Following a three-year hiatus, the alternative-rock band The Neighbourhood released its fifth studio album, “(((((ultraSOUND))))),” on Nov. 14.
The California-based band formed in 2011, breaking into the music industry with its double-platinum debut album “I Love You.” Since then, the band accumulated five multi-platinum, six platinum and eight gold certified singles along with two additional platinum albums.
With this success in mind, my expectations were high as the band jumped back into its musical journey. Below are my first impressions of each song on the album, allowing for a preview of which songs students may resonate with for a better listening experience.
“Hula Girl”
The album opener, “Hula Girl,” is nostalgic to the band’s older songs. A more traditional beat made up of drums and a guitar gives the song a smooth baseline. The song describes a speaker’s infatuation with a girl and how this infatuation makes the speaker lose their agency. The lyrics describe the speaker getting thrown off his life path by this person: “All my dreams, all my hopes / Out the window.” We get a sense of yearning from the song, a desperation that makes the speaker lose any sense of self, asking this girl to “come and treat me like a crash-test dummy.” The outro is incredibly strong and builds off the consistent beat of the song. The repetition of the lyrics mixed with a louder beat makes this the most memorable part of the song.
“OMG”
“OMG” establishes an upbeat tone right out of the gate. The track is reminiscent of the band’s early music, with a compelling electric guitar throughout. Yet, the cheery rhythm contrasts the song’s lyrics: “All my life, dying to survive / I just want to smile the way I used to.” The song seems to be one of nostalgia and heartbreak due to the loss of a partner and the loss of youth. The bridge shows this agony with the repetition “Oh my god, I used to love you when / I was younger than I’ve ever been.” The lyrics narrate the intensity of the speaker’s yearning, “For you, for you, my baby / I did it for you” perhaps signaling that the speaker loved this person more than they loved themselves, putting their lovers’ wishes before their own. Nevertheless, the song is peppy and fun, and the lyrics are perfect for screaming in the car.
“Lovebomb”
This song feels like a traditional The Neighbourhood song, with an added electric feel. It narrates the speaker’s relationship with whom he is in love. He acknowledges that he is in love, but he thinks it is too soon in the relationship to tell them. The song’s title, “Lovebomb,” refers to a buzzword that floats around social media about relationships. The term describes a manipulation tactic involving showing excessive affection early on in a relationship to gain control and foster dependency. The negative connotations of this word are contrasted by the earnest lyrics that describe the speaker’s love: “Raised my spirit up / Never down, when you’re around.” The bridge is catchy and gentle as the speaker explores desires to defy society’s norms surrounding love; “What’s it really matter who says it first? / Say it to me, babe, I wanna break the curse.”
“Private”
One of the album’s pre-release singles, “Private” is undoubtedly catchy. With a modern twist on traditional bass sounds, the band clearly explores more electronic beats in this song. The lead singer Jesse Rutherford’s higher cadence fits well with the smooth rhythm. The lyrics describe a presumably secret relationship, repeating, “shh, keepin’ it private” throughout the song. Each time these lyrics are sung, the beat falls out, creating a covert feeling. We get a hint that the private nature of the relationship was not on the speaker’s volition: “Not gonna change your mind when it’s made.” Yet the beat picks back up, lyrics turning adoring and positive. A clear lust for the person is shown, such as, “You’ve got a way, contagious in a room” with the mood of the song mirroring the whimsical nature of the relationship.
“Lil Ol Me”
“Lil Ol Me” feels grungier. Electronic sounds and a bass guitar start the song, and Rutherford’s voice has an edge to it. The instrumentation in this song has a hint of hostility, amplifying the emotionally vulnerable lyrics. The lyrics describe the speaker’s internal battles with his insecurities and how they affect his relationships: “I want what I can’t have / I keep tellin’ myself I’m bad” and “I keep treatin’ myself like trash.”
“Planet”
A more upbeat song, “Planet” gives insight into a seemingly fading relationship. The speaker is holding onto this relationship, bargaining with his partner to do the same, even at the cost of his own needs: “Don’t leave me lonely and abandoned, ah / I’ll let you take my love for granted.” The chorus is even more fast-paced, mirroring the speaker’s passion to fix this relationship. The bridge repeats the line “and I don’t wanna walk alone right next to you” four times, amplifying the speaker’s begging. The line is contradictory, explaining that the speaker doesn’t want his partner to detach from the relationship. The outro is a list of questions, as the speaker tries to get clarity.
“Holy Ghost”
“Holy Ghost” starts off slowly, giving space to isolate the details of the speaker and their partner’s disagreements. As the beat picks up, so does the passion in Rutherford’s voice, and the lyrics mirror this passion. The chorus is melodic, a smooth voice outlined by deep beats. The lyrics in this song are incredibly vulnerable: “’Cause I know what it’s like / To feel alone / And I know what it’s like / Losing a home.” This is one of the more instrumentally relaxed songs on the album, yet the beat is catchy, and the lyrics are relatable.
“Rabbit”
“Rabbit” is serene. The introspective song explores heavy details of the speaker’s struggles. The light drums and thoughtful guitar resonate with the lyrics. The lyrics describe the speaker’s battle with their identity, “Caught in a battle / Of who I was and who I could be,” and the negative effects this has on them, “Color me hollow.” The song doesn’t necessarily feel sad but rather slow-paced and honest. The outro is a buildup of passion, and the beat drop feels like a release.
“Tides”
Following two slower tracks, the beat picks back up in “Tides.” The drum beat in “Tides” feels once again reminiscent of the band’s other work. The lyric lines are longer, giving room for Rutherford to use his voice. The lyrics narrate a similar theme of relationship conflict, with the speaker asking his partner, “Tired of fighting all the time / Can we put it behind us?” The song slows down before the bridge, a bridge that then erupts. The four lines “Woah / Come on / Trust me / I love you, just trust me” are screamed by the lead singer in an almost heavy metal tone. This expression of feeling could be trying to hint at the frustration the singer feels with the way this relationship is going. It also signals the band’s desire to incorporate new techniques into their songs.
“Daisy Chain”
Opening with a grungy guitar riff, “Daisy Chain” feels like a modern twist on a ‘70s rock song. The simple lyrics of the chorus highlight the guitar work, and the melodic shift of the bridge is unique. This song is incredibly catchy and great for singing along. The lyrics narrate the downfall of a relationship but give little insight into the details. The repetition of “slow” indicates that the lack of information was on purpose, as the song tries to get us to feel, rather than tell with words.
“Zombie”
Another upbeat song, “Zombie” is playful. Rutherford’s voice is altered by electronic sounds, and the song’s instrumentals are unique. The chorus is incredibly catchy as we get more lyrics of a speaker who is begging for someone to love them: “I’m losing sleep, would you call me back?” The theme of self-degradation when it comes to love is consistent in this song, with the speaker saying, “Hate me, break me, degrade me / Pay me and change me to what you want.” This song feels like a fun twist on begging someone to love you.
“Mama Drama”
With its beautiful lofty beat, “Mama Drama” is playful. This song is relaxed, and the lyrics are gentle and comforting: “I wish I could take away the pain.” A love song of sort, the speaker is admiring their love who they clearly care for deeply; “Your love to me is sacred, no, nothing can replace it.” Rutherford’s voice is light and kind, and the instruments are soft but consistent.
“Crushed”
“Crushed” begins with a funky beat. The electronic sounds blend with more traditional-style drums, giving the song a strong beat. The upbeat rhythm matches the lyrics positive messaging, describing the speaker’s infatuation with the person he likes. The song is lighthearted and feels like a traditional love song.
“Mute”
Less electronic and more traditional, the beats in “Mute” draw you in. This song feels a lot like the band’s old work, serving as a rhythmic delight. The lyrics are vulnerable, such as, “It’s gettin’ kind of loud in my head right now, right now,” but are contrasted with lyrics like “I don’t hear a word you say / I turned you down,” showing the speaker’s desire to feel like they have a step up in this relationship.
“Stupid Boy”
The album finishes with “Stupid Boy” bringing back the grungy tone we see consistently throughout the album. The beat of the song drops before the chorus, preparing the rest of the song to be more upbeat. The lyrics, “Joke’s on you, stupid boy / I won’t let you kill my joy” seem to summarize the speaker’s internal thoughts throughout the album: thoughts of self-sabotage.
“(((((ultraSOUND)))))” does a unique job at showing how a band can evolve with time and modernization while staying true to their original sound. The band clearly reflected on what worked with its previous and popular albums and reinvented it in its new age. For students, this album has an important takeaway: evolving with time is possible while staying true to oneself. The songs are timeless and relatable, showing promise in The Neighbourhood’s return.
