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Blink-182 Future.


alkaline_skiba

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1 hour ago, ryan1125 said:

The vocal trade-offs are more of a reflection of the current writing process being a collaborative effort for once IMO. Tom has said that before Mark would sing songs he wrote, Tom would sing songs he wrote. For this album they were in the same room writing every song together. 

I didn't think they would have a "Matt" only song on California, just too risky for their debut release. I fully expected a "Mark" song, but at the same time I think Mark/Trav wanted to make Matt feel like a "real" member of Blink-182, so maybe they didn't want to hurt his feelings by saying "Hey, this is just going to be a Mark song". (I'm sure he would've understood, but it's just one of those things.)

I definitely hope to hear some Mark or Matt only songs going forward.

Agreed. It was definitely a conscious (and needed) effort to really introduce the new lineup and get people used to his voice meshing with Mark's. I do wish Cali had a few Mark-only songs because I got super tired of the constant back and forth, but I can totally understand the reasoning behind it. Definitely hoping for some one-singer songs in the future. If I remember right, Good Old Days is a Mark song right? Other than harmonies?

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Man we all loved that blink was a band of best friends. Now that it seems that it's like that again people talk about when they're gonna end up hating each other. 

Got me thinking, giving cheap internet to everyone wasn't the right choice after all.

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3 hours ago, Ghent's Brother said:

You consistently have the most reasonable and well thought out takes.  Probably the best poster here actually.

Ehh I wouldn't go that far but I appreciate it, just glad I found a place where it's halfway normal to discuss blink-182 at work all day :) 

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5 hours ago, Champ182 said:

Agreed. It was definitely a conscious (and needed) effort to really introduce the new lineup and get people used to his voice meshing with Mark's. I do wish Cali had a few Mark-only songs because I got super tired of the constant back and forth, but I can totally understand the reasoning behind it. Definitely hoping for some one-singer songs in the future. If I remember right, Good Old Days is a Mark song right? Other than harmonies?

Yep, even Bottom of the Ocean could be considered a Mark song. Matt does some little vocals in pre-chorus and bridge but it's 98% Mark.

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Honestly I just wonder more when the fans will be past their honeymoon phase with Matt.  I loved Last Train Home, that's how he should approach the music, but after a while in nearly every other song you just can't help but be like "shut the FUCK UP Matt" whenever he bursts in yelling 'whoaaa ohhh' at the worst of times, Hey Im Sorry being the perfect example where you are like wanting him to shut up because it's ruining the song.  There's no reason or excuse for that, but half the ppl ignore it because they're still in honeymoon phase or out of spite against Tom.  There's no way you can like a perfectly good song being swamped with Whoaas.   That and the covering so many Tom songs live, that cannot keep ppl interested forever.

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14 minutes ago, 4.40 said:

Yep, even Bottom of the Ocean could be considered a Mark song. Matt does some little vocals in pre-chorus and bridge but it's 98% Mark.

It's the closest we get.  But Matt does the chorus and backs the entire second verse..jumps in the bridge every other line.  Also lets not forget his ya yay a yaya  contribution (will take these over whoas anyday though).  98% is a bit a stretch.  

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40 minutes ago, LastTrainHomefangirl said:

It's the closest we get.  But Matt does the chorus and backs the entire second verse..jumps in the bridge every other line.  Also lets not forget his ya yay a yaya  contribution (will take these over whoas anyday though).  98% is a bit a stretch.  

I will gladly take the woahs over the damn yeahyeahyeahs. Would've been cool if the bridge extended into an outro and pulled a Feeling This/Wildfire, but it goes back into the chorus just like LA, but alright. You're getting into it and then poor Matt is sounding like some white kid trying to rap for the next Kidz Bop album and ugh. I don't blame Matt but I blame Feldmann for not only copying LA (although this pulls it off better) but adding that dumb ass mating call in the final chorus like that adds to anything.

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31 minutes ago, 4.40 said:

I will gladly take the woahs over the damn yeahyeahyeahs. Would've been cool if the bridge extended into an outro and pulled a Feeling This/Wildfire, but it goes back into the chorus just like LA, but alright. You're getting into it and then poor Matt is sounding like some white kid trying to rap for the next Kidz Bop album and ugh. I don't blame Matt but I blame Feldmann for not only copying LA (although this pulls it off better) but adding that dumb ass mating call in the final chorus like that adds to anything.

At least the ya ya yas were more subtle though.   It's easier to handle.

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7 minutes ago, LastTrainHomefangirl said:

At least the ya ya yas were more subtle though.   It's easier to handle.

I just wish they weren't there at all. Could've had some sick keyboard solo there instead. A lot of the woahs/na's/whatever could've easily been replaced with instrumentals and would've sounded fine.

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1 minute ago, 4.40 said:

I just wish they weren't there at all. Could've had some sick keyboard solo there instead. A lot of the woahs/na's/whatever could've easily been replaced with instrumentals and would've sounded fine.

There's a zillion instances now.  But I think Hey I'm Sorry is the greatest example.  Go back and listen to it and focus on all the whoas.  It makes no sense, it's like they were just warming up Matts voice and accidentally kept it in and Feldmann thought it was funny and left it since he didn't want to use it as a track.

The intro could have done perfectly fine with just the slow instrumentals..the ending would be perfect just going out cleanly instrumental..

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