent melodicism, a fondness for heavy, heavy guitars, a sly sense of humor, and damaged vulnerability, all driven home at a maximum volume. While contemporaries like Pavement were willfully, even gleefully obscure, and skewed toward a more selective audience, Weezer’s insecurities were laid bare, and the band’s pop culture obsessions tended to be universal, not exclusive. Plus, Cuomo wrote killer hooks and had a band that rocked hard — albeit in an uptight, nerdy fashion — winding up with direct, immediate music that connects on more than one level. It’s both clever and vulnerable, but those sensibilities are hidden beneath the loud guitars and catchy hooks. That’s why the band had hits with this album — and not just hits, but era-defining singles like the deliberate dissonant crawl of “Undone – The Sweater Song,” the postironic love song of “Buddy Holly,” the surging “Say It Ain’t So” — but could still seem like a cult band to the dedicated fans; it sounded like the group was speaking to an in-crowd, not the mass audience it wound up with. If, as Howard Hawks said, a good movie consists of three great scenes and no bad ones, it could be extrapolated that a good record contains three great songs and no bad ones — in that case, Weezer is a record with at least six or seven great songs and no bad ones. That makes for a great record, but more than that, it’s a great record emblematic of its time, standing as one of the defining albums of the ’90s.
Read more