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Parking Lot - California Deluxe Single (March 17th)


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2 hours ago, jordidanen95 said:

I never forget hearing live versions of After Midnight and GOTDF in paris around 2011. i was stoked to hear better studio versions. cause i could picture it in my head.

but the final thing sounded very different from how it sounded in my head at the time.

 

The bridge of After Midnight was so boring on the album compared to the way the live versions I heard first. I don't know why they kept it like that.

But boring bridges is one of the defining features of Neighborhoods!

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3 minutes ago, Cheerios4u98 said:

The bridge of After Midnight was so boring on the album compared to the way the live versions I heard first. I don't know why they kept it like that.

But boring bridges is one of the defining features of Neighborhoods!

I think both GOTDF and After Midnight were a bit of a let down compared to their debut live performances. What I had in my head to expect on those two songs didn't quite translate to what made it on Neighborhoods.

They are two of my favorite songs on the album still, but they didn't meet their potential.

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9 minutes ago, Ghent said:

I think both GOTDF and After Midnight were a bit of a let down compared to their debut live performances. What I had in my head to expect on those two songs didn't quite translate to what made it on Neighborhoods.

They are two of my favorite songs on the album still, but they didn't meet their potential.

Yeah, After Midnight is one of my favorite tracks on the album, and I used to love it a lot more than I do now, but the bridge drags it down for me. If it had a more interesting bridge it could be one of my favorite blink songs. It was basically exactly what I wanted from blink-182 at the time, minus the bridge. I loved the vocal trade-off, I loved the overall sound of the song. The live version didn't make the bridge sound so boring, so when I first heard the live version I was ecstatic. I honestly can't remember how I felt about the difference between the live and album versions of GOTDF. Mostly because I didn't hear the album version of GOTDF until I got back from Peru two years later.

What's weird is the first few songs we heard from Neighborhoods were all drastically different from each other. Going from Up All Night, to Hearts All Gone, to After Midnight, they were all different styles of music, and that was exciting. I liked Up All Night when I first heard it (I still like it), but when Hearts All Gone came out I was like "wow, now this is what I wanted new blink-182 to sound like!" And then when I heard After Midnight I was like "no wait, this is also what I wanted new blink-182 to sound like!"

Similarly, Bored to Death was pretty much exactly what I wanted from this new era of blink. Still pop-punk but a little darker, and with the most "blink-sounding" bridge since Take Off Your Pants and Jacket. Hoping for some new songs that have a similar feeling to them (without sounding exactly the same) on the deluxe album. Bored to Death and Cynical are the high standard for what this iteration of blink-182 can do in my opinion. Two nearly perfect songs in my eyes.

I'm gonna listen to California now.

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13 minutes ago, alex_dept. said:

Even New Found Glory are making more modern music than Blink. 

New found glory always release consistent music ...Always stay the same and i love them for it I'm probably more excited for there new album than blinks

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1 minute ago, Cheerios4u98 said:

I love New Found Glory but I feel the opposite. Everything they've released in the past decade sounds the same. I wish they would take another risk like they did with Coming Home.

Still, they're probably my favorite band to see live.

Yeh but you know what your getting with new found glory i guess....

Always catchy and fun ...I'd love a coming home album but doubt that will happen so late now...Don't think it got received well that album ..

Loved familiar landscapes and it's not your fault brings back great memories of college ;)

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7 minutes ago, Cheerios4u98 said:

I love New Found Glory but I feel the opposite. Everything they've released in the past decade sounds the same. I wish they would take another risk like they did with Coming Home.

Still, they're probably my favorite band to see live.

Yeah, I know that they almost never change but if we compare this song with Parking Lot, I believe that it is more modern, has some dance and synth elements, and yes, Coming Home is their greatest album, wish they would explore that side of them more, i didn't listen to the couple of latest albums, the last one I listened to was the one Mark produced. This song surprised me in a good way, I really love the vocal melody in the chorus

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26 minutes ago, alex_dept. said:

Even New Found Glory are making more modern music than Blink. 

California sounds way more modern than this.

This sounds like every new found glory song ever. very 00s.

Talking about modern....this is awesome (although everyone will probably hate this cause they think pop music sucks)

First good All Time Low sound in years. very Neon, very 2017

 

 

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9 minutes ago, Cheerios4u98 said:

I love New Found Glory but I feel the opposite. Everything they've released in the past decade sounds the same. I wish they would take another risk like they did with Coming Home.

Still, they're probably my favorite band to see live.

Coming Home was great!

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1 hour ago, Ghent said:

I think both GOTDF and After Midnight were a bit of a let down compared to their debut live performances. What I had in my head to expect on those two songs didn't quite translate to what made it on Neighborhoods.

They are two of my favorite songs on the album still, but they didn't meet their potential.

Totally agree. That's toms fault, his guitar sounds like absolute shit and his voice is repulsive.

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I think this article might be interesting, Chad ranks all the albums: http://teamrock.com/feature/2016-07-11/every-new-found-glory-album-ranked-from-worst-to-best

Coming Home part - “I think five would have to be Coming Home. I like Coming Home a lot. That record was very ballsy for us. I guess we were one of the biggest pop punk bands of the time, and after the self-titled record, Sticks and Stones and Catalyst I think there was a specific thing that people expected from us, and that album was what they least expected. It had like piano rock and all this other stuff going on, and I loved that. The songs from that record don’t go over that well live, even though it’s the most requested album from our back catalogue, but I’d say it’s more of a band’s record; most people that I meet from other bands say that one is their favourite New Found Glory record. It seems to be the one that bands love, and I like that it’s respected musically, but I think it could have had a little more balls and grit to it in the production department. I think it could’ve bridged a little bit more on the distorted side, but overall I love the songs and it was definitely a record that made us realise we could do anything that we wanted in the sense that no one in the mainstream can be on top forever. And we never thought we’d be a massive band in the first place, so we just needed to keep doing what felt good in our guts, which meant making a record that was a natural reflection of who we were at the time. I think people identify with bands that they perceive to be sincere, and they’ll root for you even if they don’t love the record because they know that it’s real.”

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2 hours ago, Ghent said:

I think both GOTDF and After Midnight were a bit of a let down compared to their debut live performances. What I had in my head to expect on those two songs didn't quite translate to what made it on Neighborhoods.

They are two of my favorite songs on the album still, but they didn't meet their potential.

Yeah, agreed. As much as I love those two songs, those live versions sounded fantastic (obviously ignoring Tom's vocals and all) but I knew what they were trying to achieve. I swear the first few times they played After Midnight live, the bridge sounded almost like a Queen solo, similar in style to the AVA tracks like the solos from Some Origin of Fire or All That We Are.

After Midnight sounded huge and Ghost on the Dance Floor sounded like they left off from some tracks off the smiley face album. One thing I love is the fact that Ghost on the Dance Floor fits in so well after Not Now. For us UK people, Not Now is the last track of that album. Ghost on the Dance Floor has a similar topic, like it's continuing from where Not Now left off. That's how I look at it anyway. I already heard Up All Night and the rough version of Heart's All Gone, and I was hyped. Four songs I felt were perfect, but the album obviously was kind of a let down. Bridges all started sounding the same. All the song structures were usually the same.

And there were songs on there that I felt were forcing the pop punk genre a little bit, like This is Home & Even if She Falls. I bet if they worked on Neighborhoods the same way they did the smiley face album, songs like MH and even Love is Dangerous would be fucking great too.

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10 hours ago, Champ182 said:

Zoltan, I don't know man you literally read between the lines on everything and twist it until it fits your opinion. I don't think you get to be mad at people who are taking things at face value. 

i read between the lines, and offer you an alternative viewpoint. because taking things at face value is often (if not in all case) worse than using your brain. it's your choice if you're okay with a half-true statement just because it's official. i personally would like to see the other half of the story. you have to place it in the reality. example: travis talks about he tweeted feldmann to be their producer. you take it at face value because it's an official source. i add some extra values to the calculation: why would travis contact a producer? was it his own decision? can a band member hire a producer when they have the label behind them? they worked 6 months on the first batch of songs, and all of a sudden they realized they need a producer to restart everything? and the questions go on. i think it's clear that the official statement is incomplete, and probably just a pr-bullshit. what would you say to your fans if the label forces you to restart the album writing at a pop factory? the label obviously don't let you tell the truth, they want a friendly cover story... you may be 100% sure that travis tweeted his old friend feldmann, and wanted to record a sugarcoated album with him... i'm 100% sure that it was an instruction from the label, the band had to agree... it does not really change anything, the story ends the same way. but it's better to have critical thinking than suck up every stupid lie.

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10 hours ago, Ghost said:

And finally, I'm not going into irrelevant argument. I'm just correcting you when you say that mastering adds something to the songs. Can't you see that we are basically agreeing on the final conclussion but I only telling you that you're wrong about that concept? No, you can't, and you keep on pushing and twisting your own words. same behaviour you did a few weeks ago. And yes, it's important to know some details to understand 100% what happened and talk about it properly.

 

Jesus, again. You discussing the official credits and ignoring all the legal stuff that is involved when someone claims or takes writing credits. That's is so ignorant that does not need more answer. Jsut speaks by itself.

when did i talk about mastering, for fuck's sake?! i said it the first place that travis probably misused that word, he just wanted to be dramatic to express that tom did not care about the songs after he finished his own parts. i don't care about the details of mastering. i know what mastering is. that's why i assume it wasn't an important word. the important thing in travis' reply was the fact that tom did not give a fuck about blink. that's it.

it seems like you are ignoring what i wrote. if i write a song, i can give you credit, you can be listed as a songwriter, and you will get royalties, even if you never heared about that song. there's nothing illegal in it. why do you think it's not legal? what is the crime? who is the victim?

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