Sunday, November 29, 2009

A Love Drunk Hot Mess

Boys Like Girls and Cobra Starship at Showcase Live in Foxboro, MA on November 28th

Due to being a part of the “Cobra Crew” and being a quick ticket buyer, my friends and I received a Meet and Greet opportunity for Cobra Starship. However, due to poor planning, I left anything I could have had signed in my apartment when I went home for Thanksgiving, and so I was left standing in the M&G line with nothing but my ticket.

I find Meet and Greets to be really awkward. You walk up to a band, hand them something to sign, and then take a picture with them. But remember, these are people you don’t know, and you have to make some sort of small talk, not just shove your to-be-autographed item at them. So I often end up just smiling really big and starting off with a very peppy hello and some variation on how much I liked the last cd/live performance/music video/etc. This often leads to very favorable, non-creepy interactions. Last night was no different, though I made a comment about how they all looked so tired and I wanted to send them all to take naps not make them stand there signing things (way to be creepy, Alex) and Victoria said she was really tired and Gabe said that he’d just woken up from a nap that had contained some very bad dreams. I didn’t ask. All of the Cobras are very friendly and super nice to fans, and I even got a smile out of their very shy drummer, Nate, so all was well with the world.

(As a side note, here’s a super old, poorly written livejournal entry from the first time I met Cobra at Warped Tour. Even then they were expressing their Weezer love.)

So the first band to play wasn’t really a band, but two boys on acoustics. They were actually really good. The main musician was Gregory James, and his music was really cute and fresh and catchy. Sure, it’s just two boys playing pop rock on acoustics, but it was good pop rock on acoustics. Honestly, I liked him a lot better live than his recordings online, and I wish I’d gotten video of him, but “Hi” was definitely my favorite.

Next up was VersaEmerge. I’m kind of confused by them. I got a very Nightmare Before Christmas vibe from them, from the keyboard (which was a track, unless there was an invisible keyboard player onstage. Down with tracks in live performances!) to the lead singer’s microphone clutching, eye-rolling performance. It seemed vaguely gothic, but a strange goth caricature of scene music. I don’t know what they were going for, but there were a ton of people there who loved them. They ended the set with a song called “Polar Bear” which I can’t seem to find online (Edit: Turns out this title was a joke - the song's actually called "Whisperer." It says something, though, that I couldn't tell the girl was joking about a song called "Polar Bear"). Nothing about their set really stood out for me except for my confusion.

A Rocket to the Moon was next. The lead singer’s hair! It is ridiculous and huge! I’m torn between it being awesome-ridiculous or stupid-ridiculous. His attitude was a little off, or maybe he was a bit tired from the tour – when The Maine tried to prank him, and overrode his microphone so that they pretended to talk for him, he didn’t laugh or smile, he just let them know they were being lame and told them to stop. Ehh. Regardless, I liked his music a lot. His songs are the kind that you want to be sung about you, to you, from a long boy in a room on an acoustic. Except maybe “Annabelle.” I don’t think I want that one sung about me. But seriously, listen to “If Only They Knew” or “Dakota” and tell me you don’t want that coming from a boy sitting across from you strumming softly. “Like We Used To” was my favorite, even though it’s a touch sad.

Next was The Maine. They’re a band that’s been kicking around on my mp3 player due to a mix CD, and over the past year or so “The Way We Talk” has really grown on me. I was pumped when they played it, but the rest of their set was kind of lackluster. It was good, but the crowd was kind of dead, and so I think they were lacking the extra boost of energy they needed to make a stellar performance.

However I do at this point need to comment on one woman who was certainly not dead. No, there was on drunken mother (grandmother?) who was dancing on a booth. I am not lying to you. This woman had to be over 50 and was drunk dancing to scene music on a booth. It was one of the best things I’ve seen in a while. I only wish she had stuck around longer – if only she’d been around for the Cobra set, for she was the epitome of a Hot Mess.

And next up was Cobra Starship. They played a bunch of new songs that I hadn’t seen live, including “Wet Hot American Summer,” “Nice Guys Finish Last,” and “Hot Mess.” It was awesome. This was my sixth Cobra show and they’re keeping the standard high. They did use a few tracks to fill in some of the sounds on the new album (no! I do protest!) but other than that they were good old Cobra. Before “Bring It” Gabe did his customary explanation of “Fangs Up” and told even the moms in the back to throw up their fangs, but added in this time that really the fangs are a symbol of unity, that no matter who you are you’re a cobra. It was a nice touch.

Of course there was also Suarez with the maracas, Victoria hitting some awesome notes on “Good Girls Go Bad,” and Nate rocking out on the drums. Also, Ryland’s voice (because he’s still picking up a lot more vocals than he did before Gabe’s surgery) continues to be very good. They should really have him singing more. I mean, he’s got time in between playing both the keyboard and the guitar in the same song to squeeze in more vocals, right?

And finally, Boys Like Girls. I’ve never been a Boys Like Girls fan, but only because I didn’t really know anything by them. “Love Drunk” was always on the radio while I was commuting this summer, so I really liked that song, but I knew nothing else. It didn’t really matter though, because they were pumped to be playing a hometown show and the crowd loved them. It was a fun rock set, complete with rockstar attitude and swooning fangirls. A little over the top? Maybe, but it was alright because they backed it with strong songs and a lot of energy. They pulled one of their moms up onstage at one point, which was great, but then they failed a little bit. The lead singer called for a circle pit to be opened up... in the middle of the fourteen year old girls. They had no idea what he was asking for and just stared at him for a while. Finally someone near the back got the idea and opened up the weakest pit ever and scared the small girls, but it was kind of funny.

Their encore began with a drum solo, which was wicked awesome. Their drummer is so, so good. I was honestly brought back to Travis Barker’s encore drum solo of this summer. Huge props to the kid, he was great. For the final song, “The Great Escape”, they invited all of the crowd to get up on stage with them, and about half of them fit. There was a lot of bad dancing on that stage but everyone was having a good time. I did laugh a little at the fan that the lead singer kissed at the end though. She did the perfect “Oh my god he touched me!” face, complete with shocked open mouth, wide eyes, and fluttering hands by the side of her face. It was the perfect, cliched ending to the night.

Thursday, November 26, 2009

The Fold - Every Band in the USA

I have no idea who The Fold are, and their sound isn't strong enough for me to really be bothered to find out right now.

But they are spot on:

Tuesday, November 24, 2009

Brick by Boring Brick - New Paramore Video

There was a long period of time when I didn't listen to Paramore just because they were Paramore.

Then I saw them rock a live show.

Now they continue to put out music I like.

This video is way over-processed, and where is the rest of the band? Videos should not be just about the lead singer! But the song is great. I love the chorus, and the bit at the front about ripping wings off of butterflies. And the little girl is cute, even if the trippy fairytale tries to eat her. But man, did we have to use every green screen in the world for this one?



"If it's not real you can't hold it in your hand, can't feel it in your heart."

Monday, November 23, 2009

Closer

Here's one of those posts that keeps bouncing around in my head, one of the ones that I'm a little wary about posting, but that I find so very interesting from a film production point of view. I'm in the midst of a film project at the moment, that point between filming and editing where you're not sure if you've got everything you need, and you can see it in your head but you're just not sure that it's all there. And due to the recent lack of new music in my life, I felt it was an appropriate time to discuss "Closer."

The video I'm embedding is one of the most controversial music videos of all time, "Closer" by Nine Inch Nails. It was directed by Mark Romanek in 1994, and is heavily influenced by artwork by Man Ray and the film "The Street Crocodiles" by the Brothers Quay. This is the edited version that MTV played, but it is still absolutely NSFW. The song itself would also garner an R rating. You've been warned.



Here's what you're missing from the director's cut: a very naked bald girl, some crosses attached to BDSM apparel, and an image that I found deeply disturbing - a crucified, terrified monkey. I'm not sure I've ever had that visceral of a reaction to a music video before, but the first time I saw it I was horrified.

Gosh, I wonder why I was ever worried about posting this one.

So why am I posting it? Because it is one of the most astounding music videos from a production aspect. The work that went into these four minutes, the time and effort and planning that went into every detail, is remarkable. Romanek set to work with a list of images that he wanted, wild unthinkable things at the time, and did them.

First of all, this wasn't shot on normal film and edited to look old as would be done today. This was shot on hand cranked, three color film, on huge old cameras. This was an expensive, hard thing to shoot.

These were not special effects. The beating heart at the beginning is being controlled by three men behind a wall blowing through thin plastic tubes to make the heart beat to the rhythm of the song. There is a shot that lasts for only about a second of Trent's face placed on a mannequin head at 3:20. It took four hours of makeup to get Trent to look that way. The time that goes into just a few frames of video boggles my mind. And it's all real meat, all real rotting meat that they got on discount and had to manipulate and move and hang.

Some of this is gorgeously shot, if you look beyond the gore. At 2:09, the way the butterflied cow lines up perfectly with the Trent's body to look like angel wings is amazing. Trent spinning in the air, seeming to float, is also amazing. There are no green screens, no manipulation, only some perfectly placed wires. The shots of Trent in the goggles with compressed air distending his lips are genius, if disturbing.

This entire set was built just for the video, every detail and set dressing designed to fit a frightening picture inside the director's head. The power that a director wields on set, the things that they can make happen with money and an idea, and the days of shooting and design that go into five minutes amazes me. It's a disturbing, unsettling, amazing video.

But not something I would ever shoot.

Tuesday, November 17, 2009

4,632

Sickness is killing me.

Sniffle. Cough. Hack. Sleep.

But then I found this. Go ahead, click it.

It's a mosaic of a classic Fall Out Boy promotional picture, of the band sitting on a bench next to a light post. It is composed, however, of the names of four thousand six hundred and thirty two loyal fans who were warned by Pete Wentz not to input their names, because he would not say what they would be used for.

We did anyways. Yup, my name's in there. It took some hunting but I found it, and it's pretty cool to be a part of something the band put together to thank their fans. Their greatest hits album came out today, and they're taking a break for a while, and it's nice to be a part of this note of the band's life. I hope the other 4,631 names find it as cool as I do.

Okay. My nose has turned a brilliant shade of rudolph red. Time for sleep.

Friday, November 13, 2009

This Can't Be The Real World

All American Rejects and Taking Back Sunday - Showcase Live, Foxboro MA, November 11th

For the first time, I'm posting a concert review later than one day after the show. I'm breaking my own writing deadlines. However I haven't gone to sleep yet, so while it is technically Friday I am still awake from Thursday. Also, this is called being a responsible adult and letting BioChem consume my life. Oh Glycolysis. How you were of no use to me to memorize for this exam.

So the show really began outside, in the line. There was a band there with an ipod getting us to listen to their music before the show, which is common, but they brought out a new twist - an acoustic guitar and live performance. Excellent. Their name was Erickson and they weren't bad. Then Tyson Ritter walked by... wait, what? He wandered over to a truck with a microphone and started talking about a new band his label just signed, The Upwelling. Mainly, he just flailed around and then laid down in the middle of the road while babbling through a microphone. Oh, Tyson Ritter.

The first band to play was Anberlin. They were good, they got the crowd loose, and they played some music. I really can't pull anything too specific from their set though. They just... were. I wish I could give you more.

Next up was the All American Rejects. They are awesome live. Not because they sound perfect, and not because their music is some new revolution, but because they just have a damn good time up on stage and the fun is infectious. There was facial glitter and heavy pop songs and a wandering, rambling frontman. At one point, Tyson dragged the microphone to the bar in the back of the room and started singing while downing a beer and swaggering across the bar. He swayed back and forth and commanded us to "Dance, motherfuckers, dance!" He also stripped off his shirt to reveal the fact that he was dripping with silver body glitter. Nick Wheeler, one of the guitarists, just spent the entire night smiling and playing and having fun. They all looked like they were having fun really.

Then I got hit in the temple with a water bottle thrown by Nick during "Real World."

It was actually kind of great though, because the room was super hot and there were people packed in everywhere. It was open and got half of my hair wet, and part of my shirt, and it was the most refreshing part of the night. But it broke me out of the song for the moment, which sucked, because I hadn't heard it before and I love it. I'm probably going to go out and buy this CD because of this song. Seriously, listen to this and tell me it doesn't make you want to simultaneously dance and rebel.

They ended the set with "Gives You Hell," although really, the crowd ended the set. Tyson made us sing the first few lines, then decided we should just sing all of it. He proceeded to spend the rest of the song prancing around on stage and just conducting us through the lyrics while he supplied a word or two for the bridge every now and then. It was pretty awesome.

The last band to play was Taking Back Sunday. I've never been a huge TBS fan, but who doesn't love "Make Damn Sure"? I'm pretty sure everybody in the music world knows this chorus, everybody in my generation has screamed along to this at one point or another, but I don't actually know anything else by them. I'm always up for a new concert experience though, and I was open to it. Also, it's been a long time since I've been in that kind of crowd - there was successful crowdsurfing! I can't remember the last time I saw crowdsurfers actually held up above the crowd, not barely skimming over the heads of tiny scene girls. It was fabulous. A pit also opened up in front of me, and mosh pits always fascinate me. It turned the set into less about the music, and more about a crowd study. And so I give you:

Alex's Short Guide to Mosh Pit Dynamics and Etiquette
(One day I will write out a full long guide to concert crowds, from indie shows to Warped Tour. It's one of those things I'd love to write if only I had the time. Winter break?)

There are three types of people involved in a mosh pit.

1. The first are the actual moshers. These people will be in the middle of the pit, doing the actual jumping and flailing and pseudo dancing. It looks, to the outside observer, like a huge fight, but this is not true! Yes, people are pushing each other, but unless you're at a crazy hardcore show, no one's trying to hurt anyone. There are no punches being thrown, no hitting to injure. They're pushing each other to keep moving, to keep everyone rotating and spinning, and to keep some sort of connection between people. Guys will pull their friends in, sing lyrics at each other, and just generally jump around. Hell, one couple broke into a pseudo swing dance at one point, surrounded by swirling, crazy boys, before lifting the girl up to crowdsurf.

2. The second type of people are what I call the wall. This is a bunch of big guys, and sometimes girls, who stand around the edge of the pit. Their job is to make sure the moshers don't go flying into the crowd, and so they push them back into the fray when they get close to the edges. Now, nobody elects these people, nobody calls them forward, and nobody designates them. It's an unspoken necessity that guys appear for. This is really the part that amazes me. One moment there's no one there and the next a wall has formed to protect the crowd. It's crazy.

3. Finally, there are the supporters. This is where I fell in last night (and at one point failed - apologies to the blond girl that I let fall). The supporters are the people right behind the wall. This line or two of people keeps their arms up and out. Usually it's just a gentle two hands on the back of the person in front of you, but it can also be a forearm braced on their back if you're crowded in too tightly. You're not trying to push people away, but rather to support them when someone from the pit comes flying at the wall. It's the wall's job to keep moshers out of the crowd, but it's the support's job to keep the wall from falling over. At first you feel rude putting your hands on someone, but when you're being pushed back into the crowd you realize just how thankful you are for that person behind you keeping you from falling over.

If someone falls over, no matter where you are, help them up. It's surprising how fast some guy with a mohawk will go from shoving in the pit to apologetically helping up someone they've knocked over. It's honestly one of those things that makes me rant about how misunderstood so many of these kids are - just because they look like they're fighting does not mean they won't try and help you out of the crowd as soon as they realize they just slammed into your nose with their elbow.

Not that that happened last night or anything... though that was about the time we decided to leave. The crowd started getting very rough, and I had an exam that I needed to study for, and just about when my friend and I decided to leave, a particularly violent crowd surge shoved an elbow in my face and my friend's ribs into a booth. And so we left early and ventured back to our separate schools to be responsible adults and sleep before our midterms. Ahh, priorities.

Tuesday, November 10, 2009

Why I Want To Be a Tour Videographer

Rivers Cuomo just made my day.



Then DO IT! Oh my god, if my two favorite bands went on tour together... they would need a videographer. They would absolutely need someone there to capture the amazingness that would be that tour. And Cobra's down with it! They've been freaking out about it on twitter all day, that Rivers likes them. Weezer and Cobra Starship on one tour. That's my standard answer when people ask the "If you could set up a festival, who would play?" question. They're my choice for co-headliners. Do it, Rivers. Make it happen. And then have a desperate need for an enthusiastic videographer. I would be there in a heartbeat.

PS. Fall Out Boy just released a video for their new single "Alpha Dog." It has a lot of Pete Wentz being... Pete Wentz, but it also has a lot of old footage and is a really nice progression from the band beginning to now. It has three streams woven together - live performance footage, behind the scenes footage, and music video footage. It's funny to compare the things in the three different worlds that were all happening at the same time, to see when I start recognizing things in each stream, each world. I only just saw them live this year, but we all know the single videos. And yet what I loved more were the old Honda Civic Tour videos from 2007. Those are what introduced me to the other side of the music world, and made me realize that bands didn't have to be self contained in just their CDs, that tours and fan interactions and the whole music community had so much more to offer. I didn't realize until right now how much those videos launched me into the music scene and made me really want to be a part of documenting it.

Enjoy the new video. Enjoy the B-Side of the music world. You know, if Fall Out Boy wanted to join the above mentioned tour of amazing, I wouldn't mind too much.


Alpha Dog

Fall Out Boy | MySpace Video

Monday, November 9, 2009

Blogiversary!

Fake Pink Glasses has been around for a year now. My baby's turning one. A full year of musical babbling and ranting and raving, good concerts and bad concerts and new artists and bands breaking up. It's been a long year.

It's only appropriate that Cobra Starship released a new video today. They run around New York cleaning up drunk chicks and party girls. This is really the opposite of what Cobra actually does, because they really do make Good Girls Go Bad, but the video holds true to their spirit and energy, so it gets a thumbs up from me.



If that's not quite your style, then click here to listen to Butch Walker cover Taylor Swift's "You Belong With Me" on ukelele. It is one of the best covers of the song that I've heard, and it really just makes me smile. A lot. Do yourself a favor and take four minutes to just be happy.

To another year!

Friday, November 6, 2009

You Are What You Believe

The AP Fall Ball at the House of Blues, November 5th

Up first, You Me at Six. I can't help but feel that their name is begging for punctuation. Also, their guitarist is begging for a haircut. I have no idea what his face looks like. Honestly. They were alright, an average scene band, except they were from the UK. Bonus points for the adorable accent on the lead singer, who had a pretty good voice too, but their music was nothing too different.

Next, The Secret Handshake. I am completely fed up with a computer as the fourth member of a band, and this was by far one of the most egregious offenders I have seen. Man, if you're going to autotune, do it subtly. Do not throw yourself into Imogen Heap territory. Also, if I don't see a piano on stage, I should not hear piano notes, especially if they are what is carrying the song. And funny that there's only one mic on stage and yet there are suddenly two or three voices during the chorus. I do not want this trend to continue - it must be squashed immediately.

Set Your Goals. And then it became clear why there were a ton of angry looking dudes at the show. They all came to mosh during SYG's set. Not my kind of music, but they weren't bad at what they do. Also, I love the fact that there are two lead singers; they play off of each other well. One of them is so super tiny though, that it was bordering on ridiculous to see him singing this hardcore stuff. But good ridiculous. They had a pretty sweet message through the screaming and thrashing, and a lot of it was about being you and not caring what others think, which is something I am always behind. They're doing something with the Hurley "Living the Dream" charity, and their line for that was "You are what you believe." I agree with that statement 100%. Preliminary web searching also hints that they might be a posi-core band, which is definitely a vibe I picked up last night, though there's no definitive statement on what strain of posi they're involved with. Something to look into, definitely.

Next up was Mayday Parade, who started off with a song that's on my mp3 player, from some mixtape. I didn't know it was by them and was initially shocked. They weren't bad, but again, they sound a lot like everything else that's happening. I'm getting bored of scene bands. I want something new and everyone's just rehashing the same chords and emotions and song structures. They're good performers though, and it was a fun set to watch. They also did a stripped down piano song, "Miserable at Best" which was very pretty.

Finally, The Academy Is.... (How am I supposed to punctuate with a period after an ellipses? The four periods just looks silly. Ah, well.) I love TAI, and haven't seen them in a year - I've been craving a TAI concert in the worst way. And while last night was fun, it didn't fill that need. Something was a little off. Maybe it was me. I normally squash myself in the crowd for TAI concerts, between bodies and seas of people, but I decided to get above the crowd and take better video of them last night, and maybe that lack of contact was the missing piece. They were great, as usual, and played a lot of old songs, but Bill Beckett's voice sounded just a tiny bit off in a way that it normally doesn't live. However I can't really complain when I got to watch "Checkmarks" live, as well as "Slow Down" and "We've Got a Big Mess on Our Hands." I'm a little worried about them, as a band. Almost everyone on their label has hit it big or faded away. I want them to keep playing so badly, to keep making music, but I fear that won't happen unless something big happens soon. But last night was awesome and included some newish live songs ("I'm Yours Tonight" and "Ghost" which was once a bonus track) as well as long time favorites that kept the crowd screaming along.

Also, as a separate and important note. Michael Guy Chislett, their lead guitarist, can play the guitar. And play the shit out of it. He should be more recognized for this. Because he's awesome.

Wednesday, November 4, 2009

I Like To Dance

Hot Chelle Rae's new video for "I Like to Dance" premiered yesterday. I still love this song, and still think that these boys have everything it takes to be big. The video's a little predictable (a dance party for a song about dancing? No way.) and has Stephanie Pratt in it and is a little cluttered. There's way too much going on here. If you want to do the crazy flooded party scenes, intercut them with a few more static shots, have some closeups without fourteen thousands things going on around the singer's face. I love the song and the message and the fact that they want even the not hot girls dancing, but I wish the video was cleaner.


Hot Chelle Rae - "I Like to Dance" Video Premiere

Tuesday, November 3, 2009

Raditude - CD Review

The new Weezer CD, two tickets to their show in December, and a bag of candy showed up on the driver's seat of my car today. The music fairies must have struck.

Let's start with the packaging. It's awful. Really terrible. There's a dog jumping over a table and the inside is a horrid yellow and the CD is electric blue and it's all just horrendous. But it's about the music, and not the packaging.

And I'm torn about the music.

I love, love about half of the CD. "I Want You To" is their current single, and the first song on the album. I've already expressed my joy about the song here and really, it just keeps growing on me more and more. Also, the duets of it they've been doing with Sara Bareilles lately are just wonderful. Tell me that video isn't adorable. Love it.

"I'm Your Daddy" and "The Girl Got Hot" are what I before described as a Weezer Party Vibe. I still like it, and think it's an update on their normal sound, and I approve. They're fun songs, and should be great for live crowds.

"Put Me Back Together" and "Trippin' Down the Freeway" sound like true Weezer songs to me. I have a framed vinyl version of the Blue Album hanging on my wall, and I feel that if I played these two songs for those boys up their, they'd approve. "Put Me Back Together" might be my favorite song from the album - I love the lyrics and though it's a little slower than Weezer normally is, it's a really gorgeous and heartfelt song that builds on itself musically. Also, upon reading the liner notes (which everyone should always do!) I discovered that it was co-written by Tyson Ritter and Nick Wheeler of the All American Rejects. I knew I liked those boys. "Trippin' Down the Freeway" stays true to Weezer's guitar heavy aesthetic and I approve. "Let It All Hang Out" follows this real rock form as well, and is a good song that just makes you want to dance a little and drop your worries. Isn't that what rock music's about?

But then. Well, here's where I start having problems.

My biggest issue is that some of these aren't new songs. Now, I love "Can't Stop Partying," but I've already loved it for about a year, and I liked the acoustic version released on River's home recordings album Alone II last year better. And when "I Don't Want to Let You Go" started playing, I thought they were ripping off some other song because it was so very, very familiar. I soon realized that it too was from Alone II, as well as "The Prettiest Girl in the Whole Wide World," one of the bonus songs. I really dislike the fact that I'm listening to songs I've already heard, and didn't like much the first time around.

Then there's "Love is the Answer" which is a very... empowering song. It involves a woman singing in what I think is Hindi (I'll have to get a friend to translate) and a sitar. It absolutely does not fit on the album. At all.

"In the Mall" is unremarkable, except for the line where a woman announces, through a crackly intercom, "Attention shoppers, will Pat Wilson's mother please come to the Eastern Hills Mall Information Desk." I guess it has a tight guitar riff as well.

The Bonus CD, in addition to "The Prettiest Girl in the Whole Wide World," has "Get Me Some," which is full of big guitars. It also has "Run Over by a Truck" which is a silly, funny song. And that's what bonus CDs are about, the songs that are probably really fun to write and play, but that don't fit at all with what should otherwise be a really cohesive CD. But how can you go wrong with a song that has a chippy little chorus of "I feel like I've been run over by a truck."Also, the piano on this track is really smart and really happy and fun. The second CD ends, however, with "The Underdogs." It's like a slow, 90s ballad, complete with a heavy slow bass and some sort of chime. It's really awful. I'm so sorry Weezer, but I hate it. Oh man. It's almost unlistenable. How did this happen? Who let this happen? How did such an amazing band make a horrible 90s song that would have been sung by Mandy Moore? I don't even understand.

So, overall? 3 flying dogs out of 5. I'm disappointed with a lot of it, but I really loved the stuff that was good. If they'd just cut out all the extra padding, they would have had a great EP. I don't understand why they felt the need to push out this CD when they just put one out last year. They should have waited and made this one perfect before they released it.

Monday, November 2, 2009

Not even this would make me put on a snuggie.



I'd do a lot of things for Weezer, but this isn't one of them. And the making of video... Rivers has always been painfully awkward, but add in snuggies and it's almost too much to handle. The director instructing them to be "super creepy" is unnecessary. But Brian makes me laugh and Scott is just weird and Pat is a great combination of weird and creepy and funny.



I'm going to have to do a desperate CD run tomorrow to find some store open after my 7:30 class that will have the new album!