Drowned Youth (Take Off Your Pants And Jacket - blink-182)

Member Name: Tcraze84

Product:	Take Off Your Pants And Jacket - blink-182
Date:	16/06/01 (470 review reads)
Rating:

Advantages: Album of the year. Without any doubt.

Disadvantages: Oh, I want more...

It's fair to say that the much-maligned world of Punk Rock music has changed dramatically since the infamous heyday of the likes of The Sex Pistols and The Ramones. However, as with most things, the genre was reincarnated and revived in the middle years of the last decade. The likes of Green Day, The Offspring and Weezer shot the genre to further prominence and as the popularity of the commonly-associated skate and surf communities escalated, new bands emerged and pushed the genre into mainstream popularity and therefore added exposure in one fell swoop. The likes of Lagwagon, NoFx - and more recently, the likes of The Ataris, New Found Glory and Fenix Tx have all played a part in elevating the genre to new-found (no pun intended) heights, leading the Nu Skool style into the new millennium with full force. Before you ask, the aforementioned style does not include the likes of Limp Bizkit, Papa Roach, etc. That's Nu-Metal and there's quite a considerable difference. But whilst the descendants of heavy-metal rock monsters go off and moan in a corner about how bad their life is (to a thrashing backing track), their more cheerful Punk distant cousins have more interesting, upbeat issues to shout about. Metaphorically speaking. Yep, the children of Punk's Nu-Skool will probably like to be nowhere more than on the beach, surfing and/or basically enjoying their lives to a high-decibel soundtrack. Remind you of anyone? ;o)

But alongside, if not spearheading this revolution are Mark Hoppus, Tom DeLonge and Travis Barker, collectively known as blink-182, a band that have been recording for almost a decade, yet only now are the band reaching their peak in terms of maturity and commercial popularity. Early days saw old drummer Scott Raynor on recordings, with Barker joining only after the reputed acrimonious departure of Raynor after the platinum-selling "Dude Ranch" of 1997. Any sentiment of Scott as part of the band were revived in 1998 upon
the repackaged, re-released "Buddha" album, giving any new fans a tantalising glimpse into the beautiful harder-edged world of the blink-182 of old. As with any band however, style will inevitably change, particularly with a career spanning a length such as those of the San Diegan trio. The release of 1999's "Enema Of The State" sparked somewhat of a backlash from hardcore fans who were infuriated by the band's apparent sell-out and distinguishable change of direction towards a more pop-orientated market, with the number two placing of "All The Small Things" and subsequent follow-up "What's My Age Again?" combined with an altogether more commercialised approach throughout the remainder of the album, in stark comparison to the bass-driven riot that was "Dude Ranch" and the stunning guitar solos and carefree attitudes clearly evident within 1994's "Cheshire Cat", seemingly coinciding with the change of production duties being handed from Mark Trombino to Jerry Finn.

However, two years after emerging as pop superstars from the shadow of their old punk roots, blink-182 return with a new studio album. Described by the band themselves as "harder, faster and more punk-rock than anything we've ever done before", a return to the style of "Dude Ranch" / "Cheshire Cat" was apparently imminent, coupled with the claim that not only was it to be harder and faster, but ultimately, better. Better? A word that no doubt sent a shiver down every blink-182 fan: in their minds, "Dude Ranch" simply could not be bettered. Surely the failed attempt that was "Enema Of The State" proved that? Of course, for the ex-fan, perhaps so. But for those who stuck by; for those who thought it possible, mid-June 2001 was the time to find out. The double-entrendre'd (?) fourth official studio album, "Take Off Your Pants And Jacket" was released global
ly around June 12th. The big question was whether or not the claims would hold up - not only as an individual album in its own right, but against "Dude Ranch" - which was, by now, becoming more of a barrier against the band's progression than a highlight in their discography. Already though, the signs weren't good. Would yet another immature-type title accurately refer to the general style of the band as a whole? Had blink-182 done the impossible and grown-up? The test was there to be passed - or failed by the band and with purpose - besides the current new-found fans, a.k.a "teenyboppers" (in other words, fans since they hit no.2 and nothing more), there was a reasonable assumption that anyone who knew anything about punk, or "alternative" music in general would abandon blink-182 if they did not deliver this time around. Particularly after they promised they would, without fail.

Typically, in my life, nothing ever goes meticulously to plan, or goes right, in any case. An anticipated pre-order from Amazon.co.uk ensured a copy would be mine, but days...and days passed, before, finally a copy hit my doormat. Well, actually that's a lie. I near-enough snatched the parcel from the hand of the postman, ran upstairs and put on a pair of headphones. Then listened to it, finally - at full volume. So, did they disappoint? Erm, no - not saying yet. You have to read the whole opinion first. However, after considerable hype surrounding the release across the Internet and airplay of the first single from the album, "The Rock Show" - combined with the band in all-black attire, the signs were clear that perhaps a transitional phase had actually taken place. Now, put simply, wearing black and black only for the time being doesn't actually mean that the band had gone all moody and adult on us - does it? Ooh, look. They have a new logo as well, dontcha know.

Blink-182 have always been the supposed soundtrack
to any American high-school student. Supposed, remember. Sure, their lyrics (at least in previous releases) more often than not consisted of a hybrid of well, teenage issues, really. Never taking themselves too seriously, though - casual relationships, parental issues, sexual matters and so on and so forth were the primary order of the day. But since starting out in little-past adolescence, would it be possible to continually relate now that, as one intrepid journalist-type stated, the band are probably closer to the age of their PR man than that of their average fan. Well. That all depends on the age of the PR man doesn't it - but nevertheless, a (somewhat) valid point. Incredibly though, at no point have the band showed any signs of being "past it". The youthful exuberance remains, without a shadow of a doubt. Ok. So what's the album like then, you ask?

It gets off to a good start actually, to say the least. It appears the days of guitar introductions are back with a vengeance - even on the last album, the stinging "Dumpweed" kicked off proceedings with a memorable riff. Yet not since "Cheshire Cat" and the famed curtain-raiser, "Carousel" has there been such a long, cleverly-crafted, instrumental introduction. However, a more sophisticated approach is already present with percussion accompanying the much-loved DeLonge guitar "solos". Which aren't really solo at all really, with drums and bass in the background, is it? Incidentally, it seems the band are either exorcising the days of "Enema..", continuing, or setting up a direct comparison by opening the album with "Anthem Part II", the apparent (originally titled) sequel to the rousing finale present on the last album, "Anthem". Ahem. What is evident already is that they haven't really grown up at all. Well, go on then. Just a bit, perhaps - but rather than moving into adulthood, the progression could be more
comparable to that of a mischievous thirteen year old reaching adolescence. The whining vocal of DeLonge opens the album - the line "Everything has fallen to pieces" already suggests that things may not be quite right. "Earth is dying/Help Me Jesus" follows up. Ooh, look who's in a cheerful mood, then. Yet just two lines into the entire album come two lines that would be a rarity in any previous blink-182 recording, particularly the second line. As ever though, it seems the band adopt a us versus them scenario, in relationship to youth against "adults". However, blame lies firmly against the adults - an attitude that was present, interestingly enough, more than anything else within "Anthem" on the last album. Questioning the intelligence and judgement of adults, DeLonge reflects on the state of American society with "Corporate leaders, Politicians - Kids can't vote, Adults elect them", suggesting a bitter tone and an attitude of "serves you right", more than anything else. Yet despite the apparent underlying tones, "Anthem Part II" is undisputedly one of the album's highlights. A rousing chorus hints at defiance and resentment towards childhood upbringing; "If we're f-cked up, you're to blame" spat with vicious tension by DeLonge before leading into further issues relating to treatment of youth by society and media perception, "Drown the youth with useless warning. Teenage rules, they're f-cked and boring" - both lines that portray a deeper, angrily emotional side of the band, all previously unseen until now, but without doubt a far cry from the days of old.

Second track "Online Songs" goes little way to starting afresh with an instant reference to "Dude Ranch" - Josie, the fantasy idealistic girlfriend is, in "Take Off Your Pants And Jacket" the centre of yet further tension, a love story-gone-wrong played over a f
rantic tempo accompanied by clattering percussion and a heavy bassline. Yet all too familiar is the "borrowed" bassline from "Boring", a song off the same album as "Josie" itself. It seems that blink-182 are having trouble escaping the shackles of previous success, yet in Mark's upbeat, slightly sarcastic tones, a sense of little care, affection or emotion is present towards the girl in question. Maturity - for a brief moment, perhaps, but all is restored in "First Date" - and back to DeLonge's strife in the beginning of a potential romance with a new love, yet portrayed in a somewhat more childish manner, asking questions that every nervous young male would be familiar with; "Is it cool I hold your hand? Is it wrong if I think it's lame to dance? Do you like my stupid hair?", suggesting elements of upbringing yet again. Signs of relative sentiment are present, however. With lines such as "Honest. Let's make this night last forever", the rare signs of emotion from within the band are present, yet with such sincerity almost tongue-in-cheek, once more. Almost.

All sentiment is thrown out of the window for a frantic forty-second interlude following "First Date", however. "Happy Holidays, You Bastard" resides somewhere back in the days of "Cheshire Cat", similar to the likes of "Sometimes", though the feeling is evident here that the band almost embarrass themselves with the glimpse of caring shown in the last song and rather than continue, use "Happy Holidays.." as an attempt to shake off any emotion. It might have worked. The song itself, backed by a frenzied bass/guitar fusion, deals with relationships - yet in altogether different manner. With little pause for breath, Hoppus abuses both girlfriend and family - all in the spirit of Christmas. A return to immaturity, perhaps. But also hinting that maybe, just maybe, the same attitudes
on previous recordings have been recaptured and revived. Though yet another change immediately occurs. Electronic backing, the type which would have been dismissed previously opens "Story Of A Lonely Guy", which is without doubt, another contender for the highlight track of the album, but at this point, the album has changed direction so many times already that only a state of confusion may be left. A soothing melodic introduction, with a return to DeLonge on vocals, calm the mood once more, with yet another ode to relationships-gone-wrong. Indeed, "Story Of A Lonely Guy" involves the introduction of another style once more - upbeat backing vocals contrast with a emotive chorus, which all but captures every break-up perfectly: "She makes me feel like it's raining outside.." and "I would wish upon a star. But that star, it doesn't shine", lines that, whilst somewhat unoriginal in some aspects, remain entirely different to usual blink-182 outbursts and yet again, hint at an altogether serious mood, though remaining tragically upbeat in relation to the scenario, one of sorrow, currently being illustrated, particularly with the ridiculously fantastic backing vocal accompaniment.

Whilst first single "The Rock Show" may have sounded better in place on 1998 release "Enema Of The State", the song acts as yet another change in direction - in this case, back to, if not similar to "What's My Age Again?". Here, teenage issues and emotions are dealt with in the traditional blink-182 manner, whereas far more serious tones are to be adopted in the following "Stay Together For The Kids". Beginning with Hoppus's downbeat monotone vocals accompanied by a similarly-toned backing, the song tells the story of a parent's break-up through the eyes of a youth, evident through the misunderstanding and confusion ("..It makes no sense at all..") present in the lyrics. Monot
one is however built to an almighty crescendo whereby DeLonge's distorted angst-ridden screams, filled with a spiteful tension, which are almost drowned out by thrashing basslines and crashing drums suggest a depressing undertone and set the mood for the entire song, if not the actual downpoint, in terms of mood, throughout the album. As a song, superb - reminiscent of bands such as Saves The Day, but nevertheless distinctly uneasy listening as not only a standalone song, but even more so when coupled with more upbeat songs surrounding it on the album. Particularly when sandwiched with following song, "Roller Coaster", an slightly more upbeat song with the inclusion of yet further electronic backing, about, shock horror, a relationship that might just be going right. Sentiment and emotion is evident, similar to that previously in the album - "Let me kiss you one last time, goodnight", though never becomes too soppy. With a stunning main guitar riff, a far cry for the likes of "Stay Together For The Kids". Back into teenage angst/growing-up mode however, for the next song, "Reckless Abandon" which graphically details teenage lives spiralling out of control with drugs, vandalism, sex and alcohol aplenty. Slightly less restrained than some of the other songs of the album, "Reckless Abandon" again stands up for teenage attitudes, but is wholly blink-182 in nature and content.

Flashback #3 is evident in following song "Everytime I Look For You". Although once more different in meaning and mood - yep, another sentimental boy-meets-girl-type scenario, the interchangeable lines between Hoppus and DeLonge almost eerily reminiscent of "Dude Ranch" opener "Pathetic". A rousing, emotive finale is the saving grace of one of the weaker songs on the album in all honesty, though. It's a fantastic song, this much is true - but for the calibre of some of the potential classics on "T
ake Off Your Pants And Jacket", never really shines out as an album highlight. Neither does the following track, a tale of teenage rebellion and high-school angst - "Give Me One Good Reason". Here, Travis Barker's drumming ability shines through, though all is left slightly formulaic in approach and despite yet another rousing climax, never really lights up the album. Track 12, however, is an altogether different matter. Consisting of an out-of-breath, frustrated Mark Hoppus on vocals, "Shut Up" tells the tale of yet another relationship communication breakdown. And we thought it was all going so well. Taking an almost uncaring approach to his girlfriend with lines such as "I'll never ask permission from you, f-ck off I'm not listening to you", "Shut Up" amalgamates elements of both acoustic and electric guitar backing, driven by Barker's percussion once more. Same applies to the similar story of friends-become-lovers told by DeLonge in "Please Take Me Home", the album ends triumphant, yet vastly owing to his current relationship, whereby adopting an emotive/rebellious attitude throughout. That's it. Kinda.

Well fine, it's not really. For added measure, the band generously threw in three - yes, three bonus tracks (plus the video of "Man Overboard" to be played on computer). Aren't we lucky? Indeed, perhaps the bonus tracks deserve to be album tracks in their own right. The phenomenal "What Went Wrong" sublimely blends acoustic guitar with beautifully haunting string arrangements, testing Tom DeLonge's singing ability to it's full limit, with little backing music to cover. Almost spiteful in nature, the song is a tale of, obviously by the title, love gone wrong. The lines "I'm kicking out fiercely at the world around me" suggest his inability to cope with another break-up and though ultimately mellow in its nature, end tragic, but with
a sense of individual glory. Totally different from anything the band have EVER done, but perhaps, technically, the best thing they've ever done. Seriously. Following tracks "Time To Break Up" and the bizarrely obscene "F-ck A Dog" hint that the band have returned to their roots, with in-song banter and laughter, perfectly similar to material on previous albums.

And that's what they've done, in conclusion. For all the blink-182 purists, this hints enough at days past to satisfy, if not please. The question of growing up was somewhat answered in full - subjects dealt with are far more adult in nature in general and consist of a heavier, if not overall darker tones. Technically, the band have moved on in leaps and bounds - and with unheard-of electronic additions in-song, "Take Off Your Pants And Jacket" is exceptional. Simply exceptional. Right from production, to lyrics, to melody, to er... even the sleeve design and the band members new haircuts. This is without doubt, in my mind, album of 2001. The bigger question of whether it beats any previous efforts remains unanswered as yet - comparing the progressed style of this with unpolished gems such as those on "Cheshire Cat" is hard enough in itself. So, no comment - as yet. But blink-182 simply had to produce with "Take Off Your Pants And Jacket" and produce they did. Enough to please chart fans right through to more hardcore punk fans. Just. Ooh - and me. You all know how much I've been dying to review this as well, don't you? In a word then; mesmerising. And if that's not good enough for you, then I'm not sure what is.

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