The Neighbourhood released Chip Chrome & the Mono-Tones in 2020 and then disappeared. The California rock band that went viral for songs such as “Sweater Weather” and “Daddy Issues” stopped making music and deleted its Instagram posts. Soon, the band was rumoured to have disbanded after drummer Brandon Fried was fired due to sexually harassing María Zardoya, the lead singer of The Marías. The Neighbourhood seemed gone for good, until they announced their return with drummer Fried, who has reportedly been recovering from substance abuse. Coming on the heels of such a patchwork past and unconventional revival from the brink of dismantlement, their new album, (((((ultraSOUND))))), didn’t bode well, barely garnering the sort of media attention expected for a once-popular group. Was a half-decade enough to destroy The Neighbourhood’s chances for success? Is their newest album a life-saving rope to pull them out of notoriety or the final nail in the coffin of a band that died five years ago?
While the first question is difficult to answer for sure, the second is not: (((((ultraSOUND))))) won’t save The Neighbourhood, but it won’t cost them everything, either. The album is pretty safe, without any risky musical choices. In fact, the album hides within its own blandness. By not creating any necessarily bad songs, (((((ultraSOUND))))) won’t be a failure. However, in taking this route, I think The Neighbourhood loses an opportunity to reinvent itself and perhaps be better than before.
The first taste listeners got of the new album was three singles released a few weeks before the full track list. “Lovebomb,” “Private” and “OMG” were most likely chosen because, sadly, two of these constitute half of the truly good songs on a whole album of fifteen songs. “Lovebomb” begins with an upbeat guitar solo reminiscent of teenagers running through a colorful 1980s mall. Quickly layered with a rock beat on the drums, this song provides a classic love song feel that, while unoriginal, is still well done and catchy. “Private” has a stronger drum presence, helped along by a thrumming bass guitar part that keeps the song constantly moving at a good pace. Fans of bassist Mikey Margott will be drawn to this song as you quickly realize the bass is the soul of this tune. Similar to “Devil’s Advocate,” “Private” is perfect for late-night drives on deserted roads, a staple feeling of The Neighbourhood’s repertoire as a whole. Unfortunately, “OMG” is nothing like the previous two, possibly giving us the worst example of what this band is capable of. It feels like a marshmallow: Light, fluffy, momentarily enjoyable but ultimately empty. If you’re looking for depth, emotionally or musically, this song will not offer it to you.
Moving past the teaser singles, you’ll find that (((((ultraSOUND))))) is more akin to “OMG” than “Lovebomb” or “Private.” Many of the songs on the album blend with the band’s previous songs, making a nice playlist of background music instead of attention-grabbing hits. “Hula Girl,” “Crushed” and “Planet” are all forgotten as soon as the next track begins, leaving no lasting impression and making you want to return to the few creative and striking pieces on the album. At its core, (((((ultraSOUND))))) conveys the sense of four or five energetic and memorable songs packaged by ten numbers that are more like fodder than actual tunes. Vocalist Jesse Rutherford’s lyrics and voice are nothing special and border on monotonous. Nothing new is expressed through the words of (((((ultraSOUND))))), though there are ample opportunities for the instrumentalization to take center stage.
For example, the best track on the whole album is dominated by the drums and guitars, with Jesse Rutherfood fading to the background. “Lil Ol Me” gives me the performance by the drums that I was seeking in a lot of the other songs, with interesting fills and a solid pattern that complements the guitars and vocals well. This song brings vitality to an album that was otherwise pretty barren.
The Neighbourhood’s newest album appears wracked with problems. Not only that, but the band itself is under a lot of scrutiny for continuing to include drummer Brandon Fried in the face of his actions against the lead singer of The Marías and difficulties with alcohol and substance abuse. Despite managing to produce a select number of noteworthy songs, (((((ultraSOUND))))) is destined to be as difficult to remember as the number of parentheses in its odd title.
Jane Locke is a sophomore in the College of Arts and Sciences. She can be reached at jlocke@cornellsun.com.
