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boxelder

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and another thing, feldman gets a lot of hate here, but if we were to hang with feldman...everyone would act super nice to him...and probably like the dude at the end of the day.

but talking shit is always the easiest thing to do so here we are.

And i'm not in love with feldy or anything, i just like to keep things real i guess

i'm all about only mark matt and travis writing the music, but once again...they seem to like eachother....it seemed to work. glad for them.

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On 1/13/2017 at 1:16 PM, Olidamus said:

Enema I can understand because at that point he can still be a session drummer. It sucks but you shouldn't expect to walk in and grab a slice of the pie. But for TOYPAJ, that is bullshit.

Depends on whether he was part of the songwriting or not or what one considers songwriters. 

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5 hours ago, jordidanen95 said:

am i the only one who doesn't care about the whole feldman thing.......

so what if he wrote some melodies,chord progressions and some lyrics.....its poppunk.....mark could've done that by himself if he wanted....but they all clearly like feldman, and they just had fun with it...just the 4 of them. so what

 

and you have to look at it from matt's perspective.....tom was an original member for 22 years. he gets asked an he's stoked...but he has no idea how the fans are going to react at the point of getting asked to do blink. no one who gets asked for that is gonna start pulling the ropes. you just sit back and let it all sink in, youre not gonna start carrying the band right from the start.

you have to see this from a human perspective. matt has toured for over a year with blink now. they are on stage every night, on tour busses, interviews, personal life......with that, only 1 thing can happen. and that is a stronger unity. it takes time to feel at home...anywhere.

Matt isn't a great guitarist..but he's a clever lyricist and very artistic....i'm sure the dude will shine more on next releases.

 

maybe im just too positive, and i hope i'm right. but isn't this obvious....calm down peoples

I actually can't wait for some Skiba songs with just him singing on them. On the deluxe or a future album, he really needs to put his mark down IMO. He's too good to just not take control. I get that he probably didn't wanna step on any toes for the first album without Tom, but now we all know what he sounds like on a blink song. More Skiba is needed. I'm a fan of him.

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6 hours ago, jordidanen95 said:

am i the only one who doesn't care about the whole feldman thing.......

so what if he wrote some melodies,chord progressions and some lyrics.....its poppunk.....mark could've done that by himself if he wanted....but they all clearly like feldman, and they just had fun with it...just the 4 of them. so what

 

and you have to look at it from matt's perspective.....tom was an original member for 22 years. he gets asked an he's stoked...but he has no idea how the fans are going to react at the point of getting asked to do blink. no one who gets asked for that is gonna start pulling the ropes. you just sit back and let it all sink in, youre not gonna start carrying the band right from the start.

you have to see this from a human perspective. matt has toured for over a year with blink now. they are on stage every night, on tour busses, interviews, personal life......with that, only 1 thing can happen. and that is a stronger unity. it takes time to feel at home...anywhere.

Matt isn't a great guitarist..but he's a clever lyricist and very artistic....i'm sure the dude will shine more on next releases.

 

maybe im just too positive, and i hope i'm right. but isn't this obvious....calm down peoples

I apreciate the positiveness, and as I said weeeeeks ago, I still have hope for what can come out of this new incarnation of the band. I really do.

But I, personally, don't accept the "it's punkpop" thing as an excuse. Just because that, because it's poppunk -a genre we all respect to some extent- and because is blink -a band we all love to some extent too-, I guess we should look for better standards in terms of musicianship. Nobody can find excuses for the Feldmann thing and then, later on, claim for respect for the whole thing. Sometimes it's like "hey, it's punkpop", like if anything should be accepted under that label.

I just don't want to see blink being dismantled, stolen, or transformed into an All Time Low type of thing. (Which, to be honest, I guess that's what has already happened under the point of view of the older fans).

And you know what? If that happens, I'd hate to see Skiba aboard.

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33 minutes ago, Nosferatu said:

I actually can't wait for some Skiba songs with just him singing on them. On the deluxe or a future album, he really needs to put his mark down IMO. He's too good to just not take control. I get that he probably didn't wanna step on any toes for the first album without Tom, but now we all know what he sounds like on a blink song. More Skiba is needed. I'm a fan of him.

My guess is that the rest of the band didn't had the guts to go straigh forward for a fresher sound in which Skiba imprint could have been more evident. In fact, they said they had several songs written before Feldmann. Somehow, they got insecure, and got crazypants Feldy to validate what they were doing (which was prety much nothing of what they have done before him). I can understand the 'fears', so to say, but I can't understand the route they went for.

EDIT: I mean, at least, there should be a middle ground between those songs (which, supposedly were sounding too much AK3, or too much Mark), and the results they got in California.

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1 hour ago, raw_sounds said:

Only when Skiba can contribute 100% and set his own print, we´ll see blink at its best (since 2004)

Who knows?

Maybe the three of them can't write great songs together? Just because it looks promising on paper doesn't say it will work in real life. And does it even look that promising with Mark having lost confidence in his songwriting and Skiba not performing that well on the last Trio records either? The songs they recorded on their own wheren't that great as well apparently...maybe they "need" Feldy to write "good" music, as scary as that might sound...

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1 hour ago, ...and then said:

Who knows?

Maybe the three of them can't write great songs together? Just because it looks promising on paper doesn't say it will work in real life. And does it even look that promising with Mark having lost confidence in his songwriting and Skiba not performing that well on the last Trio records either? The songs they recorded on their own wheren't that great as well apparently...maybe they "need" Feldy to write "good" music, as scary as that might sound...

I dont think you cant forget how to write great music, Mark may be on a slump but talent is never lost, and they sure are talented guys. Maybe they just need another focus, not that pop-sided, but if that is what they want....

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10 hours ago, Ghost said:

My guess is that the rest of the band didn't had the guts to go straigh forward for a fresher sound in which Skiba imprint could have been more evident. In fact, they said they had several songs written before Feldmann. Somehow, they got insecure, and got crazypants Feldy to validate what they were doing (which was prety much nothing of what they have done before him). I can understand the 'fears', so to say, but I can't understand the route they went for.

EDIT: I mean, at least, there should be a middle ground between those songs (which, supposedly were sounding too much AK3, or too much Mark), and the results they got in California.

Yeah, I was surprised there wasn't much Skiba oriented stuff. Blink have always known how to make a catchy or poppy song. They just didn't need a full album of them which is what I feel California is. If Neighborhoods had better marketing and promotion, I think After Midnight or maybe a song like Wishing Well would've been as successful as Bored to Death was.

They didn't need to use Feldman the way they did, so I agree I can't understand the route they went for either. No matter what with Tom, the sound was gonna be pushed forward. Can't help but think songs like An Endless Summer, Suburban Kings, Overload would've been ideas for blink in Tom's head. And we all know there would've been a song with delay on it like PLG.

I reckon the pre-California songs were pretty much experimental but with a +44/Trio/Sekrets sound with blink vibes and I would've loved that actually. The smiley face album had the Boxcar Racer sound but with blink vibes. Neighborhoods/DED had an AVA and +44 sound with blink vibes too. I really don't think the songs before Feldman were bad. The verses of Hey I'm Sorry are amazing but it's probably obvious Feldman had an input in the chorus. Funnily enough the verses sound like +44 and the pre chorus is a bit like Trio.

Before this album, Mark had a pretty consistent catalogue of great songs. His songs always stood out to me. Tom was the guy who'd push the sound but Mark was the one who often could come up with a great track that nobody seemed to like until 1-2 years after release.

I'm sure I remember reading a topic on this years ago, but someone on here said +44 was ahead of their time. Mark to me often was ahead of his time with a lot of his songs. California doesn't sound like that to me. Sounds like a middle 2000s band trying to sound like blink. That said, even with Feldman, blink are capable of writing a great song. In my opinion San Diego, HISALP, Los Angeles and Bored to Death are examples. If Feldman is gonna keep up with the way he has, then I just hope they come across more than just a few great songs.

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17 minutes ago, Nshesaid said:

Didn't they play last night at the NHL all star game?

Any new songs? Just kidding, Blink is the least risky band ever right now of course they played the same 3 songs.

I mean it was the NHL all star game. Of all shows, that would be the one they should be playing the same three songs.

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1) how some of you imagine feldmann as a co-writer (more like a writer):

john: here's this chord progression i wrote while you were sleeping. [plays a 2-minute-long guitar base for she's out of her mind.]
matt: it's good, but a bit too complicated for me. can you erase that riff?
john: sure, we can use whoas instead.
mark: what about the lyrics? do you have an idea?
john: it should be about mark's wife. i'm thinking about something like "i'm in love with this girl, but she's out of her mind."
trav: it's deep.
john: fuck yes, it should be "deep"! "i'm in deep with this girl!"
matt: "but she's out of her mind."
john: great backup melody! let's record this shit!

i'm 100% sure it never happened this way. feldmann did not write significant parts of the songs. he was obviously helped forming the songs, but thinking of him as someone who gave blink complete songs or complete instrumental parts or lyrics, it's just a pathetic attempt to devalue songs you don't like. i have no idea why you think you must include "feldmann wrote it" in your arguments... you can have a negative opinion about the songs without making up a reason.

2) how i imagine feldmann as a co-writer (more like a producer):

john: let's go, start a song! we need something like, uhm, adam's song meets stay together for the kids.
matt: [starts playing a transposed stftk intro with the rhythm pattern of adam's song.]
mark: repeat this over and over, this melancholic riff is so great. it really sets the mood. someone is bored and angsty at the same time.
matt: it's like an echo in an empty room, someone's talking to you, but you just don't care. all you hear is her voice bounces back from the walls.
trav: it should be this repetitive the whole time. like an endless argument. we'll just go over and over and over...
john: this should be in the lyrics!
mark: "there's an echo pulling out the meaning."
john: let's record this shit!

if it happened like this, can john talk in plural ("we wrote")? of course. he was part of the building process, he set the mood, he decided the topic of the lyrics... and i'm pretty sure this was the case. is it co-writing? well, by the definition someone posted earlier it's not. but the band could give him co-writing credit if they had to (by an agreement) or if they were just grateful for his help.

which scenario sounds more real to you?

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On 2/4/2017 at 2:57 AM, Zoltan said:

1) how some of you imagine feldmann as a co-writer (more like a writer):

john: here's this chord progression i wrote while you were sleeping. [plays a 2-minute-long guitar base for she's out of her mind.]
matt: it's good, but a bit too complicated for me. can you erase that riff?
john: sure, we can use whoas instead.
mark: what about the lyrics? do you have an idea?
john: it should be about mark's wife. i'm thinking about something like "i'm in love with this girl, but she's out of her mind."
trav: it's deep.
john: fuck yes, it should be "deep"! "i'm in deep with this girl!"
matt: "but she's out of her mind."
john: great backup melody! let's record this shit!

i'm 100% sure it never happened this way. feldmann did not write significant parts of the songs. he was obviously helped forming the songs, but thinking of him as someone who gave blink complete songs or complete instrumental parts or lyrics, it's just a pathetic attempt to devalue songs you don't like. i have no idea why you think you must include "feldmann wrote it" in your arguments... you can have a negative opinion about the songs without making up a reason.

2) how i imagine feldmann as a co-writer (more like a producer):

john: let's go, start a song! we need something like, uhm, adam's song meets stay together for the kids.
matt: [starts playing a transposed stftk intro with the rhythm pattern of adam's song.]
mark: repeat this over and over, this melancholic riff is so great. it really sets the mood. someone is bored and angsty at the same time.
matt: it's like an echo in an empty room, someone's talking to you, but you just don't care. all you hear is her voice bounces back from the walls.
trav: it should be this repetitive the whole time. like an endless argument. we'll just go over and over and over...
john: this should be in the lyrics!
mark: "there's an echo pulling out the meaning."
john: let's record this shit!

if it happened like this, can john talk in plural ("we wrote")? of course. he was part of the building process, he set the mood, he decided the topic of the lyrics... and i'm pretty sure this was the case. is it co-writing? well, by the definition someone posted earlier it's not. but the band could give him co-writing credit if they had to (by an agreement) or if they were just grateful for his help.

which scenario sounds more real to you?

Sorry man, all the paragraphs in the world don't change the fact that there's actual evidence and interviews talking about how he was closer to scenario #1

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