Photo by: Weezer.com

Weezer used to be a mellow, somewhat subtle troupe of introverted college kids.

Now the band plays loud, brash arena rock.

Such a transformation was evident in 2009’s Raditude but has reached a new obnoxious peak with Hurley.

With controversy swirling around the album’s name and cover art, a picture of the character Hurley (Jorge Garcia) of TV’s Lost, the musicality of the project has been pushed to the back burner.

Hurley is plagued with would-be party anthems like “Memories,” in which Cuomo recalls the crazy antics he and his friends had taken part in years ago and “Trainwrecks,” in which Cuomo describes his comrades as drunken catastrophes while idealizing the raucous party his life has apparently become.

On the other hand, songs like “Ruling Me” and “Unspoken” express, albeit shoddily, a love turned sour, yet sticking with it anyway-a fleeting characteristic of the Weezer that’s long gone at this point.

While the feeling that Weezer just sort of gave up on this one is pretty prominent, the most distinct difference between Hurley and the Weezer albums of decades ago is the desired audience.

Previously, Cuomo sang lyrics that sounded like they were straight from his journal, targeting an age-specific, smaller demographic. Hurley is constructed to sound huge, employing the use of church bells, flute accompaniments and chant-able lyrics while neglecting the inherently personal lyricism that drew in many fans at the start.

However, with tracks like “Smart Girls,” a thinking man’s “Baby Got Back,” and a light-hearted live cover of “Viva La Vida,” it’s possible that Weezer just decided to stop taking themselves seriously.

Maybe the past two records were outlets to be ridiculous and escape the pressures of making high-quality music.

Perhaps, the joke is on us – a joke that started when Cuomo grew a mustache.

Here’s hoping he sees the light, shaves his mustache and starts delivering awesome music like he used to.