Box Car Racer (豆瓣)

表演者: Box Car Racer
流派: 摇滚
专辑类型: 专辑
介质: CD
发行时间: 2002-05-21
出版者: Universal/Mca
唱片数: 1
条形码: 0008811289423

豆瓣评分

8.5

226人评价

5星

45.3%
4星

36.7%
3星

15.1%
2星

2.2%
1星

0.7%

想听在听听过

评价:

简介 · · · · · ·

　　Tom Delonge sure does like a good side project. In between the release of the last two Blink-182 albums, Tom put out an album with his band Box Car Racer. The band consisted of David Kennedy, Anthony Celestino, and Travis Barker. Those of you who are familiar with Tom’s latest project, Angels and Airwaves, might be surprised to hear that this album is excellent. Basically... (展开全部) 　　Tom Delonge sure does like a good side project. In between the release of the last two Blink-182 albums, Tom put out an album with his band Box Car Racer. The band consisted of David Kennedy, Anthony Celestino, and Travis Barker. Those of you who are familiar with Tom’s latest project, Angels and Airwaves, might be surprised to hear that this album is excellent. Basically, this is probably what Tom intended Angels and Airwaves to sound like. It’s obvious that what Tom did on this album influenced Blink-182’s self-titled album greatly. It’s very mature; quite the turnaround from Take Off Your Pants and Jacket, which Blink released before this album dropped. Tom wanted to take his music in a new direction, and he did just that on this album. Although the music is certainly great, if the making of this record had something to do with Blink’s breakup, I don’t think it was worth it. Tom should have used the same formula for Angels and Airwaves that he used for this album (i.e., no ego and no pointless experimental stuff). It’s a shame that he got too cocky, because it’s obvious that he can make some good music on his own.
　　Listening to Tom’s side projects (both this and Angels and Airwaves) makes it obvious just how big of an impact Mark Hoppus had on Blink-182’s music. On his own, Tom certainly does make some mature music, but it lacks the element that was present in all of Blink-182’s records: fun. This could certainly be called a good thing, because it would be pointless for Tom to make a record that sounded exactly like or similar to Blink-182. But sometimes it seems that Tom tried a little too hard to make a serious album. A side project will always be judged by the quality of the original band, but it wouldn’t have hurt to put at least one fun and immature song on here. There is one song that’s immature, but not fun in any sense. "My First Punk Song" is one minute of pure annoyance. Tom yells out some incredibly terrible lyrics over some incredibly terrible music, excluding Travis’ drums, which are always good. The song is somewhat similar to Take Off Your Pants and Jacket’s “Happy Holidays, You Bastard,” in that it is a short song meant as a brief respite from the other songs on the album. Whereas “Happy Holidays” was one of the stronger songs on TOYPAJ, “My First Punk Song” is just unbearable to listen to. Fortunately, it’s the only outright bad song on the album.
　　The “experimental” side of Tom hadn’t fully kicked in yet when this album was made, so we don’t have to sit through pointless ambient intros like on We Don’t Need to Whisper, but you can tell that the first seeds of experimentation were planted during the making of this album. Tom tried some different stuff with a piano, meandering guitar intros, and even an instrumental song (aptly titled "Instrumental") complete with a xylophone. One thing I noticed about this album is that none of the bridges have lyrics. It’s evident that Tom decided to focus more on the musical side than the lyrical side. Blink-182’s music was mostly powered by their fun lyrics, not what they could do with their instruments, and in that sense, the two bands are very different. This album is built around guitar riffs and powerful drums, as opposed to Blink’s music being built around the lyrics. The music is very energetic, as are Tom’s vocals. I’ve always loved Tom’s voice, and although he doesn’t have much variation, this album shows off his vocal skills perfectly. My love for Tom’s voice made it that much worse when I heard "Cat Like Thief." Tom invited Tim Armstrong into the studio to do some of the vocals for this song. I hate Armstrong’s voice, and his performance is awful. In stark contrast, Mark Hoppus’ guest vocal appearance on "Elevator" was a pleasant surprise.
　　Tom and the band definitely focused more on the instruments, but that does not mean that the lyrics are poorly written in any sense. When this album was released in 2002, the trend in the musical world was (and still is, to a degree) writing political songs. For the most part, Tom stayed away from the subject of politics, except for the song "All Systems Go." Although there’s only one outright political line in the song (The government is lying, the youth they won’t believe them), the rest of the lyrics could very easily be interpreted in a political fashion. Political songs are a hit or miss thing. When they’re done the right way, they are usually excellent. When they aren’t done the right way, they end up b