Charly Bliss make no secret they’re a throwback. They hone in on an era from about 20 years ago, when seemingly every other band came blissed out, drenched in sun, and outfitted for a spot on the 10 Things I Hate About You or Jawbreaker soundtrack next to Veruca Salt. Back then, for every Breeders there were at least two Letters to Cleos or Stretch Princesses, and their legacy is now constrained doubly: condemned the first time around by a rockist critical establishment for being too poppy, then when everyone started being OK with pop again, dismissed with the same received condemnation. Thing is, this style never went away, it’s just tended to age down.
Taking the notion of self-titled albums standing as a statement of identity to an extreme, Weezer puts out a self-titled record whenever they're ready to enter a new phase of their career. Designed to be dubbed The White Album – a nice cheeky nod to the classic 1968 double album from the Beatles – the 2016 installment of Weezer isn't nearly as messy as the group's last color-coded eponymous record. With that 2008 Red Album, Weezer embarked on a confused and chaotic middle age, an era that the tight, focused White Album effectively brings to an end. Much of this precision is due to Jake Sinclair, a producer who revived Fall Out Boy's commercial prospects with his savvy work on 2015's American Beauty/American Psycho, who gives this Weezer a modern sheen that skillfully avoids desperation, but he not only understands what teens like, he understands why teens love this group.
This massive 12 GB collection (3.5 GB of 24-bit WAV files) of Pop, Modern and Indie Rock Songwriting Styles is a showcase of groups like Coldplay, Katy Perry, Maroon 5, Kelly Clarkson, One Republic, Fall Out Boy, Kings of Leon, Train, Pink, One Direction, Bruno Mars, Muse, Queens of the Stone Age, Linkin Park and so many more!