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Jinx

Weekend

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iTunes Editors’ Notes

The San Francisco–to–Brooklyn trio Weekend beautifully captures the ringing, pulsing sound that back in the early '80s was the sign of a new “alternative” band from the U.K. On Weekend's second full-length album, Jinx, a tune such as “Oubliette” brings to mind bands such as Echo & The Bunnymen, New Order, The Cure, and Depeche Mode, back from the days when those bands were far from the mainstream and considered rather weird. Except, of course, they weren’t odd so much as simply “new," and the years have taught us that lurking in that highly stylized approach are songs every bit as approachable and inspiring as their more straightforward contemporaries. While Weekend has clearly mastered the art of this retro-alt sound and its eerie atmospheric backdrop, the band has also shown its way with a song. “Celebration, FL”—with its multiple vocals attacking from each side—captures all the tension and beauty of this approach. “Adelaide” sticks with a beautiful yearning. “Just Drive” strips down enough to hear the skeletal beginnings of the trio’s sound.

Customer Reviews

Middle of the Road

The thing about Jinx that really shines is the production. These tracks have the sound of big spaces, with lots of atmosphere and just enough bite to give the sound an edge. There's a strong Disintegration-era Cure vibe running throughout the album, blended with grittier, more contemporary shoe gaze influences such as A Place to Bury Strangers. For me, that should add up to a pretty enjoyable album, but where the band falters is the vocals. Take the opening track "Mirror" for example. They build up a powerful intro and kick into a great post-punk groove, but then the weak vocals come in and deflate all that momentum. If anyone remembers the '90s alt band Hum, they had the same problem -- muscular, big production and catchy riffs, but under-developed melodies and meek deliveries that undermined the powerful sonics. If the singer put as much oomph into the vocals as his band mates did with their respective parts and wrote melodies as strong and memorable as the guitar lines, this would have been a better record. As is, it's a decent but underwhelming album.

Pure Greatness

Great album from start to finish. Saw these guys headline the Independent in SF. It was a great show and the new songs sounded fantastic. Good job boyz. You nazzty lil grems. This is my album of the year.

Typically I don't write reviews

But, this album is amazing. I'm not sure if writing this review and rating the album will ultimately make more people listen to it but I really hope it does. I've been listening to Weekend since they first came out with sports and I have to say I have loved watching their changes and growth. With this album they keep the dark fuzzy droney sound but add some lighter poppies hooks and textures if nothing else to make the darkness find an even greater shadow in contrast. While I love this album and almost everything about I can't help finding myself looking for a slightly more jarring noisy guitar riff once in a while. A good example is The One You Want from the Red EP with its guitar that almost strikes like lightning. Anyway nothing is perfect so don't expect me to give 5 stars on almost any album but if I could I would give this album a solid 4.5/5 stars.

Biography

Formed: 2009 in San Francisco , CA

Genre: Alternative

Years Active: '00s, '10s

While a lot of Bay Area bands tend to embrace the sunny, psychedelic side of their city's sound, San Francisco's Weekend have seemingly chosen to embrace their hometown's foggier side. Formed in 2009 by Shaun Durkan (bass/vocals), Kevin Johnson (guitar), and Abe Pedroza (drums), Weekend quickly made a name for themselves with their post-punk-shoved-through-a-shoegaze-filter sound. The trio's pounding bass'n'drum rhythms lay the groundwork for Johnson's wall of reverb-drenched guitar noise, giving...
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