A Hella Mega Look at the New Green Day, Fall Out Boy, and Weezer Songs

Prepare to party like it’s 2005.  With the leaked news of the upcoming Mega Hella tour, many adults who grew up with pop-punk and emo tastes and also probably entered junior high between 2004 and 2007 collectively shat our pants.  The confirmation that it was real in a midday webcast was like waking up from an amazing dream and realizing that it wasn’t a dream at all.  Yes, Green Day, Fall Out Boy, and Weezer (with support from The Interrupters) will indeed tour together next year.  Continue reading

Weezer-Weezer (The Black Album)

If you’ve never seen the 2007 Jason Lee-starring children’s film Alvin and the Chipmunks, I implore you to watch it before listening to the latest Weezer record, The Black Album.  Of course, it was only a matter of time before Weezer entered this Spinal Tap realm that was mostly occupied by Metallica and Jay-Z, but it was developed with loathing diehard fans.  While Weezer is a cultural touchstone, and their Teal Album was the subject of ire from many critics, The Black Album is like Alvin and the Chipmunks in that it’s really enjoyable in a mind-numbing way. Continue reading

Weezer-Weezer (The Teal Album)

When Weezer covered “Africa,” it was an awesome win for the internet and fandom as a whole; we can now pester our stars into creating the punchlines to our little jokes.  Weezer’s choice to cover a different Toto song before succumbing to a Twitter account was a well-played move, but their final covering of a song that’s really only beloved as a meme served as a bleak cultural black hole.  Now, we need to endure “Africa” blaring with a semi-ironic drone feeding into itself the same way we did with Smashmouth’s “All Star” years ago.  Now with The Teal Album, Weezer has set out to follow up their cover to show that they’re entirely competent in playing other people’s songs with little to no frills in a reliable but mostly boring output. Continue reading

Joyce Manor-Million Dollars to Kill Me

Joyce Manor’s 2016 album Cody showed a band that was willing to take a step away from the abrasive, no bullshit pop-punk that they’d perfected into a band with similar ethics but making more power-pop inspired indie rock.  Sure, there were still pop-punk bangers like “Fake I.D.” and “Reversing Machine,” but songs like “Eighteen” or “This Song Is A Mess But So Am I” fell more into a sort of Blue Album worship in crafting great pop-savvy indie rock.  Million Dollars to Kill Me doesn’t feel like a continuation of Cody nor does it feel like it’s picking up after Never Hungover Again; it sounds like a band that is truly without a care and is making whatever the hell it wants. Continue reading

Place Your Bets: The 2017 Grammy Awards

46th Annual Grammy Awards - Pressroom

To me, The Grammys are the Super Bowl.  I always want to gamble on it.  I usually know what’s going to happen.  I’m glued to the TV for hours, and I get drunk while doing it.  Unlike the Super Bowl though, the person who wins is either met with indifference or excitement, rarely anger.  This year, BurgerADay are laying out the pics for who will win versus who should win.  Check out our picks, and either way, just remember it’s much more important than the Patriots and Falcons.  No one’s deflating these balls.


Album Of The Year:

25 — Adele

Lemonade — Beyoncé

Purpose — Justin Bieber

Views — Drake

A Sailor’s Guide To Earth — Sturgill Simpson

Should Win: Lemonade-Beyoncé

I may have been late to the party for a long time, but at the tail end of 2016, I listened to Lemonade, and it’s pretty damn great.  Beyoncé is completely worthy of all the praise she’s gotten for this album.  As most of the best albums of the year, Bey mixed the political with the personal, and the record can transition from an emotional gut-punch like on “Pray You Catch Me” or “Don’t Hurt Yourself” to a genuinely fun as hell hype song like “Formation.”  There may be a little protest to the politicization of Beyoncé, but as someone who’s never been on board with her as a simple pop-artist, she’s certainly left a great impression this year.

Continue reading

Joyce Manor-Cody


Never Hungover Again was one of the most acclaimed punk albums of 2014 for its short, punchy, simple songs with great lyrics.  Joyce Manor’s follow up, Cody, sees the band with catchier, cleaner and more melodic songwriting.  The emotive vocalizing of poetic lyrics is still there, but this is Joyce Manor’s most accessible album yet.

Clocking in at 25-minutes, this is Joyce Manor’s longest record yet, and amidst the 90’s punk comparisons Joyce Manor gets, this album’s biggest influence seems to be Weezer.  The guitar-tones on songs like “Fake I.D.” or “Over Before It Began” bare a strong resemblance to The Blue Album.  The band are good at writing the type of riff-heavy power-pop with equally impressive lyrics.  The trudging pace of tracks like “Last You Heard of Me” makes it sound like it would fit right in on Pinkerton.  Songs like “Make Me Dumb” and “Fake I.D.” are much more in tune with arena-rock and pop-rock than melodic-hardcore.  Still, Joyce Manor retain some of the best elements about their sound.

Songs like “Reversing Machine” and “Do You Really Want to Not Get Better?” are short, to-the-point tracks that can’t overstay their welcome.  “Reversing Machine” has Barry Johnson yelping like he’s on the verge of a drunken breakdown.  “Get Better?” is quite different.  It’s a reserved acoustic track with lyrics that are written and sound like an empathetic conversation with a friend.  “Angel in the Snow” tracks some of the mundanity of young-adult life like previous Joyce Manor albums.  The well-paced track ends with the lines:

Paid seven dollars

For a plastic cup of vodka

Doesn’t make a difference

Doesn’t make it wrong or right

You gotta stay this way forever

‘Til it makes you want to die

You needed something out of nothing

While pop-punk tends to focus on not growing up, Joyce Manor focuses on the difficulty that inevitably comes when you do grow up.  “Stairs,” the album’s longest song, details looking for parental qualities in a significant other.  Where it initially sounds like a sweet sentiment, it eventually sounds sadly pathetic how incompetent and dependent Johnson is.  It’s important to remember that a lyric like “there’s so much good inside you” is preceded by the line “You are like a magnet for evil.”  Johnson’s sense of paralysis is what makes this track though.  It adds a sad twist on the catchy number.  It also makes the final song titled “This Song Is A Mess, But So Am I” much less of a surprise.

The album’s biggest weakness is its lack of hardcore influence and how polished the vocals and production sound.  The closest Joyce Manor get to preserving their old sound is on “Make Me Dumb” and “Eighteen,” but it doesn’t last.  Even “Make Me Dumb” seems to be more of a comment on success than it is on drunken college parties.  The band has more in common here with blink-182 than Into It. Over It.  But I guess, that’s growing up, right?

It’s not a bad album, by any stretch of the imagination.  Barry Johnson and company are just getting older.  We just have more bangers than ragers.