NOTE: This review is of the “Deluxe Edition” of Neighborhoods, which contains songs not present in the regular copy.
What a difference eight years can make. That’s how long it’s been since blink-182 has released a new album. Since 2003, the band has seen its’ share of shake ups, with the group splintering into separate side projects: vocalist/guitarist Tom Delonge with Angels and Airwaves and back up vocalist/bassist Mark Hoppus forming (+44) along with drummer Travis Barker, until Barker was sidelined in 2008 by a tragic plane crash. Barker is back in top form though, along with the rest of the group in their new album Neighborhoods.
Now I’ll cut to the chase; I’ve always been a casual blink fan. My best friend is a die-hard fan of theirs to the point where we had formed a band in high school that was a shameless blink rip-off (search “Mute 46” on YouTube. On second thought, don’t.). I’ll occasionally listen to them, but they’ve never been a huge influence on my musical taste. That said, I’d have to say Neighborhoods gets my endorsement for a solid listening experience. The group’s hiatus is a blessing, given that all the members have had some musical breathing room through their side projects. These outside influences have made their way into the recording room too, with their new album sounding like an amalgamation between Blink, Angels and Airwaves and (+44). This gives Neighborhoods the trademark brash sounds of a blink-182 album, along with the electronic quality of (+44) and some of the strange spacey-ness of Angels and Airwaves. This change up makes some of the songs jarring at times, but after a few listens, the songs start to gel into a cohesive experience.
The biggest high point of the album, however, is Travis Barker’s drumming. Barker’s percussion skills have been a trademark of Blink’s since he replaced original drummer Scott Raynor back in the 90’s. However, in this reviewer’s humble opinion, Barker can sometimes overpower a song. This makes a song sound less like a group performing and more like the audible equivalent of three musicians shoving their way through a doorway. This is not the case this time, however, as Barker has struck a medium by being able to rein it in without demeaning his or his band mate’s talent. The song writing has also improved in Neighborhoods. I’ll probably get flak for saying this, but blink-182’s biggest boundary for me was that some of their songs came across too much like cheap adolescent angst and sappy why-don’t-you-love-me romance. Don’t get me wrong, I remember junior year of high school too, but the guys are in their mid to late thirties now. It’s time to grow up. Grow up they did, as that youthful vigor is still there (especially in “Natives” and “Even If She Falls”, easily two of the albums best tracks). It’s just been reduced slightly and given better place.
Neighborhoods is a solid showing of what blink-182 is as a band and where they are going. It proves that the trio of man-children who once had their fingers on the pulse of the nations youth with “All The Small Things” have found their sense of restraint while still holding on to what they used to be, a suitable analogy for growing up, whether they know it or not.