Even though California is an enjoyable album, it seems that Blink-182 is trying to emulate their early 90s/2000 sound. The strong vocal presence of Tom Delonge is obviously absent, which dose the band no favours. The bands new member Matt Skiba (from Alkaline Trio) adds nothing remarkable to Blink-182’s musical revivification; yes the guy can sing, but his generic vocal tones leave no lasting impression.
To someone who grew up on Blink-182, it definitely seems the bands new material is missing the classic tongue-and- cheek lyrical content which made the trio so relatable to their fans; but I guess this is growing up.
The band's first release ‘Bored to Death’ basically sets the tone for the entire album, yeah it’s catchy enough and easy to listen to, but lacks any attitude or fresh approach. Another track ‘Sober’, which grabbed my attention for all the wrong reasons, highlighted that Blink-182 are trying to revive a youthful sound, they have clearly passed, both in age and musicality.
Don’t get me wrong, California is a decent album that is definitely worth a listen, the composition is well constructed, but in the modern pop-punk genre, I don’t think there is much room for ageing rockers desperately trying to recapture their glory days.
Modern day Blink-182 have done little to differentiate themselves within the pop-punk genre, they were once a driving force of. California is enjoyable enough, but offers no memorable tracks.
In Transformers: The Last Knight, the freak show has been toned down; there's precious little human bile forced down your throat this go around. Heck, there's even some attempts at respectability. Which is boring and nullifies the series' proudly nihilistic juvenile identity.
With a fervent belief that true commitment to bad-taste transforms it into something fashionable, fun and infectious, Kirin is a lot to take in.
Slowdive know how to play to their strengths, pulling from the best moments of their discography to present us with something that is at once familiar and refreshing.
I couldn’t think of anything more terrifying than playing a delicate set of acoustic jazzy music to room full of mostly black overcoat-clad, chin stroking, forty-something, ultra-discerning listeners. But for The Necks, that is the thesis for their completely improvised performances.
The Exes share a deep passion for vocal harmonies and heartbreakingly good songwriting. This killer combination has crystallised itself on their new album When We Fall. We caught up with the Exes ahead of their two gigs at Babushka and Fly By Night this weekend.
We caught up with Sydney singer-songwriter Montaigne to chat about making positive change, video games, life, death, and spirituality. Have a read, then do yourself a favour and purchase tickets for her performance at Capitol on the 29th of July.
From humble beginnings to a hefty, sold-out national tour, Winston Surfshirt has certainly transcended the mediocrities of the urban music scene and reminded us all what a little funk and R&B can do for the soul.
So, it's awful.
Will Wagner and the Smithies appeared every part bonafide rockstars on Friday night, with plenty of good songs and good vibes.
Black Swan State Theatre Company’s exciting run (and WA premiere) of beloved American-Australian playwright Lally Katz’s work The Eisteddfod is just around the corner, opening at the end of this month and directed by Jeffrey Jay Fowler. We took the opportunity to have a chat the genius behind the script herself about growing older, writing, the play and WA.