Weezer, formed in 1992, and is known for playing power pop with distorted guitars, strong melodies and Rivers Cuomo's emotional and somewhat goofy lyrics. Weezer's most acclaimed releases are its self-titled debut from 1994 (which is simply called "Weezer" and is commonly nicknamed "The Blue Album"), and "Pinkerton," which was released in 1996. Weezer has also had a significant presence in the 2000's, with songs such as "Hash Pipe," "Island in the Sun," and "Beverly Hills."

Weezer occupied an interesting space in the 1990s alternative rock scene, for various reasons. "The Blue Album" is one of those reasons, as it is an endearing and impossibly catchy album with a never-ending stream of massive guitars, simple but direct lyrics that are honest in a geeky and self-deprecating way, and a sense of fun that permeated the entire album. "The Blue Album" has some of Weezer's most popular tunes, such as "Buddy Holly," "Undone - The Sweater Song," and "Say It Ain't So," and it is still loved by many people today. "The Blue Album" was a hit when it came out in 1994, as it was critically acclaimed and charted at No. 4 on the Billboard 200.

"Pinkerton," however, is a completely different animal altogether. The cover art of "Pinkerton" alone shows how much Weezer had changed, as "The Blue Album" has the members of Weezer standing against a plain blue background. On the cover art, the members themselves look like your average guy from across the street, and the picture has a strong sense of simplicity. In contrast, "Pinkerton" has a stark, desolate and oddly hopeless front cover, with black and brown colors that communicate strong feelings of muted sadness. The cover art demonstrates how "Pinkerton" is far more emotionally involving than "The Blue Album," at the cost of accessibility. The cover art shows why "Pinkerton" is so special, as it lets the listener know that they are in for something that is different from "The Blue Album."

The overall sound of "Pinkerton" contributes to its powerful nature. The guitars on "Pinkerton" are rough, unpolished and sour, while having a harsher bite to them. The drums sound more like massive blocks that bring a sense of force to the songs, and Matt Sharp's basslines are scrappy and rugged. "Pinkerton's" instrumentation is way rawer and coarse than what was displayed on "The Blue Album," and it sounds like Weezer decided to strip away whatever niceness was apparent on their self-titled debut. "Pinkerton" is a noisy racket that does not try to sweeten its message in any way, and songs such as "Getchoo" and "Why Bother" really show how far Weezer had gone with their sound.

The vocals and lyrics of "Pinkerton" have taken a different turn, too. "The Blue Album" was not all fun and games, as seen in the jealousy of "No One Else" and the description of a sad break-up in "The World Has Turned and Left Me Here." However, it was hidden behind the massive guitars and an almost endless stream of hooks. "The Blue Album" was pleasant all around, and Rivers Cuomo's insecurities were displayed in a reasonable way. Cuomo is far more obvious with his emotional state on "Pinkerton," though. From his disappointment over a failing relationship in "No Other One" to the confusion and longing of "Across the Sea," Rivers Cuomo expresses real emotions in an upfront and honest way. Cuomo is far more bitter and dejected on "Pinkerton," and the way that he shows his feelings is almost like hearing your best friend spill his guts out over how much he has failed as a person. The lyrics of "Pinkerton" reflect this, as they are revealing and miserable in a borderline uncomfortable way, such as Cuomo's admittance of being "broken down" and "a pig" show a despairing, self-loathing portrait of a man who knows how far he has fallen from grace. Cuomo even lets out pained howls on "Tired of Sex," which indicates that the sweetness of "The Blue Album" was gone at that point.

"Pinkerton" is also a compelling, if not draining album. "Pinkerton" is a difficult, direct, and often emotional thrill ride that shows the morose mood of Rivers Cuomo. "Pinkerton" is woeful and desperate to the point where the listener will be fascinated and shocked at what they are hearing. Other aspects such as the screeching guitar feedback at the intro of "No Other One," the brash speediness of "Why Bother" and the sparse, beautiful introduction of "Across the Sea" contribute to an album that is as gripping as it is troublesome to listen to.

In conclusion, "Pinkerton" is an album that remains compelling, despite being released nearly 20 years ago. "Pinkerton's" cover art shows how Weezer had gone for a drastically different style, and its sound is scrappy, disheveled, and rocky. The vocals are emotional and dark, and its lyrics paint a picture of a despondent and down-on-his-luck Rivers Cuomo. "Pinkerton" takes the listener on an adventure through its cheerless, pessimistic world, and it shows a less accessible, but more engrossing side of Weezer. "Pinkerton" is not as instantly likable as "The Blue Album," but it is an entertaining album in its own right.