Unreleased Skiba era song - The Start / Here We Are

[NotNow]

I like the core of the composition and melody a lot. I just hate the bubblegum pop production direction of nine era that it ruins the songs. This could be a great song with a real chorus instead of the ohs and one more time production (still not the best they’ve been but at least sounds like blink)

[Coight Has A Crush On Me]

Alright I’ve let this one digest a little bit and thought about what folks have been saying here.  My main qualm:  There’s just no god damn soul in these things.

 

Blink-182 to me has always been a trio of cool dudes who have such a rich bond and culture together. They’re pranksters who grew up skateboarding, surfing, listening to punk music, making dick jokes, hilariously striking out with girls, trolling people, and so much more. They’re a fucking riot.

The character of this group just poured out into every thing they did as a band, especially in the early days. For example: Mark trying to make Tom laugh and fuck up the songs again on stage, the band recording home videos of themselves naked and trolling people, Mark and Tom saying heinous shit to crowds, the dudes laughing their asses off while hanging out and recording music. That’s really what it’s about. And that’s their authentic brand. What a fun group to hang out with. These dudes had a great culture they promoted to the world, and that naturally drew people to them.

Most notably: this was all captured in the writing of their songs. Each song was like a capsule that was filled entirely to the brim with their authentic characters. The punk, the humor, the cool, the dorkiness, the feeding off of eachother’s ideas during the writing process, the fun moments they had during the recording process, and so forth. All that shoved in there. The end result was an album of songs that were jam packed with their raw and organic personalities. Sure it was glazed with production and cheesy bits at times, but overall, the ingredients is what made the songs as good as they were. In fact, it was so authentic that when the band went on a hiatus, the friendships did too.

 

With these Feldman era songs - you can say what you want about the elements, the production quality, or their playing ability. Sure, the harmonies of their voices sound good together. The mixing and tones are decent. The songs are fast paced. There’s some melody. And sure the guitar work is impressive at moments. But so fucking what? When you strip off the production quality and the overused formula that created these things, you’re left to dry with almost nothing. Obviously some songs had “it”, but for the most part, there’s very little raw ingredients of anything authentic. It’s almost like these are scripted songs, and they’re just actors playing their roles.

To really drive this point home, let’s take the thought process of this song: “Alright Mark’s going to do verse 1. Matt, you’re on verse 2. Yep, that again. Chorus? Fuck that, let’s put some woah’s in there. Alright, we need a riff. Let’s play Adam’s Song and steal the thing again. Great, now let’s get that juicy crunchy palm mute guitar in there like we did the last time. Oh and let’s finally cap it off now with something we’ve totally not done a hundred times before: a dramatic snare drum buildup. Those blink fans will definitely EAT THIS SHIT UP.”

Are we stupid? Is this turning into Netflix/Hollywood now just mass producing the same thing? This isn’t to bash Skiba at all. He’s a sweet guy and has an overwhelming amount of soul in Alkaline Trio. (And I’ll admit Nine maybe had more authenticity than California as Matt’s influence was stronger). Overall though, Feldman definitely just tanked any shot of an organic Matt/Mark dynamic coming strongly to surface, imo. The machine entirely took over these songs. Instead of letting an organic dynamic unfold, it instead just tried really hard to emulate blink-182. 

 

But it never came close. 

With One More Time, despite being written so many years later, it still found a way to have them showcase their raw selves. The authenticity is there of three guys sharing something real together: the chemistry, the honesty, and the unfiltered personality that made them who they are. You can just hear the weight of their shared history, jokes, struggles, flaws, and love for eachother. While I’m happy and thankful blink at least put some decent stuff out there during Tom’s absence from the band (despite my criticism of there being no soul), this unreleased song confirms that the band was just going to go down a course with something significant seriously missing. I’ve never been happier today with blink making the right move forward.

 

Rant over.

[Dans Cliff...loading]

6 hours ago, Paparazzi Magnet said:

Alright I’ve let this one digest a little bit and thought about what folks have been saying here.  My main qualm:  There’s just no god damn soul in these things.

 

Blink-182 to me has always been a trio of cool dudes who have such a rich bond and culture together. They’re pranksters who grew up skateboarding, surfing, listening to punk music, making dick jokes, hilariously striking out with girls, trolling people, and so much more. They’re a fucking riot.

The character of this group just poured out into every thing they did as a band, especially in the early days. For example: Mark trying to make Tom laugh and fuck up the songs again on stage, the band recording home videos of themselves naked and trolling people, Mark and Tom saying heinous shit to crowds, the dudes laughing their asses off while hanging out and recording music. That’s really what it’s about. And that’s their authentic brand. What a fun group to hang out with. These dudes had a great culture they promoted to the world, and that naturally drew people to them.

Most notably: this was all captured in the writing of their songs. Each song was like a capsule that was filled entirely to the brim with their authentic characters. The punk, the humor, the cool, the dorkiness, the feeding off of eachother’s ideas during the writing process, the fun moments they had during the recording process, and so forth. All that shoved in there. The end result was an album of songs that were jam packed with their raw and organic personalities. Sure it was glazed with production and cheesy bits at times, but overall, the ingredients is what made the songs as good as they were. In fact, it was so authentic that when the band went on a hiatus, the friendships did too.

 

With these Feldman era songs - you can say what you want about the elements, the production quality, or their playing ability. Sure, the harmonies of their voices sound good together. The mixing and tones are decent. The songs are fast paced. There’s some melody. And sure the guitar work is impressive at moments. But so fucking what? When you strip off the production quality and the overused formula that created these things, you’re left to dry with almost nothing. Obviously some songs had “it”, but for the most part, there’s very little raw ingredients of anything authentic. It’s almost like these are scripted songs, and they’re just actors playing their roles.

To really drive this point home, let’s take the thought process of this song: “Alright Mark’s going to do verse 1. Matt, you’re on verse 2. Yep, that again. Chorus? Fuck that, let’s put some woah’s in there. Alright, we need a riff. Let’s play Adam’s Song and steal the thing again. Great, now let’s get that juicy crunchy palm mute guitar in there like we did the last time. Oh and let’s finally cap it off now with something we’ve totally not done a hundred times before: a dramatic snare drum buildup. Those blink fans will definitely EAT THIS SHIT UP.”

Are we stupid? Is this turning into Netflix/Hollywood now just mass producing the same thing? This isn’t to bash Skiba at all. He’s a sweet guy and has an overwhelming amount of soul in Alkaline Trio. (And I’ll admit Nine maybe had more authenticity than California as Matt’s influence was stronger). Overall though, Feldman definitely just tanked any shot of an organic Matt/Mark dynamic coming strongly to surface, imo. The machine entirely took over these songs. Instead of letting an organic dynamic unfold, it instead just tried really hard to emulate blink-182. 

 

But it never came close. 

With One More Time, despite being written so many years later, it still found a way to have them showcase their raw selves. The authenticity is there of three guys sharing something real together: the chemistry, the honesty, and the unfiltered personality that made them who they are. You can just hear the weight of their shared history, jokes, struggles, flaws, and love for eachother. While I’m happy and thankful blink at least put some decent stuff out there during Tom’s absence from the band (despite my criticism of there being no soul), this unreleased song confirms that the band was just going to go down a course with something significant seriously missing. I’ve never been happier today with blink making the right move forward.

 

Rant over.

Alpha analysis 

[dave900]

18 hours ago, Paparazzi Magnet said:

Alright I’ve let this one digest a little bit and thought about what folks have been saying here.  My main qualm:  There’s just no god damn soul in these things.

 

Blink-182 to me has always been a trio of cool dudes who have such a rich bond and culture together. They’re pranksters who grew up skateboarding, surfing, listening to punk music, making dick jokes, hilariously striking out with girls, trolling people, and so much more. They’re a fucking riot.

The character of this group just poured out into every thing they did as a band, especially in the early days. For example: Mark trying to make Tom laugh and fuck up the songs again on stage, the band recording home videos of themselves naked and trolling people, Mark and Tom saying heinous shit to crowds, the dudes laughing their asses off while hanging out and recording music. That’s really what it’s about. And that’s their authentic brand. What a fun group to hang out with. These dudes had a great culture they promoted to the world, and that naturally drew people to them.

Most notably: this was all captured in the writing of their songs. Each song was like a capsule that was filled entirely to the brim with their authentic characters. The punk, the humor, the cool, the dorkiness, the feeding off of eachother’s ideas during the writing process, the fun moments they had during the recording process, and so forth. All that shoved in there. The end result was an album of songs that were jam packed with their raw and organic personalities. Sure it was glazed with production and cheesy bits at times, but overall, the ingredients is what made the songs as good as they were. In fact, it was so authentic that when the band went on a hiatus, the friendships did too.

 

With these Feldman era songs - you can say what you want about the elements, the production quality, or their playing ability. Sure, the harmonies of their voices sound good together. The mixing and tones are decent. The songs are fast paced. There’s some melody. And sure the guitar work is impressive at moments. But so fucking what? When you strip off the production quality and the overused formula that created these things, you’re left to dry with almost nothing. Obviously some songs had “it”, but for the most part, there’s very little raw ingredients of anything authentic. It’s almost like these are scripted songs, and they’re just actors playing their roles.

To really drive this point home, let’s take the thought process of this song: “Alright Mark’s going to do verse 1. Matt, you’re on verse 2. Yep, that again. Chorus? Fuck that, let’s put some woah’s in there. Alright, we need a riff. Let’s play Adam’s Song and steal the thing again. Great, now let’s get that juicy crunchy palm mute guitar in there like we did the last time. Oh and let’s finally cap it off now with something we’ve totally not done a hundred times before: a dramatic snare drum buildup. Those blink fans will definitely EAT THIS SHIT UP.”

Are we stupid? Is this turning into Netflix/Hollywood now just mass producing the same thing? This isn’t to bash Skiba at all. He’s a sweet guy and has an overwhelming amount of soul in Alkaline Trio. (And I’ll admit Nine maybe had more authenticity than California as Matt’s influence was stronger). Overall though, Feldman definitely just tanked any shot of an organic Matt/Mark dynamic coming strongly to surface, imo. The machine entirely took over these songs. Instead of letting an organic dynamic unfold, it instead just tried really hard to emulate blink-182. 

 

But it never came close. 

With One More Time, despite being written so many years later, it still found a way to have them showcase their raw selves. The authenticity is there of three guys sharing something real together: the chemistry, the honesty, and the unfiltered personality that made them who they are. You can just hear the weight of their shared history, jokes, struggles, flaws, and love for eachother. While I’m happy and thankful blink at least put some decent stuff out there during Tom’s absence from the band (despite my criticism of there being no soul), this unreleased song confirms that the band was just going to go down a course with something significant seriously missing. I’ve never been happier today with blink making the right move forward.

 

Rant over.

"It’s almost like these are scripted songs, and they’re just actors playing their roles." This sums of a lot of these songs perfectly, but there were some exceptions here and there ofcourse. 

[boxelder]

2 minutes ago, dave900 said:

"It’s almost like these are scripted songs, and they’re just actors playing their roles." This sums of a lot of these songs perfectly, but there were some exceptions here and there ofcourse. 

in a lot of the US music industry, there's songwriter camps where professional teams get together to write and pitch songs for the biggest artists. here's an article (and another) with some insight on how that's done. big artists like rihanna made careers out of essentially covering songs by big writers like max martin, and in modern country music, it's the rule. it's always been my opinion that there's at least a few songs on california and NINE that are clearly bought and paid for songs from those types of camps (bottom of the ocean, scumbag, IRWIHY, hungover you, remember to forget me, etc). honestly i think some songs OMT started that way too (the title track, take me in, etc).

personally i think that travis recognized that the songs they were writing with skiba weren't working, and a fresh set of eyes was a solid idea. (that's what jerry finn was at the end of the day, and i think he would have received songwriting residuals in the modern age). but i think travis also leveraged their momentum and popularity into that equation, and hit upon that partnering with outside voices was both beneficial commercially and music to the ears of the major labels. plenty of artists (aerosmith, et al) did the same to have a second act of mainstream volatility. it eliminated the need for the band to take a different or darker direction with skiba, and kept it anonymous enough to be enjoyable by casual listeners. plus it allowed for them to cash in on nostalgia with the throwback sound of california.

but by NINE -- really by the vegas residency -- they had realized that not only was skiba as a stand-in not working, but rapidly felt soulless. that's why NINE, and its ensuing tour, was such a mess from conception to rollout. it's why it's my opinion that they began to rely more on those aforementioned songwriter camps (and why skiba slowly started to phase out his involvement when it became obvious they were rudderless). evidence for this is not only present on the big bump in songwriter credits on NINE (15 new outside names), or skiba's visible diminishing involvement (quarantine, chainsmokers, etc). the miley cyrus version of IRWIHY only sort-of adds juice to this idea... you can find tons of early versions of songs with different vocalists, and gives rise to the idea that the band were just essentially covering songs pitched to them by songwriters. travis was both surprisingly comfortable in this type of environment, which led to his work with MGK and his DTA imprint.

again, this is only my opinion, but that's the vibe i get from how those years went and how quickly they faded into the rearview. that's not also to say i don't really like a few songs off both cali or NINE, or that utilizing outside songwriters was a mistake. for a lot of fans i feel like it was such a surprising development that it seemed like implicit acknowledgement of their lack of direction. that and blink was built off the partnership of mark and tom, and its somewhat insular/honest back-and-forth process. having other voices in the room at the get-go (or, in the case of heaven, without mark or skiba there) rubbed a lot people the wrong way.

[goodChats_GodBlessGhent]

On 11/29/2024 at 4:27 PM, Ghost said:

Skiba is gold. As someone pointed out. He was not the problem. Feldmann was.

I don't remember if I said this before but for me it always was a fantasy to have Matt and Mark doing some kind of side project, some sort of crossover between dark, rough, deep Skiba and also dark, deep and rough Mark- +55 plus AK3. Somehow, stars aligned and made it happen under blink's name. It was not the best output, though. Not either what I craved for or what I'd ever imagined, but I think is the closest I'd ever hear something as I'd love to hear.

the person who put  a clown emoji on ur post did it cuz they r a clown themselves ur post is good

 

this is a real great song(the start one), n its weird that they didnt release it officaly somehow,

after all this time hearing matt on a blink song again feels like hes back from the dead 2 enlight us with his dark punk rock poetry and n energy

like being able to hear this first basicaly years later after the fact makes it extra special to me

 

[goodChats_GodBlessGhent]

21 hours ago, Paparazzi Magnet said:

Alright I’ve let this one digest a little bit and thought about what folks have been saying here.  My main qualm:  There’s just no god damn soul in these things.

 

Blink-182 to me has always been a trio of cool dudes who have such a rich bond and culture together. They’re pranksters who grew up skateboarding, surfing, listening to punk music, making dick jokes, hilariously striking out with girls, trolling people, and so much more. They’re a fucking riot.

The character of this group just poured out into every thing they did as a band, especially in the early days. For example: Mark trying to make Tom laugh and fuck up the songs again on stage, the band recording home videos of themselves naked and trolling people, Mark and Tom saying heinous shit to crowds, the dudes laughing their asses off while hanging out and recording music. That’s really what it’s about. And that’s their authentic brand. What a fun group to hang out with. These dudes had a great culture they promoted to the world, and that naturally drew people to them.

Most notably: this was all captured in the writing of their songs. Each song was like a capsule that was filled entirely to the brim with their authentic characters. The punk, the humor, the cool, the dorkiness, the feeding off of eachother’s ideas during the writing process, the fun moments they had during the recording process, and so forth. All that shoved in there. The end result was an album of songs that were jam packed with their raw and organic personalities. Sure it was glazed with production and cheesy bits at times, but overall, the ingredients is what made the songs as good as they were. In fact, it was so authentic that when the band went on a hiatus, the friendships did too.

 

With these Feldman era songs - you can say what you want about the elements, the production quality, or their playing ability. Sure, the harmonies of their voices sound good together. The mixing and tones are decent. The songs are fast paced. There’s some melody. And sure the guitar work is impressive at moments. But so fucking what? When you strip off the production quality and the overused formula that created these things, you’re left to dry with almost nothing. Obviously some songs had “it”, but for the most part, there’s very little raw ingredients of anything authentic. It’s almost like these are scripted songs, and they’re just actors playing their roles.

To really drive this point home, let’s take the thought process of this song: “Alright Mark’s going to do verse 1. Matt, you’re on verse 2. Yep, that again. Chorus? Fuck that, let’s put some woah’s in there. Alright, we need a riff. Let’s play Adam’s Song and steal the thing again. Great, now let’s get that juicy crunchy palm mute guitar in there like we did the last time. Oh and let’s finally cap it off now with something we’ve totally not done a hundred times before: a dramatic snare drum buildup. Those blink fans will definitely EAT THIS SHIT UP.”

Are we stupid? Is this turning into Netflix/Hollywood now just mass producing the same thing? This isn’t to bash Skiba at all. He’s a sweet guy and has an overwhelming amount of soul in Alkaline Trio. (And I’ll admit Nine maybe had more authenticity than California as Matt’s influence was stronger). Overall though, Feldman definitely just tanked any shot of an organic Matt/Mark dynamic coming strongly to surface, imo. The machine entirely took over these songs. Instead of letting an organic dynamic unfold, it instead just tried really hard to emulate blink-182. 

 

But it never came close. 

With One More Time, despite being written so many years later, it still found a way to have them showcase their raw selves. The authenticity is there of three guys sharing something real together: the chemistry, the honesty, and the unfiltered personality that made them who they are. You can just hear the weight of their shared history, jokes, struggles, flaws, and love for eachother. While I’m happy and thankful blink at least put some decent stuff out there during Tom’s absence from the band (despite my criticism of there being no soul), this unreleased song confirms that the band was just going to go down a course with something significant seriously missing. I’ve never been happier today with blink making the right move forward.

 

Rant over.

yes i was surprised to see them insist on doing mark v1 skiba v2 over and over and over

comming from some of the most elite songwriters and creative ppl, that was extremly odd

it hated how they were so scared of just having matt alone in some songs

and how they chose instead that forced uncreative v1 v2 thing

thxfully it doesnt bother me too much for most songs i like but by album 2 i was realy tired of it and is partly why i consider it a very subpar album despite some of its great songs

[Ghost]

1 hour ago, goodChats_GodBlessGhent said:

the person who put  a clown emoji on ur post did it cuz they r a clown themselves ur post is good

 

this is a real great song(the start one), n its weird that they didnt release it officaly somehow,

after all this time hearing matt on a blink song again feels like hes back from the dead 2 enlight us with his dark punk rock poetry and n energy

like being able to hear this first basicaly years later after the fact makes it extra special to me

 

I don't care about reactions. Feldy fans are raging and twisting in their chairs since Edging came out, and when OMT was released, the evidence was there: the Skiba years were shit, not because Skiba, but because Feldman. Been discussed to extenuation.

 

The song itself it's bland. I was defending the fact that Skiba was so 'under-used' when joined blink that it's criminal. We all can see that. Skiba in blink, meh, Skiba in AK3 is fire. The last AK3 shits all over California and NINE.

[Coight Has A Crush On Me]

3 hours ago, boxelder said:

in a lot of the US music industry, there's songwriter camps where professional teams get together to write and pitch songs for the biggest artists. here's an article (and another) with some insight on how that's done. big artists like rihanna made careers out of essentially covering songs by big writers like max martin, and in modern country music, it's the rule. it's always been my opinion that there's at least a few songs on california and NINE that are clearly bought and paid for songs from those types of camps (bottom of the ocean, scumbag, IRWIHY, hungover you, remember to forget me, etc). honestly i think some songs OMT started that way too (the title track, take me in, etc).

personally i think that travis recognized that the songs they were writing with skiba weren't working, and a fresh set of eyes was a solid idea. (that's what jerry finn was at the end of the day, and i think he would have received songwriting residuals in the modern age). but i think travis also leveraged their momentum and popularity into that equation, and hit upon that partnering with outside voices was both beneficial commercially and music to the ears of the major labels. plenty of artists (aerosmith, et al) did the same to have a second act of mainstream volatility. it eliminated the need for the band to take a different or darker direction with skiba, and kept it anonymous enough to be enjoyable by casual listeners. plus it allowed for them to cash in on nostalgia with the throwback sound of california.

but by NINE -- really by the vegas residency -- they had realized that not only was skiba as a stand-in not working, but rapidly felt soulless. that's why NINE, and its ensuing tour, was such a mess from conception to rollout. it's why it's my opinion that they began to rely more on those aforementioned songwriter camps (and why skiba slowly started to phase out his involvement when it became obvious they were rudderless). evidence for this is not only present on the big bump in songwriter credits on NINE (15 new outside names), or skiba's visible diminishing involvement (quarantine, chainsmokers, etc). the miley cyrus version of IRWIHY only sort-of adds juice to this idea... you can find tons of early versions of songs with different vocalists, and gives rise to the idea that the band were just essentially covering songs pitched to them by songwriters. travis was both surprisingly comfortable in this type of environment, which led to his work with MGK and his DTA imprint.

again, this is only my opinion, but that's the vibe i get from how those years went and how quickly they faded into the rearview. that's not also to say i don't really like a few songs off both cali or NINE, or that utilizing outside songwriters was a mistake. for a lot of fans i feel like it was such a surprising development that it seemed like implicit acknowledgement of their lack of direction. that and blink was built off the partnership of mark and tom, and its somewhat insular/honest back-and-forth process. having other voices in the room at the get-go (or, in the case of heaven, without mark or skiba there) rubbed a lot people the wrong way.

Haha god damn, they collabed with Miley Cyrus? I’m just finding out about this now. Must have been a huge blow for the band at the time to not release it. A song with her could have definitely made them relevant in the mainstream for a bit, which is what Mark really wanted.

[Champ182]

I'm pretty neutral on Skiba overall, I respect the guy for staying true to himself with his career up until joining Blink and I clearly don't put a single bit of "blame" on him for the music they put out with him, but I also don't get much out of Alkaline Trio other a few songs.

When he joined the band I actually assumed Blink was going to basically become the Mark show, with Travis doing his usual thing and Skiba bringing a little more of a "raw" punk-ish element to whatever Mark and Travis were gonna make. But I was never as fascinated by the idea of Mark and Skiba Alk-44 songwriting duo as most people.

Having said that, once I heard California and learned that they scrapped an entire album of Mark and Skiba Alk-44 songwriting duo music, I really fucking wish they would've just stuck with that! Haha

[JarJarBlinks]

On 11/29/2024 at 7:58 PM, boxelder said:

horrible tune. 

mark and skiba having to sing over anodyne copy-paste melodies and hollow, craven lyrics that don't speak to anything personal or real to either of them. adam's song riff. loud, uninspired triggered drums. like there's nothing worse than songs like this right? why were they doing this? i understand that by 2016 they had abandoned any pretense of giving skiba an equal creative role, and that appeared to work fine on california. but by this era (and tbf, some of OMT), it felt like they were soliciting songs from songwriter camps and swallowed up by major-label machinery, doing whatever they could to stay relevant (xxxtentacion, powfu, etc). hearing this is like hearing the b-sides of california deluxe -- castoffs of castoffs. honestly, the whoah-ohs got way too much hate back then, but hearing them in this leaked track is like a war flashback.

2019-21 the darkest days in the band's whole existence, breakup era included. i really hope this stuff gets covered in an honest way in mark's book, but i'm not holding my breath.

sorry but OMT really isn't that far of a departure from the "darkest days in the band's whole existence" AKA 2019-2021.

some revisionist history Tombot nonsense here.

[Coight Has A Crush On Me]

1 hour ago, JarJarBlinks said:

sorry but OMT really isn't that far of a departure from the "darkest days in the band's whole existence" AKA 2019-2021.

some revisionist history Tombot nonsense here.

The OMT era is 1000x better than that era. What are you talking about

[Ghent]

The songs on OMT are no less formulaic, etc. etc. than those on California. Feldmann may as well have produced OMT. You can easily argue that OMT is even more "Feldy sounding" than California

The biggest difference in the two albums is that Tom is a better singer and guitarist for blink. But the songs themselves are not some kind of drastic creative departure from the Skiba era lol

[Coight Has A Crush On Me]

3 minutes ago, Ghent said:

The songs on OMT are no less formulaic, etc. etc. than those on California. Feldmann may as well have produced OMT. You can easily argue that OMT is even more "Feldy sounding" than California

The biggest difference in the two albums is that Tom is a better singer and guitarist for blink. But the songs themselves are not some kind of drastic creative departure from the Skiba era lol

California:  Home Is Such a Lonely Place

OMT: Turpentine

[Ghent]

HISALP and Turpentine are both amazing songs

[JarJarBlinks]

24 minutes ago, Paparazzi Magnet said:

The OMT era is 1000x better than that era. What are you talking about

there are a few songs like Turpentine, MTYK, Terrified etc (mostly the Tom-centric songs) but like 65% of the album could easily be plopped onto California and no one would bat an eye.

[Knuckles]

11 hours ago, goodChats_GodBlessGhent said:

the person who put  a clown emoji on ur post did it cuz they r a clown themselves ur post is good

 

this is a real great song(the start one), n its weird that they didnt release it officaly somehow,

after all this time hearing matt on a blink song again feels like hes back from the dead 2 enlight us with his dark punk rock poetry and n energy

like being able to hear this first basicaly years later after the fact makes it extra special to me

 

You are a clown Daniel. 

[Champ182]

4 hours ago, Ghent said:

The songs on OMT are no less formulaic, etc. etc. than those on California. Feldmann may as well have produced OMT. You can easily argue that OMT is even more "Feldy sounding" than California

The biggest difference in the two albums is that Tom is a better singer and guitarist for blink. But the songs themselves are not some kind of drastic creative departure from the Skiba era lol

I won't go down that fuckin rabbit hole again though...

[Dans Cliff...loading]

17 hours ago, Ghost said:

I don't care about reactions. Feldy fans are raging and twisting in their chairs since Edging came out, and when OMT was released, the evidence was there: the Skiba years were shit, not because Skiba, but because Feldman. Been discussed to extenuation.

 

The song itself it's bland. I was defending the fact that Skiba was so 'under-used' when joined blink that it's criminal. We all can see that. Skiba in blink, meh, Skiba in AK3 is fire. The last AK3 shits all over California and NINE.

This is true, except tbf are there Feldy fans and to be also fair I would probably not even notice much if Feldmann produced OMT.

His influence was worse than the production. Have to think he was the one selling the “whoas” and nanas and just neutering them altogether on any deep/real thought and keep it as basic as possible.

[Dans Cliff...loading]

7 hours ago, JarJarBlinks said:

there are a few songs like Turpentine, MTYK, Terrified etc (mostly the Tom-centric songs) but like 65% of the album could easily be plopped onto California and no one would bat an eye.

Maybe but the guitar is very apparent.  The style/structure of the whole ‘you go’ ‘chorus!’ ‘I go’ thing definitely got to be eerily similar at times to Cali.