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PuppyKillingMachine

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Everything posted by PuppyKillingMachine

  1. Random thought: the part in "Los Angeles" where Skiba yells "Los Angeleeeeeesss" is almost identical to the part in Fall Out Boy's "Centuries" where Stump yells "remember meeeee." Almost the same exact melody and delivery for these two songs' different chorus parts. Sorry if this has already been brought up.
  2. It really is surprising. For a such a calculated effort, they went after most of the classic blink-182 conventions they could, but the Hooky Riff is an important one they largely avoided. I think other aspects of blink guitar made the album, such as the fluid root notes and consistent high notes. Also some strumming techniques and patterns. There's an awful lot of classic blink guitar-aping going on, so it's just surprising that the Hooky Riff didn't wind up as an element to more songs. Perhaps Feldmann just wasn't as stoked on it. But I think more than a few of the California tracks could've used a Hooky Riff, frankly.
  3. Great song-by-song breakdown. Interesting to learn that "San Diego" is actually about Tom - at least partially. I didn't think it was, and some of us were talking about that earlier.
  4. I agree that the album is forced and self-imitating... but at least "Sober" sounds like something new, right? Apart from the "na-na-na-nas"? I don't think there's a single blink-182 song with that sort of vibe.
  5. The bridge on "Sober" may be my favorite single moment on the record.
  6. I don't think it would be about destabilizing new blink-182 - nor do I think it would even have that effect at all. It would probably just be further hype and publicity for all of them. In any event, I think there's a pretty decent, cool and fair reason for Tom to want to boot up BCR again. AvA has basically run its course at this point, and since he currently has no other musical endeavors - why not do something a lot of fans would like to see, and something he'd probably enjoy himself? Especially something that could be done in a low-stress, quick and simple way, in which he basically has all or most creative control of the songs? I agree, there would be a certain amount of presence and profit-seeking designs in mind, but isn't that true for Mark and Travis, too? Part of the reason they wanted Tom out of blink-182 is so they could exploit a brand name they spent years of their lives building without having to put up with Tom's lack of commitment. So, if Mark and Travis have a right to make use of the brands they have built, doesn't Tom at least have a right to do BCR again? I mean, the logic is the same. I don't see how it's this shitty move on his part. It's honestly something fans seem to want more than him, anyway. Nothing wrong with that. And I'm not saying this just to be funny -- although it certainly is -- but wouldn't it be something if Skiba sang a song on a new BCR album? 1) He would totally fit the vibe, especially in his "screamy" form, and 2) It would be a cool sign that Tom isn't really that bitter about everything. Lol, however, maybe Mark or others would take it in a different way. Would still be fun.
  7. "Left Alone," "Home," "Cynical." But not my three favorite songs on the record, just the ones I'd like to see live the most.
  8. I've never had an issue with them writing songs about high school, college, youth, etc. as older men. Look at John Hughes, who wrote and directed hilarious, poignant, wonderful stories about young people -- like the "Breakfast Club" and "Ferris Bueller's Day Off -- well into his 40s and beyond. No one ever made fun of him for it. And while the analogy isn't perfect, it's not that far off - they're both constructing creative works about youth that hopefully a lot of people, especially young people, will connect with and get something out of. It's not very odd. That being said, part of me loves the idea that blink-182 are grown up, child-raising, middle-aged men now. It's like they've come full circle from the being the young band that railed against authoritative, clueless parents to becoming the dads themselves. It's interesting to seeing them experiencing many of the same feelings and emotions as when they were younger in a new setting where the roles have been reversed, like in "Home." It's like being a parent is simultaneously so much different yet so similar. You experience new feelings and situations, but a lot of your reactions and internal processes remain unchanged from youth.
  9. Well, I agree, Travis might not wanna do it if it will make Mark too weird - but keep in mind, Travis can do anything he wants. Mark needs him as much as he needs Mark, as far as this current blink-182 incarnation is concerned. He's talking to Tom and staying on good terms with him, not even ruling out a blink reunion with Tom, so clearly he's doing his own thing and is letting Mark do his.
  10. I think it's a definite, definite possibility that we'll see at least one BCR show by the end of 2018. An album is less likely, but there's still a real shot of that, too. Tom has nothing to lose from doing a couple shows, at a minimum, and everything to gain. We also haven't seen most of those songs performed in any capacity since the first BCR tour, which most fans didn't see. There's a real reason to do it.
  11. I don't think Mark would try and prevent Travis, even if Travis asked his permission. Most likely, he'd say "sure" but still privately think it's weird. But who knows.
  12. Your point's well taken, but I have to agree that this album does have some of the cringiest moments on any blink-182 record. Some of the lyrics *feel* cringier than they are because of the dumb 5SoS-style melodies accompanying them.
  13. There are hints of BCR in everything he's done since, but that record has a unique sound. I think he knows that next year would be the time to knock out a Box Car record, and I would bet Travis is more likely than not to be down. Here's question: do you think Mark would be even weirder about a new BCR album in 2017 than he was about the last one?
  14. I'd love to hear a new Box Car Racer album. If I were Tom, I'd record it late next year and drop it Christmas. I think he and Travis could do most of the instrumentation themselves, maybe with a guest vocalist or two again. Could even bring Tim Armstrong back for a new song. Also, it'd be cool to have Roger back on keys.
  15. Yeah, and it's also cool in that it's a completely new sound for Weezer on the record. It has this arty, beachy feel to it and the songs have really interesting, fresh arrangements and melodies. It's one of their best albums, and it manages to build on Weezer's discography without aping it or being unnecessarily referential to it. They just made a great album, writing the songs they wanted to write - and it really shows in the work's overall quality. White Album drips with creativity and artistic focus.
  16. I feel like he's probably who they would've picked had Travis not met up with Feldy. Back when they were writing songs that mainly sounded like old blink-182 meets old Alkaline Trio, he would've been a great call. He'd still be a good pick, but I really think Jake Sinclair is their best bet. He produced the last Weezer and Fall Out Boy albums, and has also worked with 5 Seconds of Summer and many more artists. Another option is Neal Avron, who also has produced Weezer, Fall Out Boy and countless others. He produced three albums that debuted at #1 in a row in 2010. Both seem like much more natural, broader, radio-relevant, quality-focused producers than Feldy. But in all fairness, they'll probably just stick with Feldy. Although I don't think he's right for the next album. There was a certain amount of logic in having him produce California, because he excelled at doing exactly what the band wanted their producer to do: reintroduce the band in a clean, simple and conceptual way. Now they can breathe a little more and just do what feels right. If they go with Feldy again, I think he'll have a tendency to overthink the conceptual frame of the album: okay, we're gonna be 1) darker, 2) more experimental, which means, 3) more Alkaline-inspired lyrics, 4) industrial loops and samples, like Untitled, 5) stranger, groovier "Miss You"-style drums, etc. There will be this checklist of forced "itch-scratching" where songs have certain parts and vibes because Feldy wanted them to, not because the songs themselves were calling for it.
  17. I'm not so sure. As different as +44 was, I still think it was an attempt for Mark and Travis to make blink-182 music, basically. In fact, I think there's a sense of, "okay, well last time Tom bailed, we did the +44 thing, and sacrificed our brand name to do it. Not this time. This time we're keeping blink-182 going." So I don't see +44 coming back. It's different from Box Car Racer in that it's not a "side project"; it was more of a next step or continuation of blink-182, at least by design. I wouldn't be surprised to see Mark do more of his own production in off years, however. I think there's a long list of artists he'd be interested in producing that would likewise be stoked to work with him.
  18. Probably because he had more to do with writing the song in question than Mark or Matt. He was also brought on as a co-writer, not just producer.
  19. If they do release an EP of unused California songs, it should be called OBGYN Kenobi.
  20. I imagine they'll still be touring the record well into 2017. They should then take 2018 off and let everyone focus on different projects. Then I'd say they should get back into the studio in early 2019, spend six months writing and recording the best material they can, and work with a producer like Jake Sinclair (who did the most recent Weezer album and has also worked with 5 Seconds of Summer) - someone with an emphasis on quality over quantity, contrivance or overplotting commerciality/musical anatomy. I don't think the next record needs to be "dark" or "light" in tone; either (or neither, some mixture) could work. Tone will work itself out naturally as the band get comfortable in the studio and construct new material in a fashion which is motivated by their own tastes and sense of what sounds best. But whoever their next producer is should be someone who encourages the band to focus on constructing the most quality material possible - songs that take weeks, if not months to write and record. Feldy's rapid-fire immediacy has its appeal; but you end up with something like California, a record with -- hate it or love it -- songs that *sound* like they were whipped up in a matter of hours, in effort to achieve a preconceived and artificial design. The depth, emotionality, nuance and attention to detail present in Untitled is really what the band needs to recall as they work on the next blink-182 album. Which isn't to say it should sound like Untitled, nor need it push the musical and poetic envelopes in such a drastic way. But they'd be smart to craft songs with the same level of artistry and discretion as they did with Untited. They need to be freed from the constraints of having a "checklist" applied to every song - 1) Does it harken musically back to at least two old blink-182 albums? Check. 2) Does it include some new, post-Yellowcard, post-All Time Low, Feldy/5SOS part? Check. 3) Does it feature Matt distinguishing himself as edgier or emoer or weirder or aggressiver? Check. This was the California approach and it ends up feeling constraining and contrived. The band needs to free themselves up and just write the best stuff they can - themes, motifs and musical characteristics should develop organically instead of being punched out by mandate. If a song happens to sound like an Enema cut, great. If it sounds like nothing they've ever done before, great. They just need to be free to make the best album they can - that's the only goal. All other itches will or won't be scratched depending on whether they're warranted.
  21. Actually, Tom is a big Cure fan. His favorite song is "Close to Me," and he uses that beat and musical vibe as the basis for "Everything's Magic." He also based the lead guitar part for "The Adventure" on the "Just Like Heaven" guitar lead. But I agree, I don't think "San Diego" is about him, at least, not in any intentional sense.
  22. Untitled. Neighborhoods. Dogs Eating Dogs. Take Off Your Pants and Jacket. Enema of the State. Dude Ranch. Cheshire Cat. California.
  23. Thanks, man. I don't write for a living, no. But I do work in story at a film studio.
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