MUSIC NATION: Blink 182's new album California rates a 2/5
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.
Rating: 2/5
What is love? Baby, don’t hurt me.
If you can leave your sanity behind and drink the Tim Robinson Kool-Aid, Friendship will be one of the funniest movies you’ll see this year.
Through a blend of music, dance, and spoken word, Child is a performance piece that seeks to reignite within us the joy, curiosity, and freedom that often gets eroded by the demands of life.
And at the centre of it is a marvellous performance by David Corenswet, who infuses this Man of Steel with a beguiling softness and an emotional intelligence.
The film feels earnest, and the performances are sincere enough to carry the runtime.
F1’s is an immersive, muscular melodrama about an aging race car driver who’s still got it. Well, he’s got his problems too.
Lighting, pyrotechnics, and early 2000s pop music are playfully woven together to immerse us in a theatrical montage of a drunken night out, where the tea is spilt and old resentments are finally laid bare.
Tightly scripted and well-paced, this is a consistent romp which knows when to circle…and when to bite.
Cackles and shrieks of delight could be heard throughout the film, and I left the cinema smiling, eyes scanning the footpath for handsome strangers.