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DudeRanch182

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About DudeRanch182

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  1. Regarding #2, I think that would be an awesome record to hear. It's no secret they have severely underutilized Skiba.
  2. I think it's definitely not experimental. But, coming from a cynical pov, I'm kind of looking for any reason to be hopeful going forward. And, in the very least and although it may be by a small margin, it is different from CA imo. I'm curious though. To get a better idea of where you're coming from, where on the experimental spectrum would you place Neighborhoods, DED and WYHSB?
  3. I think it's tough to compare sales now because CA is outpacing Neighborhoods by what is probably close to 200k now in 20% of the time. I guess we'll have to wait to see how it ages. As far as the middle age crisis point is concerned, I think that's definitely a valid stance to take and is probably commonly held by a decent group of fans. I'm curious: 1) What do you think they will do next? 2) What do you think they should do next?
  4. I think you make a great point with the marketing. That really wasn't as prevelant with Neighborhoods in comparison to their previous work. It's tough with the different producer thing. You just never know what the result would've been. It feels like it's kind of a crapshoot.
  5. Not saying Deluxe is experimental. It's more experimental than California, though. It's easy to say in retrospect, but it all comes down to your expectations of what type of music they will put out. I think California was a predictable sonic outcome with Feldmann producing and without Tom in the band.
  6. - Deluxe had three songs that were in minor keys (6/8, Don't Mean Anything and Bottom of the Ocean) - Deluxe had a song with a different time signature (6/8) - California had many songs in the key of C (Cynical, Bored to Death, SOOHM, No Future, San Diego, Brohemian Rhapsody (if you want to include it)) - Deluxe had a version of Bored to Death that was actually in Mark's comfortable singing range (wish they would take this approach and tune down for some older songs as well). Eb major seems to be a good fit for them (like in Long Lost Feeling) and I think this would be cool to see more of going forward. None of these alone are reasons why it's more experimental. But, it shows they are making an effort to not just release a song in the key of C, in 4/4 and using the chords C Am F and G.
  7. I think in comparison to California, the deluxe could be considered more experimental. It's all about expectations. And I think without Tom in the band, I don't expect anything close to untitled or really anything as inspired as WYHSB.
  8. I'm worried that +44 was, lyrically speaking, just an album in a vacuum. It basically captured Mark at (one can only speculate) the most trying time of his musical career, and he probably never had so much anger, disdain and general feelings built up for Tom. Maybe, without Tom as the dynamic force challenging Mark to stray away from songwriting that's sonically like California, this is the most probable outcome. And the main point of the article is that the guys always had Jerry Finn as the "fourth unofficial member" of blink, and Feldmann's influence on this album was potentially not contrasting enough. When referencing this work in interviews he sounds like it was the most unbelievable thing to ever happen to him, which I can't blame him. But he sounded like a fan who was lucky to be there, and it's hard to tell how many times he actually said "no" to certain ideas as opposed to, "Definitely! This sounds like 'classic' blink." Just my .02.
  9. Here's the piece: https://loudernow.online/2018/04/10/john-feldmann-a-necessary-force-to-propel-blink-182-back-into-mainstream-relevancy/ The main argument is that while Feldmann did change blink's sound up in a way that has annoyed some veteran fans, it did appeal to casual fans more. And hopefully, this puts blink in a position where they can comfortably experiment in the next album.
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