Back to the Shack is the track you’re gonna hear every critic herald when it comes to discussing Everything Will Be Alright In The End but there’s no real surprise why: showing that trademark self-awareness, Back to the Shack takes on a great deal of sincereness with Rivers apologising to his fans for dodgy ventures over the past few releases as well as personal resolutions with his partner and family. The chorus is also a belter in of itself, something that’s a commodity when it comes to this album. Its bridge almost sounds like some sort of nerdy kamikaze call with Rivers professing that this might be the band’s final chance to find relevancy before they test fan’s final nerves and that sort of attitude would serve them well on all future releases as it’s not like they got super complacent on Pacific Daydream.
I hesitate to call Everything Will Be Alright In The End as a return to traditional Weezer but more an ideal playground where ideals from different eras can get along well and result in some goofy gems: Da Vinci really shouldn’t work as well as it does, what with its Make Believe-esque verse featuring a comforting bass and whistling being in stark contrast to its debut-ish chorus but I really can’t deny how its ridiculousness works so much in its favour, establishing a charm that the band hadn’t tapped into for over a decade.
As I said, the final few songs can really test the patience of a listener, bordering on filler-esque, but Weezer made the right choice returning after that Death To False Metal hiatus: while they may not have returned with anything brand spanking new, a more balanced mindset and, in turn, a balanced sound results in some of the most fun rock music you’ll have heard all of that year.