California
by blink-182
  • Record Label: BMG
  • Release Date: Jul 1, 2016
Metascore
63

Generally favorable reviews - based on 17 Critic Reviews

Critic score distribution:
  1. Positive: 8 out of 17
  2. Mixed: 9 out of 17
  3. Negative: 0 out of 17
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  1. Rock Sound
    Jun 30, 2016
    90
    Blink-182 have delivered an album that recalls everything that makes this band great and gives it all a fresh twist, the end result is California being amongst the best albums they’ve ever produced.
  2. Classic Rock Magazine
    Aug 10, 2016
    80
    California collects 14 hook-drenched punk-pop barnstormers that both reflect nostalgically on their youthful vigours (Bored To Death, Kings Of The Weekend, San Diego) and revisit them impressively (Teenage Satellites, No Future).
  3. Kerrang!
    Jun 30, 2016
    80
    blink's most musically ambitious, yet spiritually comprehensive, album to date. [2 Jul 2016, p.50]
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  5. AllMusic
    Jun 29, 2016
    80
    The guys have grown up and the results are as catchy and enjoyable as anything they ever did in their youthful heyday.
  6. Punknews.org (Staff)
    Jul 11, 2016
    70
    California isn’t a perfect record, nor does it need to be. It displays a band getting back on the right page with great energy yet struggling a bit to find equilibrium.
  7. Alternative Press
    Jul 1, 2016
    70
    California sounds like what Blink-182 probably should sound like in 2016: upbeat, hooky and, above anything else, a total blast. Some will call the lack of truly progressive moments a regression while others will hail the album for being a breezy throwback. But Hoppus, Skiba and Barker have given Blink-182 momentum for future productivity and success.
  8. Rolling Stone
    Jun 29, 2016
    70
    At its best, California shows Blink trying new ways to freshen up yesterday's racket.
  9. Drowned In Sound
    Jun 29, 2016
    70
    California sounds like the work of a band filled with the joy of existence, giving in to every pop indulgence or production trick that could stuff in one more hook before the end.
  10. Spin
    Jun 30, 2016
    60
    The main problem with California isn’t that the songs are bad--it’s just that there are too many (16 for some reason), and not enough ideas to fill them.
  11. The New York Times
    Jun 30, 2016
    60
    On this pleasantly familiar if not especially imaginative new album, the band’s subject matter verges on the bittersweet, or just outright bitter, but still they grin. ... The album is overlong, and full of songs that have achieved their purpose by the halfway mark.
  12. Exclaim
    Jun 29, 2016
    60
    California plays out less like an album and more like a collection of songs; uneven and disjointed, it's hard to take in as one larger whole.
  13. New Musical Express (NME)
    Jun 29, 2016
    60
    California is too long, but has the humour, pace, emotion and huge choruses of a classic Blink record. Mission accomplished.
  14. Pitchfork
    Jul 6, 2016
    55
    The earnest California takes plenty of time to sprawl out, from wound-licking power ballads (“Home Is Such a Lonely Place,” “Hey I’m Sorry”) to high-shine navel-gazings that hew closely to past hits.
  15. Consequence
    Jul 5, 2016
    50
    California doesn’t go out of its way to stay creative. Here lies the death of the immediate hook, but Blink-182 are having fun regardless--and hearing that may be the best part of this album.
  16. The A.V. Club
    Jul 1, 2016
    42
    California is the sound of Blink-182 desperately trying to remain relevant by outsourcing its creativity.
  17. The Guardian
    Jun 30, 2016
    40
    At 16 tracks, it feels bloated and unfocused, tonally offering up an uneasy mix of cheery pop-punk (Kings of the Weekend) and moody, goth-tinged alt-rock (Los Angeles).
  18. Q Magazine
    Jun 29, 2016
    40
    California is desperately unadventurous. [Aug 2016, p.108]
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Awards & Rankings

33
#33 Most Discussed Album of 2016
74
#74 Most Shared Album of 2016

User Reviews

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User Score
7.5

Generally favorable reviews- based on 141 Ratings

User score distribution:
  1. Positive: 102 out of 141
  2. Mixed: 32 out of 141
  3. Negative: 7 out of 141
  1. brette
    Jul 2, 2016
    5
    Firstly, I've loved Blink for 15 years and every album they've ever made but I have to say this album is slightly disappointing.While theFirstly, I've loved Blink for 15 years and every album they've ever made but I have to say this album is slightly disappointing.While the album contains catchy hooks and riffs reminsicent of 1999's "Enema of the State", the majority of the songs seem under developed. The lyrics seem rushed and the empty space between melodies are often filled with "woah-oh's" and/or "na na's" that get easily lost in the mix and don't stand out like the "na na's" in "All The Small Things". Lyrics like "I can't sleep/'cause what if I dream/of going back to San Diego" in "San Diego" and "I'm not sure what I said/ I feel dumb and a long night's coming" in "Kings of the Weekend" are by no means well developed lyrics. Not that Tom and Mark were ever savants in the lyric writing department, but when these lyrics are paired with the lazy melodies Mark sings on the record, the lyrics come off as just as lazy. Not to mention most of the lyrics entail some sort of teen-angst or clear link to teenage life, which was once a traditional Blink-182 characteristic now comes off as juvenile and desperate. Especially after fans have heard their lyrical potential on the “Dogs Eating Dogs” EP, the “Neighbourhoods” album, and of course the self titled album.The band went with well known producer John Feldmann of Goldfinger who actually has quite an impressive resume for producing and writing credits, however its important to note that he has recently produced and cowritten the last two 5 Seconds of Summer albums, the last two All Time Low records, and the comeback Good Charlotte album just to name a few, which does not bode well for the classic pop-punk sounds produced by Jerry Finn on "Enema of the State" and "Take Off Your Pants and Jacket". Its obvious that Feldmann had a strong influence on the album as he almost seems like the 4th member of the band.Tracks like "Sober" and "Teenage Satellites" don't reflect the classic Blink that everyone once loved and seems like a desperate attempt to attract new fans who love a catchy pop-rock song, much like All Time Low and 5 Seconds of Summer tracks. While "She's Out of Her Mind" sounds almost like it could've lived on "Enema" and the punk beats from Travis on "Rabbit Hole" and "Cynical" which also reflect some of the same punk riffs and melodies that old fans can jump on board with, there just aren't enough of these tracks. Two thirds of the album are filled with Feldmann-like average pop-rock radio tracks while the songs with the most potential like "Brohemian Rhapsody" and "Built This Pool" are cut short for the sake of a mediocre dick joke which I’m sure are driving old Blink fans absolutely nuts at such a tease. However, I must say the album gains points for the fact that the band went back to their potty humour roots that give "Happy Holidays You Bastard" and “Family Reunion” fans a little treat.The problem with the album is that despite what many people say about Tom, his lack of presence is heavily felt. Travis seems to get a little lost at points often doing drum rolls and fills at a seemingly desperate attempt to make the tracks more diverse than every pop rock song on the radio today. If you line up "Sober" with any popular pop-country song that's relevant today, you'll see the obvious similarities in vocal melodies, rhyming lyrics and chord progression, which makes me cringe.
    While Matt's vocals and guitar playing still fit nicely into the mold, his song writing abilities are not nearly as strong as Tom's and it shows. Mark will always be a solid song writer, but what took Blink songs to the next level above +44 and Angels and Airwaves songs was the collaboration and contrast between Tom and Mark's vocals and song writing styles. Listen to "Neighbourhoods" after listening to "California" and the nostalgia almost hits you in the face once you hear the way Tom's vocal melodies and riffs fit like a puzzle with Mark and Travis. I'm not saying Matt's presence sticks out like a sore thumb, he actually does a great job of not trying to fill the Tom void and replicate what Tom had done in the past, but the difference is Matt has never written a hit and Alkaline Trio was never a particularly strong band in the pop-punk world to begin with, forcing the tracks on this record to get a little lost and like I said, underdeveloped. Its most prevalent with his riff in "Bored to Death" which is essentially ripped off of Tom's "Adam's Song" riff, and then recycled yet again in "San Diego" hoping nobody would notice.I think its clear that what Blink was going for on this record was to remain relevant while also remaining true to their old fans while at the same time attracting new fans. As Mark mentions: "It's a long way back from 17..." which is probably the most significant statement on the record. But to go with a completely new producer who apparently told Mark to just go into the vocal booth and write lyrics even if he didn't feel inspired to write may not be the best choice for a comeback album.    … Full Review »
  2. wshfrwngsthtwrk
    Jul 3, 2016
    10
    This is the album that Blink-182 needed to release for years to come. I know some diehard fans are going to have bias feelings towards Tom'sThis is the album that Blink-182 needed to release for years to come. I know some diehard fans are going to have bias feelings towards Tom's departure. But, I frankly believe it was the drastic change the band needed in order to survive. Tom DeLonge was far too concerned with moving forward with Angels & Airwaves, which he can gladly do without the pressure of trying to keep both bands going with only having the full desire for just one of them. I take nothing away from Tom's songwriting ability, but I personally believe Matt Skiba just happens to be better at songwriting and was looking forward to the "new and improved" Blink-182. After listening to California for the first time (I haven't stopped listening to it much since I got ahold of it), it immediately took me back to when I heard Take Off Your Pants & Jacket for the first time. In my opinion, it's the band's best record since that album. Every song brings something different to the table while consisting of some continuity. Call me crazy, but Mark Hoppus and Matt Skiba are a match made in Heaven. California just has the classic sing-a-long Pop Punk vibes that Blink-182 had back in the late 90's and early 2000's. It was obvious on both self-titled and Neighborhoods that Tom was pulling away from Blink-182 and was ready to stick a fork in his contribution to the band. That was notably clear for both albums since they recorded each one separately. This was the first album in god knows how long that they actually recorded together in the same studio. You can tell by listening to California that they had a blast writing and recording this album; which is something Mark and Travis haven't had with Blink-182 in a long time. They're both just happy as much as I am that the band is alive and well.

    I wish Tom DeLonge the very best with his future musical endeavors; whether that be continuing in Angels & Airwaves or not, but I am very interested in seeing where this new look Blink-182 goes from here. Matt Skiba joining forces with Mark and Travis is the best thing to happen to this band in a very long time.    … Full Review »
  3. Duracell410
    Jul 2, 2016
    4
    Gone are the days of any real punk roots - this is full-blown pop now.
    New sound - you can hardly hear Matt's guitars under the heavy    Gone are the days of any real punk roots - this is full-blown pop now.
    New sound - you can hardly hear Matt's guitars under the heavy production, although there's nothing cool happening there anyway.
    Largely uninspired lyrics, and without listening to it again (so I may be wrong), there's some form of loud "woah" or "oh oh oh" or "na na na" in literally every track.

    Highlights are Matt Skiba's vocals and obviously, Travis' impressive drumming (which comes out with a bang in the first track - probably the best track on the whole record).    … Full Review »
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