Blink 182 grew up a long time ago with 2003's self-titled release, which was, as controversial as it may be to say it, my favourite album from the band. It was emotionally genuine, an honest look back on their career and struck me as the album the band always wanted to make. For me, it is the album they will never be able to beat, as much as they will continue to try. After a long hiatus, Blink are back with their new release, 'Neighbourhoods', which is an attempt to better what has come before. Unfortunately for them, and for Blink fans, the record falls flat, and I can't quite put my finger on why that is. The pop punkers stick to the heavy subject matter that the 2003 album addressed and don't return to the jokes and playful style of earlier albums, as perhaps many of us thought they would this time around. It just feels like a group of songs zapped of much of their energy, meaning the album feels at times like it isn't working as hard as it could be to get us to love it. As each track goes by, there is hope for something to make an impact, but it just doesn't arrive. There are flashes of the old brilliance but not enough of it to make any one track stand out as something that will become a future Blink 182 hit.
'Ghost on the Dance Floor' kicks off the album with keyboard ambience, buzz saw guitars, full throttle snares and brash bass. The three chord blasts promise something wonderful, but as we snap from the opener into 'Natives', already I can feel the doubt begin to set in. In places, it's a good track, with machine-gun drums and a melodramatic yet memorable chorus, but it all feels a bit shoved together. The first single from the album, 'Up All Night' is a bit better, but as it switches and progresses, it starts to get confused. More vocals from bass player Mark Hoppus here would have done well, as at many times the lead vocals of guitarist Tom DeLonge feel very much like whining (which was a big problem on both albums from his other project, Angels & Airwaves).
As the album continues, many of the songs lack substance, especially 'After Midnight', which is an easy listen but not much more. It feels as if the band are just going through the motions, which is obvious with 'Snake Charmer' which doesn't feel like the best this band can produce. They should be at the top of their game, using their skill at including emotional narrative in well crafted songs, but much of what is heard on 'Neighbourhoods' crosses the line from fresh to 'heard it all before' way too often. 'Heart's All Gone', which includes a stripped down interlude, is a solid song which blends much of the band’s early career with the song-writing experience they have gained throughout the years.
‘Wishing Well’ has wonderful pop hooks, with DeLonge’s lyrics shining through due to the visuals they create. ‘Mh 4.18.2011’ is a garage rock song with pulsating beats and a soaring chorus, but as the album reaches its climax, much of the tracks stray back into the forgettable area. ‘Love Is Dangerous’ feel a lot like an Angels & Airwaves (Tom DeLonge’s other band during the Blink 182 hiatus), which really isn’t a good thing. The production values take over and make this song a badly executed and over-dramatic experience. The 2 tracks added for the Deluxe Version of the album are just as bad, although Travis Barker’s drums are enjoyable on ‘Fighting the Gravity’, but ‘Even If She Falls’ is a bore.
All in all, the album is mostly a failure, despite the odd moments of brilliance. I will give several of the tracks another listen but much of ‘Neighbourhoods’ is bland and forgettable, feeling rushed at times. It definitely isn’t a ‘we’re back!’ sort of album, which it really should be. Disappointing.
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