Goldfinger new song feat. Mark and Travis

[Jan Mortensen]

Anyways.

[Jan Mortensen]

This song sucks.

[Electrical Substation]

6 minutes ago, Drama-Free Jan said:

This song sucks.

You’d love it if it was on OMT 

[Jan Mortensen]

1 hour ago, Sun God said:

You’d love it if it was on OMT 

This is clearly a Feldmann factory song if I’ve heard one.

Therefore it wouldn’t be on OMT.

next

[JarJarBlinks]

[Jan Mortensen]

55 minutes ago, JarJarBlinks said:

To be honest JarJar, between me and you, what bugged me the most was that Feldmann saved all his best writing for The Knife. Which I actually liked that album.  While didn’t really pull much out of his bag for Blink (which he really shouldn’t need to..?), but in theory I would prefer ‘another pop-punk artist’ helping curate songs with blink than pop diva writer teams or w.e started happening on Nine.

Feldmann, unfortunately, I feel by his nature makes everything more about himself, than the band. At least for blink, it felt so off base, instead of feeling in blink essence. At least everything after Bored To Death. Bored to death had that essence, and maybe a few songs.  In retrospect, Nine, and some of OMT made me like California more.

But..I’ll always be bitter about how canned in and generic it felt, when you had Skiba + Mark teamed together, and Feldmann there to help reach a finish line. It should have been deeper writing, it wasn’t.  And in all honesty, I blame Mark more than Feldmann for letting that happen and go in the direction it did.  Mark could have very easily just vetoed Feldmann’s decision to scrap everything they had written prior to the Feldmann sessions.  I’m not saying Hey I’m Sorry was a great song, but the essence was there.

also fuck Feldmann for the Whoa, Nana fest he tried popularizing so desperately.  Shit got me heated more than 15 yr olds beating up on me in video games and talking trash in the mic when I’m just trying to decompress from work on a Tuesday.

[Ghost]

Sounds like if it was made using AI.

I bet Feldy would have PAID to fill for Tom.

[boxelder]

On 7/13/2025 at 4:25 PM, Russel Coight said:

Here’s another. One of the larger critics of the Feldmann/songwriter times. wont tag cause I don’t wanna drag someone into a discussion they probably can’t be fucked having. 

beyond late to this, but i still feel the same way. i always appreciated blink for the fact that it was just three guys onstage, writing and playing the music. the route they went with california was EXTREMELY lame, safe, and indefensible, honestly -- and it was a big shock at the time because of 1) how overly bland and gimmicky it was 2) how bad most of the songs truly were and 3) because they had never done that before. even in his book, you can tell he had mixed feelings about it in 2016. he calls it an "experiment" that worked. it required him to hand over the keys and agency to his own music and songwriting, transitioning the band from a cohesive functioning unit to a brand, an avatar. matt never stood a chance. afterwards, NINE was a monster of mismatched ideas and loss of self, almost as a reaction.

it's been a decade. my feelings remain the same: at this point, i don't care if there's a whole team of songwriters trying to recapture the glory days -- they never will. there was a spark and creative engine behind the work they were doing 25 years ago, and that's completely gone now. you almost have to approach it like two separate bands. the old band is never coming back. treating them with the same measure of quality is unrealistic -- they are not 25 on warped tour. i'm also coming at it from an empathetic point of a view: they're kinda washed. they're stuck in their modes and timbres. having outside help shakes up their approach. is it dishonest? yes. does it sacrifice the integrity of the band? yes. does it matter anymore, all this time later? no.

[Electrical Substation]

1 hour ago, boxelder said:

beyond late to this, but i still feel the same way. i always appreciated blink for the fact that it was just three guys onstage, writing and playing the music. the route they went with california was EXTREMELY lame, safe, and indefensible, honestly -- and it was a big shock at the time because of 1) how overly bland and gimmicky it was 2) how bad most of the songs truly were and 3) because they had never done that before. even in his book, you can tell he had mixed feelings about it in 2016. he calls it an "experiment" that worked. it required him to hand over the keys and agency to his own music and songwriting, transitioning the band from a cohesive functioning unit to a brand, an avatar. matt never stood a chance. afterwards, NINE was a monster of mismatched ideas and loss of self, almost as a reaction.

it's been a decade. my feelings remain the same: at this point, i don't care if there's a whole team of songwriters trying to recapture the glory days -- they never will. there was a spark and creative engine behind the work they were doing 25 years ago, and that's completely gone now. you almost have to approach it like two separate bands. the old band is never coming back. treating them with the same measure of quality is unrealistic -- they are not 25 on warped tour. i'm also coming at it from an empathetic point of a view: they're kinda washed. they're stuck in their modes and timbres. having outside help shakes up their approach. is it dishonest? yes. does it sacrifice the integrity of the band? yes. does it matter anymore, all this time later? no.

That’s a lot of words to just say it’s only ok when Tom does it, lol. 

[Coightstradamus]

1 hour ago, Sun God said:

That’s a lot of words to just say it’s only ok when Tom does it, lol. 

Fuck dude! This was my exact thought! Like exact to the word in my head but I really couldn’t be fucked getting into it again so I just passed lmao.

[Ghent]

9 hours ago, boxelder said:

beyond late to this, but i still feel the same way. i always appreciated blink for the fact that it was just three guys onstage, writing and playing the music. the route they went with california was EXTREMELY lame, safe, and indefensible, honestly -- and it was a big shock at the time because of 1) how overly bland and gimmicky it was 2) how bad most of the songs truly were and 3) because they had never done that before. even in his book, you can tell he had mixed feelings about it in 2016. he calls it an "experiment" that worked. it required him to hand over the keys and agency to his own music and songwriting, transitioning the band from a cohesive functioning unit to a brand, an avatar. matt never stood a chance. afterwards, NINE was a monster of mismatched ideas and loss of self, almost as a reaction.

it's been a decade. my feelings remain the same: at this point, i don't care if there's a whole team of songwriters trying to recapture the glory days -- they never will. there was a spark and creative engine behind the work they were doing 25 years ago, and that's completely gone now. you almost have to approach it like two separate bands. the old band is never coming back. treating them with the same measure of quality is unrealistic -- they are not 25 on warped tour. i'm also coming at it from an empathetic point of a view: they're kinda washed. they're stuck in their modes and timbres. having outside help shakes up their approach. is it dishonest? yes. does it sacrifice the integrity of the band? yes. does it matter anymore, all this time later? no.

 

Pretzel logic right here

[Coightstradamus]

You can clown all you want @boxelder but on a lot of words you basically said “this bothered me when Matt was in the band but now that Tom is back I don’t care”

[boxelder]

Notice how there was no appraisal of OMT in any part of my reply. There’s elements I like about it and plenty I don’t. And I don’t like the band using extra songwriters. I made that very clear. You guys can moan all you want saying I’m doing some sort of about face — have fun. All I’m saying is treating this like the same band that made Untitled is a fruitless exercise at this point, and that personally, I don’t care about investing energy into taking it seriously anymore, because the band is so far from being what they were it’s useless to me.

for what’s it worth, I’ve been complimentary of California in the past too. You guys just wanna pin down some sort of gotcha that isn’t there

[Jan Mortensen]

52 minutes ago, boxelder said:

Notice how there was no appraisal of OMT in any part of my reply. There’s elements I like about it and plenty I don’t. And I don’t like the band using extra songwriters. I made that very clear. You guys can moan all you want saying I’m doing some sort of about face — have fun. All I’m saying is treating this like the same band that made Untitled is a fruitless exercise at this point, and that personally, I don’t care about investing energy into taking it seriously anymore, because the band is so far from being what they were it’s useless to me.

for what’s it worth, I’ve been complimentary of California in the past too. You guys just wanna pin down some sort of gotcha that isn’t there

They’re touchy. You just have to watch out.  What you said was very straight forward and honest about the overall feeling it leaves you with since 2016. 

[Electrical Substation]

10 minutes ago, Raw Jan said:

They’re touchy. You just have to watch out.  What you said was very straight forward and honest about the overall feeling it leaves you with since 2016. 

Tombots unite!

[Coightstradamus]

1 hour ago, Sun God said:

Tombots unite!

I don’t know why they don’t just embrace it

[boxelder]

(offers well-reasoned argument for how i feel, backed up by years of consistency)

("you're just a tombot")

[Electrical Substation]

52 minutes ago, boxelder said:

(offers well-reasoned argument for how i feel, backed up by years of consistency)

("you're just a tombot")

Dude. No matter how you try to spin it, your conclusion is that:

songwriters with Mark, Matt, and Travis = bad

songwriters with Mark, Tom, and Travis= no problem!

It’s not even a big deal and i don’t think any less of you for your opinion but at least own it lol

[boxelder]

damn... what a tombot

[Coightstradamus]

If you get this offended by being called a tombot then you are definitely a tombot.