Maladroit Allmusic record review: Difference between revisions
Maladroit Allmusic record review (view source)
Revision as of 10:01, 6 September 2010
, 6 September 2010no edit summary
(New page: {{Maladroit infobox reviews}} '''The Allmusic album review of "''Maladroit''" was written by Stephen Thomas Erlewine. Its publishing date is not listed.''' For more reviews of "''Malad...) |
No edit summary |
||
| Line 2: | Line 2: | ||
'''The Allmusic album review of "''[[Maladroit]]''" was written by Stephen Thomas Erlewine. Its publishing date is not listed.''' For more reviews of "''Maladroit''," see [[:Category:Maladroit reviews|here]].<br><br>'''Rating:''' {{rating-big|4.0|5}} (4.0/5) | '''The Allmusic album review of "''[[Maladroit]]''" was written by Stephen Thomas Erlewine. Its publishing date is not listed.''' For more reviews of "''Maladroit''," see [[:Category:Maladroit reviews|here]].<br><br>'''Rating:''' {{rating-big|4.0|5}} (4.0/5) | ||
---- | ---- | ||
===Allmusic track picks for ''Maladroit''=== | |||
*"[[Dope Nose]]" | |||
*"[[Keep Fishin']]" | |||
*"[[Slave]]" | |||
Bands used to make records like this all the time. They'd release an album, tour all year, write a bunch of songs, record 'em, release another album a year later. Since hardly anybody — not even indie bands — did that in [[2002]], it's a remarkable event when [[Weezer]] does exactly that, especially following a half a decade of inactivity. But, it's hard not to think that this is the way it should be done by all bands, since Maladroit retains the high quality of [[The Green Album]]. True, it doesn't offer much that's new — it has a similarly short length, clocking in at 33 minutes, it favors riff-heavy, melodic rockers and has a lack of ballads, while [[Rivers Cuomo]] is doggedly avoiding the exposed-nerve confessions of [[Pinkerton]] — but there are a couple notable differences that give it its own character. Since the band has returned to self-producing, there's a tougher sound — nowhere near as raw as Pinkerton, yet similarly loud and raucous, overflowing with guitars spitting out riffs and solos with a gleeful abandon. So, it's essentially a harder-rocking version of the last album. But you know what? It doesn't matter because the band is at a peak. Cuomo continues to write consistently strong songs, occasionally penning a flat-out stunner ("[[Dope Nose]]" is one of Weezer's all-time greatest songs), the band is tighter than ever, and the record crackles with energy — nothing new, per se, but still vibrant, catchy, and satisfying. It's so good, it's hard not to think that it offers definitive proof that even in 2002, it's best for a band to keep going once they've hit a peak, to turn out a bunch of records that find them at the top of their game instead of waiting three or four years to craft a follow-up. After all, that's what builds not only a body of work, but a legacy. | Bands used to make records like this all the time. They'd release an album, tour all year, write a bunch of songs, record 'em, release another album a year later. Since hardly anybody — not even indie bands — did that in [[2002]], it's a remarkable event when [[Weezer]] does exactly that, especially following a half a decade of inactivity. But, it's hard not to think that this is the way it should be done by all bands, since Maladroit retains the high quality of [[The Green Album]]. True, it doesn't offer much that's new — it has a similarly short length, clocking in at 33 minutes, it favors riff-heavy, melodic rockers and has a lack of ballads, while [[Rivers Cuomo]] is doggedly avoiding the exposed-nerve confessions of [[Pinkerton]] — but there are a couple notable differences that give it its own character. Since the band has returned to self-producing, there's a tougher sound — nowhere near as raw as Pinkerton, yet similarly loud and raucous, overflowing with guitars spitting out riffs and solos with a gleeful abandon. So, it's essentially a harder-rocking version of the last album. But you know what? It doesn't matter because the band is at a peak. Cuomo continues to write consistently strong songs, occasionally penning a flat-out stunner ("[[Dope Nose]]" is one of Weezer's all-time greatest songs), the band is tighter than ever, and the record crackles with energy — nothing new, per se, but still vibrant, catchy, and satisfying. It's so good, it's hard not to think that it offers definitive proof that even in 2002, it's best for a band to keep going once they've hit a peak, to turn out a bunch of records that find them at the top of their game instead of waiting three or four years to craft a follow-up. After all, that's what builds not only a body of work, but a legacy. | ||
— Stephen Thomas Erlewine | — Stephen Thomas Erlewine | ||
---- | ---- | ||