8. Nine (2019)

Length: 41:40

No longer shackled by the pressure of introducing Tom Delonge’s replacement in Matt Skiba, the band comes across more comfortable on Nine than California. The extra time together has also given Skiba more of a chance to mesh together with the bandmates and better find his place. While the songs are still Hoppus focussed, Skiba’s influence peeks out on the darker tracks like “Black Rain” & “Darkside” — both of which sound reminiscent of Crimson-era Alkaline Trio. For better or worse, Nine certainly finds the band expanding their sound, but this journey into a more diverse style also see the band sounding poppier than on previous records.

What works: A welcome mix of musical styles that was mostly absent on California. Rather than being just a fill-in on vocals, Skiba has some of the best lines this time around. The songs themselves are overall less predictable (and hollow) compared to California.

What could be better: Getting away from John Feldman’s production style would do wonders for the band. The poppy gloss of several of the songs ruin their potential and too many songs rely heavily on effects rather than interesting and memorable instrumentation or catchy vocal deliveries. The heavy use of effects on the drums particularly make it feel like Barker’s talent is being wasted.

Recommended Tracks: Generational Divide, Darkside, and Black Rain

7. California (2016)

Length: 42:36

In the aftermath of the drama surrounding the departure of Delonge, we get California, an album that was guaranteed to divide fans regardless of its end result. The record attempts a return to the glory days of 1999–2001, aiming to reclaim the same success as those years through similar lyrical content and musical structure. This attempt at teenage angst and ferocity isn’t nearly as easy when the members are in their 40s. Skiba, an already accomplished artist, was quite a fascinating replacement for Delonge, but his presence isn’t extremely apparent due to his vocal range being more similar to Hoppus than Delonge. Skiba is used more often than not as a breather from Hoppus’ vocals rather than as the main point of interest.

What works: The more simplistic approach to the songs gives the listener a nostalgic feel to earlier days and there’s various degrees of catchiness on almost all of the tracks. Taken individually, you can find positive takeaways from each song. While far from a perfect choice, Skiba does add intriguing elements to Blink that wouldn’t have been expected.

What could be better: The production really seems to be the worst thing about this record. The heavy gain washes out individuality from all of the songs, often making it difficult to discern one song from another— something that truly exhausts the ears. If you pay attention, you’ll also notice there’s not a single memorable guitar riff, mostly just basic power chords with clean picking sections. When you add in the Deluxe tracks, it’s clear the record would have benefitted from more focus into 10–12 really good songs, rather than releasing 20 subpar tracks. Lastly, while it’s nice to have the band return to their roots of childish humour (on a couple tracks), it somehow falls flat and feels hollow.

Recommended Tracks: Rabbit Hole, Cynical, and The Only Thing That Matters

6. Cheshire Cat (1995)

Length: 41:48

This record captures a band with a lot of potential and a clear intuition, albeit fledgling, for melody. Without the financial crutch of a large record label’s money, Cheshire Cat is able to show, more than any other Blink album, what the band was capable of without studio tricks or label intervention. This lack of intervention also lets the members show their age via silly and childish humour. Despite several songs being rough around the edges, the general structure still holds strong and creates an argument for the band’s innate songwriting skills. The live record they recorded several years later shows what some of the songs could have sounded like given a better recording studio and more time.

What works: The overflowing honesty and lack of label intervention keeps the record consistently grounded and age-relatable. Although not as technically proficient as later records, there’s still plenty of memorable (“Carousel”) and exciting guitar riffs throughout. Despite their inexperience at the time, most of the lyrics that touch on serious topics still stand the test of time and even the childish skits have a lovableness to them.

What could be better: Obviously the album suffers from a cheap recording process. Drums and guitar are both quite muddled within the mix. The vocals from both Tom and Mark are also both lacking from time to time, particularly when any notes are held out. Some of the lyrics didn’t age as well as they could have and the skits cut down on replay-ability (to some extent).

Recommended Tracks: Carousel, Touchdown Boy, and Toast and Bananas

5. Take Off Your Pants and Jacket (2001)

Length: 38:56

Riding on the coattails of Enema of the State’s success, TOYP&J doesn’t really mess much with the formula that gave them stardom, copying Enema in both sound and style. Despite this similarity, the songs themselves aren’t quite as catchy as those released 2 years prior and there’s a slight more focus on serious issues rather than playful subjects. As the overall style remained, it was generally well received by existing fans, although none of the songs had quite the hit potential as Enema. TOYP&J comes across as the most Mark centered (of records that include Tom) which is perhaps why California has a reminiscent feel to it.

What works: Consistent and catchy songs that are brimming with the pop-punk style that gained the band popularity originally. Barker’s drumming shines particularly brightly throughout all of the tracks and makes what would have been slightly ho-hum become far more interesting. The concept of having 3 different versions of the record was certainly innovative and gave an interesting allure to the record.

What could be better: Although it’s not lazy, it does feel like the band could have done more to make the record stand out on its own and push it to have more of its own voice. Tom’s songs seem to lack the same level of gusto that can be found on other records. While the 3 version of the record idea is cool, it could be a negative depending on which version you got (or songs you like).

Recommended Tracks: Online Songs, Give Me One Good Reason, and Roller Coaster

4. Enema of the State (1999)

Length: 35:17

While Dude Ranch gave the band their first real taste of fame, it was this album that cemented their status. Packed full of catchy, adolescent focused lyrics, it makes sense why this record gained the popularity it did. Although the album doesn’t get nearly the rotation it used to for me, I’d be remiss to say that it wasn’t extremely important and the fact that I still know every lyric to every song on the record attests to that. I would even go so far as to say that this particular collection of songs sums up the late 90s better than almost any other (but again, that’s likely due to nostalgia on my end).

What works: EotS has some of the most memorable guitar lines of the Blink discography and while some of the songs got overplayed, they mostly still hold up. Barker’s addition to the band helped them stand out from a technical standpoint and while this album doesn’t show the height of it, it does give early examples. “Adam’s Song” should sound corny after all these years, but it’s someone still a really strong song about teenage depression.

What doesn’t work: Some of the lyrics are cringeworthy when I look back at them (especially considering the band’s age) and the constant radio play of songs like “All The Small Things” and “What’s My Age Again” has pushed me to always skip them. This is also a relatively short album for Blink (but that could be a plus).

Recommended Tracks: Dysentery Gary, Wendy Clear, and Aliens Exist

3. Neighborhoods (2011)

Length: 49:12

As the post-breakup album, Neighborhoods had a lot of anticipation facing it, likely more than it was ready for, which is why many people (including myself) were initially disappointed by the record. It’s a record that picks up from where the Self-Titled left off, but with a clear influence from Tom’s band Angels & Airwaves. This influence is most noticeable on Tom’s decision to change his vocal style (something he had already adopted on AVA). Like the Self-Titled record, Tom is the focal point, singing the majority of lead vocals and pushing his own style more aggressively than that of Hoppus or Barker (or at least it seems).

What works: The guitar riffs make you appreciate Delonge’s ear for a solid melody, even when it’s not technically exciting. The entire record has a more serious vibe, but not one that feels forced and instead feels like a natural expression of the band’s feelings and emotions at the time it was written. None of the songs feel the need to be skipped (even the bonus tracks on the Deluxe version) and “Wishing Well” in particular stands out as one of Blink’s best songs. There’s a certain disconnection on this record that (although may hurt it at times), also gives it a distinctively dark and standout feel.

What could be better: The overall disjointed feel previously mentioned is one thing that could be improved (likely due to the separated recording process). While Tom’s vocals on this record have grown on me, I can’t help but wonder how it would have sounded had he not changed up his style. The drumming found here is still innovative and skillful, but a step-down from the previous album (Barker was still nursing a recent injury).

Recommended Tracks: Wishing Well, Up All Night, and Ghost On The Dance Floor

2. Dude Ranch (1997)

Length: 44:54

In 1997, Blink 182 released upon the world their sophomore album. An album that showed significant growth from their debut. Dude Ranch was significant for also showing the potential that having dual vocalists could offer — both with their own unique singing approach and style, but still complementary enough that they can trade vocals on a song like “Pathetic”. This was the album that really introduced Blink to a larger audience through the success of the single “Dammit”.

What works: Despite a lack of harmonies, Dude Ranch displays some of the best vocal offerings the band have recorded. Vocals that are both earnest and strained as well as reserved and calculated, Hoppus in particular shines on several sections, like the chorus of “Dammit”. This record, taken in isolation from all the fame the band has received, is a very solid pop-punk record. I’m fairly confident that if they hadn’t gained the amount of fame and radio-play that they did, they’d have a lot more respect in the current punk community.

What could be better: There’s not a lot that I would change on this record. The live record released afterwards improves some of the songs, adding slightly different tempos and occasionally more intricate drum lines, but overall the songs flow well into each other and show the band at their peak (without studio tricks).

Recommended Tracks: Pathetic, Untitled, and Apple Shampoo

1. Blink 182 (2003)

Length: 49:16

Admittedly, like Neighborhoods, I really didn’t care for this album when it came out. In fact, after I heard the first 2 or 3 singles, I just gave up on the album and it wasn’t for quite some time later where I finally fully gave it a chance. Now that more time has passed, I can better appreciate it for what it is. Sure, it’s a departure from their established sound at the time, but it’s also an example of how devoted they were to making an album they could be proud of. Of note, the record could have suffered (like many others) from too much studio involvement, but this is one of the rare cases where it benefits the end result.

What works: As opposed to California and Nine, Blink’s self-titled record shows just how good songs can be when the right focus and production is put into them. This has since become one of my favourite studio albums (do not read “favourite records”) because it’s such a joy to hear the amount of work put into each song. It’s not about making the record sound particularly clean or poppy, it’s about getting every last drop out of a song through skill and studio knowhow. From a strictly talent standpoint, the percussion alone makes this record absolutely fantastic.

What could be better: The “Stockholm Syndrome Interlude” could probably get removed. It’s fine on the first couple listens, but afterwards it’s an instant skip for me. The guest vocals on “All of This” also don’t work, although I appreciate the attempt at diversification. Lastly, although I’ve come to enjoy and appreciate “Feeling This”, it’s also hard to deny that the repeated ‘feeling this’ line is pretty corny.

Recommended Tracks: Asthenia, Easy Target, and Violence