Blink 182
Blink 182

The early 2000s laid the foundations that would irrevocably change the game in the music industry, and in hindsight (despite those who stubbornly deny representative movements during the period they are experiencing), witnessed the succession of various trends that defined the very early years of the new millennium.

With the desire for renewal and modernity reflecting in every aspect of daily life (from television to the countless commercial activities that associated "2000" with their name), there was a sort of urban optimism in the air, in stark contrast to the publicized malaise (made trendy by some groups that I will not discuss in this review) of the previous decade. While MTV quickly lost interest in the past alternative wave, what could be defined as modern chart rock, radio rock 2000, or more simply pop rock, was strengthening. In a few years, technological progress in every field and digitization had allowed the achievement of technical standards previously unimaginable in music recording. What was considered an art for the very few producers capable of achieving "professional" results (like Martin Birch in the '70s, Bruce Fairbairn in the '80s, to name two) gradually became in the '90s a possibility for more and more recording studios and artists, contributing to creating a way of working that would achieve impressive results in the early 2000s.

In this relatively optimistic scenario, not yet threatened by the forthcoming era of mp3 players, the most common way to listen to music anywhere was the portable CD player with an attached case full of discs. The massive spread of CDs (which had finally surpassed cassettes) had created a large market for reissues of old works and collections (extremely popular annual Festivlbar collections in Italy, for example) that further strengthened the music industry. The flag bearers of this ever-strong record industry were both the recent nu-metal groups (in terms of heavy music) and the numerous one-hit bands that frantically succeeded one another in the summer charts.

As mentioned earlier, modern radio rock saw its most successful period in those years with its bright and catchy sound, the result of technological innovations made during the immediately preceding years. This type of rock often had a rather clean electro-acoustic sound based on very well-arranged and carefully crafted refrains to highlight easily assimilated melodies, whether in more upbeat or more melancholic pieces (which, thanks to this type of sound, had consistent airplay and were highly appreciated). It was precisely the popularity of this musical trend that gave new strength to pop punk, which, unlike other prevailing genres in the '90s, assimilated (and perfected) its characteristic elements and let itself be influenced by them. However, while some groups from the previous decade struggled to maintain public interest by experimenting with (relatively) alternative solutions (the controversial "Warning" by Green Day), others embraced the change, achieving notable commercial success and helping strengthen a new generation more interested in high school parties and spring break than, for example, social or political criticism, which seemed to have achieved no concrete results.

It was indeed with their 1999 album titled "Enema Of The State" that Blink 182 rose to international fame, later confirmed by the successor "Take Off Your Pants And Jacket," which established them among the most beloved (and sometimes hated) bands among the youth of the period. Absolutely representative in this sense was the fact that from both works, they provided a track for the soundtrack of the film "American Pie" and its first sequel.

Their 2003 record simply titled with the band's name turned out to be the last of the second period before the breakup following the release of the Greatest Hits. Produced once again by Jerry Finn (with Blink since "Enema Of The State"), the group's fifth album features some stylistic changes compared to the two predecessors and presents itself as a slightly more varied and experimental work characterized by an increased presence of melancholic atmospheres. The speed is generally more controlled, and some ballads and quieter moments are noticeable compared to the enthusiasm of the tracks that brought the band to success. Significantly, it was "I Miss You" among the singles extracted that received the most exposure and became one of the band's most famous songs. The piece features a primarily acoustic sound and a very recognizable rhythm while Mark Hoppus and Tom DeLonge each sing a verse. The other singles, although not achieving the same commercial success, were also quite appreciated and are often included in concert setlists. Another excellent performance by Travis Barker, who interprets the tracks in a varied and fresh manner, proving to be one of the key elements in defining the album's sound.

Although the album is not generally a too predictable listen, some melodies can be defined as typical of the genre and will satisfy those who appreciate its characteristic sounds. Curiously, "Easy Target" has a melody that strongly recalls the track titled "Devil's Dance Floor" by Flogging Molly, released already a few years prior.

In conclusion, their fifth work showed Blink in a decent state of form, inseparably linked to the particular period that saw their explosion of popularity before times changed again and the era of the CD player and traditional broadcasters saw its premature end at the hands of file sharing, mp3s, and YouTube.