{"id":13342,"date":"2025-11-21T12:08:04","date_gmt":"2025-11-21T17:08:04","guid":{"rendered":"https:\/\/wecb.live\/?p=13342"},"modified":"2025-11-21T12:08:04","modified_gmt":"2025-11-21T17:08:04","slug":"the-neighbourhoods-ultra-unenthusiastic-return-ultrasound","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/the-neighbourhoods-ultra-unenthusiastic-return-ultrasound\/","title":{"rendered":"The Neighborhood\u2019s Ultra-Unenthusiastic Return: “(((((ultraSOUND)))))”"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n

Design by Sophie Parrish<\/p>\n\n\n\n

By Heather Thorn<\/strong><\/h2>\n\n\n\n

Angst is back, baby! And so is The Neighbourhood. After an almost three-year-long hiatus, The Neighbourhood has returned with their new album (((ultraSOUND)))<\/em> released on Friday, November 14, 2025. This is the group\u2019s first project in five years (following Chip Chrome & The Mono-Tones (2020)<\/em>) and the group\u2019s first release since announcing their hiatus in November 2021. <\/p>\n\n\n\n

When they announced an upcoming album entitled (((((ultraSOUND)))))<\/em> in October 2025, I was more than eager to listen to it after a four-year-long wait. One song into the 15-track record (((((ultraSOUND)))))<\/em>, I already knew it was everything I impatiently anticipated: each song is laced with The Neighbourhood\u2019s distinct vibe\u2014think angst, sweater weather, and Tumblr circa 2013-2015. In this way, the album delivers everything it promises. That being said, the album falls short by being utterly average; it fails to sonically invent beyond The Neighbourhood\u2019s sound established in their discography. Instead, ((ultraSOUND)))<\/em> feels like it depends on the group\u2019s pre-existing aesthetic, albums, and fanbase to do the work for it. Regardless, my initial standouts of (((((ultraSOUND)))))<\/em> were \u201cHula Girl,\u201d \u201cOMG,\u201d and \u201cPrivate.\u201d <\/p>\n\n\n\n

The album\u2019s first track, \u201cHula Girl,\u201d is beachy, hypnotizing, and reminiscent of the group\u2019s 2015 album Wiped Out!<\/em> The bass is smooth, pulsing behind frontman Jesse Rutherford\u2019s soft vocals and the plucked guitar that texturizes the song into 4 minutes of pure pleasure for the ears. <\/p>\n\n\n\n

\u201cOMG,\u201d the album\u2019s second track, is\u2014dare I say\u2014my favorite off the record. The song swims in \u201cblack and white and grey,\u201d savoring The Neighbourhood\u2019s dark aesthetic as it ruminates on a young love\u2026 As a long-time fan of the group, I can\u2019t help but think of Rutherford and Devon Lee Carlson\u2019s six-year-long relationship that lasted from 2015 to 2021. Lyrics such as \u201cAll my life, dying to survive \/ I just want to smile the way I used to\u201d and \u201cBy your side, together on the ride \/ Twister or a tidal wave? \/ Rain or shine, you’re always on my mind\u201d point to Rutherford\u2019s reminiscence, taking the angst-laiden song to new heights. \u201cOMG\u201d offers a departure from the group\u2019s melancholic style, an effect emphasized by the song\u2019s focus on Rutherford\u2019s vocals rather than reliance on the guitar or drums to carry out the track. The bridge\u2019s lyrics \u201cOh my God, I used to love you when \/ I was younger than I’ve ever been\u201d completely hooked me, a testament to The Neighbourhood\u2019s dark and alluring lyricism that continues to captivate listeners. <\/p>\n\n\n\n

\u201cPrivate\u201d is the first and only single off the album. It\u2019s moody and grungy, verging on psychedelic rock with a sound that reminds me of the singer Eyedress. \u201cPrivate\u201d plays with the roles of desire and restraint in a relationship, walking the line between privacy and wanting someone all for yourself. The chorus\u2019s intermittent blurts of \u201cShh, keepin’ it private \/ Uh-huh \/ Shh, keepin’ it private\u201d serve as an inescapable earworm that itches my brain long after listening.<\/p>\n\n\n\n

(((((ultraSOUND)))))<\/em> is an underdog of an album\u2014it may need a few listens to finally reel you in, but it grows on you. First appearing unassuming without any catchy hits or highly notable tunes, the record boasts tracks such as \u201cPlanet,\u201d \u201cRabbit,\u201d \u201cDaisy Chain,\u201d \u201cZombie,\u201d and \u201cMute,\u201d which ensure you re-play the album to get the same hit of dopamine from the first listen. <\/p>\n\n\n\n

\u201cPlanet\u201d jumps into investigating a breakup, searching past the current \u201cdamage,\u201d  and drama for the good stuff. The opening lines, \u201cYou used to find me so attractive \/ I thought we were the perfect package,\u201d immediately position the relationship as sour. Rutherford\u2019s voice is assertive as it bounces in the chorus, \u201cI’ma say what I say and mean it \/ Not worried ’bout being nice \/ I ain’t tryna be wrong or right \/ Gotta make a sacrifice.\u201d On the flipside is the song\u2019s outro, ever-questioning and insecure: \u201cWho do you trust? \/ Who do you love? \/ How many trips around the sun? \/ Who do you trust? \/ Who do you love? \/ How many ways can I tell you?\u201d Rutherford seamlessly unravels his confident facade as the song ends, leaving you wondering if he\u2019s really over the relationship or still thinking about how it ended. <\/p>\n\n\n\n

\u201cRabbit\u201d indulges sadness, exploring deep emotional distress. The lyricism aches in melancholy: \u201cTired of waking up, sick of feeling down \/ Always feeling down \/ Color me hollow.\u201d The chorus gets to the root of the issue, \u201cTime and time again, I get to wondering if it’d never happened \/ Would I be somebody else entirely or would I be happier?\u201d<\/p>\n\n\n\n

Angst radiates in every second of \u201cDaisy Chain,\u201d an exploration of a relationship so intimate and perfect until it\u2019s broken. \u201cWhen it was real, it’s all that I could feel,\u201d Rutherford sings, \u201cuntil it went away.\u201d So consumed by the relationship\u2014one in which both partners feel so comfortable they cut each other’s hair without a mirror\u2014the narrator doesn\u2019t notice the sinking ship \u201cgoin\u2019 down \/ Slow.\u201d The blindside is a riddle: \u201cWhat did tomorrow say to yesterday to chase her underground?\u201d And at the 2 minute mark, my favorite part, \u201cDaisy Chain\u201d flips you on your back until you\u2019re levitating; Rutherford\u2019s vocals verge on groaning as the song tilts into another realm\u2014which is, spoiler alert, just as moody. <\/p>\n\n\n\n

\u201cZombie\u201d kicks some life back into the album with its opening lyrics, \u201cLive feed, IV inside me \/ I need to find peace in my being\u201d backed by an upbeat rhythm. Despite the energetic beat, \u201cZombie\u201d finds a trance-like state in the narrator as Rutherford expresses desperation for attention: \u201cLove me, hug me, save me \/ Hate me, break me, degrade me \/ Pay m\u0435 and change me to what you want \/ Come on, com\u0435 on (Ta-da-da, da-da-da) \/ Use me, accuse me, abuse me.\u201d The song begs to be broken, used, abused and the chorus \u201cLucid dreamer, insomniac \/ I’m losing sleep, would you call me back? \/ I’m glued to the screen like a zombie, yeah,\u201d points to an ultimately toxic relationship\u2014one worth losing yourself for, if only to get validating attention. <\/p>\n\n\n\n

Second-to-last on (((((ultraSOUND)))))<\/em>, \u201cMute\u201d riffs off of the album\u2019s established themes of numbness, one\u2019s preoccupation with thoughts, and drowning right in front of someone with the chorus-turned-confession, \u201cI don’t hear a word you say \/ It’s gettin’ kind of loud in my h\u0435ad right now, right now.\u201d During these lines, Rutherford\u2019s vocals are addicting and beg for this part of the song to be played over and over again. <\/p>\n\n\n\n

(((((ultraSOUND)))))<\/em> is, in the end, an album that falls short due to its lack of excitement. While it meets expectations, it lacks any experimental, surprising, or riveting factor. Compared to The Neighbourhood\u2019s star-studded Chip Chrome and the Mono-Tones (2020)<\/em>, ever-perfect Hard to Imagine The Neighbourhood Ever Changing (2018)<\/em>, smash-hit Wiped Out! (2015<\/em>), or I Love You. (2013)<\/em>, this album is utterly unexceptional. There are no captivating hits that stick with you immediately; instead, (((ultraSOUND)))<\/em> feels like it relies on The Neighbourhood\u2019s established aesthetic to carry its load.<\/p>\n\n\n\n

\u201cSweater Weather,\u201d the group\u2019s 2013 single, is the fourth most-streamed song of all time on Spotify with over 2 billion streams\u2014and for good reason. It captures a specific vibe that people come back to year after year: a certain sense of nostalgia and something un-nameable. Unlike \u201cSweater Weather,\u201d (((((ultraSOUND)))))<\/em> has nothing that sticks with you\u2014at least yet. <\/p>\n\n\n\n

The album also falls short in terms of who plays on the record: it\u2019s The Neighbourhood\u2019s original lineup: Jesse Rutherford\u2019s, guitarists Zach Abels and Jeremy Freedman, bassist Mikey Margott, and drummer Brandon Fried. Brandon Fried was previously removed from the band in November 2022 when The Marias frontwoman Maria Zardoya came forward about his inappropriate unsolicited behavior. Along with announcing Fried\u2019s firing, The Neighbourhood stated Brandon Fried would focus on sobriety and thanked Zardoya for coming forward. <\/p>\n\n\n\n

Now, The Neighbourhood has brought back Brandon Fried\u2026 and I have to wonder why. Why now? Why fire him just to bring him back? Typically I have little issue with separating art from its artist, but I can\u2019t help but consider Brandon Fried\u2019s return to the group. <\/p>\n\n\n\n

(((((ultraSOUND)))))<\/em> is also The Neighbourhood\u2019s first release since lead vocalist Jesse Rutherford\u2019s problematic and very much public relationship with Billie Eilish. The couple, who dated from late 2022 to May 2023, first met in 2017 when Eilish was 16 and Jesse Rutherford was 26.<\/p>\n\n\n\n

I can\u2019t help but wonder about the underwhelming promotion The Neighbourhood has done for their hiatus return and (((ultraSOUND)))<\/em>. They announced a new album on October 23, 2025, releasing it about 3 weeks later on November 14, 2025. Why the abrupt roll-out? Is The Neighbourhood trying<\/em> to lay low in order to run away from publicity about the group\u2019s problematic actions?<\/p>\n\n\n\n

Ultimately, I\u2019m diagnosing this album with a severe case of unenthusiasm. While a great album in terms of everything you could ask of The Neighbourhood\u2014downplayed emotion, production, and a general moodiness\u2014 (((((ultraSOUND)))))<\/em> is unfortunately nothing special within their discography. It doesn\u2019t worm into your ear; instead, it relies on The Neighbourhood\u2019s established sound to carry it. There\u2019s nothing overtly exciting about the album except for the fact that it\u2019s another The Neighbourhood album. <\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Design by Sophie Parrish By Heather Thorn Angst is back, baby! And so is The Neighbourhood. After an almost three-year-long hiatus, The Neighbourhood has returned with their new album (((ultraSOUND))) released on Friday, November 14, 2025. This is the group\u2019s first project in five years (following Chip Chrome & The Mono-Tones (2020)) and the group\u2019s…<\/p>\n","protected":false},"author":3669,"featured_media":13344,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[21],"class_list":["post-13342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-album-review"],"yoast_head":"\nThe Neighborhood\u2019s Ultra-Unenthusiastic Return: "(((((ultraSOUND)))))" - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Neighborhood\u2019s Ultra-Unenthusiastic Return: "(((((ultraSOUND)))))" - wecb\" \/>\n<meta property=\"og:description\" content=\"Design by Sophie Parrish By Heather Thorn Angst is back, baby! 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