It is well known that Blink 182 was on what seemed like a permanent break from about 2005 to 2009, for reasons that many still are not 100 percent sure of. However, after Travis Barker’s plane crash, the band decided to put aside their differences and put out a new tour and album, which was announced at the 2009 Grammys.

From the minute I heard the news, my heart fluttered, just like every other die-hard Blink fan in the world. Although the wait after the news for the new album took a tedious two years, it was well worth it. The album was finally released on September 27, 2011.

Let’s set this straight, right now. If you’re looking for an early sounding album such as, Dude Ranch, Enema of the State, or Take Off Your Pants and Jacket, you’re looking in the entirely wrong place, and you’d probably be better off listening to the new New Found Glory record. Blink can never do wrong in my book, however, and for die-hard fans like myself, this is long overdue, so it sounds beautiful no matter what. The album incorporates the themes from the self-titled album, mixed with many of the band’s side bands, such as Angels and Airwaves (Tom Delonge’s [guitarist, vocalist] current side project), Boxcar Racer (Travis Barker [Drums] and Tom’s past side project), +44 (Mark Hoppus [Bassist, vocalist] and Travis’ current side project), and Travis Barker’s solo work.

As I’ve gotten older, my tastes in music have become more varied and distinguished, due to my musical training as a bassist and my need to find a new sound all the time. That is most likely why this album appeals to me so much. It displays amazing musicianship and diversity. I appreciate Travis’ stylistic chameleon tendencies, which can be shown off on such tracks such as “Hearts All Gone” and “Snake Charmer.” You can hear some of Tom and Mark’s most revealing lyrics, which are a testament to the hardships that the entire band has endured, especially in the last six years. These hardships include, but are not limited to, Tom’s battle with cancer and Travis’ loss of his two close friends, Lil’ Chris (plane crash) and “DJ AM” Adam Goldstein (drug overdose [The band still won’t play “Adam’s Song,” a song about teen suicide, off Enema of the State.]) This appeals to me because even though the music isn’t as familiar as it may have once been, the lyrics still showcase the band’s angst, although now more distinguished, emotional, and poetic. Mark Hoppus is one of my favorite bass players of all time, and it’s mostly because of his ability to take simplistic bass lines and make them sound incredibly unique, and groovy. This is best shown by the songs “Up All Night” and “After Midnight.”

Tom takes the amazing signature guitar sound of all of Angels and Airwaves albums, and brings it to this album, as shown through every track, which compliments his vocals. The album has double tracking, which most often, I tend not to appreciate, but due to the circumstances, it is widely acceptable. The conflicting schedules and poor management of all three, incredibly busy members made it difficult to get them all in the same studio, at the same time. In turn, the members recorded most of the tracks in different studios, at different times, mostly apart from each other. It doesn’t sound half bad, though. It adds to the signature sound of the album and sounds crisp and pleasing to the ears. This album is a triumph, not just for the band, but for the truly devoted fans.