10 times Mark Hoppus was a master producer, from Neck Deep to Angels & Airwaves
Mark Hoppus is a man of many talents. Not only is he one-third (or is that fourth, technically?) of the giant that is Blink-182, but he’s also a producer extraordinaire. With credits that include New Found Glory and Motion City Soundtrack, as well as remixes for Neck Deep and the Jackson 5, Hoppus’ name is never far away from the genres he loves.
Here we’ve rounded up a greatest hits, of sorts, for you to delve into Hoppus’ musical ear — and to see exactly what he can do when he’s not touring the world in one of our all-time favorite bands.
Read more: Op-Ed: Tom DeLonge is a musical genius — let me explain
When he halved Neck Deep's tempo on “Can't Kick Up The Roots” — and it worked
Sure, not everyone agreed with this one, but you have to admit: The slowed tempo really lets the lyrics take precedence. It might feel against what you expect from a member of Blink-182, but Hoppus always brings a maturity to projects he touches outside of his foundation band. The swelling reverb that backs Ben Barlow’s vocals removes the power from the music, instead creating a glittering canvas.
When he produced Motion City Soundtrack’s breakthrough album
Of course, the co-creator behind some of the ‘00s’ greatest pop-punk choruses had a hand in a massive jam like “Everything Is Alright.” The power from that chorus is so palpable, you also imagine it as a Blink track. Hoppus’ influence is all over Commit This To Memory, and when you put that with a band as loved as Motion City Soundtrack, well, immortality was inevitable.
When he added his touch to “ABC” by the Jackson 5
Bet you never thought you’d see Hoppus’ name next to the Jackson 5. Hoppus, along with +44 engineer Chris Holmes, had their hand at “ABC” for the fourth installment of a Michael Jackson remix series. You can still hear that reserved energy he brings to the table, while pulling out intricacies and letting the music fall away to let the youngest Jackson take center stage.
When he teamed up with metal overlord Ross Robinson for Idiot Pilot’s second album
Bringing out the melodies that lie underneath a barrage of music is no easy feat, but Hoppus and Robinson managed to bring the best of both worlds on Idiot Pilot’s 2007 album, Wolves. Those soaring vocals with the fast-paced music pair together better than, well, Hoppus and Robinson. Almost.
When Hoppus gave “America's Suitehearts” a whole new edge
Breaking this Fall Out Boy classic down into more of a slow burner, Hoppus sets the highs and lows of Patrick Stump’s voice against the crawling, pulsating beat. When the chorus falls away into a slow piano line, it gives the vocals “I’m in love with my own sins” more impact, with that piano line and echoing beat giving a beauty you didn’t realize the words held — not to mention the twists and turns the track takes as the tempo rolls around like a rollercoaster.
When he came back for round two with Motion City Soundtrack
Okay, it might be cheating to feature Motion City on here twice, but it’s our list. Hoppus returned to produce their fourth album, My Dinosaur Life, and on it were some absolutely massive tracks, including “Pulp Fiction.” Another resounding chorus that is impossible not to get addicted to, just listen to the absolute power it holds, and let the melody take you away.
When he remixed Angels & Airwaves, and it felt like they were friends again
During the first round of dark days when Tom DeLonge and Hoppus weren’t talking, it felt like Blink-182 were completely done. Then, when the reunion came, it looked like there was hope. A tour happened, and there was even a Hoppus remix of Angels & Airwaves’ 2010 single “Hallucination,” proving there was a level of bond and trust. Relying heavily on the swooning string riff, it’s AVA epic-ness with a Hoppus twist. It might feel a bit basic, 8-bit even, but that’s the point. It’s breaking down the complexities of AVA compositions into their basic components — the melody. That’s where Blink always flourished, and Hoppus knows that’s where DeLonge’s strength lies.
When he was one of nine producers on the Matches’ second album
Check out eccentric SoCal pop-punks the Matches’ single “What Katie Said,” and you can hear the ‘80s punk influences, which are right up Hoppus’ street, considering he’s long been a fan of bands such as the Cure. With fast-paced musical turns in all the right places and a bass tone that cuts through the rabble perfectly, you can only imagine the fun they had recording this. The drum sound is reminiscent of the famous “Feeling This” intro, with a little less punch, letting the crashing cymbals bring the power down.
When Boys Like Girls also got the Hoppus treatment…
Remember when Boys Like Girls were on their way to ruling (a fair bit) of the alternative world? Well, their banger hit “Love Drunk” got the Hoppus touch, with more of those trademark pulsating drums that have a snap, and the urgency becoming more reserved, giving way to the words that really deserve to have the most impact. Points, too, for keeping the studio yells at the end.
…along with All American Rejects’ major track, “I Wanna”
When you really think about it, songs that have that emotive fast tempo can’t go any faster. It’d be stupid. The chorus for “I Wanna” is broken down, but with added sparkling synth sounds that give the song a lighter edge — quite apt, given the lyrics are as longing and lusting as you can get. What we should’ve learned here is Hoppus takes damn good songs, looks at the pieces, finds the key ingredients and reduces them to immediately gratifying tracks that could be enjoyed on their own, as they can in a wider variety.
