Studio Album · No. 6
Neighborhoods Songwriting Credits by Blink-182
Produced by Tom DeLonge, Mark Hoppus, Travis Barker · Engineered by Tom Lord-Alge (mixing), Andy Wallace (mixing), Neal Avron (mixing), Chris Holmes (mixing)
Holds writing credit on 10 of 10 tracks
Authorship Breakdown 10 / 10 documented
Scored across the 10 tracks with documented writers, by whether Blink-182 carries a lyricist or composer credit.
Share of the 10 tracks where a band member is credited, by role.
By the Numbers
Neighborhoods was self-produced by Blink-182, their first album without an outside producer, with co-production from Jeff "Critter" Newell and Chris Holmes, and the mixing split among Tom Lord-Alge, Andy Wallace, Neal Avron, and Chris Holmes. Reflecting the tensions behind the reunion, DeLonge, Hoppus, and Barker recorded primarily in separate studios: DeLonge in San Diego, Hoppus and Barker in Los Angeles. All tracks are credited to the full band. Released September 27, 2011, it was the band's first studio album in eight years following their 2005 hiatus.
Neighborhoods is the sixth studio album by blink-182, released in September 2011 on Interscope Records and produced by DeLonge and Hoppus with input from Barker. It was the band's reunion album following a six-year hiatus that had seen DeLonge form Angels & Airwaves and Hoppus and Barker form +44, and its return to studio activity was received with significant anticipation by the band's commercial fanbase. DeLonge and Hoppus wrote material separately during the hiatus and combined it into the album rather than collaborating directly in the studio, a process that gave the album a fractured quality that reflected the distance that had developed between the principal songwriters. 'Up All Night,' 'After Midnight,' and 'Heart's All Gone' were the principal singles; the album debuted at number two on the Billboard 200 with 176,000 first-week sales. Neighborhoods has been certified platinum in the United States but received mixed critical reviews, with most noting that the separate recording approach produced an album that felt less cohesive than the band's best work. The album nevertheless confirmed that the blink-182 commercial audience remained commercially significant a decade after Enema of the State.