The Neighbourhood is back with a new EP, Hard. There's a more stripped sound to the EP, less focus on pop sounds and drawing from indie soundscapes. The songs don't expand into these huge sound walls as they did on the last release, Wiped Out!; instead they seem to dial things down a bit, drawing in further and inviting the listener to come closer, listen with a closer ear.
"Roll Call" starts the EP off with a moody, syrupy instrumental of just a brooding bass and muted drums create a hazy morning vibe over which lead singer Jesse Rutherford sings of the idea of conformity versus individuality. He alternates from moments of vulnerability and minimal vocal effects to almost rap-swagger and fully auto tuned, creating a very mellow, yet dark atmosphere; something the band excels at.
"You Get Me So High" picks up the pace a bit, with echoing, subdued synths and more of an emphasis on the hi-hat heavy drum beat for Rutherford singing in an almost talking tone that feels intimate, as if he's speaking directly to the listener. There's a really cool aspect about the melody in one of the keyboards; it pings from one ear to the other, as well as a part where they have the vocals come in alternating on different sides of the speakers, creating a 3D effect to the music that immerses the listener even more. It's got surreal vibes to it, which also makes sense considering the hook: "High all the time, high all the time, I wanna be, high all the time". It's indie-stoner-rock, if that's a subgenre.
"Noise" utilizes a drum machine and drum set to create a very simple, yet layered drum beat as a guitar resonates ripples of distorted chords that Rutherford sings over in a quiet, almost desperate appeal. There's a point where the melody shifts to a different set of notes that almost feels dissonant, yet also harmonizing beautifully at the same time. The song ends with just a capella echoing harmonies from Rutherford, bringing the tone down immensely and focusing tight on that last phrase.
"24/7" feels like the most upbeat and poppy song of the EP, lead by a drum machine-based beat and bright, metallic synths that get it stuck in your head long after you've turned it off. The band utilizes the emphasis on the beat in different ways to create varying pulses, moments that groove along and others that reign in the energy. The vocals again feel almost smaller, like the singer isn't going for it at 100%. It's not a bad thing; on the contrary, I think the more subdued vocals perfectly complement the sound of the instrumental.
"Sadderdaze" ends the EP in a similar way that it began; the slow thump of the beat and the acoustic guitar create a mellowed out experience. The addition of the violins, both when they are played normally and when the strings are plucked, adds to the melancholy themes that rise and fall throughout the song. The ambiguity of the name (Saturdays, sadder days, satur daze) is a nice play on words and sounds. The lyrics stand out on this track, with lines like:
"Saturdays are not the same as they used to be
Sadder days, why do they keep on using me?"
seeming to invoke a sense of nostalgia and a desire for the good days left in the past. It especially works with the way the instrumental is built; layered, flowing tones and touches of wistfulness that slowly fade out into nothing.
The EP definitely feels like something that the band wanted to do and wasn't quite as focused on airwave appeal. It felt like they took a step back from the pop tools and sounds they used on their last album, and sought a more gritty, less polished product. I think it works very well for them; it reminded me more of their first release, I Love You. (although I enjoyed their last album more). If it's an indication of their next full length release, then I will look forward to more of this sound. If it's by itself, then I still look forward to whatever will come next from this talented group.
Rating: 3.5/5
Recommended: "You Get Me So High" & "24/7"
Related: The 1975, Halsey, PVRIS
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