Make Believe
Geffen, 2005
rating: 1.5/5
reviewer: mr p
To extinguish that question burning in everybody's heads, allow me to piss on your fire: Make Believe is not Pinkerton. It's not a "return to form" or a throwback to the mid-'90s, nor is it even an attempt at such, as some rags claim. Despite the slight chance that Rivers's new meditation practices would revive his songwriting impotence, Make Believe is the nail in the coffin, the album that has ensured their irrelevancy. Rivers's illusory faith in the market as an arbiter of "good" taste has ultimately led him astray. To believe that the more popular the song, the better the song is also to believe that Britney Spears is popular because of her talents. For an industry that relies on extensive marketing and centralized power for its imperial dominance in the music world, Weezer has always appeared as that glimmer of hope that music didn't have to deconstruct itself to show its value, nor did the music have to even push limits or eschew good wholesome pop sensibilities for ham-fisted politics. It could simply be genuine, and it was precisely this faith in Weezer that kept us coming back. But Make Believe seems disingenuous. Even Brian Bell recently told Rolling Stone that he sometimes feels like just one part of Rivers's big experiment.
http://www.tinymixtapes.com/musicreviews/w/weezer.htm
Geffen, 2005
rating: 1.5/5
reviewer: mr p
To extinguish that question burning in everybody's heads, allow me to piss on your fire: Make Believe is not Pinkerton. It's not a "return to form" or a throwback to the mid-'90s, nor is it even an attempt at such, as some rags claim. Despite the slight chance that Rivers's new meditation practices would revive his songwriting impotence, Make Believe is the nail in the coffin, the album that has ensured their irrelevancy. Rivers's illusory faith in the market as an arbiter of "good" taste has ultimately led him astray. To believe that the more popular the song, the better the song is also to believe that Britney Spears is popular because of her talents. For an industry that relies on extensive marketing and centralized power for its imperial dominance in the music world, Weezer has always appeared as that glimmer of hope that music didn't have to deconstruct itself to show its value, nor did the music have to even push limits or eschew good wholesome pop sensibilities for ham-fisted politics. It could simply be genuine, and it was precisely this faith in Weezer that kept us coming back. But Make Believe seems disingenuous. Even Brian Bell recently told Rolling Stone that he sometimes feels like just one part of Rivers's big experiment.
http://www.tinymixtapes.com/musicreviews/w/weezer.htm