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alkaline_skiba

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45 minutes ago, Ghost said:

I can see Feldmann finally filling in for Skiba in blink (latest Goldfinger song sounds to me like Feldmann wanting to join blink really bad). I don't think we would notice big differences in the end. Plus, we would have back Alkaline Trio. Win-Win situation.

#FreeSkiba

If Feldmann takes skiba´s place I´m out...

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Haha at face value I would have understood if they had Feldmann replace Tom two years ago (equal/higher fame level as Skiba, nasally voice to contrast with Mark, they ended up using his songwriting anyway). But yeah knowing what we know now, I don't want that guy involved with Blink at all, let alone as an official member haha.

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As long as Feldmann doesn't keep Blink stuck in Cali era style I'll be ok with it. Although I really do loathe Feldmann. Let Skbia do his thing! Reading that article about the struggles of making California I think he said the first batch of songs sounded like +44 mixed with Alklaine Trio. Sounds good to me would love the next album to sound like that although probably wishful thinking

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California Deluxe actually gives me a ton of hope that they can keep Feldmann AND make a great next album. Under one condition:

They need to bring in an additional producer alongside Feldmann.

Hear me out. For all of the shit that this board has given Feldmann (myself included), he has done undeniably good things for the band:

  • Bored To Death spent 30 freaking weeks on the Alt. Charts. If you're paying attention, that's tied with WMAA for the longest charting Blink song. Ever.
  • California debuted #1 - knocking off Drake - and as of January 1st has sold 400,000 copies
  • Mind you, these things happened while Mark was 44 years old, Travis was 41 years old, and arguably their most popular member went completely AWOL chasing aliens

I don't think that is insignificant. Commercial success isn't everything of course, but it's not nothing. Feldmann pretty clearly figured out how to make Blink popular without completely selling out the sound, a la Fall Out Boy. The fact that they are still commercially successful in today's music climate kinda defies logic. But I digress.

It's obvious that they love working with Feldmann. After years of bitter dysfunction, I think that's important. The fact that they can work with someone who actually wants to be there must be refreshing. It's also clear that Feldmann has helped Mark beat writer's block (with caveats of course). Bored To Death, San Diego, Last Train Home, Long Lost Feeling, HISALP. There are moments on both Cali and Cali Deluxe where I've said to myself, Holy shit, not only does Mark still have it, I think that's one of the best bridges/lines/ verses that he's written in a long time.

Obviously, Feldmann isn't without his faults. The overproduction, the beating to death of the whoa-ohs and na-nas, and that same recycled guitar intro are evidence of that. But I can't entirely fault him and Blink for that. After years of Tom's shenanigans, I understand why they were trying to get an album done and released as soon as possible with a radio friendly sound.

I think the missing ingredient here is someone who can be the Yin to Feldmann's Yang. Someone who can sit Blink down and say, Look, this is a great start but you need to refine it, or This song is okay, but it's not your best. Start over.

They need a producer that isn't afraid to be bluntly critical. Someone who is comfortable spending 6+ months on an album, tweaking and refining and rewriting. I don't know who this person is. But if you add that to the mix of Mark and Matt's songwriting and Feldmann's production, that is what can take Blink to the next level.

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11 minutes ago, Chase said:

California Deluxe actually gives me a ton of hope that they can keep Feldmann AND make a great next album. Under one condition:

They need to bring in an additional producer alongside Feldmann.

Hear me out. For all of the shit that this board has given Feldmann (myself included), he has done undeniably good things for the band:

  • Bored To Death spent 30 freaking weeks on the Alt. Charts. If you're paying attention, that's tied with WMAA for the longest charting Blink song. Ever.
  • California debuted #1 - knocking off Drake - and as of January 1st has sold 400,000 copies
  • Mind you, these things happened while Mark was 44 years old, Travis was 41 years old, and arguably their most popular member went completely AWOL chasing aliens

I don't think that is insignificant. Commercial success isn't everything of course, but it's not nothing. Feldmann pretty clearly figured out how to make Blink popular without completely selling out the sound, a la Fall Out Boy. The fact that they are still commercially successful in today's music climate kinda defies logic. But I digress.

It's obvious that they love working with Feldmann. After years of bitter dysfunction, I think that's important. The fact that they can work with someone who actually wants to be there must be refreshing. It's also clear that Feldmann has helped Mark beat writer's block (with caveats of course). Bored To Death, San Diego, Last Train Home, Long Lost Feeling, HISALP. There are moments on both Cali and Cali Deluxe where I've said to myself, Holy shit, not only does Mark still have it, I think that's one of the best bridges/lines/ verses that he's written in a long time.

Obviously, Feldmann isn't without his faults. The overproduction, the beating to death of the whoa-ohs and na-nas, and that same recycled guitar intro are evidence of that. But I can't entirely fault him and Blink for that. After years of Tom's shenanigans, I understand why they were trying to get an album done and released as soon as possible with a radio friendly sound.

I think the missing ingredient here is someone who can be the Yin to Feldmann's Yang. Someone who can sit Blink down and say, Look, this is a great start but you need to refine it, or This song is okay, but it's not your best. Start over.

They need a producer that isn't afraid to be bluntly critical. Someone who is comfortable spending 6+ months on an album, tweaking and refining and rewriting. I don't know who this person is. But if you add that to the mix of Mark and Matt's songwriting and Feldmann's production, that is what can take Blink to the next level.

Fucking well said 

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1 hour ago, Chase said:

California Deluxe actually gives me a ton of hope that they can keep Feldmann AND make a great next album. Under one condition:

They need to bring in an additional producer alongside Feldmann.

Hear me out. For all of the shit that this board has given Feldmann (myself included), he has done undeniably good things for the band:

  • Bored To Death spent 30 freaking weeks on the Alt. Charts. If you're paying attention, that's tied with WMAA for the longest charting Blink song. Ever.
  • California debuted #1 - knocking off Drake - and as of January 1st has sold 400,000 copies
  • Mind you, these things happened while Mark was 44 years old, Travis was 41 years old, and arguably their most popular member went completely AWOL chasing aliens

I don't think that is insignificant. Commercial success isn't everything of course, but it's not nothing. Feldmann pretty clearly figured out how to make Blink popular without completely selling out the sound, a la Fall Out Boy. The fact that they are still commercially successful in today's music climate kinda defies logic. But I digress.

It's obvious that they love working with Feldmann. After years of bitter dysfunction, I think that's important. The fact that they can work with someone who actually wants to be there must be refreshing. It's also clear that Feldmann has helped Mark beat writer's block (with caveats of course). Bored To Death, San Diego, Last Train Home, Long Lost Feeling, HISALP. There are moments on both Cali and Cali Deluxe where I've said to myself, Holy shit, not only does Mark still have it, I think that's one of the best bridges/lines/ verses that he's written in a long time.

Obviously, Feldmann isn't without his faults. The overproduction, the beating to death of the whoa-ohs and na-nas, and that same recycled guitar intro are evidence of that. But I can't entirely fault him and Blink for that. After years of Tom's shenanigans, I understand why they were trying to get an album done and released as soon as possible with a radio friendly sound.

I think the missing ingredient here is someone who can be the Yin to Feldmann's Yang. Someone who can sit Blink down and say, Look, this is a great start but you need to refine it, or This song is okay, but it's not your best. Start over.

They need a producer that isn't afraid to be bluntly critical. Someone who is comfortable spending 6+ months on an album, tweaking and refining and rewriting. I don't know who this person is. But if you add that to the mix of Mark and Matt's songwriting and Feldmann's production, that is what can take Blink to the next level.

Solid fucking take man.  Love reading honest and reasonable opinions/critiques/assessments like this that aren't just whining.  Would click like multiple times if I could.

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10 hours ago, Chase said:

California Deluxe actually gives me a ton of hope that they can keep Feldmann AND make a great next album. Under one condition:

They need to bring in an additional producer alongside Feldmann.

Hear me out. For all of the shit that this board has given Feldmann (myself included), he has done undeniably good things for the band:

  • Bored To Death spent 30 freaking weeks on the Alt. Charts. If you're paying attention, that's tied with WMAA for the longest charting Blink song. Ever.
  • California debuted #1 - knocking off Drake - and as of January 1st has sold 400,000 copies
  • Mind you, these things happened while Mark was 44 years old, Travis was 41 years old, and arguably their most popular member went completely AWOL chasing aliens

I don't think that is insignificant. Commercial success isn't everything of course, but it's not nothing. Feldmann pretty clearly figured out how to make Blink popular without completely selling out the sound, a la Fall Out Boy. The fact that they are still commercially successful in today's music climate kinda defies logic. But I digress.

It's obvious that they love working with Feldmann. After years of bitter dysfunction, I think that's important. The fact that they can work with someone who actually wants to be there must be refreshing. It's also clear that Feldmann has helped Mark beat writer's block (with caveats of course). Bored To Death, San Diego, Last Train Home, Long Lost Feeling, HISALP. There are moments on both Cali and Cali Deluxe where I've said to myself, Holy shit, not only does Mark still have it, I think that's one of the best bridges/lines/ verses that he's written in a long time.

Obviously, Feldmann isn't without his faults. The overproduction, the beating to death of the whoa-ohs and na-nas, and that same recycled guitar intro are evidence of that. But I can't entirely fault him and Blink for that. After years of Tom's shenanigans, I understand why they were trying to get an album done and released as soon as possible with a radio friendly sound.

I think the missing ingredient here is someone who can be the Yin to Feldmann's Yang. Someone who can sit Blink down and say, Look, this is a great start but you need to refine it, or This song is okay, but it's not your best. Start over.

They need a producer that isn't afraid to be bluntly critical. Someone who is comfortable spending 6+ months on an album, tweaking and refining and rewriting. I don't know who this person is. But if you add that to the mix of Mark and Matt's songwriting and Feldmann's production, that is what can take Blink to the next level.

I like and see your point here, but I would argue a decent different producer would be able to be both the ying and yang. adding more people to the process could make it a lot worse. I think they need a patient producer who understands the commercial needs of blink but respects the artistic element as well. Someone who can make the harsh comments but also nurture the best of the bands abilities. I mean, if you have a studio situation where Feldy is going "WRITE THAT CHORUS BEFORE I COME BACK WITH A COFFEE, WOO!" and then the second producer goes "I mean thats.. thats a chorus, I guess, but we need to work on it a lot more" then you'll have a lot of confusing energy, where it's all go but also all stop. 

I do appreciate that Feldmann was the smart choice for a commercial successful return for blink-182, but from an actual musical appreciation perception his work has been abysmal. They need one producer who can do both aspects, not two different producers for two different perspectives. at least thats how I see it. 

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10 hours ago, Chase said:

California Deluxe actually gives me a ton of hope that they can keep Feldmann AND make a great next album. Under one condition:

They need to bring in an additional producer alongside Feldmann.

Hear me out. For all of the shit that this board has given Feldmann (myself included), he has done undeniably good things for the band:

  • Bored To Death spent 30 freaking weeks on the Alt. Charts. If you're paying attention, that's tied with WMAA for the longest charting Blink song. Ever.
  • California debuted #1 - knocking off Drake - and as of January 1st has sold 400,000 copies
  • Mind you, these things happened while Mark was 44 years old, Travis was 41 years old, and arguably their most popular member went completely AWOL chasing aliens

I don't think that is insignificant. Commercial success isn't everything of course, but it's not nothing. Feldmann pretty clearly figured out how to make Blink popular without completely selling out the sound, a la Fall Out Boy. The fact that they are still commercially successful in today's music climate kinda defies logic. But I digress.

It's obvious that they love working with Feldmann. After years of bitter dysfunction, I think that's important. The fact that they can work with someone who actually wants to be there must be refreshing. It's also clear that Feldmann has helped Mark beat writer's block (with caveats of course). Bored To Death, San Diego, Last Train Home, Long Lost Feeling, HISALP. There are moments on both Cali and Cali Deluxe where I've said to myself, Holy shit, not only does Mark still have it, I think that's one of the best bridges/lines/ verses that he's written in a long time.

Obviously, Feldmann isn't without his faults. The overproduction, the beating to death of the whoa-ohs and na-nas, and that same recycled guitar intro are evidence of that. But I can't entirely fault him and Blink for that. After years of Tom's shenanigans, I understand why they were trying to get an album done and released as soon as possible with a radio friendly sound.

I think the missing ingredient here is someone who can be the Yin to Feldmann's Yang. Someone who can sit Blink down and say, Look, this is a great start but you need to refine it, or This song is okay, but it's not your best. Start over.

They need a producer that isn't afraid to be bluntly critical. Someone who is comfortable spending 6+ months on an album, tweaking and refining and rewriting. I don't know who this person is. But if you add that to the mix of Mark and Matt's songwriting and Feldmann's production, that is what can take Blink to the next level.

Good points made here. Really nice reasonement. Let me just throw some of my thoughts too:

- As you said, commercial success is a thing, and it's triggered by other structures in the industry. I mean, Feldmann is not the only one responsible for those numbers in terms of success. He was the way to achieve it, but tons of money invested in marketing and payola made the rest in order to be #1, Grammy nominated and all. We discussed this months ago. It happens, it's the usual way to go in this 'circuit'.

- I kinda agree with Kay. I don't see another producer involved plus Feldmann. Some bands do that, they pretty much select different producers depending on the song. Not a bad idea, but for me, for my taste, I still think that blink should try someone as Butch Vig. Someone who is able to put them in a very different and non that artificial environment. Someone who can make them more organic (as much as I hate that word), just pointing the spotlight to what really matters, instead of filling the songs with tons of fireworks.

And this last point comes after knowing that they just scrapped 30 songs out of the can. The just decided to left them aside, the ones that were worked in the rehearsal space, in order to work an rush some ideas triggered and co-written by Feldmann on the ly at his studio. Of course, some good ideas came out of that process, but I think blink are able to make a much better record.

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The only differences between Neighborhoods and California in terms of success is about 50,000 albums sold (arguably not true since Neighborhoods didn't get "sales" from digital streaming and California does) and a Grammy Nomination. Which having being released at the cut off of September, ruined any chance Neighborhoods had of getting nominated. I honestly don't think it's impressive considering how much payola is involved.

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17 hours ago, Chase said:

California Deluxe actually gives me a ton of hope that they can keep Feldmann AND make a great next album. Under one condition:

They need to bring in an additional producer alongside Feldmann.

Hear me out. For all of the shit that this board has given Feldmann (myself included), he has done undeniably good things for the band:

  • Bored To Death spent 30 freaking weeks on the Alt. Charts. If you're paying attention, that's tied with WMAA for the longest charting Blink song. Ever.
  • California debuted #1 - knocking off Drake - and as of January 1st has sold 400,000 copies
  • Mind you, these things happened while Mark was 44 years old, Travis was 41 years old, and arguably their most popular member went completely AWOL chasing aliens

I don't think that is insignificant. Commercial success isn't everything of course, but it's not nothing. Feldmann pretty clearly figured out how to make Blink popular without completely selling out the sound, a la Fall Out Boy. The fact that they are still commercially successful in today's music climate kinda defies logic. But I digress.

It's obvious that they love working with Feldmann. After years of bitter dysfunction, I think that's important. The fact that they can work with someone who actually wants to be there must be refreshing. It's also clear that Feldmann has helped Mark beat writer's block (with caveats of course). Bored To Death, San Diego, Last Train Home, Long Lost Feeling, HISALP. There are moments on both Cali and Cali Deluxe where I've said to myself, Holy shit, not only does Mark still have it, I think that's one of the best bridges/lines/ verses that he's written in a long time.

Obviously, Feldmann isn't without his faults. The overproduction, the beating to death of the whoa-ohs and na-nas, and that same recycled guitar intro are evidence of that. But I can't entirely fault him and Blink for that. After years of Tom's shenanigans, I understand why they were trying to get an album done and released as soon as possible with a radio friendly sound.

I think the missing ingredient here is someone who can be the Yin to Feldmann's Yang. Someone who can sit Blink down and say, Look, this is a great start but you need to refine it, or This song is okay, but it's not your best. Start over.

They need a producer that isn't afraid to be bluntly critical. Someone who is comfortable spending 6+ months on an album, tweaking and refining and rewriting. I don't know who this person is. But if you add that to the mix of Mark and Matt's songwriting and Feldmann's production, that is what can take Blink to the next level.

You think Feldy should stop writing their songs?

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3 hours ago, thongrider said:

You think Feldy should stop writing their songs?

I guess my answer to that really depends. There's a lot we don't know about the extent to which Feldmann actually contributes. If he's writing entire verses and choruses for them, then I'm a 100% hard no on that going forward. But if he's adding a line here or there, or coming up with a melody every now and then, I'm probably ok with that.

In a perfect world, Mark and Matt write all of their own music. But it's not a perfect world, and it's pretty evident that Feldy isn't going anywhere. As long as Mark, Matt and Travis have ownership of the music they're writing, I'm cool with whatever Feldy wants to bring to the table.

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19 hours ago, Ghent's Brother said:

Solid fucking take man.  Love reading honest and reasonable opinions/critiques/assessments like this that aren't just whining.  Would click like multiple times if I could.

Thanks man. Logical critiques take a lot of energy

"oasis sucks tho" is much more fun

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