|Credits: @thenbhd Instagram|
The lead single 'RIP 2 My Youth' certainly sends a message out. The dark topics of loneliness and the feeling of youthfulness escaping Jesse, the singer, continues. Bleak and entirely unabstract, the song details how they are willing to move on from the opportunities life presents in the teenage years, and accept adulthood - even if they admit this by referencing Channel perfume. Accepting "there's only so much I can do", the band decide to present this concept-inducing single right at the end of the album. I for one cannot remember the last album I listened to that had it's lead single finishing the album. Before listening to the album, I fully expected this to hinder the flow of the album, as what was coming was known. However, it draws a fulfilling close to the album's theme and auditory experience. They pull this off because a) it isn't the best song on the album and b) they haven't stuck it in the third quarter, which usually serves to provide an inkling of hope that the rest of the album is utterly brilliant. The Neighbourhood need not, this album doesn't need gimmicks.
The album has far less of an electronic tinge to it than their previous releases. Perhaps their mixtape released last year was done as they knew the direction they were heading in and got out of the way their samples and beats lined up. Whilst slightly disappointing, the album has more of a pop feel to I than expected. Guitars are far more prominent I would say, creating a rhythmic ocean-like sound, with rolling melodic lines, successfully creating the image the title is going after. They've hit the jugular, here. The album perhaps isn't as catchy, too. The lyrics do not always rhyme or flow in an obvious way, creating far more intrigue and processing than before.
|Credits: @thenbhd Instagram|
The overall package is more pop, but how many pop albums have you heard that so transparently talk about death? 'Daddy Issues' couples together the traditional issue some women face of having daddy issues, the sort that litter American movies, with an open discussion about his father leaving him and dying. It's dressed up in quite an upbeat fashion, indeed, so is the whole album - very surprising considering what they have evidently experienced. The album even has a subtle love song to Jesse's partner, 'Single', which is entirely open in nature and I'm sure will be cherished by both the couple, and heartthrob fans alike. It takes courage and skill to do so, something they have achieved magnificently.
'Ferrari' and 'Greetings From Califournia' are the closest tracks to the previous albums sound. 'Ferrari' starts off with a viciously distorted guitar line, before returning to a more mellow sound. But neither of them are childish in nature or thrown in to keep some fans happy. The bass is certainly more prominent this album, and the drums receive a bit more unique experimentation. Acoustic guitar matches low-key percussion on several tracks, which is a brilliant relief from a full-on attack of the senses when hearing the main tracks off the album. 'Cry Baby' in particular is driven by bass, but cuts back right at the end to hear just Jesse and an acoustic guitar. A gentle, caring touch.
A progression rather than an overhaul, this album presents them as serious indie members of music culture. Their black and white imagery may be here to stay, but their colourful music has expanded its horizons.
'Wiped Out!' is out now.
Check out: Cry Baby // Single // The Beach