blink-182 – Neighborhoods
Reviewed by: jtresk26 (09/15/11)
Blink-182 – Neighborhoods
Record Label: Geffen
Release Date: September 27, 2011
On February 8, 2009, the members of Blink-182, guitarist/vocalist Tom DeLonge, bassist/vocalist Mark Hoppus and drummer Travis Barker, appeared together at the 51st Grammy Awards for the first time in 5 years since their bitter breakup. A lot had happened since that time, new bands were created (Angels and Airwaves, Plus 44, TRVS & DJ AM and more), DeLonge dropping his addiction to painkillers, the death of longtime Blink producer Jerry Finn, and Travis Barker being involved in a disastrous plane crash that killed 4 people and left Barker and DJ AM, real name Adam Goldstein, the only survivors. (Goldstein tragically passed away nearly a year later). The appearance on the Grammy Awards announced Blink was reforming and were looking to build upon their legacy by writing and recording a new album. This sent Blink fans into hysteria after 4 years of nothing basically. After two years of positive reception of a reunion tour throughout the United States, which included headlining Madison Square Garden, touring Europe, which included a headlining slot at the famed Reading and Leeds Festival, sold out shows and Blink hysteria reaching record levels, just built expectations higher and higher on the elusive new material that fans were dying to hear. But there was just one problem: the members’ prior commitments. DeLonge’s Angels & Airwaves, released LOVE in 2010 and toured across the United States and Europe and a film of the same name in 2011, with LOVE:Part Two being released in almost two months, Hoppus’ foray into television hosting Hoppus on Music, and Barker’s long awaited solo album, Give the Drummer Some, finally being released in 2011. But with the release of the comeback arena rocker, “Up All Night,” Blink fans got what they have been waiting for for 8 years: new material.
(Disclaimer: Due to the leak, no finalized track listing has been announced due to different sequencing on the Deluxe Edition.)
It opens with, “Ghost on the Dancefloor,” a song currently being road tested on the band’s current tour, catapults you immediately on the album’s theme, atmosphere and overall narrative of the album: Death and the feelings you have when you lose people. ‘Ghost,’ opens up very atmospherically, with synths, a dazzling beat by Barker, a very dance-influenced guitar riff and reaches a new experimentation, last seen on the band’s self-titled 2003 release. “Natives,” a fusion of retro Blink and still shows expansion on a new sound for Blink, showcases the Hoppus-DeLonge vocal dynamic the band is renowned for, balances teenage angst and middle aged life lyrically and is a memorable highlight of the album. Aforementioned single, “Up All Night,” fits in right into the album’s atmosphere as fans have predicted and molds every side project each member has been while reaching new levels for the band. Second single, “After Midnight,” an atmospheric blend of Angels & Airwaves and Plus 44’s blunt lyricism, is a crowning achievement and arguably one of the best songs the band has written so far. “Snake Charmer,” a lyrical look at Adam and Eve, opens with influences of The Cure, before turning into head bobbing rocker, then with a darkness that creeps into the verses, really showcases DeLonge’s dynamic vocals. “Heart’s All Gone,” opens with an interlude that builds on with more Cure-ish guitars, then wallops with dirt guitars into a Bad Religion-esque attitude and tempo, is a really a throwback to the old school Blink fans who were there in line waiting for their copy of Dude Ranch. “Wishing Well,” is an ode to the pop punk the band help create and is arguably the catchiest song on the record. “Kaleidoscope,” may have well been a track from Hoppus’ Plus 44 project, but it gives the listener into a glimpse of what can be perceived as how the process of the record was for the band. “This is Home,” a track already seeing some division among fans, is a new wave inspired track that may be the weak point, lyrically, of the album, but still shows the catchiness the band is known for. The oddly titled, “MH 4.18.2011,” another throwback to the band’s past catalog, is a great look into feelings of anger, communication breakdown and discovering yourself in a new light when “everything you loved is gone,” is another crowning gem in the album and perfectly embodies the theme of the album. “Love is Dangerous,” wallops suddenly in explores new sonic experimentation and lyrically looks into how you never learn after you keep breaking your heart on caring about someone who doesn’t care about you the same way. “Fighting the Gravity,” definitely the most experimental track on the album and in the band’s catalog, is an example of a ‘Wall of Sound’. It’s the track that you may look down upon at first, but grows on you after each listen. Hoppus’ lyrically is on par with the bleakness of the album and is about trying to get yourself out of a perpetual darkness that has no sign of letting any light in. Lastly, “Even If She Falls,” ends on a happy note, examines when you fall in love with someone so much that it’s something you can’t shake it off how hard you might try.
Production-wise, fans were in doubt about how the album would stand up to the band’s work with long-time producer Jerry Finn, who had passed away in 2008, coupled that with the band’s decision to self-produce. The band produced an album that honestly lives up to the quality of the band’s past albums, showcasing dense, layers of sound, found on tracks such as, “Fighting the Gravity,” and “Up All Night,” and stripped down songs like, “Heart’s All Gone.” Lyrically, the band shows an introspective feel throughout each song and the contrasting lyrical styles and vocal dynamics of DeLonge and Hoppus, is really the most underrated aspect the band has and the most missed in each of the member’s respective side projects. Vocally, Hoppus and DeLonge sound as great as they ever have, especially DeLonge, as he expands on his own style. Musically, the band lives up to the standard structure of four chord riffs, octaves ringing throughout the verses, but they expand beyond that on tracks, such as, “Fighting the Gravity.” Barker still is the anchor of the band, driving each rhythm to soar new heights and powers through tracks that sound like retro Blink and the expansive new sounds the band has throughout the album.
In the end, Neighborhoods comes down to a question fans have been wondering ever since Blink reformed. Does the album live up to expectations? Yes, exceedingly. It honestly has something for everybody wanting classic Blink, like Dude Ranch era, Pop Punk Blink and it builds on the experimentation the band started to build on the last album. Even fans of side projects like Angels & Airwaves, Plus 44 and the very underrated Box Car Racer, can be equally satisfied as the most hardcore Blink fan. Neighborhoods is a rare album that grows by looking into the past, expands on it without repeating itself and gives you a look into the future where everything is limitless.
Additional Information
1. Ghost on the Dancefloor
2. Natives
3. Up All Night
4. After Midnight
5. Snake Charmer
6. Heart’s All Gone Interlude
7. Heart’s All Gone
8. Wishing Well
9. Kaleidoscope
10. This is Home
11. MH 4.18.2011
12. Love is Dangerous
13. Fighting the Gravity
14. Even If She Falls
Blink 182 is:
Tom DeLonge- Guitarist/ Vocalist
Mark Hoppus- Bassist/ Vocalist
Travis Barker- Drummer
Recommended If You Like
Blink-182, Angels & Airwaves, Plus 44, Box Car Racer. Best listening to at night