Rolling Stone - p.744 stars out of 5
- "Cuomo's songs are his most plaintive and brilliant since PINKERTON....Not since Brian Wilson has an L.A.-pop mastermind gotten such musical mileage out of wanting to be an ordinary guy..."
Mojo (Publisher) - p.1063 stars out of 5
- "Cuomo's nerdy every-kid persona continues to shine."
Paste (magazine) - "'Pardon Me' is Cuomo at his self-pitying best, a wistful bit of self-recrimination only Weezer can pull of without sounding completely absurd."
Weezer: Scott Shriner, Rivers Cuomo, Pat Wilson, Brian Bell .
Personnel: Stephanie Eitel (vocals); Doug Forsdick (guitar); Akiko Turamoto, Akiko Tarumoto (violin); Jason Freese (saxophone).
Additional personnel: Stephanie Eitel (background vocals); Jason Freese, Akiko Tarumoto.
Audio Mixers: Rich Castey; Josh Abraham; Alan Moulder; Neal Avron; Rich Costey.
Recording information: Cello Studios, Los Angeles, CA (12/2003-02/2005); Grandmaster Recorders, Los Angeles, CA (12/2003-02/2005); Hensen Studios, Los Angeles, CA (12/2003-02/2005); Henson Studios, Los Angeles, CA (12/2003-02/2005).
Illustrator: Carson Ellis.
Photographers: Karl Koch; Sean Murphy.
Weezer opens its fifth record, 2005's MAKE BELIEVE, with the single "Beverly Hills," an anthemic slice of power-pop with a sing-along chorus and heart-on-the-sleeve vocals. The song makes it seem as though Weezer hadn't changed a speck since the band captured hearts of MTV fans and indie rockers alike with its 1994 eponymous debut. However, what follows is one of the quartet's most musically mature efforts--a diverse, gratifying album filled with Beatlesque hooks and guided by the skilled hand of producer Rick Rubin.
As frontman Rivers Cuomo shines a flashlight on himself with trademark insecurity on lines like "I have many doubts about my motives" and "I'm not the toughest guy," his voice quavers and quakes in the innocent style that has endeared him to so many. The mood of MAKE BELIEVE roams from the desperate late-night isolation of the piano-led "Perfect Situation" to the love-gone-wrong vibe of the synthesizer-heavy "This Is Such a Pity." The album ends on the lovelorn, weeping-guitar loneliness of "Haunt You Every Day," and it's clear that Cuomo is still a sad, pining poet in search of elusive serenity, but the group's songcraft is ever growing.