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4 minutes ago, Ghent said:

MH 85203958203 is a great tune. That was done in the crop of good songs they finished writing together at the end of the process

You sure? Doesn’t the name come from the protools session that was being shared between them? I don’t think a song being worked on together in a studio would be named with an individuals initials/date they worked on it.

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17 minutes ago, Russel Coight said:

You sure? Doesn’t the name come from the protools session that was being shared between them? I don’t think a song being worked on together in a studio would be named with an individuals initials/date they worked on it.

The guitar is also just some generic power chords thrown together. I realize Tom relies on power chords, but not like this.

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 The track is notable for being recorded without DeLonge's involvement, with Hoppus recording all of the guitars in addition to his usual bass and vocals.

From Wiki. I can't find the link, but I definitely remember that being the case when an article came out with the band giving a couple sentences about each song

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13 minutes ago, Champ182 said:

That song is just ok, it sounds like a decently promising demo at best, but that's Tom's fault not Mark's. A classic Tom riff would do that song wonders, if only he could've been bothered to work on the damn album haha.

Worst Tom-era song from Cheshire Cat and on. Its soooo boring

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1 hour ago, Russel Coight said:

You sure? Doesn’t the name come from the protools session that was being shared between them? I don’t think a song being worked on together in a studio would be named with an individuals initials/date they worked on it.

No I’m not sure on it at all. Had it in my mind that it was a part of that group. Actually makes more sense that it wasn’t with that name 

Either way I like the song 

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4 minutes ago, Ghent said:

No I’m not sure on it at all. Had it in my mind that it was a part of that group. Actually makes more sense that it wasn’t with that name 

Either way I like the song 

In fact, only four songs on Neighborhoods were written as a group: "After Midnight," "Kaleidoscope," "Wishing Well" and "MH 4.18.2011." 

https://www.altpress.com/blink_182_neighborhoods/
 

Well fuck me. I guess you were right. 

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I really like MH tbh, people love to hate on it but I’ve always dug it. The production isn’t great and I agree a good riff would’ve done wonders but I love the chorus. The main low point is that stupid fucking helicopter line. I love the vibe of it though and the verses are super fun.

its a good +44 song.

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11 minutes ago, Russel Coight said:

In fact, only four songs on Neighborhoods were written as a group: "After Midnight," "Kaleidoscope," "Wishing Well" and "MH 4.18.2011." 

https://www.altpress.com/blink_182_neighborhoods/
 

Well fuck me. I guess you were right. 

Wow. Maybe Tom was physically there, but he clearly didn't contribute anything. He was probably scrolling through his phone the whole time.

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i like MH123456789! it's a good tune.

1 hour ago, NeverOliver said:

 The track is notable for being recorded without DeLonge's involvement, with Hoppus recording all of the guitars in addition to his usual bass and vocals.

ha! i wrote that, like ten years ago when i wrote the neighborhoods article. that's definitely source to some sort of magazine interview then (kerrang? alt press?), so it's legit.

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2 minutes ago, Patient #48273 said:

Wow. Maybe Tom was physically there, but he clearly didn't contribute anything. He was probably scrolling through his phone the whole time.

Yeah I’m shocked. The song is so Mark it’s not funny. I’m sure Tom had fuck all to do with it.

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1 minute ago, Russel Coight said:

Yeah I’m shocked. The song is so Mark it’s not funny. I’m sure Tom had fuck all to do with it.

The strumming of the guitar doesn’t sound like Tom. Sounds like Mark did in plus 44.

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1 minute ago, Speedo said:

The strumming of the guitar doesn’t sound like Tom. Sounds like Mark did in plus 44.

Same goes for kaleidoscope tbh, just doesn’t sound like his style at all

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Chris Holmes interview with Propertyofzack

 

So for example one way we worked was, if Mark had an idea and we had a tempo and key we liked, rather than send a quick demo we could get the keeper bass or guitar sounds and really nail down the part we wanted before sending it to Tom. From there Tom would listen, if he heard something he wanted to change or play differently he would record it, send it back to us, ask us what we thought … from there Travis would play drums, and then the song would make the rounds again. This wasn’t always the exact sequence of events with who did what first, but that’s typically how it would flow. “Snake Charmer” and “MH 4.18.2011” were two that came from this way of working.

Along with that, we worked on 4 or 5 ideas that started with everybody in the same room together. Those days were really fast paced, and the energy was crazy. We’d get a song structure, tempo, and key pretty much set, and then do a good demo version. At the end of the day we’d make notes on what to tweak, and then everybody would re-record their parts with the keeper sounds they wanted the next week at their own studio. To me this was more of what a normal pre-production would have been like. “After Midnight” and “Natives” came from this way of working. 

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Yeah - I know nothing about music theory, but when you get familiar with someone's style - you can just, tell.

Still can't be the power of them in a room, Natives.

I also love that Travis called Tom up after hearing Ghost on The Dancefloor, it reminded him of DJ AM. Tom and Trav's friendship have little quirks and dimensions like that, I rate it

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I remember when it was announced that Matt was joining the band that a lot of us (myself included) feared that it would no longer be blink and it would feel more like +44 with Matt Skiba.

I don’t know why I was afraid of that because that actually sounds like a perfect band to me lol. I wish that’s what we actually got. No Heart To Speak Of and a couple NINE tracks kind of get close to feeling like that for me.

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1 minute ago, Cheerios4u98 said:

I remember when it was announced that Matt was joining the band that a lot of us (myself included) feared that it would no longer be blink and it would feel more like +44 with Matt Skiba.

I don’t know why I was afraid of that because that actually sounds like a perfect band to me lol. I wish that’s what we actually got. No Heart To Speak Of and a couple NINE tracks kind of get close to feeling like that for me.

If I were to make an album that best exemplifies that, it would be like:

-Cynical

-BTD

-Los Angeles

-No Future

-San Diego

-Hey I’m Sorry

-Last Train Home

-Long Lost Feeling

-Heaven

-Darkside

-Black Rain

-No Heart to Speak Of

-On Some Emo Shit


Those are the closest to +44 featuring Skiba IMO.

 

 

 

 

 

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4 hours ago, Ghent said:

MH 85203958203 is a great tune. That was done in the crop of good songs they finished writing together at the end of the process

MH and This is Home are the weakest songs on that album by a large margin for me.  Interestingly, when the album first launched, I also lumped in Wishing Well and Kaleidoscope with those 2 others songs as just a huge weak point in the album of songs that I had thought were trash as they all occur next to each other in the same part of the album.  But Wishing Well slowly grew on me, to the point where I enjoy that song a lot.  While Kaleidoscope I thought was nothing special at first, and then one day it clicked hard and I fell in love with it.  It went seemingly overnight from being a very weak song to one of my all time favorite blink songs, can't really explain that one.  I thought maybe the same would happen for MH and This Is Home as well, but it never really has.  It's not like I hate them, but for me they're the low points of the album.

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