Discussion in 'Music Forum' started by popdisaster00, Jun 26, 2017.
Yes!! I agree 100 percent
HOW'S ABOOT MY DIGITAL E-FIST GETS STUCK IN YER HEAD, PARTNER!?!
I only agree 98.6%
I no longer have a need for any Blink release between Untitled & Nine - this should have been the true follow up to Untitled. All I needed to hear was in The First Time. The way Mark & Skiba start in separate places in the chorus, only to meet back up and harmonize on "...there ain't nothing like the first time" is some 2003 era/Feeling This type creativity and songwriting that has been lacking on everything since.
Also, credit to Feldmann or whoever was able to recapture Skiba's gritty vocals. Him & Mark finally contrast each other the way Mark & Tom did. On some California songs, I couldn't even tell who was singing what.
I'm usually a pretty good judge of new user names. Totally assumed this would be a spam account.
Thriller by Fall Out Boy was what first came to mind for me.
Agreed. That was so well done
Hey it could have been worse, I could have quoted Bottom Of The Ocean instead.
I was thinking Foo Fighters’ “In Your Honor” which is one of my fav Foo songs (not a huge fan but understand their influence and appeal)
So are we done ripping Feldy now?
I actually do think Blame it on My Youth is the worst song on the album. No Heart to Speak Of, Pin the Grenade, and Heaven are my favorites.
Agree with all of that. Obviously I've only sat on this for one day, but nothing about NINE jumps out at me as being an obvious flaw from the start which wasn't the case with the last two records.
From the first listen, it was easy to tell that Neighborhoods was "AvA meets +44" to a certain degree (aka, lack of collaboration, communication and direction). California remedied a lot of that and brought back the energy/enthusiasm, but it brought new problems to the table: conventional song structures, repetitive riffs, overuse of "whoa"s and "na na"s, etc. Almost blink-182 boiled down to a formula.
Regardless of how NINE stands the test of time, it at least fixed a lot of those problems from both records. It's cohesive, the collaboration is obviously there, there are plenty of twists and turns, but it's still super catchy and very obviously "blink". We'll have to see how it holds up, but at the very least, it feels like they worked out the kinks this time around.
I wish they'd do more songs like On Some Emo Shit. I can't place what it reminds me of, but it' killing me trying to figure it out.
I'm tempted to say Pin the Grenade is their strongest chorus since Untitled. It feels like Blink and eternal youth without bashing us over the head with lyrics about being young and restless. I went for a run last night to do a playthrough and I got caught on PTG 5-6 repeats. In the new Frightened Rabbit doc Ben Gibbard talks about how people say music isn't what it used to be, but really as you get older it is harder to find music that elicits the same emotional response as when you were young. He says it's out there but it is our job to find it and cherish it. I feel this song is the first Blink song that is as evocative of raw youthful emotions as I felt when I heard Untitled for the first time. That alone has me really happy for what this era is and what could be to come.
Hoping this one is a bridge between Blink finding themselves again in this current iteration on California, and even weirder, more experimental, fearless and unabandoned creativity together. I respect the radio-friendly songs, but I don't think they need them to stay relevant to their core fanbase or the mainstream casual listener. I Miss You is weird as hell and it still stands as one of their staples that literally everyone knows.
Going to jam this all day long and then go dark until the actual release.
I'm imaging if people didn't hear BIOMY until the leak. Hearing that for the first time in the context of the album would be a treat for me personally.
I still like blame it on my youth a lot. Happy days might be my least favorite.
Yeah, it was a mistake to release it first IMO. It is perfect as a gem hidden in this album rather than the thesis for what to expect the body of work will be.
I don't get it, you want me to quote a Cheshire Cat song?
I was thinking about this a lot actually yesterday. I listened to the record a few times, but passively. I’m a married father with a full time job. That time I had to sit alone with a record and take in any and every nuance is lost these days. At the end of the night as I drove home from Costco, I put it on again. I had about 20 mins with the record - loud and in silence. I heard so much I just didn’t catch while listening at work or in the car with my wife and kid. And I’d say anyone in their 30s that’s still listening to bands they listened to growing up experience this a lot, too. Like, every AFI record that’s come out since December Underground has been, to me, forgettable and not worth coming back to and I used to lament this. Now, this COULD be them, but it also could me be - and less about what my tastes are these days and more about my listening habits. Anyway, all this is to say I realized I should really spend some time with this record and not listen so passively. Everyone is firing off these song titles and how great they are and I’m just not remembering them that way yet. Haha. However, I have compared it to all the best things I loved about +44 and AK3 and that I enjoy NINE more than either of those things which is surprising.
that would be ideal. haha.
I would’ve been way less confused during my first listen.
I hope so.
Yeah, it is a difficult thing to appeal to 16-year-olds on a purely emotional level, and also make music that resonates with folks who have been along for the ride and now have jobs, spouses, kids, and have seen some shit. Tom shared a similar sentiment after playing The Adventure. Basically, "Thanks for singing along. You motherfuckers heard this when you were 16, but now it means something deeper and totally different as you're pushing 30." I think this record is playing that balancing act really well.
I guess it just depends.