Review: Blink-182 – California [Deluxe Edition]

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When California released last year, it was easily one of the year’s highlights, as well as a landmark for Blink-182. With the recent release of California [Deluxe Edition], the band have put together a full disc of addition songs, more or less as an unofficial sequel to the album.

Consisting of B-sides to the original release and some new recordings, California [Deluxe Edition] was one of my most anticipated releases this year. After waiting so many years for music from Blink-182, the decision to release bonus content is a welcome surprise that marks one of the few re-releases of an album that is actually worth the (second) price of admission.

Under normal circumstances, a record’s re-release is a passing of the baton to a new record label that wants to cash in with a couple of extra songs, or something that makes it more of a collector’s item than essential listening. California [Deluxe Edition] is something else entirely. While the Deluxe Edition isn’t a true album, nor a sequel to California, nor does it even relate the the original album in almost any way, it gives insight into the process of the band’s re-invigoration.

The Deluxe Edition is far more experimental than Blink-182 allowed themselves to be on the initial release. The pop and punk rock edge are apparent in spades, but the rhythms and emphasis on softer melodies harkens to a style of song writing reminiscent of +44 and, to an extent, Boxcar Racer. The themes are darker and more brooding. If this second disc truly originated from a surplus of B-sides, then the evolution of the true California is incredible.

California isn’t a happy record, but it acknowledges the problems the band has faced over the last few years while having still having fun. While I don’t know which of the new batch of songs originally were unused B-sides and which are new recordings, I have a good guess.

There are a series of songs that sound less fleshed out, and are lyrically darker than their companions (“Don’t Mean Anything”, “The Last Train Home”). Lyrics such as “Adrift at sea with no one left to rescue / Tonic and a fifth of gin / She said goodbye and left again / These rooms are deafening without you”.

Other songs aren’t joyful by any means, but retain the edge of classic Blink-182 that tackle the same issues without losing the playful nature of the songs (“Parking Lot”, “Wildfire”). It’s this second batch that feel written by a band more comfortable writing together and know what they are aiming for.

“Parking Lot” especially captures the magic, making constant references to older punk bands and good times. It’s a classic Blink-182 song celebrating teenage angst and the love of music as Mark shouts, “I’ll meet my friends at the Target curb / I rolled my ankle, Matt just broke his wrist / I climbed through your window at 3 a.m. / We listened to The Smiths and the Violent Femmes / We both sang ‘Why can’t I get one kiss?’”.

The Deluxe Edition is fascinating in that it shows how Blink-182 toyed with their sound while writing their comeback album and how much the band was willing to experiment without the pestering of Tom DeLonge constantly pushing for something new. “Bottom of the Ocean” is a raging rock song that almost sounds like a Britney Spears cover. “6/8” is a demented take on what Blink-182 would sound like if they tried to be Brand New.

Oddly enough, one of the album’s highlights is an acoustic version of “Bored to Death”, recorded live with a crowd singing in the background. After being the first single back from the brink, this version is much more subdued, as it no longer needs the spectacle and flash to draw back their fans. Instead, the intimacy gives the song a deeper and darker take on the world, and highlights just how perfectly Mark and Matt’s voices meld together. And the moment when the audience begins clapping along is breathtaking.

The California [Deluxe Edition] is something rare. It isn’t a full album nor is it a collection of demos. It’s at once apparent why these songs didn’t make it to the final version, and fascinating that at least half led to the creation of California, while others were spurred on by the fact that the band enjoyed writing the album so much.

While it isn’t essential to enjoy California as a whole, it’s easy to see many of these songs becoming fan favorites. This was never meant to be a record that flows along. More importantly, it’s a look into the mentality of a band reacquainting itself with making music, determined to once again conquer the world.

3/5 (Just the Second Disc)

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and has been listening to California since last July. It will be nice to have something new to spin. These really are good songs.

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Review: Blink-182 – California

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Blink-182 has long been an institution of music. The burden of reinventing themselves to reassure fans who have been through a decade of drama and disappointment is a heavy one. California is not a new Enema of the State, but it adds something that hasn’t seemed to be in their recordings for quite some time: they sound like they want to be there.

California is a fun record. There are no “First Date” or “The Rock Show” mega-anthems, and there shouldn’t be. What could have been a disaster of replacing a primary songwriter after 20 years, Matt Skiba is still getting his footing to live up to a band that, essentially, brought pop punk and skatepunk to the mainstream.

California is not a serious record, a notion we get straight out of the gate during “Cynical”. After a meaningful message of Mark Hoppus addressing everyone who questioned moving on without Tom, (“There’s a cynical feeling saying I should give up / You said everything you’ll ever say”), just as the guitars take off and a massive drum solo from Travis Barker rages, the music pauses ever so slightly for someone to make an irritated noise as though they just messed up the song during recording to start over.

That is what differentiates California from what Blink-182 had become – it’s not trying to be something it’s not. It’s simple, it’s loud and it will have you attempting to sing along on the first listen. Mark Hoppus and Matt Skiba’s call and return vocals, and the trade off of verses is seamless. Barker’s drumming phenomenal. Per usual, Hoppus’ bass lines are crisp, deliberate and deep.

Skiba, taking the reigns for guitar, weaves himself into the worthy successor we’d have hoped for. The riffs are light and pop perfectly. He understands what Blink-182 sounds like and differentiates that style of songwriting so that, for the most part, it doesn’t sound like it was pulled from an Alkaline Trio record (the one exception arguably being “Los Angeles”). Some of the guitar riffs sound like they could have been written by Tom at any point (“The Only Thing That Matters”), which seems like more of a tip of respect than ripping off an idea.

As the second singer, Skiba is terrific. His vocals seem a bit higher and pronounced that they do with Alkaline Trio, and at certain pitches, he sounds like Tom. More often than not though, his deeper pitch blends eerily with Mark Hoppus and creates a rich harmony, occasionally accented by Skiba’s whimper between notes.

The trio experiments lightly on songs like “Los Angeles”, relying on Barker’s drumming and a shaky guitar to produce a song that has light R&B flavors and drops into a dark rock chorus. This is the one song that sounds like it could have been an Alkaline Trio song before exploding completely into a bridge that is pure Blink-182 under Hoppus’ vocals.

Some of the more somber notes and spacey synth (“Left Alone”) feel like an homage to Tom, and sound like something he would have written himself. “Bored to Death” already feels like a staple for the band, and if you haven’t heard it already, it has already lauded itself as the most successful single for the band since “Miss You”. The temperament between soft verses to a loud chorus and sweeping backing vocals is fantastic work of cooperation between each band member.

For the most part though, California is a collection of good-to-fantastic pop punk songs that fit perfectly in-sync with the rest of their discography. “Teenage Satellites” is a fast jam with a soaring chorus and is perhaps the song that best focuses solely on Matt Skiba. It’s fun, romantic and demands to be sung aloud. “Kings of the Weekend” charges in a slow build before throwing itself headlong into the chorus, celebrating punk rock music as the savior to boring nights.

“She’s Out of Her Mind” might be the most ‘classic’ song on the album, as it sounds like a spiritual successor to “The Rock Show” in its build up, punctuated chorus and raging guitar. Each element is perfectly written to stay stuck in your head for-fucking-ever.

On my first listen, there were a few songs that I thought could have been pruned or worked on a bit more to make the album flow a bit better, but after listening to it a few times, I’m happy for everything that is on it. Fans who enjoyed any part of Blink-182’s career will find something on here to satisfy them. Though I love the joke songs (“Built This Pool”, “Brohemian Rhapsody”), they don’t flow as well with the larger picture the way that “Happy Holidays, You Bastard” did.

If there is one critique of the album that I have, it is that Skiba and Hoppus sound identical at times. I took me several listens to be able to differentiate them from time to time from certain songs (“Bored to Death”, “Sober”) but it may just be me writing when I should be paying attention. Mark Hoppus has always been my favorite member of the Blink team, but the lack of high pitch vocals made me realize how much I missed Tom’s voice. When Skiba hits the higher notes, it makes it all the more pronounced. That said. I wish that Skiba got more solo songs with Hoppus taking backing vocals.

California is a welcome return to form for a band that has seemed lost for a years. Without the infighting and drama, this is easily the best work Blink-182 have put out in over a decade. It’s cohesive, memorable in an instant, and perhaps most importantly, it’s a reminder of how damn much I’ve missed  Blink-182 at the highlight of their career. It is the reason why the band has refused to give up, but why we as fans have clamored for more releases for years. California is the sound of a band rediscovering itself, and the promise of what the future holds for a group that most believed were trapped in the past.

To new beginnings.

4/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and got into pop punk because of Blink-182. He has spun Enema of the State more times than he’s told his mother he loves her.

Managing Expectations for Blink-182

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The pandemonium surrounding last week’s blink-182 news should come as no surprise. Ever since the band’s reunion announcement at the 2009 Grammys, the collective pop punk masses have awaited the moment when the band would recapture the exhilaration of their heyday. The expectations are, and always will be, unfair, but that fact has done little to stop any of us from dreaming.

To be sure, the band’s new single, “Bored to Death”, sounds like everything fans wanted from blink-182 in the first place. From the song’s opening chords to its moody, atmospheric conclusion, the track is deeply familiar while still sounding fresh and relevant. It’s an exciting time to be a blink-182 fan, but only time will tell if the payoff is everything we want it to be.

You can pre-order California here.

You can pre-order California here.

I recently revisited my very positive 2011 review of Neighborhoods, the band’s first post-hiatus release and one that carried just as many high expectations. In hindsight, I disagree with almost everything I wrote – Neighborhoods is easily the blink-182 release that I listen to the least and the one that sounds the least familiar when I give it a spin. I’ve often wondered whether album reviews should be written at least a year after the release, but I also find myself pondering the impact of nostalgic excitement that accompanies these kinds of events. Speaking strictly in terms of wistfulness and rose-colored sentimentality, blink-182 has no peer.

Not only did the band end up headlining the pop punk revolution, their ascent perfectly aligned with a generation of kids wearily dreading the next step toward adulthood. In hindsight, it’s odd that such repetitive chord progressions and obnoxiously juvenile lyrics would stand the test of time, but there’s something strangely profound in that simplicity. All these years later, there’s still meaning to be found in a line like, “I guess this is growing up”.

Given the continued turmoil that has plagued blink for over a decade, the band members have had their own experiences with the pains of maturity. It’s odd then that the most promising facet of the band’s upcoming album, California, lies in the most unexpected of places. Just over a year after a fallout with guitarist Tom Delonge left fans wondering if there was any hope remaining for blink-182, the resounding feeling is that Tom’s replacement, Matt Skiba, is the best thing that could have happened to the band. There’s finally a new energy – and it appears to be a positive one for the first time in over a decade. The lingering discomfort surrounding Neighborhoods has largely vanished, opening the door for a world of new possibilities.

Regardless, it’s fairly safe to say that we’re all aware that California won’t impact our lives in the same way Enema of the State or Dude Ranch did, but a suitable summer soundtrack would delightfully suffice. We’ll play these songs on our commute to work instead of in the hallway by our locker during lunch break. With any luck, several songs will make us chuckle and smile, serving as a welcome reprieve from the icy disposition of Neighborhoods. Whatever we get, we’ll savor it in the moment, and that will be enough.

I guess my point is, I know well enough to approach this album with restraint and caution, dispelling any excitement with levelheaded truths from past experiences. But I know myself too well. In the weeks leading up to July 1, anticipation will take hold and my expectations will rise. I may even write a glowing review that I’ll regret years later. That’s part of the experience. Our nostalgia-driven view of blink-182 requires us to live in the moment, no matter the outcome. And that we shall do.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Most Anticipated of 2016: #1 The Rebirth of Blink-182

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The Rock Show

This has been the talk of the pop punk world for over a year at this point. We’ve heard rumors of a new Blink-182 record almost every year for half a decade, with only one LP and an EP to show for it. But this is a new Blink-182, and they’re just as anxious as we are.

It actually feels like it’s happening this time. Ever since the departure of Tom DeLonge last year and the addition of Alkaline Trio’s Matt Skiba as guitarist, the band has been active and vocal, with updates every couple of months in regards to songwriting for the new album. It’s been way too long since we’ve heard anything from Mark Hoppus and Travis Barker, and from the interviews over the last year, they sound more energized and enthusiastic about what comes next for Blink than they have for years.

It really is impossible to know what to expect from this new form of Blink-182. Will it be the polished, mature and artsy pop punk of the last few albums? Will it be a return of the ungodly catchy skate punk and dick jokes that launched the pop punk age of the early 2000s? Or will it be something else entirely, since we’re dealing with a new Blink-182?

The only thing standing in the way is expectation. New Blink-182 music has been perched high among the most anticipated lists every year since 2009, with very little to show for it. Blink-182 is beloved. Fans have had their hopes raised before only to be disappointed. But this time, we know it’s on the way. This is arguably the most anticipated pop punk event of the decade, and there are many, many ways that it won’t live up to the expectations thrust upon it (Neighborhoods, anyone?).

But we haven’t seen Blink-182 this excited to be making music since Take Off Your Pants and Jacket. Mark Hoppus and Travis Barker are excited. Matt Skiba is excited. And each musician has very, very rarely put out anything disappointing, regardless of project.

Whatever the outcome, this does feel like the year of Blink-182’s rebirth. With a new album, a tour is undoubtedly to follow, hopefully carrying the same energy required to put the album together. With the tumultuous path Blink-182 has tread over the last decade, seeing the trio with a newfound spirit is sure to the biggest event in punk rock this year.

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and was introduced to pop punk by Blink-182. No matter what, new Blink-182 is a much needed prospect.

Review: Tom Delonge – To the Stars…Demos, Odds & Ends

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Tom DeLonge’s first official solo album is a mix of nostalgia, sweepingly memorable choruses, and the mourning of what could have been. While there are definitely songs that were meant for Blink-182, To the Stars isn’t what people probably expect it to be. These are songs that weren’t ready to be released and rushed out after the news that Tom was no longer a part of Blink. When or if they’d have actually been released is up for debate, but for a release that was, for all intents and purposes, slapped together in two months, To the Stars is one of the better releases Tom DeLonge has put out in a while.

I really like Angels & Airwaves, but those albums have a tendency to start sounding similar to me after a while. I struggle to find great differences between them. To the Stars throws Tom back into a raw pop punk mode that we haven’t really seen since Boxcar Racer. While some songs definitely sound like Blink demos, the overarching sound is much more a sweet mixture of every project Tom has been a part of.

Songs like “An Endless Summer” are immediate Blink-182 songs that fall somewhere between Neighborhoods and Take Off Your Pants. “Suburban Kings” is a poppier version of a Boxcar Racer track while “Animals” is a close blending of the other two with the cosmic synth of Angels & Airwaves. To call the album “Blink demos” would be only half-true and undercutting most of the other tracks. This is the music of Tom DeLonge more than it is the tracks of any one band.

That said, I don’t think these are the ‘instant single Blink-182 songs of old’ material. They’re very good songs and it gives me hope for Tom’s ambitious plan to release five albums this year, but there is a polish that hasn’t made its way in yet.

One thing that stood out though, is that some of the more guitar focused songs are written with ‘classic Tom’ in clear focus. When the opening riff to “Golden Showers in the Golden State” started up, I was suddenly transported back to being 15 and losing my goddamned mind listening to Enema of the State. “New World” is a very Neighborhoods-esque song that you can just see Mark and Travis jamming to.

Not everything is amazing though. “The Invisible Parade” is catchy, but overall sounds lazy compared to some of the other great acoustic tracks Tom has written. One of the double-edged swords is the return to a sense of frat humor. It was a staple to Blink, and even Tom in general for so long. “Golden Showers in the Golden State” is immediately one of my favorite songs he’s put out in the last few years, but it feels like the humor was forced instead of being a natural element of having fun. “You can take a dump on my chest if it’s okay / Just don’t piss in someone’s mouth when you’re away”. I’m still not entirely sure what to think of it, considering a certain song called “Fuck a Dog” is still one of my favorites, but I welcome it nonetheless.

To the Stars did what it was meant to – show that Tom was in fact working on Blink-182 material. Honestly, it probably would have led to one of their better albums, and maybe even a return to form of sorts. But with so many elements showing up throughout the short set of eight songs, it is clear that Tom’s ambitions have outstretched beyond focusing intently on one project or another.

There’s a healthy blend of bands bleeding into each other seamlessly, for better or worse. What I really took from To the Stars is that Tom DeLonge can put out a hell of a solo album in just two months, and I hope more of his projects become intertwined throughout a single song. It feels like a long lost friend has finally shown up again.

3.5/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and is in love with music partially because of Tom DeLonge and his catchy lil’ songs.

It’s All Dead Podcast Episode: 011 – Long Live Blink-182

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This week has been a rough one for blink-182 fans – the public bickering between Tom Delonge, Mark Hoppus and Travis Barker has been hard to watch. What does the future hold for one of the scene’s flagship bands? Kiel Hauck and Kyle Schultz discuss the fallout and talk about the possible future for the band and its members. They also break down their favorite blink-182 albums, songs and memories. Listen in!

[audio http://traffic.libsyn.com/itsalldead/IAD_Podcast_011_mixdown.mp3|titles=It’s All Dead podcast episode: 011]

Subscribe to our podcast here.

Posted by Kiel Hauck

Man Overboard – Why the Best of Blink-182 May Be On Its Way

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Let’s face it – it’s been a rough week. The news of Tom DeLonge’s ejection from Blink-182 hit everyone as an absolute shock, and no one apparently more than Tom himself. More bits of information are coming out every day, and at the moment, it’s turning into a ‘he said she said’ situation with Mark Hoppus and Travis Barker giving us glimpses into the decision, and Tom responding in weird ways that display his disbelief at the announcement.

This is big. One thing to come out of this is that the fans of one of the most beloved pop punk bands in history are losing their goddamned minds. From the social media posts I’ve seen, supporters of Tom suggest that Blink-182 should call it quits, as it just won’t be the same without him. Supporters of Mark and Travis seem to think that this is how it should be and are more or less attacking and blaming Tom entirely for the trouble.

But I don’t think it will all be bad.

Right now, it sucks. It’s going to be a terrible spectacle for a while, but it will start to turn around. It’s a lot like a divorce in that it’s just a mess right now, but give it a year and everyone will be doing okay – perhaps even better. Mark and Travis claimed that they believe Tom didn’t want to be a part of Blink-182 and seemed disinterested. I tend to agree with this because of one fact: I’ve seen them play live a few times since their reunion.

I can’t speak for how Tom acted in the band’s prime or for every show after their reunion. But I did see them in Indianapolis on their initial reunion tour and at Riot Fest two years ago. Mark and Travis nearly burst with energy on the stage, especially Mark as he skipped from end to end. Tom stood motionless for most of the show and repeatedly forgot lyrics and messed up playing the guitar. Even at Riot Fest, three years after the first time I’d seen them, he still played messily.

From the interviews given, Mark and Travis seem to be desperate to play and write more material for Blink-182. Unlike Tom, this is their main project and it seems apparent that they’re ready to go. If you’ve ever had a friend that you find yourself constantly having to appease in order to do anything, you can understand that dilemma on Mark and Travis’s side and how liberating it is to finally be free of that baggage. This is one of the things that I feel validates their arguments.

Everyone loves Blink-182. Their music is a staple to the pop punk genre, but Tom DeLonge doesn’t really play that style of music anymore. Angels & Airwaves is vastly different, his writing has drifted away from the genre to the point that even the last Blink-182 album sounded more like a modded Angels & Airwaves album. I’ve always felt that Tom is like a George Lucas figure; he helped create something amazing, but maybe he can’t see it for what it is anymore. After all, they are men in their forties playing songs to teens.

Bringing in Matt Skiba is a good start. Even if he isn’t a permanent member, having new blood will give a boost to the band. Everyone who plays pop punk dreams of being Blink-182. If every new album or tour features a new guitarist, or if Skiba becomes a permanent member, there’s a chance that they know how to play and write a Blink-182 song better than the actual band members.

Bands have long survived losing their main songwriters and singers. AC/DC survived Bon Scott, AFI survived replacing Mark Stopholese with Jade Puget, and New Found Glory have survived the departure of Steve Klein. It’s not the same, but it’s the type of thing to jump start a band who has seemed stunted even though they reformed six years ago.

Maybe it won’t be what the band was in their heyday, but if legends like Mark Hoppus and Travis Barker can’t bring the most out of a new guitarist, absolutely nothing will. Blink-182’s sound has been shifting since their Self-Titled in 2003, so a new guitarist’s style won’t be too much of a departure. Since Mark wrote a good amount of Blink’s back catalogue (“What’s My Age Again?”, “The Rock Show”, “Adam’s Song”), it’s not as if the entire writing chops of the band are gone. Some of the humor might even start to find its way back. It’s what the band needs after all of this.

While I hate that Tom wouldn’t be a part of it, it’s not like he’s down and out by any means. From an outside perspective, it has always seemed like he’s put much more attention towards Angels & Airwaves than Blink-182. Without the pressure of having to collaborate and write Blink on the side, A&A only stands to benefit from not having to split the attention. It’s horrible that he’s gone, but it might just be what he’s always wanted, since so much of his time has been exploring other mediums of art and new musical genres.

If anything, the worst aspect of this is that Tom has a lengthy history of being hard to work with and the method of delivery for the news really gave him the shaft. He’s definitely correct in that “there’s more to the story,” but he may have been too distracted by so many projects to see the trouble brewing. I doubt we’ll ever get to hear the full story behind everything, which directly blames Tom for the issues within the band. While I doubt this to be completely true, it does mirror a lot of the well known things that broke the band up in 2005.

This is all speculation, but I’m not worried. We’ve always known the inner Blink circle to be ‘dysfunctional,’ so I’m not too shocked by this week’s developments. I’m excited to see what both parties do artistically from here on out. Blink-182 are a foundation, and the next phase of their career is about to take a weird turn. Angels & Airwaves are a good band, and now there is a total freedom that Tom hasn’t had since his second album. It’s exciting and honest. If they can avoid writing songs bashing each other (such as +44’s “No, It Isn’t”), there’s a good chance we’re in for some incredibly exciting music in the next year or so.

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and yells at the rain on occasion. He also wants to play you in FIFA.

Mark Hoppus and Tom Delonge Speak Their Minds on blink-182

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Everything seemed quiet on the blink-182 front today until more words were spilled late in the day. Mark Hoppus took part in an interview with Alternative Press and seemed to clarify that the band will be moving forward without Tom Delonge. Whether that means Matt Skiba will serve as a long-term replacement remains to be seen. You can read a clip of the interview below:

The thing is we’ve tried to get Tom to engage [in Blink activity], and everything has been a very, very difficult struggle to get anything done with Blink for the last two years. Everything from getting a label deal done to even playing shows, and trying to get Tom into a studio. We’ve been trying that for the past two years. The ideal situation was two years ago when we said we were going to go into a studio and get working and it never happened. I think those days and that wishful thinking are gone.

Also this evening, Delonge posted a long explanation of his side of the story to his Facebook page. Below is an excerpt:

And even as I watch them act so different to what I know of them to be, I still care deeply for them. Like brothers, and like old friends. But our relationship got poisoned yesterday.

Never planned on quitting, just find it hard as hell to commit.

The past two days have been revealing in many ways, but also painful for the band and their fans. Coming later this week, we’ll talk about this week’s events on the official It’s All Dead Podcast and reflect on our favorite blink-182 songs, albums and moments.

Posted by Kiel Hauck

Mark Hoppus and Travis Barker Open up about Tom Delonge and Address the Future of Blink-182

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Rolling Stone spoke with Mark Hoppus and Travis Barker about the situation with Tom Delonge and his status as a member of blink-182. It seems clear from the interview that Delonge is out. Below is a quote from Barker:

I think he’s just bummed because Mark and I were finally honest. We always covered up for him before. It was always, “We’re going to record an album,” then “Tom refuses to get into the studio without a record deal.” So everyone does hella amounts of work to get a record deal and now Tom isn’t part of Blink-182. It’s hard to cover for someone who’s disrespectful and ungrateful. You don’t even have the balls to call your bandmates and tell them you’re not going to record or do anything Blink-related. You have your manager do it. Everyone should know what the story is with him and it’s been years with it.

Today’s events have been quite confusing for blink fans, leaving everyone wondering what in the hell was going on. This evening’s interview seems to clear the air to some extent – Tom Delonge is no longer a part of blink-182 and the long-term future of the band as we know it may be in serious question.

What are your thoughts on today’s events? Let us know in the replies.

Posted by Kiel Hauck

Has Tom Delonge Left blink-182?

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UPDATE #2: According to multiple reports, Tom Delonge is still, in some shape or form, a member of blink-182. However, the capacity in which he can dedicate himself to the band seems to be what’s in question. Below is a statement from Delonge’s publicist:

Contrary to reports, Tom DeLonge has not left Blink 182. “I never quit the band,” he says. “Actually, I was on the phone discussing a possible Blink-182 event in New York City when I heard the ‘news.’ The ONLY truth here is that I have commitments that limit my availability this year. I love Blink-182 and I’m not leaving.”


 

UPDATE: Tom Delonge has posted a response to the recent news of his departure on his Facebook page. Read his statement below:

To all the fans, I never quit the band. I actually was on a phone call about a blink 182 event for New York City at the time all these weird press releases started coming in… Apparently those releases were ‘sanctioned’ from the band. Are we dysfunctional- yes. But, Christ….. ‪#‎Awkward‬ ‪#‎BabyBackRibs‬


In rather shocking news, a report from CBS Radio has come in that Tom Delonge has left blink-182. Matt Skiba of the Alkaline Trio will be filling in for the band as they play the 8th annual Musink Music and Tattoo Festival. Whether the band will continue with recording a new album remains to be seen. A statement from the band’s publicist can be seen below:

Matt Skiba of the Alkaline Trio will join Blink-182 in replacement of Tom DeLonge at the 8th annual Musink Music and Tattoo Festival. “We were all set to play this festival and record a new album and Tom kept putting it off without reason. A week before we were scheduled to go in to the studio we got an email from his manager explaining that he didn’t want to participate in any Blink-182 projects indefinitely, but would rather work on his other non-musical endeavors.” Travis Barker and Mark Hoppus plan to honor all Blink-182 commitments including the Musink Festival and are excited to have singer/guitarist Matt Skiba join them for this project. “No hard feelings, but the show must go on for our fans.” Additionally, Skiba will continue to make new music and tour with the Alkaline Trio.

What does the future hold for blink-182? Do you think we’ll ever get a new album? Share your thoughts in the replies.

Posted by Kiel Hauck