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Uh, what is this life, man?
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It's a question I ask myself at moments like this, you know what I mean?
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When I get to sit opposite a band that I've been a fan of more than 30 years and I've gotten to know a little bit through the filter of my work and uh, and my love of your music. And yet, here we are.
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You've made this amazing record with Kenny. Sorry, Kenneth.
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>> No, it's uh, actually Kenneth Blum the third from Greenwich, Connecticut.
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>> think we get to pick our nicknames >> anymore.
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You get a nickname, that's >> It's It's kind of sticks, right?
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>> You can't make it up yourself and you can't control who calls you what, really.
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>> Do you guys have nicknames for each other?
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>> Brian had a ton of nicknames.
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>> to have You'd call me Chateaubriand.
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>> Chateaubriand, Brie van Brian.
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>> [laughter] >> These are all bougie nicknames, Patrick.
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>> early days, I was the new guy, so we never really gave >> Patrick was Winky Smiles when I met him for for the first few years.
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I thought his name was Winky Smiles.
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>> Well, you had a good one for Rivers once.
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It was like Rivers Cuomo von >> It was like Cuomo Cuomo Cuomo Islington upon Avon. >> Oh, wow. [laughter] Okay.
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>> Oshiresford was in there, too.
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>> [laughter] >> Shrine dog, sometimes. >> shrine dog.
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>> It's not much of a nickname, but yeah.
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>> Shrine dog's a great band name. >> What's up? We're Shrine Dogs. >> Shrine Dogs.
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>> We're going on tour with P. O. D.
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>> [laughter] >> and Papa Roach. Shrine Dogs. >> 100%.
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There's a a distinct um, love that you that you that you're showing to the past in a really beautiful, playful way on this record, which sounds very now, though.
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It's very, very modern-sounding Weezer record in the sense that you reached a place where um, the songs that you'd written that where you um, you landed in a beautiful space sound-wise.
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Um, but you had all the songs, right, Patrick?
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You guys you'd sit down and written them.
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You came in, you were ready.
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>> Yeah, we spent a lot of time sitting in a living room just in the air, all of us at once.
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No no in-ears, no headphones.
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And uh, it was pretty great.
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>> I always think it's funny cuz I I reference the video for Say It Ain't So a lot when it comes to the joy of starting a band.
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Because I think that you really captured the true essence of what it is to just play in a laundry with the door open on a sunny day.
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What else would you rather do than just that?
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And I love that image and I think that it's for some reason I think that's what it must have been like Scott for you writing these songs.
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>> I I hope that kids still get to do that.
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I mean cuz I grew up playing in garages and basements. >> Yeah.
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>> And I don't know if people do that or they just sit around a laptop or it just shows how much of a hunk I am.
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I don't I don't really know how it happens now.
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>> and I in New York City just a couple days ago were asked to do some like content stuff and we were told to go up to random people and ask them to name three bands.
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[laughter] >> Yeah, three bands from LA.
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>> And people were to dumbfounded and finally Pat just goes, "Can you name a band?"
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And there was a lot of uh >> a big ask. >> Yeah.
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>> It's a lot of silence.
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>> So, you know, we're trying to just find out if they knew what we were first we were we're trying to get to the end of like, "What do you think the LA sound means?"
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And we couldn't even get them to name a band.
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So, and you even were like giving them hints. >> Yeah.
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I always think people on the street stuff is is is is low-hanging fruit for for comedy though.
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Because because even if you do know, you just blank the out. I'm like, "I don't know.
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Like I mean, what are you what are you doorstopping me for, man?"
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Like you know, it's kind of like you sort of you can go in pretty confident you're going to be able to get some good material if you hit people up like that.
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But it it doesn't take away from what you're saying, which is you know, I think the idea to your point as well >> Scott of like what is a band and versus how it was when you started is very different.
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I don't think the internet is kind to that narrative.
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>> No, but I mean you can get your music heard a lot easier.
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You can meet other musicians.
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There seems like so many benefits.
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But but that experience of all going in, plugging in amps in a room, and [snorts] working on music together. It yeah, I don't know.
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Send you files or whatever.
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>> Well, to be fair, we were kind of a little bit past that stage in our lives and I think there's probably things happening out there probably in certainly in the UK and who knows what's happening.
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>> Definitely in the world scene in Chicago right now with with bands that are doing that and I mean I think it's over reactive and I think right now there is a desire to hold things.
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I I see this with with my kids and their friends.
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They want to hold things and have a tactile experience because it's otherwise it's all just in the ether.
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Rivers, do you know what I mean?
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It's just like everything exists and you can't see it.
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It's like after a while that just is exhausting I think.
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>> Yeah, there's a I just saw the Green Day movie and there's a a band in that movie called Analog Dogs and everything had to be you know two cassettes and all this stuff and I thought that was pretty cool.
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But there's like a whole you know jammy scene out there of bands but they just they're content to just do that thing you know.
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>> What was it like you know back when you guys did fire up like that and I like I said I could be wrong but I just feel like that that particular performance in the garage and so is almost true to life.
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Like that's just kind of how those songs were written.
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You fired up wherever you could and you made that racket and I mean was it that simple?
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>> Well that was the actual place that the rehearsing happened.
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Was that it was right down the street. It wasn't far from here.
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>> You made me so happy just saying that cuz it's it just feels like it is magical watching you play in that room even in that video.
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>> That is where we did our laundry.
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>> [laughter] >> Well it's so cool because like I'm saying life is going on around you while you're doing this thing and it's just I don't know man it's and then everything kind of changed and and it and it happened really really fast and like I said at the beginning I'm sort of connecting the dots in my brain on a Monday but I feel like CEO is your way of acknowledging that that even after all this time you know that was a crazy time.
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I mean Rivers, how much when you think back to how quickly it happened on the Blue Album how much of the music you made after that to some degree was you trying to figure out how to continue.
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>> I'll say the time when we were struggling in the clubs and rehearsing every night, it did not seem like it was happening very fast.
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It seemed like it was taking forever.
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I mean, we had the same songs you hear on the blue album, a lot of them in our first rehearsal, but nobody was interested. Took a long time.
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And then yeah, I think it's I think it's safe to say that we, at least I, often react.
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Album A comes out and then I start thinking, oh, I don't like uh X, Y, and Z that happened.
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So, on album B, I'm going to do something the opposite of that.
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And just like that, I keep bouncing back and forth between different extremes.
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But um this one was because it was so collaborative, there's less less chance of me uh steering us off in some wild direction.
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Uh we we got all four of us really contributing to the vision.
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>> I can imagine it was a really fun experience to do that.
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Just to if for nothing else, even if a song didn't come that day, just getting to play with your friends again.
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>> Yeah, the trip the trip down to Orange County and we we we chose that place um because uh Dan, what's his last name, Pat?
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>> Pavlovic >> Uh from Panic at the Disco was kind enough to um lend us his house to to rehearse at.
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And uh sometimes he'd be recording us so we could hear the hear it back and sometimes he wasn't even there. He just said, "Go ahead.
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Go And uh Pat lives closer to San Diego. We live in LA.
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And I I always like the carpool aspect of like meeting at Rivers' house and driving down there with him.
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Um and then Scott would show up and and to that alone was was felt uh communicative and collaborative.
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Just getting together in a space like that and um making the music was just a joy.
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>> I mean, why else in a way do you need to do it if not to try to hold on to that sinew? You know what I mean?
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Like I get you make records and everyone shows up but but but at the end of the day I I I think the joy is in growing old together. Keep going, right? To be together. >> refreshing.
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There was a period where we weren't working together.
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We were recording separate and it definitely left me feeling like a little bit kind of out of it and not as excited.
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And it's like I guess I'll hear how it turns out when I, you know, the album comes out.
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>> That was also during the the pandemic. >> Yeah, yeah, yeah.
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>> So, that was kind of like that was the mindset of everyone.
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Like we're going to wear these masks and we you know, okay, human in the photo we're wearing the surgical mask and um it's a amazing record, you know, still it's it's great.
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Um but uh that kind of got in the headspace and like psychologically damaged me a little bit just like being away from everyone.
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>> Well, well, I'm grateful that you all found a way to continue and give us music through that time because we needed it more than ever and >> six albums through that time. >> Yeah.
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>> Yeah, and you know, and and then you look, I mean, I think either people just kind of got stuck, which is totally understandable, too, or people just got super Capricorn about it and went to work and just was like, "I'm going to crush the I'm just going to make 50 albums and >> Yeah, what else is there to do?
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>> What else is there to do?
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And [laughter] just I mean, just keep going. Just keep going. Just keep going.
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>> But not records like this.
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Not records like the gold album were being made that I was aware of. >> No. >> At least not by us.
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>> Yeah, you really waited until album 20 to give us the gold album, huh?
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>> I feel like it was all part of the master plan.
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Um it's it's looks looks iconic. I mean, it really does. >> It does in this room.
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>> On a scale of 1 to 10, did you by the end of the record did you want to kill Kenneth Bloom the Third? >> Kenneth rhythms.
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>> [laughter] >> Is 11 a number in this?
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>> I mean, he is he is known for his amazing ability and skill set, but he also is unafraid, you know, I think to to to kind of push people in the in a direction to be their best, I think.
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I spoke to a few artists who have acknowledged that he he definitely is a is a pretty hands-on kind of guy and likes to get involved.
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Did you enjoy the experience, Rivers, of working with Kenneth?
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>> I enjoyed the experience of listening to the album. >> [laughter] >> Wow. >> Yeah.
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>> I I mean, there was a lot of like tension that was that was brought, and then I think that helped the music.
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And I'd like think that there was also some lot of credit has to go to Claus Salonen, who we've been working with way before we started working with Kenneth Blume the Third. >> Yeah. Yeah.
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And when you get into a place with it where that tension, and we're all we're all grown-ups here.
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We all know that that tension is has good intention.
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It's to get great music, and it but it doesn't mean it's fun. Uh >> It's fun for me. >> It's fun for you. >> Yeah. He's chill.
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>> Yeah, I I I had a similar experience. >> Yeah.
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I never felt I I never got angry with him or was got sick of him. >> He's not shy. >> Yeah. >> He's not shy.
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>> Well, he's like 6'12" as well.
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>> He would like to give a little like uh speeches and stuff, and I would go, "That was a beautiful speech.
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Now, let's go back to what we were doing."
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Um >> This relationship sounds like a blast. Did you Anyone film it?
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Did you guys get to see it? >> Get on camera.
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>> Not much, really, I don't think. >> Yeah.
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Well, I love him and as a person, um I've never He's never put pushed pushed my buttons like that, but I love the records he's made, and I love how broad he is, and I love that you took a shot to work with him, cuz I agree, the record sounds really, really great.
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Um You've been listening to it?
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You still listen to your music like that?
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>> We just heard a song, and it sounded amazing. >> amazing, right?
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>> It's It was always one of those things that I used to um I used to lament a little bit was that I'd ask artists, "Do you listen to your music?"
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And a lot of them would say, like, "No, I can't do it."
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>> No, I'm okay with listening to it.
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I I want to hear it in different formats.
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Want to hear how the mastering went on the cassette.
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I want to hear the hear on vinyl.
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I want to hear it in different systems.
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I want to hear it in my car.
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Uh I want to hear it on the radio most of all.
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>> My kid puts it on his home pod all the time. He's 10. Hey Rivers.
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>> I want to hear how we're doing when we play live on television and stuff.
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Like, okay, that was good.
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How can we How can we improve it?
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>> How is your relationship with your instrument when it comes to that?
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Would you say you're someone that still plays even when you're not writing or in the band or whatever just to kind of continue to improve as a player? Or do you >> 100%.
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>> I really got into gear recently and I haven't usually wasn't a gearhead but I just got a new pedal board made and have all my guitars at home.
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I have my whole living room like decked out like a stage ready for this tour. >> That's epic.
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I love that you've kind of brought that into the home in that regard and so it's there.
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It's like almost like a you wake up and you're sort of preparing even subliminally subconsciously for this is going to be.
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>> I came to accept that I am a musician, you know, and yeah.
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I didn't you know, I I used to like I don't want road cases and stuff in my house but I'm because it would depress me but now I'm like I kind of want them I gear around me.
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They're my friends and I love my guitar collection.
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>> What about you Rivers when it comes to writing songs and stuff?
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Is it something you apply yourself to when it's time or do you like to write them in your own time?
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>> I don't I don't know what what the difference is really.
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>> It's actually a very good point.
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I suppose all songs could be eligible for a Weezer record at any given time.
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So, maybe the question is like do you choose a moment to make an album or do you feel you're always writing with the intention of making albums? >> I I don't know.
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I guess it's happened both ways.
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And do we really have freedom of choice? I don't know.
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>> Rivers is one of the most like when he sets his mind to do something he does it and he he's he's like very has that ability to focus and and you know, if he puts it I'm going to do it from this time to this time and he will and he'll come up with something and it's just incredible.
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Um he has so many ideas and great songs that haven't even been released yet.
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>> Really cool that you were all able as we keep coming back to to be able to be in the room because all of you are writers.
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All of you have have been in other projects and made and you know written released music.
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>> We're all writers but I mean Rivers is one of the best of our generation.
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So we're we're we're thankful to be with him.
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>> Someone said recently I saw online like like it or not Rivers is the Brian Wilson of our generation. I liked it.
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>> How does how does that make you feel when you hear something like that?
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>> Uh well I I'm not sure what it means.
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>> It means you're good at music.
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>> It means you're a genius.
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>> [laughter] >> I don't know.
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It's not It doesn't really process.
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>> Which is probably a very normal reaction to a statement like that.
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But I think >> I I would hate to be hearing this if it was talking about me but I'm sorry.
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>> It's it's nice to hear positive feedback from these guys. >> Yeah. >> That feels good. >> It's amazing.
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Like it's it's everyone's doing their job.
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You guys are being trying to trying to be humble with with your guy here but it's really lovely that you're able to share that especially after doing this for as long as you have.
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We get sick of each other the longer we spend together most most of the time.
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>> Yeah it's interesting.
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We're actually become closer as the years come on.
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We >> But it's just weird at album 20 but we're actually hanging out and enjoying being around each other.
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Everybody's getting along.
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>> Isn't it crazy when life starts to do its thing regardless of how much control we think we have over it and it starts to actually make you feel something for each other for the experience you have for this life you've built for yourself and you accept it.
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You don't try to find ways to undermine it or question or analyze it.
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Just let it actually be something for >> You've seen enough days and then you see the flow of how things are supposed to go and it's just nice. >> It's really nice.
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Um I'm going to play a song off the Red album. >> Oh. >> If that's cool. >> Wow. >> Sure. >> Yeah. Um yeah.
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>> I can see you recording it right now.
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I remember everything about it.
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>> I You remember the song Pig? Oh, yeah.
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That was like that's awesome, too. >> Yeah. >> Um.
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>> You were all in the room and you did that on one in one take. All of you in the room.
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>> Yeah, it makes me want to cry.
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>> Yeah, we the basic tracks, yes.
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And then there's like that there's a pipe organ at the end.
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>> Yeah, yeah, and a little harmony toward the end there, but I mean for the most part that is what why you're here.
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What we just heard then is why you're here.
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That is what the only you can do that the four of you in that room capturing that boy. That Rick, huh?
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When he presses record he can still he can capture those moments.
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You know, something about how he just really gets you in the room is able to get the human experience like that.
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>> Our experience with him was was fantastic.
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It was a really >> With Rick Rubin? >> I love him. I'm just I love him.
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I'm just confused right now that some of my heroes seem to be so obsessed with this idea of the of prompts.
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I don't I'm like, what do you >> What? What do you >> Prompts? >> Well, like AI music. >> music.
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I'm like, what are we talking about here?
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Like >> I I think he's he's he's a he thinks he's an advocate for it as a as a disruptive form of technology.
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>> Yeah, he he thinks it's punk rock. >> Punk rock.
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Yeah, he thinks it's punk rock. >> But yeah. >> Or maybe it is. We'll see.
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Or it could be Terminator, who knows. >> I think we know.
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>> [laughter] >> I think the cat's out the bag on that one.
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Uh, I know what side I'm on.
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>> We've been very thank very lucky to have worked with such great producers in our our history like Ric Ocasek and Rick Rubin.
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>> I can imagine at a time like this when you're making some of your best music and you're about to go out and do this tour which you're going to talk about in a second.
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Um, and I mean, it's just beautiful watching you just connect with us as fans and we're all still hearing it and you're really successful.
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In in the sort of like just metric of it all, you're really successful band. It's kind of incredible.
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>> What timeline is this?
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What's even What's even happening right now? >> Right. >> I love it. >> Yeah, same.
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But I mean, when you think back to that first album with with Ric Ocasek.
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Um, and how important that was for you guys to have someone like that with that level of experience and wisdom believe in you like that Rivers.
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How how do you feel when you think back to that time?
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Not from a CEO let's just like play with it kind of way but in a from an emotional point of view when you think about that time.
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>> Yeah, I think the months had gone by we passed our tape around and nobody was interested in us and it just started to question like are we crazy?
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What cuz this music is so great to us it moves us so much nobody's getting it.
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He was the first guy who immediately called us back and you could just tell from his excitement that he heard it the same way we did.
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And that that meant the world to us on an emotional level but then also on a practical level he took us out to New York and recorded us and didn't charge us anything as we didn't have the budget. He just did it for free.
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>> Wow, what a what a real one.
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>> And and really uh >> Amazing.
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>> is as great as we thought we were I think he really helped us make a a more professional sounding record that would that could reach a bigger audience. >> Well, he cared.
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He did it cuz he really cared. It wasn't a trade.
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He heard something that speaks to him as a music fan. >> A song guy. He's a total song guy. >> lean guy too.
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Like he understood how lean you wanted to be which I love about the band too.
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You can put a wall of guitars in there but I always feel like Weezer make lean records.
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I don't know why I just feels like.
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>> When it came to the mix there was a lot of tension between us and uh the engineer Chris Shaw and Rick.
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Uh I I in in particular didn't want to have any reverb. I wanted to be bone dry.
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And Chris really wanted to mix in some room sound especially in the drums to give it a bigger sound.
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And and the label came down to Todd Sullivan from Geffen and he's like, "These mixes are sounding really weird to me. >> Yeah.
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>> Uh you guys got to let Chris do his thing."
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And then Chris uh Rick took Todd from Geffen out in the hall and said, "You know, I I agree with you guys.
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I I would like to hear like some more room mics and bigger sound and all that, but ultimately this is their record and we should let them do what they want to do if they feel this strongly about it."
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And so they let us they let us make that pretty unique sounding mix on that first record.
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>> Oh, and it just it's so funny.
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Everyone puts reverb on things to make it jump out, right?
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It jumped out so much more because it was it was right in front of your face. >> it's punchy.
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>> It's right in front of your face.
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It's not trying to like surround you >> to get out.
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>> it's wrestling with itself the whole time and so are you.
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It again speaks to your genius as a as someone who can carry your own songs.
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Um I never feel like uh you're well, how do I put this?
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In some of the most powerful and poignant moments and and across your music I I feel like that you're wrestling with yourself, too and it and it's it it's a very compelling experience to listen to.
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I probably not fun, but really draws us closer to your experience, which is what music's all about, right?