Blink 182 ‘Neighborhoods’ Review: A More Than Serviceable Return

A lot can happen in eight years. Just ask the three members of Blink-182: Mark Hoppus, Tom Delonge, and Travis Barker.

Following their 2003 self-titled release, Delonge left the band after expressing his strong disinterest in playing any more shows. It was promptly decided that it was time for the band to take an “indefinite hiatus.”

Delonge shortly formed his own band, Angels And Airwaves and Barker/Hoppus formed their own band, +44. Each act found some success, but Blink fans were left to ponder whether or not the band would ever get back together.

Any reunion hopes would become bleak in 2008 when the band’s longtime producer Jerry Finn died and Barker was nearly killed in a serious plane crash.

News of Barker’s accident got the three members to all speak once again. After Barker’s slow, but full recovery, talks of a possible reunion tour were soon underway.

Rumors became reality and after the 2009 reunion tour was deemed a success, the band decided it was time to head back to the recording studio and the end result is the self-produced sixth studio album, “Neighborhoods,” released off Geffen Records.

Fans that wondered after all this time how exactly the new Blink-182 is will get their answer after a few listens to “Neighborhoods.”

The album opens up with “Ghost On The Dance Floor,” which begins with a fade-in of the familiar synthesizer mixed with Barker’s rhythmic drumming, rushing right into one of the grooviest riffs the band has ever come up with. Despite the somber lyrics of the song, the mid-tempo speed somehow just makes it work.

The second track, “Natives,” is more fast-paced and features a perfect back-and-forth dynamic between Hoppus/Delonge in a song that should have you singing along in no time.

While “Up All Night”- the first single off the album, contains a forgettable melody, the commanding riff to open the song is anything but. It’s the kind of riff that grabs you by the throat and shakes you around mercilessly. Older Blink fans might find this “explosive” riff similar to another song- “Stay Together For The Kids.” “Up All Night” also sounds scarily similar to another song- “All Systems Go” by Blink’s side project Box Car Racer. Even though it lacks in originality, the band makes up for it in the last 20 seconds of the song, featuring a good, old-fashioned “punk breakdown” as good as Blink can spin.

“After Midnight”- the album’s second single, sounds as if it’s also been done before but picks up enough in the Mark Hoppus-led chorus to just get by.

The album’s fastest-paced track, “Heart’s All Gone,” is comparable in sound to New Found Glory in their heyday, a complete “throwback’ to mid-90’s punk to satisfy those fans that wanted an “old style Blink.” If you’re one of those people, this is surely the track to savor.

The next two tracks, “Wishing Well” and “Kaleidoscope” fail to capture this same excitement though.

By the time you reach “This Is Home,” everything begins to sound the same melody-wise, but exceptional drumming by Barker saves this one.

“MH 4.8.2011” sounds reminiscent of Blink’s “Enema Of The State”/”Take Off Your Pants And Jacket” days, which is surely a terrific thing.

Finally, the album closes with the lyrically honest “Love Is Dangerous,” which grows on you after a few listens.

In essence it would be easy to say that “Neighborhoods” is a good album and there definitely are moments where that rings true. The musicianship is surely there. The more upbeat tracks are the better ones in terms of sound and lyrics. Also, Barker is such a sensational drummer that it keeps the music flowing and prevents it from going stale.

However, it is impossible to ignore what obstructs “Neighborhoods” from being considered a great album. Blink is at their best when a vocal balance is reached between Hoppus and Delonge. Delonge dominates most of “Neighborhoods” and the music suffers at times. The slower songs on the album are also uninspiring and interrupt the album flow.

Although, when most of the new songs are about depression, addiction, and death, it’s hard to sound inspiring anyway. You cannot fault the band for this though, based on the traumatic experiences the band endured before recording. It can be a little misleading though to have upbeat songs with “downer” lyrics.

Plenty of thought also went into the artwork for the album, inspired by “cityscapes” and also the cryptic lettering on the track listing. It’s unique and should be appreciated even if the music isn’t outstanding.

In the grand spectrum of it all, what we get with “Neighborhoods” is a solid effort with a few good songs and the good does outweigh the bad.

Older Blink fans might be disappointed with the turnout of this latest release. Think back to their older hits like “All The Small Things” or “The Rock Show.” The second either one of those songs begin to play, you know exactly what song it is. You don’t get that same effect with any random track off “Neighborhoods.” It takes a few listens to really get into any tracks at all, as opposed to their earlier hits, which people seemed to instantly fall in love with upon first listen.

“Neighborhoods” pales in comparison to Blink’s earlier efforts, but stronger tracks like “Natives” and “Heart’s All Gone” should satisfy fan’s appetites enough to get by for now. Even if it’s not the band’s best work, it’s still good enough to warrant a listen.