Blink-182’s New Album, ‘One More Time,’ Released After 12 Years In best time

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The release of Blink-182’s latest album, One More Time…, coincides with the genre’s stock reaching an all-time high. The band went from being an underdog on the alternative rock (and pop) charts to a consistent dividend-earning phase of blue chip imperialism.

Look at the massive arena tours by the band’s younger siblings Paramore and My Chemical Romance, the money-making When We Were Young festival, which is being headlined by Blink this weekend, and the way our newest pop stars are sporting vintage punk fashion statements.

Older millennials either pass on their taste from their own childhood to their own children, or those children simply trace their influences back to their current icons, such as Willow and Avril Lavigne, Lil Uzi Vert and Hayley Williams, and Machine Gun Kelly and Travis Barker (who has served as something of a mentor for aspiring mall punks in recent years).

The once-yearning spirit of pop-punk (and its nearby offshoots) has been transformed into something instantly identifiable but less personally motivating by this ingrained permeation of early aughts rock.

Our culture is so overrun by sentimental parodies of our past that the creators of the real works can hardly be heard above the din any longer. Bands aiming for legacy status must rely on what they’ve already accomplished, mostly through represses and anniversary tours, to reclaim a market they once controlled. It is the canon’s crystallization with the passage of time.

Any commercial enterprise that is becoming older fears that its prior accomplishments may not only outlive them but also outpace them.

Blink’s ninth studio album—their first to be made with the original lineup of Travis Barker, Tom Delonge, and Mark Hoppus in 12 years—returns them to this mainstream dominance of the music they helped popularize in the first place.

Interest in the Blink reunion has been unusually ardent, more so than with any of their peers, and even more so than it was when they performed the same song and dance in 2009.

The band made their live performance comeback over consecutive Coachella weekends (where they assisted in taking Frank Ocean’s spot as the festival’s headlining act for Weekend 2), which was followed by a sizable tour lasting the entire summer.

Blink’s typical sailor-mouthed stage banter and vulgar jokes forced a few of my more tasteful pals to leave early during their initial unexpected visit at Coachella’s first weekend.

This band had proudly refused to straighten up their act in the face of cancer diagnoses, plane crashes, approval from the US government, as well as the new sensitivities of the cultural mainstream they are reentering.

Was it a little embarrassing for me to stay? The most enjoyable 10 minutes of music all weekend were the one-two-three punch of “I Miss You” into “All The Small Things” into “Dammit” at the end of the show.

Pop-punk fans enjoy revisiting their greatest hits from their heyday, much like classic rock fans do, and the Blink reunion gives those with enough extra cash the chance to do so.

Delonge’s original whinny is back, displacing Matt Skiba from his stint filling in. During the Skiba era, Blink made an effort to compete with more obnoxious acts like Fall Out Boy and Panic! At The Disco in the crossover market.

DeLonge’s return stymies that flow and inevitably prompts a return to earlier sounds. But what purpose does more music from the OG serve?

Blink-182 in 2023?

Who is demanding new songs from these musicians as they near their fifties to sit alongside their current favorites?

They could do much worse as a justification for adding a few more legs to their globe tour.

There are some absolute gems that I would love to hear included in a setlist alongside their songs from before the sabbatical, like the frantic chug of “Dance With Me.” For example, the band sounds most like the Cure on “Blink Wave,” which twitches with new wave textures and synths and has Robert Smith on it.

The straightforward but powerful rallying cry “When We Were Young” was probably created to serve as the soundtrack for the festival’s name-dropping advertisement.

The band sounds like they have something to prove in terms of the alchemical qualities of this lineup composition.

The guitar playing of DeLonge is vivacious and sensuous. On “Turpentine” and “You Don’t Know What You’ve Got,” the latter of which features a tumbling tin pattern that makes me think of the prelude to “Always,” Barker’s technical onslaught, which can occasionally sound like a party trick looking for a reason, coheres into lush rhythmic tapestries.

Hoppus, on the other hand, howls with a heavy heart that gives pretty generic material some depth, similar to what Dave Grohl accomplished with this year’s energizing

However, there are enough dull moments overall that those little bursts of enthusiasm start to swiftly fade from recollection.

Sometimes the shine is too high, highlighting the industry equipment hidden behind the scenes. Other times, you can tell that the songwriters are using volume to make up for lack of thought clarity.

They make a lackluster attempt at movie credit profundity in the closer “Childhood,” and they unleash their inner Raditude with the hand-clapping and mealy-mouthed “Fell In Love.”

Unfortunately, most of their attempts at comedy not only fail, but also come out as ridiculous. Every time you want to hear “Dance With Me,” you have to endure a cringe-worthy joke about masturbation.

In contrast, the early song “Edging” contains laugh-out-loud lines like “She tried to pray it away, so I fucked her in church.” DeLonge exclaims, “If you’re offended by these words please fuck off!” during the interlude “Turn This Off!” in an attempt to provoke youngsters,

but this has the unintended consequence of making him sound like a boomer who is confused by the current culture.

When the album’s lead single was released last month, I was almost ready to give up on this project. The straightforward ballad’s sentiment is strong, authentic, and unquestionably earned in light of the near-death experiences that two out of the three band members have had.

But why must that sentiment be associated with a song that is so unoriginal, formulaic, and overly milquetoast? It was tacky and overbearing, giving the impression that Blink were letting the story lead their reunion rather than any remaining musical kinship.

In 2016, when I took a retrospective look at the group, I asserted that they lacked “much left in them beyond harmless throwbacks to a sound from a period in time long since past.”

One More Time… has enough to recommend it to disprove that prediction, but it is obvious that the band’s legacy is on their minds.

The single seems to be intended to serve as radio’s equivalent of the parent album’s title track, which includes a few sly “I miss you”s.

The track listing starts out with “Anthem Pt. III,” a catchy musical introduction that, however, is so focused on providing a tidy wrap-up to the time bomb left by the previous two parts that it fails to capture either one’s really untidy portrayal of coming-of-age disaffection.

The album’s main flaw is its lack of messiness, which turns what must have been a difficult reconciliation between brothers into monotonously neat cliches.

The composition on “Terrified” is the most young adult-oriented in the band’s career since they could legitimately be referred to as young adults; yet, the concept doesn’t go much deeper than the title of “You Don’t Know What You Got.” You would assume that this band would have more stories to share with these songs given the hardships they have faced getting to 2023.

When the band members were half their current age, they wrote Enema Of The State, which was twice as wise and witty.

Blink-182 had to contend with the Peter Pan Syndrome accusation for the most of their career, which made them yearn for the authority of maturity on their self-titled album and Neighborhoods from 2011.

The band frequently had the impression of three youngsters piled into a trenchcoat because of that self-seriousness, which never wore well. One More Time… sounds more at ease than anything they’ve recorded since their initial breakup and shows the musicians’ actual maturation into elder statesmen.

Additionally, it cannot match the zeal and dedication of many of the important bands that Blink left their impact on in the meantime. This time, the trio is aware of their age, but you almost wish they wouldn’t act it.

Blink-182 merch

There is a wide variety of Blink-182 merch available online and at concerts. Some of the most popular items include:

Why you should buy it:

The ideal way to support Blink-182’s new album and express your affection for them is by purchasing the ONE MORE TIME… Exclusive Box Set. It makes a wonderful present for any other Blink-182 enthusiast you know.

There are some unique extras in the box set that you can only discover there. Given that it is a format that is rarely seen these days, the cassette tape is a very unusual object.

In addition to being elegantly presented, the box set is a wonderful addition to any collection. The ONE MORE TIME… Exclusive Box Set is a must-have regardless of whether you are a devoted fan of Blink-182 or just a casual listener.