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29 minutes ago, Nshesaid said:

I mean it's kind of late but I hate all the fuckers who currently do this, a blink die hard would be cool.

I'm not that die hard, I haven't been since Untitled came out.

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5 minutes ago, darkarrow said:

We're all here, give it up. We're all die hard or this place wouldn't exist lol

To be fair, I mostly enjoy the community. Blink fans are pretty easy going and fun for the most part. I was a blink fan for a long time before Untitled, it never really sat well with me. I still like their output but they are far from a favorite for me and I wouldn't call myself a huge fan anymore ... I like the idea of Blink, just not the execution it came to be.

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I still have Built This Pool as my phone alert.

I still willingly listen to the following when they come up on shuffle - The Only Thing That Matters, 6/8, Last Train Home, (sometimes) San Diego. 

also, the verses in Hey Im Sorry are like the best thing out of the entirety of California. that and Cynical.

There's my positivity for ya. 

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3 hours ago, Kay said:

the verses in Hey Im Sorry are like the best thing out of the entirety of California.

Agreed, it’s definitely one of my favorite moments of the California era. It’s one of the few times that it feels like it genuinely came from Matt, and where the production didn’t suck the soul out of his voice. I don’t know if I knew that it was a pre-Feldmann track when it first came out, but I did immediately feel like it was one of the only times that Skiba’s influence felt apparent.

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I think John Feldman saved Blink 182.

Its a leap of faith to assume Blink had this amazing album and Feldman came and tore up a masterpiece. To make amazing chart topping music, it takes a certain chemistry; one that is extremely difficult to produce even under great circumstances.

So I think the matt/Mark writing duo wouldn't have worked without Feldman. There I said it.

Of course I'd take Jerry finn back in a heartbeat. But some things just aren't possible.

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Look I like California and the deluxe, but ‘The Only Thing That Matters’ is the only song that even sounds like Blink. The rest could be ATL or 5sos and while I don’t mind those bands its not want I want from blink. 

Matt’s inclusion is absolutely pointless. He adds fuck all and every time he sings I just wish he’d fuck off. 

One album like this is fine. Some genuinely good song on it. But if the next album is the same then that’s a fucking joke.

 

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9 minutes ago, Scott. said:

Look I like California and the deluxe, but ‘The Only Thing That Matters’ is the only song that even sounds like Blink. The rest could be ATL or 5sos and while I don’t mind those bands its not want I want from blink. 

Matt’s inclusion is absolutely pointless. He adds fuck all and every time he sings I just wish he’d fuck off. 

One album like this is fine. Some genuinely good song on it. But if the next album is the same then that’s a fucking joke.

 

Perhaps you need to read the original rules of this thread and rethink some of your wording............ there are plenty of other threads in this section to have a hissy fit over Matt Skiba.

Thanks.

-Staff

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1 minute ago, ...Dan... said:

Marks bass work is more interesting generally than most Blink albums. 

Yes! I was just going to say that. It's not amazing, but in a lot of the songs I find the bass is actually more out front than a lot of the guitar.

The breakdown of Los Angeles is Mark strumming the bass and singing, not all that common.  Same goes for cynical.

But you do see this in other bands, like RHCP now where there guitarist is not so great  and the bass is what drives the train.

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Mark's bass part is awesome in the TTOTM. His classic bass sound was seriously missing in Neighborhoods.

And you're right, the bass almost takes over for the guitar throughout the album.

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1 hour ago, Olidamus said:

Perhaps you need to read the original rules of this thread and rethink some of your wording............ there are plenty of other threads in this section to have a hissy fit over Matt Skiba.

Thanks.

-Staff

Fuck off

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1 hour ago, Olidamus said:

Yes! I was just going to say that. It's not amazing, but in a lot of the songs I find the bass is actually more out front than a lot of the guitar.

The breakdown of Los Angeles is Mark strumming the bass and singing, not all that common.  Same goes for cynical.

But you do see this in other bands, like RHCP now where there guitarist is not so great  and the bass is what drives the train.

Yeah its hardly ground breaking but some of the chords and the fills that link the root notes sound cool at least.

Verses in Rabbit Hole sound good too.

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Haha I like this thread, after a lot of time and discussion I think it's cool to get peoples clear-eyed retrospective opinions. I thought the album was a huge disappointment but in a way it was more like a missed opportunity. I actually was really excited to hear that they were making a light-hearted energetic album as a way to connect to the Blink roots. And I loved Bored To Death (and still do, a lot).

But when the album came out it seemed, as a lot of people have said, like they were some other band trying to sound like Blink 182. And as we learned more about the writing process and everything, it was pretty clear that rather than the sort of freewheeling style you would expect from chasing every idea and staying at the studio all day and all night, they seemed to follow very strict rules:

  • 1. Every song had to include both singers
  • 2. Every song had to have gang vocals or whoa-ohs or other non-lyric vocal stuff
  • 3. Reference being a teenager as much as possible
  • 4. Insert classic sounds and tricks from previous albums to remind listeners of old songs
  • 5. Write as many songs as possible as quickly as possible without going back to tweak/develop ideas, AKA "first thought best thought"
  • 6. Use Feldy’s radio pop production/songwriting expertise to give each song the modern radio polish and format.


SO basically when it all came down to it, the album had this weird mixture of trying way too hard AND trying way too little haha. I have no problem with them returning to their fun fast pop punk roots, but I really hope in the future they are able to free themselves up to experiment and spend more time on thoughtful lyrics and interesting production choices rather than base their process on pop radio and reminding people of their back catalog.

I think in a way they almost underestimated themselves. They might not have many more Bored To Deaths going this route but they have been around long enough that an honest well-written and interesting album will give them some real clout from longtime fans and the music world outside of just pop punk.

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for me, i don’t so much mind cali. i think it was in large part a mistake, but i’d be lying if i said i didn’t have a soft spot for the catchiness of SOOHM or sober even. i never minded songs like parking lot, san diego, TOTTM. and cynical is a top blink song overall. i just think it was a mistake to go on without tom (should have just broke up the band), a big mistake to work with feldmann, and a giant mistake to write music emulating themselves two decades ago. 

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Oh now that other people mention it, which I forgot, Mark's bass lines are pretty damn good in this album. Neighborhoods and +44 were dull as hell when it comes to bass (although the bass still sounded great in +44). I hate Rabbit Hole but that has some great bass lines.

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