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Ghent

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34 minutes ago, Ghent said:

Obligatory reminder that DED only occurred as a last ditch effort to get blink on modlife. DED was the last release on modlife and album packages were released through it.

Mark went to San Diego to record it on a whim, despite living in London. Tom wouldn’t go to LA to record Neighborhoods outside of a few sessions. LA is less than an hour from San Diego.

Revisionist history is lame.

get a map

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42 minutes ago, Ghent said:

Obligatory reminder that DED only occurred as a last ditch effort to get blink on modlife. DED was the last release on modlife and album packages were released through it.

Mark went to San Diego to record it on a whim, despite living in London. Tom wouldn’t go to LA to record Neighborhoods outside of a few sessions. LA is less than an hour from San Diego.

Revisionist history is lame.

Doesnt change the fact that it was still great. Now imagine if Mark actually gave a shit and tried. 

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I just watched the pursuit of tone again. Tom keeps talking about pushing himself in new directions music wise on every album. thats why he did BCR and all that. And untitled exists because of him. 

Here in 2018 we have mark, making music that he wants to sound like TOYPAJ. 

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23 minutes ago, Reginald said:

I just watched the pursuit of tone again. Tom keeps talking about pushing himself in new directions music wise on every album. thats why he did BCR and all that. And untitled exists because of him. 

Here in 2018 we have mark, making music that he wants to sound like TOYPAJ. 

Tell me how tom has pushed himself music wise after untitled?

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1 minute ago, prankerd14 said:

Tell me how tom has pushed himself music wise after untitled?

Just watch the doc and you can hear him explain it. 

The music being good or not after untitled, thats another topic. But he tries different things. 

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3 hours ago, Ghent said:

Obligatory reminder that DED only occurred as a last ditch effort to get blink on modlife. DED was the last release on modlife and album packages were released through it.

Mark went to San Diego to record it on a whim, despite living in London. Tom wouldn’t go to LA to record Neighborhoods outside of a few sessions. LA is less than an hour from San Diego.

Revisionist history is lame.

And California is a last ditch effort to keep a washed-up band relevant. What's new?

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2 hours ago, Reginald said:

I just watched the pursuit of tone again. Tom keeps talking about pushing himself in new directions music wise on every album. thats why he did BCR and all that. And untitled exists because of him. 

Here in 2018 we have mark, making music that he wants to sound like TOYPAJ. 

Exactly. Even get the feeling Mark doesn’t like Untitled. What a weird cunt he is. Bloke in his 40s making pop punk nursery rhymes. Thank fuck for Tom or we would of never had Box Car or Untitled. 

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I love Dogs Eating Dogs. I think it's a great EP and is honestly one of my favorite blink releases. It bums me out because I was really excited to see what direction they would go musically after that.

I think DED was the final "evolution" of blink. After that, they stopped evolving their sound. They went backwards. Every release up until California felt like a natural evolution of the band's sound to me, if you take Box Car, AVA, and +44 into account. It all kind of made sense until then.

Anyway, I hope one day I'll be lucky enough to hear a DED song live in person. Not likely, but that'd definitely make me happy.

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Tom was obviously trying to push blink in other directions, in order to escape the punkpop label and achieve a new incarnation in which they would be able to grow. Untitled was the first step.

Of course, results may vary in terms of taste, but they were experimenting, and DeLonge wanted to experiment even more. In terms of experimentation, you ca nsucceed or fail, it depends on your goals, the questin there is to keep on trying, but that implies to take risk so... in a case of a band like blink, that may be tricky.

All this is aside from Tom's social habilities. Or much better: is aside of Mart, Tom and Travis' habilities to try to figure out how to deal with it all. And my impression here (fan fiction, of course) is that, in the end, the internal artistic discussion got polarized when shit got hard.

So we can't deny Tom was the main 'experimental' one in blink, aside from personal tastes in terms of the results. Is the one who got the longest in that road. You only have to look at the aftermath. Anything Tom has released after blink has been way more experimental than blink, except for Untitled and what they were trying to do in Neighborhoods and DED.

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I am really not a fan of DED. it's as a whole, kind of boring.

I like Boxing Day but only listen to it around Christmas time. and Pretty Little Girl had such potential but was too synth heavy and yelawolf just absolutely ruins it. 

the other three I can take or leave completely, I could happily never hear them again. Disaster especially. Disaster may be the worst blink-182 song ever written (after everything on California, of course). Disaster and This Is Home share the title of "Worst Tom Blink Song Ever" for me. 

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2 hours ago, Cheerios4u98 said:

I love Dogs Eating Dogs. I think it's a great EP and is honestly one of my favorite blink releases. It bums me out because I was really excited to see what direction they would go musically after that.

I think DED was the final "evolution" of blink. After that, they stopped evolving their sound. They went backwards. Every release up until California felt like a natural evolution of the band's sound to me, if you take Box Car, AVA, and +44 into account. It all kind of made sense until then.

Anyway, I hope one day I'll be lucky enough to hear a DED song live in person. Not likely, but that'd definitely make me happy.

Definitely agree. Every blink album had that natural evolution and progression. On Cheshire Cat, there are hints of Dude Ranch. On Dude Ranch, there's hints of Enema. Take Off has hints of Enema and BCR, and that side project has the hints of the smiley face album. Then the smiley face album has the hints of +44 and AVA. Always made me shake my head when people say things like "blink just sound like AVA or +44". That's blink's sound and it started off with the smiley face album.

Even if they didn't break up in 2005, they were always gonna go towards that synthy sound with delayed guitars and Fugazi/Refused style riffs. But because they broke up, it's a lot more obvious. AVA aren't as "rocky" or +44 aren't as atmospheric/synthy. It wouldn't be that obvious if they didn't split up. But the Neighborhoods album split up a lot of the fans. To most people, it sounded like AVA or +44. But that's not how I see it. Yeah, it has them exact same elements as their side projects, but it's no different to the effect BCR had on the smiley face album. Then when I heard DED, it still had the elements of AVA and +44.

That is blink's sound because that's how they evolved. California outside of like 3-4 songs doesn't even sound like blink-182. Just sounds like all the other crap modern pop punk bands of the last 10 years. Even the songs I love on that album don't sound like how a blink song should sound. It was so forced. There's nothing on it that resembles AVA or +44 apart from the verses of Left Alone. Before the release of California, I'd never guess that AVA songs like Mercenaries, Overload, Artillery, Voyager and The Fighting Season would sound more like blink songs than California. Even Tom's solo album songs like Suburban Kings, An Endless Summer, Circle Jerk Pit, New World and Golden Showers sound more like blink songs. Just a lot of his songs need the touch of Mark & Travis, and they'd probably be amazing songs.

But it proves that Tom was the driving force of blink's sound as AVA now sound more like blink than blink themselves do. As for the people that think Mark can only do pop punk stuff, he can do way more. It even shows on Neighborhoods how great he can be. His problem is his insecurities. He seems to think if the album isn't commercially successful, then it's not good. The guy doesn't even talk about +44 songs and that's his best work. The verses of Hey I'm Sorry prove that he's not lost it. Just needs to have belief in himself more but Feldman doesn't wanna do shit that the mainstream audience won't listen to, as it means the album won't sell. That's one thing I respect about Tom. Weird how Tom is very money oriented but the songs he writes aren't very commercial sounding.

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12 hours ago, Nosferatu said:

I think one of the problems with DED is that it was a bit rushed. Still, blink actually worked like a band and the release felt like a band effort unlike Neighborhoods. Disaster could've been way better too. It really is an underrated EP though. I love PLG but the rap is a bit of a let down. Just seems out of place for me and the lyrics of that rap just contrasts with Tom's lyrical style for that song. It was a genuine love song then the rap just ruins it a bit too much for liking.

The verses are fucking brilliant though. The delayed guitars and the punk rock/pop punk chorus was everything AVA should've been IMO. And Boxing Day is one of those songs I barely listen to, but it is a great song. Mark and Tom sound so good together on that second pre-chorus. I remember at the time thinking the song sounded like a boy band, yet at the same time sounded so blink-182. The way their vocals meshed together in that song was the most blink sounding thing I've heard since the smiley face album.

Dude, sorry but Disaster is epic as fuck. I get the hate for PLG's rap but it was an intended contrast I feel. I really don't mind it but understand the resistance. Honestly the only song I didn't get into on the EP is the title track Dogs Eating Dogs. And even that song is better than Mark's worst Neighborhoods song. But the song is a masterpiece, in my eyes, compared to Sober or Wildfire.

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Just now, vic vinegar said:

Dude, sorry but Disaster is epic as fuck. I get the hate for PLG's rap but it was an intended contrast I feel. I really don't mind it but understand the resistance. Honestly the only song I didn't get into on the EP is the title track Dogs Eating Dogs. And even that song is better than Mark's worst Neighborhoods song. But the song is a masterpiece, in my eyes, compared to Sober or Wildfire.

Definitely agree on Sober & Wildfire. Worst blink songs I've ever heard haha. I do like the DED EP. Very underrated. Disaster is a very good song until that bridge I think. That's the same problem I have with majority of Neighborhoods as well. Great songs but with bad bridges or boring bridges. My personal favourites on that EP are WIWY and PLG despite the rap. PLG is one of my most played songs as well. I'm just glad the rap doesn't take away from how great the rest of the song is.

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ALso, Disaster is one of those rare songs I did not like until I was lucky enough to get to see Blink play it live.

 

They killed it. The whole intro part where there is that huge crashing bass sound when mark says "disaster" just shook the room, and Tom guitar chords behind it, just the setup alone makes that song amazing

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