Although it’s imperfect, The Neighbourhood deliver their best and most compelling album to date with their self-titled, third full-length.

The Neighbourhood is back! After releasing two five-song EPs – Hard (2017) and To Imagine (2018) – the band is dropping their third full-length album, The Neighbourhood. Prior to their EPs in advance of their self-titled album, the last full-length effort released by the Jesse Rutherford-led collective (Wiped Out!), arrived in 2015. Some of the songs from the EPs appear on the standard edition of the album, while all of the EP songs appear on the 18-track, deluxe edition.

“Scary Love”

“Flowers” kicks off The Neighbourhood exuberantly, in a major key. Jesse Rutherford doesn’t sound natural per se – his voice drenched in a variety of effects.   Still, the core voice is front and center on the chorus.  Not a bad start, but not nearly as great as what follows.  

Standout “Scary Love” is one of the grooviest songs that The Neighbourhood has ever released.  Following a brief, mysterious intro (all of four seconds), the inescapable beat takes over. “Scary Love” sounds more pop than alternative.  There are driving synths, and an electronic sound palette is clear from the jump. The vocals are mixed in the background on the verses as opposed to the forefront.  The effects-laden pipes of Rutherford are playful, and he seems to ‘be about that play.’

“Even better when you first wake up

Than anybody else I’ve f**ked

Baby, I got good luck with you

I didn’t know we’d get so far.”

On the chorus, Rutherford is front and center, which is fitting to the more overt, confident sound.

“Nervous”

“Nervous” begins nervously, better yet mysteriously. Rutherford delivers honest, reflective lyrics, while his vocals reflect a similar sentiment. Although “Nervous” sports a bit of a self-indulgent vibe, Rutherford and company deserve respect for revealing and speaking about insecurities.  Each of the three verses tackle issues and self-worth. With all the weight of the verses, things are summarized on the chorus.  It’s ‘heavy’ too, but definitely catchier and more accessible.

“You’ve got me nervous to speak

So, I just won’t say anything at all

I’ve got an urge to release

And you keep tellin’ me to hold on

You’ve got me nervous to move

So, I just won’t give anything to you

You got me turnin’ all around to be who you need me to.”

With “Void”, Rutherford and company have an interesting, realistic record on their hands. It paints a picture of legitimate internal conflicts, including addiction to substance, the need for sex, as well as issues with simply ‘not feeling’ it.

“I wonder how I got by this week

I only touched you once

Lately I can’t find a beat

I used to feel the rush.”

This confliction shown is the listener’s pleasure, creating a truly captivating narrative.

“And now I need you to feel the vibe

I need you to see the point

I need you to feel alive

I need you to feel the void.”

“Softcore”

Groove continues to be the tale on “Softcore,” which embraces dance-rock given its sleek, electronic-driven sound.  Full-fledged, bearing a ‘wall of sound,’ arguably “Softcore” feels a little too sleek.  In this case, more song and less record would’ve been slightly more effective.  Follow-up “Blue” is the better song, dialing things back, with production anchored by heavy bass and a dusty, soulful groove. “Sadderdaze,” which concluded the Hard EP, feels right at home on The Neighbourhood. The neatest aspect of the song is the wordplay, particularly its relevance to the message. Rutherford discusses the effects of success, particularly within the music industry, yet, he’s still unprotected from “sadder days.”

“Saturdays are not the same as they used to be
Sadder days, why do they keep on using me?
They keep on using me.”

“You Get Me So High”

Following the “Sadderdaze,” Rutherford clearly wants his “Revenge.” Essentially, the slickly-produced minor-key finds the frontman angry about how he was treated in a past relationship.  He muster up oomph to show he’s pissed and ultimately, wants her to feel exactly what he felt.

“I let you rip me off
I won’t do that again
And I know it’s wrong
But now I want some revenge…
I’ll make it hard, I’ll make you starve
Just give me one good reason, baby.”

“You Get Me So High” is an enjoyable, well-produced highlight.  Groove is central, with Rutherford giving a respectable vocal performance. The chorus is simple, yet catchy.

“High all the time, high all the time

I wanna be high all the time

Would you come with me?” 

“Reflections”

After being so high, “Reflections” serves as a fitting and compelling follow-up, particularly the chorus. Focused on love, clearly Jesse fell hard.

“We were too close to the stars

I never knew somebody like you, somebody

Falling just as hard…

I see my reflection in your eyes (tell me you see it too).”

Sometimes, the vocal production on The Neighbourhood is a bit suspect.  That’s not the case on “Too Serious,” where the warmth of the vocal production is among the best of the album. “Stuck with Me” concludes the standard edition.  Interestingly, initially, it feels like a natural segue from “Too Serious.” As the record progresses, it develops its own, distinct identity, aided by a driving groove, synths, and rich, robust vocals.  

Final Thoughts

After reviewing each full-length album by The Neighbourhood, their self-titled third album feels like the most well-rounded and mature.  It’s not perfect, sometimes suffering from too much nebulousness, overproduction, or under-development of the songs, but it’s a sizable step for Jesse Rutherford and the boys.  When the band doesn’t “get in their own way” – and sometimes the production – they’re at their best. 

Gems: “Scary Love,” “Void,” “Sadderdaze,” “You Get Me So High” & “Reflections” 

The Neighbourhood • The Neighbourhood • Columbia • Release: 3.9.18

Photo Credit: Columbia