A couple of pseudo-anthems will likely nurse them through a handful of unearned headline gigs--but in all honesty, the world has no need for pop music this faceless, listless or sterile.

For an album with both a Eurythmics cover AND a Black Sabbath cover it’s a surprisingly listenable, albeit pointless entry in their discography, Weezer has spent a decade becoming more interesting to read about than listen to.

The New Classic, though stacked from top to bottom with an impressive collection of production efforts, is nothing more than derivative delivery soaked in stylistic heresy.

The highlights aren’t as colorful as we’ve come to expect from Timbaland or the Neptunes, or as tuneful as we’ve come to expect from Justin Timberlake.

Wilder Mind, airless to the extreme, plods on, song after saccharine song. Melodies do abound. But they’re wearying, like the mundane hell of children’s tunes, blasted on repeat, throughout a long car trip.

It finds Prince embracing EDM and his band 3rd Eye Girl lays down some sturdy, derivative grooves that ought to signal bathroom breaks and beer runs at shows to come.

This is the most disjointed record in Weezer’s discography. Its probably not the worst but its right there with Raditude and Make Believe.

A lack of feeling behind much of Witness’ material does a listener no favors, and much of it gets forgotten once you leave it in your rear-view. However, if you take Witness less seriously, it reveals itself a bit of camp that is in many ways more compelling than the music project it’s supposed to be.

Although the overall album lacks cohesion, Double Dutchess’ sonic diversity does remind you of Fergie’s versatility as a performer, one who spits, warbles, and belts all across the project. The only thing is, she brings little innovation or excitement to the many genres she channels.