Everyone seems to have an opinion of Blink-182. However, it is usually one of two opinions; either that they are awesome, or they suck. The ones that think Blink is awesome either have followed them since they first became mainstream with 1999’s “All The Small Things,” or even sooner with their emo-tastic 2003 hit “I Miss You.” The people who hate it either loves their older stuff (pre-Enema Of The State) and can’t get into their pop direction, or hates everything that the members have done, including Angels and Airwaves, +44, and so on.

For myself, I’m in the middle. I pick and choose through singles from the band and side projects, but other than that, I don’t get too crazy for them. I do respect what they have done for pop-rock in the decade, whether it be Blink itself or their music on the side.

Which brings me to Neighborhoods, Blink-182’s long awaited LP. For those who worried about what it would sound like, if it’s more Angels and Airwaves or (+44) than Blink 182, you have reasons to, but the end product should appeal to the long term fans, as well as some naysayers.

The first half of Neighborhoods sounds heavily influenced by Tom Delonge’s side project Angels and Airwaves. “Ghost on the Dance Floor” is a synth-heavy upbeat pop song, while their first single “Up All Night” is a trance inducing rock song, filled with Tom’s upbeat yet completely serious lyrics. In fact, the first five tracks are basically Tom’s, with is heavy on effects and low on range (besides Barker’s work).

If you hated their first single, and has all but burned your pre-order, DON’T. After the “Hearts All Gone Interlude” (which really ins’t necessary), the album kicks it up a couple of notches, giving old Blink fans some nostalgic bliss. “Hearts All Gone” is a little darker than normal Blink, but still gives great depth to the album. “Wishing Well” is a poppy sing-along which should be something they will be playing at their concerts.

The most consistent part of this album is drummer Travis Barker. Even in the songs that he isn’t featured as heavily, he can still play the crap out of any part (“After Midnight,” for example). He can even make an entire rap collaboration album and STILL be the best part of it.

A big problem for me is the lack of dueling lyric, or better yet, a lack of tracks that heavily feature both Mark and Tom. The very beginning sounds like they could’ve made it for Tom in AVA, but instead went and put it on the LP. Towards the middle of the album, we hear a LOT more Mark (the song “MH 4.18.2011” is all him). Some of the best songs, like “Natives” are great because of the lyrical contrast between the the two of them. A lot of the songs lack this, which is a damn shame.

A lot of fans were worried about what the album would sound like after their first single dropped early this summer. Though the beginning of the album might irritate die hard fans, if you wait until the halfway mark (which I would put at “Hearts All Gone), it will not disappoint. Now that they have stepped back into the scene, the anticipation of their NEXT album is already building. Let’s just hope it will not take us eight years to hear.

Final Grade: B Hey, follow me on Twitter!!!      Follow @AlanHST
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Go Download: “Natives”