The forthcoming album from Weezer this year sounds promising: Everything Will Be Alright in the End.

Their stunning 1994 debut is the standard by which they will be forever judged. For me, the standout tracks on it are “My Name is Jonas,” “Buddy Holly,” “Say It Ain’t So,” and “In the Garage.” The other tracks, save for one, are great but not upper-echelon essential in their musical status. (Although you may be able to talk me into including “Undone” and “The World Has Turned and Left Me Here.”)

That one more track — perhaps the standout track as far as citizens of Progarchy are concerned — is the epic, eight-minute album closer, “Only in Dreams.” It shows what the power of a song, not afraid to go to prog-quality lengthiness, can achieve from a build-up in musical intensity not otherwise available in a shorter, more standard-length pop song.

The last time Weezer made me sit up and take notice since 1994 was when I heard “Dope Nose” from Maladroit (2002): a not-so-prog two-minutes-and-seventeen-seconds of crunchy power-pop perfection.

Prog or not, I’m really looking forward to the new LP. So, while we’re waiting, let’s acknowledge Weezer’s place in the musical pantheon. Because I really love that little hint of prog power and promise at the end of their first album.

Weezer — “The Blue Album” (1994)

Progarchist Rating: 8/10 ♫♫♫♫