The world has been interviewing Blink-182 over the past week (the label’s mad at me for posting that the video went up on YouTube, so I’m probably s.o.l), the latest is from Forbes, discussing the new beginning for the band and giving a little more detail on some of the new songs:

Well songs like “Rabbit Hole,” that have this big anthemic gang vocal at the end of it. There’s a song called “No Future,” there are a lot of really energetic, anthemic, angst-y fun rock songs I can’t wait to play live. This album is really rich with sing-along melodies and sing-along choruses. When I go to a show I want to sing along with the band. I still have that energy of going to see Bad Religion at the Palladium and wanting to sing every single word and I think this album has a lot of that for people.

Rolling Stone were at the kickoff “Karaoke Bash” for Blink-182’s new album and tour and the article has some new information peppered in.

“It goes in a lot of different directions,” says Hoppus. “We have some songs that sound like Blink-182 from 1999. … We have some songs that are like nothing we have ever done before. We have a ballad called ‘Home Is Such a Lonely Place’ that has clean arpeggiated finger-picking guitars with strings underneath it. We have super-fast late-Nineties-punk-rock-sounding songs. … We tried to capture the energy and not worry so much about all the knobs.”

Ed Christman, writing for Billboard, looks at how Blink-182’s new label, BMG, and their distribution deal with the Alternative Distribution Alliance will be challenging RED as the largest indie distributor in the U.S.:

According to sources, BMG’s record label operations is already generating about $100 million globally, and about one-third of that is in the U.S. While BMG began its revival in 2008 by first pursuing music publishing opportunities, after it completed the sale of its music assets to Sony Corp., it actually held back about 200 album master recordings from the Sony deal. But it wasn’t until 2013 when it acquired Sanctuary and Mute as part of the divestiture’s the Universal Music Group made in order to keep the EU Commission’s regulatory agency happy about its EMI Recorded Music acquisition, that it began aggressively pursuing a recorded music strategy too. Since then, it has also acquired Union Square, Infectious, S-Curve, Vagrant, and Rise.

All these labels and deals and acronyms sure gets messy fast.