CD Reviews

Weezer -

Make Believe

Even though Weezer cynics (and the self-proclaimed "real fans") claim that the band hasn't put out anything decent since the Clinton era, the truth is Rivers Cuomo and company have musically faired better than most of their post-grunge colleagues. Between the brilliance of Blue, the cathartic pop of Pinkerton, the charm of Green, and the edginess of Maladroit, auteur Cuomo has endowed each album with its own uniquely addictive aura.

While the Weez's latest effort, Make Believe, demonstrates the band's continuing refusal to plagiarize themselves, the album is Cuomo's first flirtation with mediocrity.

The problem isn't the much-criticized single, "Beverly Hills"-it's as catchy as "Hash Pipe"-nor the use of instruments, as there are still lots of mesmerizing power chords. Rather, somewhere since the Maladroit tour, Cuomo forgot the meanings of both subtlety and irony.

"This Is Such a Pity" doesn't do much aside from just repeat its self-pitying title through the song. Cuomo has always been obsessed with his own shortcomings, but this song is plagued by obviousness. Cuomo is all for telling the listener he has troubles, but doesn't care to explore intricacies.

The song, "We Are All On Drugs" lacks the playful sarcasm that defined "Hash Pipe" and "Dope Nose." Not only does Cuomo sound like a retired cop giving a D.A.R.E. speech, but he also sinks so low as to rhyme "Mercedes-Benz" with "friends;" even worse, the song has the tune of fourth grade favorite "Diarrhea"-ouch, very ouch.

These flaws transcend individual songs, afflicting most of the album with unlistenable formulaic carelessness. To the iconic band that inspired legions of adolescents with thick-rimmed glasses to destroy sweaters and find sex tiresome, congratulations on finally perfecting bland laziness.

Max Baumgarten

Of Montreal - The Sunlandic Twins

Calvin, of "and Hobbes" fame, once said, "Happiness isn't good enough for me! I demand euphoria!"

Search no more, Calvin, for euphoria has arrived with a pair of The Sunlandic Twins, the latest release from Of Montreal, of Athens, Georgia. Oh, and please don't let the fact that a track was featured on "The O.C." turn you away from this quirky ensemble.

This time, the songs are dancier, with more character than previous releases. The album features 60s pop and 70s-ish guitar sections, as on "Forecast Fascist Future," and 80s keyboard rhythms on "So Begins Our Alabee" that leave you as buoyant as Molly Ringwald after she landed that special birthday kiss from the hottie in "Sixteen Candles."

"The Party's Crashing Us" seems to set up The Sunlandic Twins as a sequel to "Rapture Rapes the Muses" on Satanic Panic in the Attic, the band's previous release. Despite the two songs' similarities, the band experiments with their sound on the rest of the album, probably to rebut previous accusations of repetitiveness. They have more fun with synthesizers and bass lines all over, fake African tribal chants kick off "I Was Never Young," and "Wraith Pinned To the Mist and Other Games" is just as fun as playing with Internet games.

Now, the part where you cross over into euphoria is when you discover the bonus EP hidden in the album jacket, which is even more charming than the album. Lead singer Kevin Barnes's voice spurs girly-squirling just like David Cassidy's, but does more than just "get you happy."

The Sunlandic Twins is as delicious as "strawberries, cherries, and an angel's kiss in spring." It's like if The Apples in Stereo had more dancey spunk, they'd leave you shifting your head back and forth like that one dude in the "SNL" Holiday Band. Yeah, you know what I'm talking about.

Caroline Partamian

Spoon -

Gimme Fiction

Now that Spoon's Gimme Fiction has actually been released, we can all finally come out of the wood-work and buy the Texas boys' new opus for real, replacing the leaked copies we downloaded so long ago.

The album opens with some deliciously familiar Spoon beats, thanks to drummer Jim Eno. Everything is reminiscent of older albums, but, for example, "The Beast and the Dragon, Adored" is more complex than anything you would find on 2001's Girls Can Tell or 2002's Kill the Moonlight. Both of those discs were excellent, but limited by their single-mindedness; this song fixes that, sounding like a combination of at least two of Spoon's earlier songs. Remember, everything is bigger in Texas, so everything here is broader: more instruments, more sounds, more fun!

Another high point occurs with singer Britt Daniel's hot falsetto on "I Turn My Camera On," which almost even sounds like Prince or one of his modern incarnations, the Scissor Sisters. "The Infinite Pet" sounds like bouncy detective-movie music, and the added instrumentals make your headphones happy. "Sister Jack" might be the most surprising track -it starts off sounding like a throwaway, MTV-friendly song, but then starts to build, and goes up and up with a distorted synthesizer, just so that Spoon can show us all how it's done right.

Daniel's voice usually tends to swing through the whole somnolent spectrum that lies between restrained and positively sedate, but he sounds fuller here-either thanks to some kind of newfangled technical wizardry, or because someone told him how to enunciate. Some of Spoon's music here seems to be merely superior versions of their own older songs, but they have established an intriguing sound, and on Gimme Fiction, the group gets it right.

Kristina Mody

The Ponys -

Celebration Castle

As the follow-up to last year's debut, Laced with Romance, the Ponys have offered up a new batch of their tidy, forceful garage pop with Celebration Castle.

Recorded by Steve Albini, Celebration Castle lacks the abrasive mix that characterizes many of his other discs, but rather a cleanliness matching the Ponys' informed garage sound.

"I'm With You" evokes the Strokes and London Calling-era Clash, and is infused with an 80s pop aesthetic and propulsive rhythm section. A bass and hand-clap intro kicks off this quick number, and a sparkling guitar fuzz lends this song, like the rest of the album, a lovely 50s garage-band tone.

"Another Wound" is a peak, using feedback to create an airy piece whose contemplative swirl is complemented splendidly by the lead singer's youthful, angry croon. The sinister Pixies pop of "Shadow Box" and the ominous, brooding dirge "We Shot the World" exhibit the group's versatility, like "Get Black," which remembers the Rolling Stones in its use of harmonica and the singer's vocal style.

The band produces a sound that you can easily mistake having heard before. However, any doubt in their originality is quickly set aside due to the sheer vitality and conviction of their delivery. They don't cater to current trends and are duly comfortable in the sound they have put together.

A few songs feature female vocals, including "She's Broken," whose guitar line is reminiscent of the more apocalyptic tunes on Television's Marquee Moon. The difference here is that the Ponys pump up the speed and ferocity, crafting a cathartic, giddy number rooted in late 70s punk.

An entirely solid record, Celebration Castle shows a band that has found a voice informed by several classic punk and rock sources. While seemingly destined to be overlooked, it is an entirely satisfying listen.

Michael Harkin

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