Weezer
“Hurley”
Epitaph
Released: Today
7.4 out of 10

There are basically two camps in Weezer’s fan base: those who came to adore the band around the time of “Say It Ain’t So” and those who caught on around the time of 2005 single “Beverly Hills.”

To belong in both camps is practically impossible, because, for better or worse (depending on when you came along), Weezer just ain’t the same as they used to be.

The old Weezer sang about looking like Buddy Holly and feeling alienated and alone. The new one calls its album “Raditude” and puts “Lost” characters on its album cover … only Rivers Cuomo would dumb down after graduating from Harvard.

Luckily, in a number of ways — despite the atrocious cover — “Hurley” is a return to form. Falling somewhere in between “(Green Album)” and “Maladroit,” Weezer’s latest offering feels like a long, charming tribute to the awkward, late ’90s pseudo-alternative rock scene.

Hoisted by Semisonic guitar riffs and Third Eye Blind melodies, “Hurley” starts off with the big, dumb “Memories” that is pleasant enough in its simplicity. “Ruling Me” is pop-rock goodness, while “Trainwrecks” haunts back to Green Day’s “Warning” days, if in a more radio-friendly form, and “Run Away” harkens back to Ben Folds’ “Brick.”

However, acoustic ditty “Unspoken” boasts the biggest shades of Weezer in its prime … a step removed from “My Name Is Jonas” that moves from pretty acoustics into roaring rock chugs.

It’s still a few steps down from Weezer’s genius earlier work, but anything is a step up from “Raditude.”

of Montreal
“False Priest”
Polyvinyl
Released: Today
9.1 out of 10

Psychedelic pop act of Montreal has always been freaky, and now, it’s getting funky.

Ubiquitous front man and of Montreal mastermind Kevin Barnes has been digging into a deep, dusty catalog to find a whole new world of inspiration, drawing from Parliament to Tower of Power.

And Barnes has found another muse in the form of in the newly crowned queen of funk Janelle Monaé, who was called in to guest on a pair of tracks (“Enemy Gene” and “Our Riotous Defense”).

The product is stellar — the best and most accessible thing of Montreal has done in recent memory. There’s a whole lot to admire, from the AM radio blast of “Hydra Fancies” to the upbeat dance rock anthem “Coquet Coquette.”

Perhaps most notable is Barnes’ excellent lyrics and sharp tongue, which is especially on-point in the spoken word verses of “Our Riotous Defense,” laced with suggestive gems like, “It was thrilling to touch something that had touched you.”

The 13-track affair rarely dulls, and flexes a creative muscle that dips from unruly to sultry and does so convincingly the entire time.

Les Savy Fav
“Root for Ruin”
French Kiss
Released: Today
9.3 out of 10

Labeled “the guitar band for people who don’t like guitar bands,” Les Savy Fav could just as easily be called “the party band for people who don’t like to party.”

The NYC five-piece has been around for 15 years and found its place on the post-punk mantle with a decisively jagged, sharper angle on the genre, and

“Root for Ruin” is notably more mature and sophisticated than anything the band has produced to date.

The one-two punch of “Appetites” and “Dirty Knails” makes for the first slice, but that saw-toothed energy is smeared over with the glossy, keenly observant “Sleepless in Silverlake.”

The band gets back to rowdiness with the hypersexual “Lips N’ Stuff” and caustic “Excess Energies” before calming down in the “Crooked Rain” ode, “Dear Crutches.”

“Root for Ruin” makes an intelligent progression from their last effort, “Let’s Stay Friends,” while keeping its guitar riffs and party energy intact.