Thank you from everyone at

Re: California Official Discussion

plopbellie wrote:Has anyone managed to find a high quality copy of hey I'm sorry yet? Not a YouTube rip?

I ordered the CD from Japan so if no one has one by the time it gets here I'll rip it for you guys.

Also only song I can't enjoy is Los Angeles because of that horrible intro, anyone else?

Re: California Official Discussion

I still feel like this is MILES better than self-titled, and in turn, Neighborhoods (and the EP). This is, in my honest opinion, where blink should've gone after TOYPAJ. If this album had Feelin This (which I still believe doesn't belong on self-titled), and MH, then this would've been the PERFECT follow up (because Feelin This) is fucking incredible. But yah. If Tom had been able to share songs like Matt and Mark do on this album, blink would've been unstoppable. Yes, there are some "Matt" songs and some "Mark" songs, but even on those, they both sing a verse or a bridge or an outro. It really makes every song POP. The harmonies are RIDICULOUSLY amazing and their voices truly do bring back the beauty of what Mark and Tom used to do. After hearing this record, I am extremely excited to see where blink will go next. I actually hope that they adopt the sound from the two joke tracks. Highly layered vocals. That would be fucking stupendous. Before I said I wasn't a fan of "Kings of the Weekend." Well, I love that song now. The line "It's Friday night let's lose our minds in a downward spiral" has that same "bounce" like in the first verse of M.H. which I still feel is one of blink's best, strangely enough. The only song I can't get into is "Teenage Satellites." It sounds too much like a post-TOYPAJ Tom song. Asthenia and Wishing Well immediately come to mind, strangely enough.

I think Cynical was the perfect song to start out with. It brought Mark front and center which is what blink had been lacking in the previous albums. The bass chords are legit and Mark's melody is unique but catchy. Plus, it doesn't follow a normal song structure which is ridiculously cool. My favorites are still She's Out Of Her Mind (that should've been the first single, in my honest opinion) .... fucking Sober is incredible ... it blends some traditional folk (Australian folk? Dare I say Irish punk?) and I believe this could actually do well on rock radio now a days. Earlier on, I said that blink should experiment by trying out what rock bands are doing today and Sober is definitely that. And I think they fucking nailed it out of the park. I originally didn't like Future (except for the verses and the bridge) but now the chorus is catchy as all fuck. It has that bounce, almost nursery rhyme jive, which a lot of punk bands play with and I love it. In fact, speaking of punk bands, the harmonies in a lot of these songs ... including Kings of the Weekend .... remind me of Fat Mike's harmonic layering in Pump Up The Valuum. I think it's a perfect sound for blink and I hope they keep it. Home is such a Lonely Place is also fucking golden. Love that shit. I love Mark's verse blended with Matt's smashing chorus and then Mark's "Don't Wait For Me, Don't Wait For Me" just fucking hits it home. In fact, this is like Story of a Lonely Guy except without the embarrassing lyrics. I used to love that song, but now it makes me cringe. I don't think "Home .... Place" could ever be cringe-worthy since it's subject matter you can never grow out of. Plus, it's a better version of the song. From what I remember, a lot of people love the chorus in Left Alone, and I fucking agree. It's fucking great. I love Mark's verse ... and even though I like Matt's verse, I would've preferred if Mark sang that verse as well. In fact, again going on another tangent, this is something I wish blink did back in the day. Have Mark and Tom switch back and forth with the verses, and even choruses. It gives the song a fresh feel which I think is a great technique. Again, sometimes it doesn't work, like in this particular instance, but otherwise, it usually works great, like in The Only Thing That Matters. Sorry ... I didn't mean to go through every song, but I guess I am because I got excited. Rabbit Hole. Yah. Fucking rad as fuck. The pre-chorus used to bother me .... but now it doesn't. I'm glad Mark sings the chorus each time. It's fucking glorious. San Diego is pretty cool. I'm glad Mark sings both verses on this one, too. The Only Thing That Matters. Yah. Fucking rad punk rock. Like Cynical. Fucking period. In a way, this is almost Sometimes Part II (except for Matt's part) which, again, I think is fucking brilliant as well. And then California. My god. Mark's voice shines like fuck in this song. THIS is what we lost when Tom got all in our faces. THIS is what Mark can do. Mark doesn't just have to sing low. He can fuckin' belt it and it can sound great. It doesn't work in some songs like in Bored to Death, but, fuck, here, it works. It works so fucking well.

This is not an album review, because it's just an emotional puke of feelings. But I am so fucking happy with this record. I will happily forget about self-titled, Neighborhoods and the EP, save for a few songs. It was time for Mark to shine, and god dammit, does he shine. I missed the happy sounding Mark. Yah, I wouldn't want him singing about what he sang about back in the day, but fuck, it's that style that fits him so well. The verses in She's Out Of Her Mind? And in that little pre-chorus? "The black shirt, black skirt" thing. Yaaaaaah. That's the Mark I want. And we got him. I didn't mention Los Angeles. Fucking great experimental song. I love Mark's WOOAHAHAHAAs in the verse and his part in the outro. I've only listened to "Hey, I'm Sorry" once. I remember really like the verses a lot. I'll have to listen to it again. But I remember liking it.

People are freaking out about the Nanas and the whoas.

It's blink. It's what blink does. Listen to their past songs. Plus, it sounds good. It fills in the songs. Take them out and you lose something.

Is it repetitive? Sure. But people have been freaking out about Neighborhoods and how it isn't cohesive. There needed something to link them. In a way, this does like the songs together. It's cohesive. They blend in perfectly.

This, to me, has the potential to be their best album. I think it may be. It might sound strange to some, but there it is. From TOYPAJ to self-titled it was too fucking much of a jump. It was like a different band. If this album came first and then led into self-titled (with more Mark), it would've been a lot smoother. This album makes so much more sense. So much more.

Goodbye self-titled. Goodbye Neighborhoods. Goodbye Dogs Eating Dogs. Goodbye Tom.

I'm not going to miss you.
I was hanging on by a little thread.
Just minutes before I was on a mountain.
I screamed "I can see all."
The ground broke from the sound.
It was all built on nothing.
Caution: the solid ground that you are on will slide from under you.
-Hot Water Music

Re: California Official Discussion

I compare broccs experience with California. To that one episode of That 70s show when Fez was given a giant box of porn. I wouldn't leave brocc alone in a room .. He may start to chafe

I do love the album . I definitely feel like elements from Self Titled and Neighborhoods will be missed. But in the grand scheme of things in a band catalogue as a whole. The album is a slam dunk. Untitled and neighborhoods were attempts at band reinvention. California is as I see it throwback modernized. As a whole catalogue there is a lot to enjoy. And all of these songs only add to a great library. So I don't see a need to cringe or whatever.

That said on future albums a delve into the heavier riffs wouldn't hurt. If we got a California 2 I wouldn't mind it. So long as Feldman wasn't involved. But there is no need for song writers to add to Mark and Matt. It's an insult if anything..

Props Go To Elevator: King Of Sigs

Re: California Official Discussion

Daaamn, guys. This is a weird one, huh? Yesterday I tried to give an opinion/personal review, but felt weird enough that I ended up holding back from the TLDR. But after reading Broccoli's post I got encouraged.
I'll first go with the stuff I disliked, because it's a forum, and u gotta throw the poops, because that's what u do.
The production. They haven't been very lucky with production since Jerry Finn went away, did they? Maybe it's my fault I did not expect this, because I looked at Feldmann's wiki page a couple months ago, and saw he was responsible for producing Five Seconds Of Summer, Avicciiii (or however the fuck you write his name), All Time Low and Good Charlotte, amongst others. This record's sound pushes towards that territory... and I'm not amused. This "blink in 2016" sounds more 2016 than it does blink. The instrumentation is drenched in that glossy modern pop production. Sometimes even overshadowed by it. I agree with the guys that have been saying that they did Travis dirty on this one. It sounds like "A Drum Set", it sounds generic. The overall production does. From the claps in Sober to the blips and beeps and boops laying here and there, they finally got rid of the AvA synths just to get some odd samples and drum machines and poppy production techniques that reaaaally feel weird for them. And guys, I LOVED When Your Heart Stops Beating, so it's not the electronic elements that bother me, it's just that they couldn't have chosen worse ones to use.
And yes, the WHOAs, YEAHs and OHs get very awkward by the 3000th time. Some of them are very unnecesary, weird and sometimes even phoned in.
Now, to the stuff I liked.
Mark. I like Mark. I LOVE Mark. Just... daamn I almost forgot how well this guy knows melodies and harmonies. And in here, he's blooming. Every time he sings, it just feels good. And while he's not very technical, he's just on point with his bass playing. oddly enough, he manages to sound wonderful and cut through the mix even with the all over the place production. His vocals and bass chords at the begining of Cynical sound on point. By the way, that's also something I love about this record. Cynical. If that start I already enjoyed, when the drums and guitars came in... I was fucking BLOWN AWAY by it.
From there, the album just flows very well, I found it very cohesive. And the band sounds very tight. Travis is still at his Traviest, even with that freaking generic ass drum sound they gave him. And Matt, I'm 100% new to him, I never heard Alkaline Trio. I like the guy, he's got very interesting vocals. And his guitar sounds very full and girthy, something I've been missing for some time.
But yeah, the songs, they are very good! From the more traditional blink sound in Cynical, The Only Thing That Matters and Rabbit Hole to the more experimental works like Los Angeles, and songs like Home Is Such A Lonely Place, which I feel is them in a whole new territory. Still, I don't see them as "this-era or that-era" blink songs.
These songs feel like guys that simply got together and made an album. And it sounds like blink, because it is blink. Beneath all of that glossy production, the songs still shine through.
Save for maybe Kings Of The Weekend, Teenage Sattelites and Left Alone which I'm not that much into... the latter of those three is slowly growing on me, let's see how it goes.
Also, something I noticed is... these songs pay homage to the old school punk rock, as well as the old school pop songs... in that they are very short? Seriously, most of them barely make it to the 3 and a half minute mark!
Oh, and then there's the title track. It's a wonderfully written, wonderfully executed piece of music. But the first few times I listened to it, I HATED IT. Maybe it's the melancholic, anthemic atmosphere it's trying to set, maybe it's just the melody (I am thoroughly convinced co writer Martin Johnson who wrote with Taylor Swift, Jason DeRulo, Avril Lavigne, etc. has something to do with this), but while I could acknowledge how good the song was, I just could not stand it. And the production was not helping. There's still something about that song, that I can't quite put my finger in!
"I'm a little bit shy, a bit strange and a little bit manic..."


Re: California Official Discussion

@broccoli.@ ramirin

nice posts, and broccoli, II'm glad you really enjoyed it.

hard for me to imagine dislikinguntitled, lol. that album basically is blink for me, and i dont think they would have left the same legacy they did without (not that prior albums arent also essential for them). not arguing, it's just great we can have such different viewpoints. lol.

I think in 2003 they needed to do something really different that would reinvent themselves and really 'shock' us. in 2016 they needed to be reenergised, and i think doing a "reboot" album (modern take on classic blink) is what they need right now. I think this is a good direction for the band to go in even if overall i wish the album was better outside of the five songs i like. now that they've released their "reboot" album, i think they'll need to push it forward and start experimenting again, really pushing for something different. after toypaj, they really needed to subvert expectations, I feel like in 2018 it'll be wise to not play it safe.

Re: California Official Discussion

KayTheMagnificent wrote:blink had the woahs and na na nas before but not on every song, shoved in the fill out the run time. the reason people are complaining is because it's fuckin' everywhere on this record, you can't escape it.

yeah I can confirm that only 3 of the 17 new songs are free of 'nanas' or 'wo ohs'. And one of them is Brohemian Rhapsody.

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