Blink Boys Still Approaching Puberty
After a two year break of side projects and clothing companies, the founding fathers of the radio-friendly pop punk onslaught are back to claim their position atop the masses of their clones. However, with their latest, self-titled release, Blink 182 proclaims to have dropped the toilet humor in exchange for artistic expression and more “serious and experimental content.” Ironic, because this failed attempt at showcasing musical maturity is far funnier than the poo poo jokes they used to deliver. The checklist put together by Blink and Co. to redefine their image is as follows: 1) Add a few instruments. Check. Most noticeable is the inclusion of a string section, yet the mismatch of waning cellos with hooky guitar riffs sounds more like a recording mishap involving the original score from Dawson’s Creek. 2) Big name guest spot. Check. Legendary Cure frontman Robert Smith lends his eerie croon to the verses of “All of This,” offering brief enjoyment before being ruined by a chorus of Blink vocalist Tom DeLonge’s nasally whine and haphazard banging on a guitar. 3) Mid-album instrumental jam. Check. “The Fallen Interlude” offers a looped, sampled piano melody over a drum beat, something that would probably be considered excellent for an eight year old playing with the family Casio.
Don’t be fooled by a viola and a couple slower songs, this album is offering nothing new. Blink 182’s attempt to disguise the same sugar-coated punk and lyrics about high school girls and “getting some” is as transparent as their attempts to demonstrate maturity are predictable.
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