Another interview with producer Aaron Rubin has been released.Read More “Another Chat with Aaron Rubin”
The ‘All The Small Things’ rockers have reportedly left a gap in their touring schedule to accommodate the gigs, which take place over the August Bank Holiday weekend, and will receive a cool £1 million for the shows.
A source told The Sun on Sunday newspaper: “Blink-182 is a huge get for Reading and Leeds, given the band’s recent surge in popularity.
It really does feel like yesterday that I was just unwrapping the CD of this Blink-182 classic, known to many as their [Untitled} fifth effort, and grinning ear to ear about the sound that was about to surround me for the next two-plus years of a standard album cycle. Little did I know, this would be the last studio album Blink-182 would record for eight (!) years, until they returned with 2011’s Neighborhoods. This studio effort was a flawless execution of slick pop-punk hooks, experimental rock, hip-hop beats, and a top-notch collaborative song with The Cure’s Robert Smith. While some longtime Blink fans were disappointed with the final result of this record (that succeeded the bulletproof pop-punk classic, Take Off Your Pants & Jacket), almost all of these fans now point to this album as a seismic shift in the band’s songwriting and offered glimpses as to where they would take their sound for the foreseeable future. This fifth LP was produced by Jerry Finn, and it would also end up being their longest album to date, clocking in at a little over the 49-minute mark. Mark Hoppus, Tom DeLonge and Travis Barker should be looking back fondly on this momentous album today that would find Blink-182 breaking down the silos of what a pop-punk band should sound like, and blow the doors off the hinges in the process.Read More “Blink-182 – [Untitled]”
Not only does Barker consider it their most personal record yet, but he also feels that the time they spent apart has resulted in them making some of their strongest work to date. “We had a lot to say, to write about and to experiment with after not being in the same band for however many years,” he says. “It was really exciting.”
“Everything has just been really organic,” he affirms. “If you’re just doing album cycle after album cycle, you do lose inspiration. For me, I’ve got to get out and live and experience something. I need some ups and downs. I need some of the best days of my life, and I need some tragedy.”
“It was a sensitive subject,” Barker says, his eyes drifting toward the room where they recorded. “I had to prove myself. They were like, ‘No, you’re Trav. You play drums in the band.’ And I didn’t want to be, like, ‘No, but this is what I do!’ I just shut up and let the music speak.”
He never technically asked to serve as the album’s producer — he just started producing it. After his bandmates left Woodland Hills, Barker would stay behind, turning the pieces of music they’d started into full-blown songs to present to them when they returned. After about seven months of weekly meetings, Blink-182 had over a dozen new tracks.
Blink-182’s One More Time bows atop the Billboard 200 albums chart (dated Nov. 4), securing the rock trio its third chart-topping set. The new full-length studio album begins with 125,000 equivalent album units earned in the U.S. in the week ending Oct. 26, according to Luminate, largely powered by traditional album sales.
One More Time is Blink-182’s first album with the group’s longtime lineup of drummer Travis Barker, vocalist/bassist Mark Hoppus and guitarist/vocalist Tom DeLonge since DeLonge departed the group in 2015 for seven years, and the first studio effort from that trio since 2012’s Dogs Eating Dogs EP.
You love to see it.
So the spirit of Monsters of California is that ghosts are real, Bigfoot is real, UFOs are real, demonic possession is real, orbs of light are real — it’s all happening. And it’s not weird or unique or rare; it is a part of the fabric of existence. So if you go into the ocean, you’re gonna see a jellyfish, you’re gonna see a dolphin, you’re gonna see a whale, then you’re gonna see a boat. And then you’re gonna see a Coke can and some banana peels float by, and you’re gonna realize there’s an island somewhere.
You’d have no idea the ocean is a lot bigger than the jellyfish. It’s got everything in it, and things in it that make no sense that are left over from somewhere else. That’s kind of the point, is that “paranormal” just means “more than normal.” But pretty soon, it will be just normal. Frequencies of life are intersecting, and in certain locations in certain places, we will see the echoes of that. And we will interact with that. And we will understand that. We won’t call it weird. We are at a point now where it’s an inflection point on our understanding of consciousness.
No, Blink is gonna continue. This thing’s a monster. I mean, the band’s bigger than it’s ever been, by miles. On paper, I guess it makes sense, but in my heart, it doesn’t, because I feel like a skateboarder from East County, San Diego. I don’t know how I got this position. Looking at old videos of us, I’m like, Have I really been doing this shit for, like, 27 years? But it’s bigger than it’s ever been. Somehow it’s relevant.
I get it on paper — the songs are catchy, there’s a lot of energy, so it’s fun. The humor and friendship and brotherhood, everyone can relate to. Maybe that’s all you need. But I know that exists in other bands, too, so I’m not quite sure why it’s all working the way it is. But I am so grateful. It’s weird, because for so long, people were annoyed by these dumb skateboarder kids that would tell dick jokes on stage, singing pop songs. They would say we were like the Beach Boys on meth. But, fuck, the Beach Boys are fucking good — I wish I was that good! But here we are still doing it
These are now available on the digital version of the album in their store for $4.99.Read More “Travis Barker Teases Two More Blink-182 Tracks”