This album has been submitted by a user and is not included in any edition of the book.
Worry (stylized as WORRY.) is the second solo studio album by American rock musician Jeff Rosenstock, released on October 14, 2016 by SideOneDummy Records. Released over a year after his debut solo album We Cool?, Worry was recorded in April and May 2016 at a house in Stinson Beach, California. Much of the album was written shortly after Rosenstock's band's gear was stolen while on tour in 2015. Worry saw the former Bomb the Music Industry! and The Arrogant Sons of Bitches frontman achieve his greatest critical success, with numerous placements on year-end lists and previously unseen media exposure. The album addresses themes including urban gentrification, economic inequality and police brutality in the United States. The album was promoted with two singles: "Festival Song", released on July 14, 2016, and "Wave Goodnight to Me", released on September 7, 2016. Rosenstock toured the album with Hard Girls, Katie Ellen of Chumped and local acts picked in each city. The album cover is a photograph taken at Rosenstock's wedding in 2015. The song "Perfect Sound Whatever" provided the inspiration for the title the book of the same name by James Acaster, in which Worry was featured.[8]
Love Jeff Rosenstock. My son, who is much cooler than I am, introduced me to him a while ago. Reminds me a bit of my favorite band, The Replacements - raucous and loose, but also catchy. 4 stars.
This was louder than I expected. Cool album
Rating: 9/10 Best songs: Pash rash, Festival song, Wave goodnight to me, I did something weird last night, Bang on the door, HELLLLHOOOOLE, The fuzz, While you’re alive, Perfect sound whatever
Great, great, great record!
Good punky rock album. The artist writes catchy powerpop/rock songs with a lot of energy and great hooks. I like the distorted, lo-fi sound of the album and the singers voice when it’s a bit screaming. Nice photo on the album cover (of his wedding), though I don’t understand how it’s related to the album title.
Solid post punk with a muture lyrical outlook and sophisticated music for its genre. I'm a little on the fence because I feel like it started really strong then fell into a groove that while still good, didn't ever come back up to that starting level for me. On the other hand I'm a sucker for pulling off 17 songs in well under 40 minutes. What can you say, punks just work harder.
Good stuff - Knew Pash Rash 4
Punk rock, indie rock, power pop. Ni fu ni fa.
bueno!
I always try and guess the genre from the album cover, but today I can't quite tell. It could go in any direction - might be a bit gay? Best guess is some kind of alt soft rock, maybe sufjan Stevens type stuff. Ok... it's got a rock opera vibe. But not a really bombastic one? Like if you made a rock opera in a small apartment. Or something. It's not too bad tbh. Gayness tbc - it's a bit show-tunesy, but punk/emo as well. I feel like this guy can write a song, and if he did so in a genre I froth on he'd be my hero. Anyway - 3/5 for not being boring, but I'll never listen again.
This was fun. Catchy and concise with great energy. Fave Songs: Pash Rash, We Begged 2 Explode, Festival Song
Rosenstock is one of those artists who really drives home the importance of persona and perception for me. I had already listened to this LP given how inescapable it was in our college radio station circa 2017, and the marketing from Polyvinyl Records and Jeff was pretty much everywhere in the indie sphere. I got so tired of seeing or hearing this man trot out his "lol I'm so GOOFY" persona again and again, and unfortunately I think it put me off his discography (which has some great tracks!) for the foreseeable future. This LP is initially fun and carefree, but the constant badgering of Rosenstock's whiny vocals and the insistent use of crowd choruses wears thin quickly, even considering the album's brief runtime. It almost invokes a certain toxic positivity, Jeff screaming at you to give up and enjoy life regardless over and over for 40 minutes until you succumb. I offer the anecdote above mainly to show my own rating bias here, but there's a conversation to be had about artist personas in the day and age of TikTok (RIP). Labels are increasingly persistent that artists market themselves on social media, and there's been an increasing dialogue about how exhausting it is to perform not only on stage but online 24/7. The artist's dialogue and marketing around a given LP can really twist its musical impact, and has at times bolstered or ruined a given album in my eyes. Jeff Rosenstock is apparently just this annoying inherently, but I can imagine other artists feel shoehorned into personas and marketing gimmicks they don't identify with their work, and at times may even detract from the message they're trying to send.