Tom DeLonge has confirmed that Angels & Airwaves have two movies and albums in the works. DeLonge has apparently laid out much of the next five to seven years out as the band as well. Check out a message and picture from DeLonge below after the jump.
Angels & Airwaves Recording New Music
For so many of us, our First Concert Experience opened us up to the world of music we’re currently in. You may have gone to a stadium or arena show with your parents for a pop star at a young age, but what was your first “scene” show? We thought it would be great to do a new PropertyOfZack Friday Discussion on all of our first shows, and our list includes some staff members and bands as well. Check out our Discussion below and feel free to your first concert experience!
Angels & Airwaves - Zack Zarrillo
My first concert experience could be best compared to an 18-year-old girl going to prom and having her virginity taken by her dream date. I am most certainly the girl in this scenario, and Tom DeLonge was my dream date.
Growing up in New York City, my parents didn’t really understand what shows were. And I didn’t really either. My first show wasn’t in a small room, it wasn’t in a house, it wasn’t in a basement. It was in 2008 when I was 15 years old in a 3,000+ cap venue called Roseland Ballroom.
I couldn’t miss the show. It took so long to convince my parents, and it finally paid off. Looking back at it, the lineup was kind of ridiculous. It was Ace Enders (The Early November), Fred Mascherino (ex-Taking Back Sunday), Meg & Dia, and Angels & Airwaves. Boy was I happy. It was truly a dream show for me. AVA played almost every song I could have asked for, and Tom played a Box Car Racer track.
He treated me so well. It hurts it hurts it hurts it hurts. (It didn’t).
Dance Party, Barcode - Matt Brasch (The Wonder Years)
The first show I attended was January 27, 2001 at the Knights of Columbus in Lansdale, PA. The bands were Bob Macadoo’s Dance Party, Barcode, Concept 7, Bad Influence, Live For Today and Royal Noise Brigade.
Coincidentally, it was the first show I had ever played. I remember my parents helping me unload my drums a few hours before doors and being extremely nervous but excited. Bob Macadoo’s Dance Party kicked off the show and got everyone moving. It was the first time I saw someone skank. My anxiety escalated throughout their set because we were next.
When my first punk band — Barcode — started playing, I was on cloud nine (until I put a stick through my snare drum head a few songs in). Luckily, Ryan from Bob Macadoo’s Dance Party was nice enough to let me borrow his snare for the duration of our set.
I got up front to watch the remainder of the bands for the show since it was a floor show and I was shorter than I am now. Though the room was filled and the experience was a bit overwhelming, everyone was welcoming and friendly. After leaving the show that night I decided that playing music, going to shows, and surrounding myself with music is what I wanted to do with my life.
Cartel, Fabulous - Erik van Rheenen
By way of a broken foot (not mine, thankfully), I lucked into my first scene concert. Because “Apologize” was kind of a cool song in 2008 I guess, I bought a ticket for OneRepublic’s Crocs Next Step Campus Tour at Gannon University in my hometown of Erie. A billion boring singles and an awful fashion trend later, pretty much everything about that last sentence embarrasses me.
But a handful of days before the show, lead singer Ryan Tedder broke his foot (there’s an “All the Right Moves” joke somewhere in there, but I’m too lazy to find it) and had to cancel the gig. High school me thought, ‘seriously, does a broken foot make it that hard to sing?’
So in a last-second scramble, Cartel was added to the lineup as the show’s headliner, and now I can’t imagine it any other way. I saw the “Honestly” video on VH1 a few times and loved it, so I made my friend (and concert going partner) Ethan burn me a copy of “Chroma” and tried to commit as many lyrics as I could to memory. The band was hot on the heels of its self-titled album, so it was a frantic dash to take in two albums in the span of like, six hours.
The opener — no-hit wonder rapper Fabolous — sucked, but when Cartel hit the stage, I pogoed like a good little pop-rock soldier and sang along with all the songs I knew (“Honestly,” “Burn This City,” and “Runaway”) and faked it through the ones I didn’t. I bought a shirt and wore it the next day to a chorus of “what the heck is a Cartel?” I didn’t care. Having a band that felt like my secret was the best feeling.
Testament, Savatage - Bob Nanna (Braid)
It wasn’t my very first show, but it was one of the first shows I attended unaccompanied by parents or chaperones. March 25, 1990. The Vic in Chicago. The lineup: Testament, Savatage, and Nuclear Assault. This was towards the end of my regrettable “metal phase.” (The next show I saw that year was actually Naked Raygun.) When I think back on it, it may have been this particular Testament show that pushed me more towards punk, or at least the punk ethic. It was more my speed.
Illan Rubin recorded drums for Paramore’s self-titled album, and it looks like he will also be drumming for the band on tour for the foreseeable future as well. It is not clear what that means for his position in Angels & Airwaves. Check out Paramore performing “Still Into You” live with Rubin below by clicking “Read More.”
We all have our favorite bands, but little makes some of us more excited than when we hear members of those bands are starting a new project, whether it be solo or with other musicians. There’s just something special about waiting for a mysterious project from one of your favorite artists with no idea of what it could sound like. We’re doing a Friday Discussion this week on PropertyOfZack on some of Our Favorite Side-Projects. Check out our list below and feel free to reblog with some of your favorites as well!
Though it transitioned into a longer lived project than Something Corporate, Jack’s Mannequin did start as a simple side-project for Andrew McMahon to try something new, something different. Never could he have expected a near-death battle with cancer and such a wave of support, but that’s not the point of Jack’s Mannequin. Everything In Transit was and still is an album that touched so many in a way SoCo came close to, but never truly hit. Whether you view it at a summer album or a perfect record, there was a certain breath of fresh air that Jack’s Mannequin started with that still lives with so many people today. Jack’s follow-ups to Everything In Transit either met or failed expectations of many fans, but the band kept an extremely large and dedicated fan base until its end. The transition for Andrew McMahon from Something Corporate to Jack’s Mannequin remains impressive in itself, and it will be even more interesting to see what happens with McMahon’s solo career. - Zack Zarrillo (@zzarrillo)
Box Car Racer
blink-182’s Untitled is regarded by most fans as Mark, Tom, and Travis’ best work. But if it weren’t for Tom and Travis escaping to Box Car in 2002, we may have not seen the two incredible albums that we ended up with. blink were always known as a light-hearted pop-punk band, even if Take Off Your Pants And Jacket saw a little bit of an edgier and darker side to the band. Box Car Racer was the first true signs of anger, aggression, sadness, and even hopelessness from Tom DeLonge, and it was an album that resinated with so many blink-182 fans. Though the project was of the main reasons for blink’s hiatus in 2005, there’s just no question that the album was integral for the creation of Untitled. Box Car Racer seems like it will be one of very view projects that will not get some sort of reunion tour in the future, and I would imagine that many feel that that is okay. - Zack Zarrillo (@zzarrillo)
I could list 1000 metaphors combining two awesome things and compare that to Bad Books. Superheroes. Foods. TV shows. Sports teams. Blah Blah Blah. All comparisons would fall short. Taking the storytelling abilities of Andy Hull and slamming them into the unique outlooks and viewpoints of life from Kevin Devine is an indie rock super group goldmine. Two albums into their catalog, the band has proved they are not only a part of the the scene, but also quickly becoming the ring leader of the modern day “brat pack” consisting of Devine, Manchester Orchestra, Brand New, Thrice and the rest of the Favorite Gentlemen collective. Not only is there no denying that this group has more talent than the whole of most indie labels, there is also no avoiding the addiction that comes from giving them a spin. - Josh Hammond (@endless_rambles)
When Your Heart Stops Beating is not my favorite blink-related record, but it may be top 3 for me. Untitled seemed like much more of a “Tom” record for blink, and it was fantastic. Seeing what Mark could do all by himself lyrically on +44’s only record was incredibly interesting following the release of Untitled. I would argue with anyone that Mark’s lyrics throughout the record are the best of any blink project, and that it is a musically sound record as well. There was a certain anger, urgency, and pain in the lyrics of When Your Heart Stops Beating, and it was felt. Another +44 album would be welcomed any day as long as it could rival the original release, but it may be a project better left dead like Box Car Racer as well. - Zack Zarrillo (@zzarrillo)
What do you get when you cross Transit’s Tim Landers and This Time Next Year’s Brad Wiseman? A project that’s less pop punk than you’d think. Misser’s debut, Every Day I Tell Myself I’m Going to Be a Better Person, is an exercise in optimism, and the indie touch the duo liberally applies to their sound keeps the positivity from sounding cliché. Landers and Wiseman trade off vocal performances, a la early Taking Back Sunday, and songs like “Time Capsules” and “I’m Really Starting to Hope the World Ends in 2012” stack up well against both of their respective bands’ discographies. With TTNY defunct and Transit’s new album wrapped up, I’d love to see some more Misser happen. - Erik van Rheenen (@TheVandyMan)
PropertyOfZack has teamed up with AbsolutePunk to do a joint interview with Chris Holmes, blink-182's co-producer and engineer. Chris worked on Neighborhoods and most recently Dogs Eating Dogs, and it was a pleasure to be able to bounce questions off of him for the blink’s latest work and their future. Check out the great interview below!
What was it like going from working on Neighborhoods on and off for two years to doing Dogs Eatings Dogs in just over a month in terms of your role and it’s shift?
A very wild, yet familiar ride. On Neighborhoods, while you could say we were on and off for two years, the crunch time “on” part was the last month or so. What I’ve found with most things with a deadline with bands, is you figure out the deadline, and you pack as much in as possible…and even more up until the last moment..It is the nature of the beast. There is no finishing early. There is always a need for more time. I call it End-of Record-itis.
With Dogs Eating Dogs, we were initially kind of casually starting to work on songs for the new LP for next year, and the next thing you know, we have one month to write, record, mix, and master for a Christmas release. It ramped up quick as far as picking which ideas to focus on and really planning out how to make it happen within that time frame.
My role essentially was the same as far as co-producer and engineer for the songs. What I’m trying to do as a co-producer is voice what I think the listener would want to hear, while also serving the song and balancing the artistic desires of the band. At the end of the day, the three guys decide what to do, but I can chime in and say my peace and hopefully offer a different perspective on things.
What I’m doing as engineer is trying to honor the legacy of the sounds from previous records and add my own touch to it. For example, if you listen to TOYPAJ Travis’s toms sound HUGE. I made a point to do the same treatment on them with this recording. The vocal sound on the Untitled record I really like, so I made sure to use the same vocal mic and recording chain from that record.
To get even more micro, we had a different drum setup for almost every section of every song. For example on “Pretty Little Girl” ‘s pre-choruses we used these Zildjian 13” hi-hats that were tight so you can hear every hit Travis is doing, and then when the chorus hits we put up this super-cracking OCDP Bell Brass Snare drum.
The only role change I had was being a little more hands-on with the delivery of the album and making sure it made it to iTunes, and to the bundles.
Fans go back and forth discussing if new blink songs have more of a +44 or Angels & Airwaves vibe, but the line between the two different sounds seem to be becoming more and more mixed with each new song. Do you think that line will continue to blur?
For me, the more you listen to Neighborhoods, and Dogs Eating Dogs the line blurs between the two bands. I’ll echo what I’ve said before and say that if you’re hearing similarities that’s natural. The members are the same. I’d say if you listen through the blink catalog you can hear +44 and AVA before +44 and AVA existed.
The big difference for me, and this is something I’ve said to the guys, and I’ll tell you. It’s the tempos of the songs. I think blink-182 can more successfully tackle a wider tempo range than +44 or Angels and Airwaves can.
I love hearing what the three of them can do with an up-tempo BPM….and I don’t just mean go back to what has now become standard issue pop-punk. I mean deal with those pop-punk tempos with the aesthetic that you have now. Making sure we have a wide tempe range is the key to the program for me.
I read a quote from Tom the other week saying that were was laughing in the studio this time, unlike during the Neighborhoods process. What was different this go around from your perspective, and did that change the way you interacted and worked on the EP?
I can’t speak for his feelings on Neighborhoods. What I can say, is making a record after a long hiatus is a challenge. Especially for a successful band that has a lot of expectations to meet. It’s work…it’s fun, but not every single moment is fun.
So, if you can get through that, then naturally the whole process is easier the next time around. Being in a space where you can say what you feel about a part, and not worry about hurting feelings is a big deal.
Was there a certain energy creating these five songs in the studio that wasn’t there last time to do the new sense of freedom the band has?
I don’t think the effort changed based on the status of the record deal. You write the best songs you can in the moment you’re in.
I think the want and desire to deliver on what we set out to do was enhanced based on the deadline. Being off a major label is a whole new challenge for sure though.
Angels & Airwaves will be releasing a legacy photo book sometime in the near feature that was created by Kari DeLonge, Tom DeLonge’s sister. Check out a tweet from Kari below by clicking “Read More.”
blink-182 Leaves Interscope Records; Now An Independent Band