2023-10-24 18:40:42
That One More Time… supposedly like the direct successor to the self-titled 2003 album by Blink-182 sounds like is just wrong in many ways. What is true, however, is that the classic band line-up, which has reunited, has created its best album since then.
The unfortunate interlude with Matt Skiba (on the weak California as well as the all-round disastrous one Nine) in the rearview mirror, this blatant upturn in the form curve is not because the Mark, Tom and Travis show On their comeback, they really do a lot to offer the widest possible performance area – from the omnipresent instrumental nostalgia factor (in terms of content alone, but also apart from that) to the (also via Machine Gun Kelly and Avril Lavigne scouted out mainstream market) catastrophic Barker production, which does not skimp on autotune or other inorganic effects and filters in order to plaster the event in a fashionably polished, highly glossy manner.
Nor in the subsequent symbolic balancing act between a self-reflective seriousness on the one hand – which has long been an unpleasant bone of contention in the cosmos of a band that does not want to give a final rejection of its silly image. Which subsequently, and on the other hand, this time makes an examination of the almost convulsive clinging to youth an omnipresent theme – and makes this (im)maturity the common thread of an album that, despite its entertaining entertainment value, with 17 songs over 45 Minutes should still have been simply streamlined: a Other Side or Bad News Although not failures, they can serve as a representative of the fact that not everything here is essential, while the two accelerator pedals only take a few seconds Turn This Off and (the one created with Tim Armstrong) Fuck Face in the context of the record they are simply unnecessary dynamic catalysts.
Why One More Time… However (and despite the noted blemishes) it almost comes close to the level of quality cultivated around the turn of the millennium, it has to do with the generally solid level of songwriting (even without potential instant classics or in-house hits), which is rarely relatively risk-free breaks out of the tried and tested formula box – namely in the moments that are more explicitly oriented towards pop and open up the comfort zone for any side projects in Blink’s history Fell In Love (that with his “Had“It’s annoying, but otherwise it’s a really nice singalong in the shadow of old friend Robert Smith), which is a bit too banal Green Day swaying, ambivalent lowlight Edgingthe The Cure-adapting synth piece Blink Wave and the misplaced interlude sketch Hurtas well as the pleasantness that oscillates in anachronism Childhood.
Especially the initial phase is great Anthem Part 3 about (the brisk, Ole!-penetrating) Dance with Me to the point where the mood shifts from wandering melancholy to a mood of optimism Terrified away convinced, too One More Time (as a pathetic schmaltz update too I Miss You) wins in the context before More Than You Know the piano ballad pretends to shoot with bite. Also When We Were Young or (the melancholic one, but a bit too long) You Don’t Know What You’ve Got are all around okay sovereignties that approach the band’s trademarks in a motivated manner, even if, like all the material here, they could only really be fun live, when everything is a bit edgier and sweatier and you can get your hands dirty.
But that doesn’t change anything for now Blink-182 Here a comeback has succeeded above the (admittedly low) expectations. In this respect, you can lose a bit of an objective view.
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