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I feel her hand on my shoulder, incalculable aeons of stardust settling. You should be working, a whisper. ‘I was daydreaming about you,’ I say. Only the day? A solar echo. That seems restrictive. Her laughter spools out, universally intertwining light and sound, gravitational waves and electromagnetism. Every move she makes causes an affect. ‘I wish you were here,’ I say, finding myself laughing. It took so long to parse, with nothing but theory until I’d felt the physics. I reach through space to take our hand and her voice is mine, ‘Even when I’m not there—’ I’m here.

Weezer: Pacific Daydream

Article originally appeared on The Music Oct 24th 2017

By now you either like Weezer or you don’t, or you did and now you really don’t.

Their eleventh album, Pacific Daydream, sounds suspiciously young, the audio equivalent of a couple kids in a trench coat or one adult band wearing a teenager’s T-shirt. Honestly, the bulk of the tracks feel more like a Weezer musical as written by One Direction, like they were aiming for top of the pops by way of paint by numbers construction and bland overproduction.

Despite a few classic Rivers Cuomo compositions, QB Blitz and Sweet Mary through the middle, the hooks aren’t catchy so much as insidious and you could easily mistake them for any number of one-off festival headline fade-aways that dominate for a crucial week or two before dissolving back into the primordial musical ooze that spawned them. It’s not the sort of sound that usually happens at the end of a band’s lifecycle.

What was once a boyish proto-geek genuflection is now a group of 40-somethings crooning over pyrrhic rhythms about beaches and heartbreak while the world gently burns. The results feel accordingly off-putting, not nearly as vast or grand as the Pacific Ocean, roughly as valuable as a daydream and just as memorable.

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