It has been 25 years since the release of Weezer’s first self-titled album (The Blue Album), but they are as busy as ever with the release of their thirteenth album and sixth-self titled album, The Black Album, being their second release this year. The Black Album is certainly not Weezer’s most sophisticated work, but it does provide some of the quirky fun that we have come to expect from Weezer. The album starts with “Can’t Knock the Hustle”, a song with a catchy chorus and comical lyrics, paired with an instrumental track that tries to mix multiple styles and has some Spanish thrown in that only adds to the confusing mashing of styles. The next two songs, “Zombie Bastards” and “High as a Kite” continue the strength of the first track: “Zombie Bastards” has even sillier lyrics, but the chorus can’t help to be sung along to, and “High as a Kite” is an ambient ballad that soars with a breakout chorus and a light background of distorted guitar. But the momentum of the album slows with the fourth track, “Living in L.A.”, which although is catchy, lacks any depth, with its formulaic structure and lyrics so general that there is no emotion behind them. The track that stands out most on the second half of the record is “The Prince Who Wanted Everything”, which provides an upbeat and danceable melody. The last two songs on the album leave much to be desired with “Byzantine” being a kitsch jumble of clashing styles and “California Snow” falling flat of a trap song due to Rivers Cuomo’s flat rapping and lack of lyrical flow. On the whole, The Black Album is a mediocre alternative pop rock album that at its best provides some catchy, quirky tunes and at its worst providers tracks that feel forced and insincere.