I was 12, maybe 13, when What's My Age Again? took over MTV and the radio. Within a year, I had a bass guitar, a copy of "Enema of the State," and more tabs than you could shake a redwood at. I tried to start a band, with friends Zac and Drew. We, or at least I, wanted to be blink. I wanted to be Mark—I started spiking my hair, playing my bass as low to the ground as possible, even ran around naked. More than anything else at that time, blink-182 defined me. Besides my sideburns, I mean, scraggly, unkempt things though they were. And in spite of the shit I get from friends (from high school to college, bandmates to gaming buddies, hipster classmates to roommates), I won't let them go (the color scheme of this blog? The white, pink, tealish blue and black? Straight off the artwork of their self-titled album). They are my favorite band. Doesn't mean they're the best band I've ever heard but I enjoy them more than any other group...period.
This album is a long time coming. As such, so is this review. Last summer, I took a crack at "Take Off Your Pants and Jacket," which was, admittedly, a biased review. I can't subjectively look at/listen to that album without remember that time in my life. "Neighborhoods" is different. I'm a wee bit older, a smidge more mature, and a tad more cynical (OMG just like the guys in blink!!@!1!).
I want to take this review song-by-song. At the end, I'll wrap it up like a beautiful, baby burrito. So if you don't want to read all of this (and there is a lot), just skip down to the bottom for my overall thoughts of the album.
Ghost on the Dance Floor
What an excellent way to open. And what an excellent way to open the opener: It fades in, with Travis doing what he does best on the drums, then introduces a bit of synth (not too new to blink, but more associated with AVA), and then a barebones guitar line. It's like a reintroduction. By the time Mark comes in, you know it's a blink song: driving, simple bass backed by drums that are distinctly Barker's, accompanied by a guitar that is strung-out just enough. It's grandiose to a point, and then tempered by Travis and Mark. Please pay attention to the little bits that Travis is doing on the verses. The dude knows how to add that little bit extra without drawing in all the focus. Speaking of, hearing Mark back Tom during the verse/pre-chorus got me excited. There's no other song on the album that gets you hyped to listen quite like this one. And how about that ending? With that ending, it easily could've been the last song on the album. The break into the last chorus is chaotic and fun and leads wonderfully into...
Natives
The reviews I've read all compare Natives to M+M's from "Cheshire Cat," but they're a good bit wrong. See, Natives has an urgency and a tension right from the start (it pervades the entire song), in large part to Travis' drumming and Mark's guttural bass line. Both keep the guitar (which is where the comparison to M+M's comes from) from feeling upbeat or easy going. When Tom's strained vocals come in, it pushes the tension and feels paranoid. The lyrics aren't uplifting and nothing relents until Mark's chorus. And even then, it's not necessarily relenting. Because it's still angry and the urgency remains throughout, pushed along by the drumming and vocals. It works well here, to the point where I actually thought the intro was a continuation to Ghost on the Dancefloor.
Up All Night
I reviewed Up All Night when it first came out back in July, so I won't dwell here too much. I was cautiously optimistic and I stand by my original opinion—it's a good blink song. And it's still awesome to hear Mark and Tom trading vocals during the verse. However, as a part of the album, this song goes from good to better than good, but not quite great. The song has grown on me like a beard, and in context, as part of an album, it works that much more. It fits the tone set by the first two songs, and carries it on: this album, this blink-182, is a bit heavier. And that's a good thing (more on why when I'm making that baby burrito at the end).
After Midnight
If you don't pay too much attention to the lyrics, this song comes off as a sweet, love-songy type. But there's a definite melancholy. It sounds like a song about a couple right at the edge of a break-up, especially during the verses. The chorus follows suit, but is more focused on just how they deal in the moment. It's sad, but not heartbreaking. This is apparently lined up as the next single, and I hear why. I've always appreciated when Mark and Tom split the verse and chorus, much like in Feeling This, where they're clearly singing about the same subject but from two distinct and different points of view. After Midnight encapsulates that.
Snake Charmer
This one's a little nugget of awesome. First off, I love what Mark's doing on bass. And I love the minimalist styling of the verses, which just stand to make the choruses that much more powerful and fun. The break is particularly full of rockin', with Mark providing vocals that just click, and Tom throwing out lines as they build to the last chorus. Solid, solid, track.
Heart's All Gone Interlude/Heart's All Gone
If anything will convince you that the blink-182 of yore is forgotten, it's the interlude. OK, maybe not as much as The Fallen Interlude from "blink-182," but it's decidedly not blink-ish. And if anything is going to make you think the blink-182 of yore is still around, it's Heart's All Gone. It's super fast, with vocals more strained than we're used to from Mark. In that way, it's a lot like "Dude Ranch"—fast, frenetic. Except, as per the rest of this album, the lyrics are heavier than anything you'd hear on "Dude Ranch," and decidedly less uplifting and feel-goody. Once again, pay attention to Travis, this time in the chorus. Dude rocks hard. I prefer this song live, with Mark and Tom trading lines in the verse. Again, it's reminiscent of "Dude Ranch," particularly Pathetic, which is a very good thing.
Wishing Well
Is Tom singing about his departure from blink? Maybe, maybe not. Either way, it's Tom's most open song on the album. The song benefits from the honesty ("I'm a little bit shy, a bit strange and a little bit manic" Tom sings before super catchy la da da's kick in. Seriously, they stay with you). The song is one of the catchier, if not the catchiest, on the album. Even in spite of self-conscious, uncertain lyrics. As per the usual, the final chorus brings the energy just a bit higher, in this case with an extra guitar thrown in.
Kaleidoscope
This one I tend to skip. It doesn't click for me and I couldn't really tell you why. OK, I probably can: I don't like the start, with Mark coming in. It's off-putting to me. If they had cut out just that bit, and kept just the bare intro into the little piano bit and then the verse, I think it'd be a stronger song. Which drives me crazy, because I prefer Mark's voice on this song than I do on Heart's All Gone. In fact, beyond the intro, I don't mind the song. I just really think it could've started a lot stronger and been more appealing minus Mark in the intro.
This Is Home
First thing I thought of when this song came on was the '80s. Between the synth and the drum clap, this feels like some sort of hybrid of The Cure and blink. I dig that the guitar is going throughout the verse because it's a cool little line. Lyrically, this one is all about remembering the pit, going to shows and having a riot. Folks who didn't really like Tom's vowel-elongation that really blew up in AVA will probably be turned off by the chorus, which sees a good bit of it. I could stand to have a bit less of it, but let it go because of the heart behind the last line of the chorus, "Because this is home." I really Tom believes what he's singing, not that he just wrote some lyrics to go with a cool hook.
MH 4.18.2011
Here's another darker (lyrically) song masked by pop-punkier, uptempo music. I don't really know what to make of this one. It doesn't offend my senses but it doesn't send out any sparks, either. It's a fine listen, just not particularly exciting to me.
Love Is Dangerous
Another one that could be out of the '80s. Tom has primary vocals here, but Mark is singing along with the entire verse, which makes for a really cool harmony. This is one of those songs where I'm glad they're back together because their vocals work together. Especially in the chorus, where Tom's singing one thing and Mark another. It was a good touch having Mark's lines come in in the second chorus. Another good guitar line, and synth line, too. This is the regular edition's ending, which makes me appreciate the fade out even more, since Ghost on the Dancefloor fades in (I like cyclical! Or parallel. Whatever you want to call it, I like it).
Fighting the Gravity
Here's the biggest departure from the blink-182 of the '90s and '00s. It's the most experimental of the album. It doesn't really fit on here, so I understand leaving it off. It's not one I've listened to very much. But if you're in the mood for something spacey, dark, and resonating, put on some good headphones and listen.
Even If She Falls
Remember above where I said Love Is Dangerous was a good closer? So is this. Particularly with the delivery of the first verse and chorus. It's more spoken than outright singing. Until the second verse, where it becomes more singing. Now, that may sound weird, but that's just because I'm bad at describing. It's a more subtle song, more in line with Love Is Dangerous and Wishing Well, but not quite as '80s as them. Again, I love the little bits that Travis is doing during the chorus.
Overall
The first half of the album is fucking solid. I'm still on the fence about Heart's All Gone, but even so, it works incredibly well with the first half of the album. I find the first five songs (Ghost on the Dancefloor through Snake Charmer) to be the strongest part of the album. Even on the slower songs (After Midnight), the album's pace remains intact. Wishing Well takes us in a different direction and it's here that the pace falters, that the guys seem a bit more unsure. It's like they weren't sure which way they wanted it to go, so they alternated between two different types of songs (Wishing Well, Love Is Dangerous, Even If She Falls vs Kaleidoscope, MH 4.18.2011).
Now, blink-182 has never been known for its lyrical content, and that's still dead. There are some really heavy-handed lines sprinkled throughout, some that probably sounded like a great idea but just didn't translate well. But if you listen to blink, you know that and you expect that. Some of the vocal work leaves a good bit to be desired. Neither Mark or Tom have ever been touted as great singers, but age hasn't helped. And this may sound odd, but the more Mark tries to sing well, the more I want to switch tracks. I don't know how else to explain it. You should also expect a good bit of influence from the side projects: there's a heavy influence of AVA and +44. In the same vein though, what else would you expect? Each of those bands had traces of "blink-182" in them. It's a natural progression. And at no point do any of these songs sound like AVA or +44. You know it's blink-182. Mark and Travis rein in Tom's grandiose stylings that have been let loose on the AVA albums and Tom adds a bit of scale to Mark's simpler sounds. It's why these guys have worked so well together since 1992. Travis Barker is MVP of "Neighborhoods." He just adds so much more to each song, but without being the focus, without hogging the spotlight.
So, friends, this one is worth a listen. No, it isn't as upbeat and happy-go-naked as "Enema of the State" or "Take Off Your Pants and Jacket," but it shouldn't be. These guys went through an ugly break-up, public potshots, Travis nearly dying, and two good friends (DJ AM and Jerry Finn) dying. So the album's darker. It's a bit more brooding. But it still has fun and more importantly, is fun to listen to. Ghost on the Dancefloor will get you moving. You'll be humming Wishing Well's prechorus after one listen. This is still blink-182. It's just an older blink-182. But really, all that needs to be said of the album is simply this:
I guess this is growing up.
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