The Neighbourhood, Chip Chrome & The Mono-Tones | Album Review 💿

Conceptual, yet relatable and always ear-catching, Chip Chrome & The Mono-Tones, the fourth studio album by The Neighbourhood, is a must-hear.

The Neighbourhood have always been an interesting band in my eyes.  They’ve released some great music at times, though never necessarily delivered that knock-out punch.  Going into their fourth studio album, Chip Chrome & The Mono-Tones, promo single, “Cherry Flavoured” piqued my interest, drawing my attention to this album. Surprisingly, I didn’t indulge in further singles but that didn’t inhibit me from ultimately indulging into the finished product.  Folks, Jesse Rutherford and company ‘put their foot’ into this one.  Conceptual, yet relatable, and always ear-catching Chip Chrome & The Mono-Tones is a must-hear.

“Chip Chrome”  

“Chip Chrome,” a brief instrumental intro, sets the experimental tone of Chip Chrome & The Mono-Tones. Per Rutherford, via Apple Music, of the sound effects that grace this number it was “Inspired by THX 1138 [George Lucas’ 1971 film]. It puts you in a world right away. And it sounds very vintage, which I love.” Indeed. Early on, it’s clear that The Neighbourhood decide to try new and different things.

✅ “Pretty Boy” is definitely a magnificent first full-length number.  The big takeaway thematically is love… with doom, of course. Both dedication and that doom is captured on the centerpiece, the chorus:

“Even if the Earth starts shaking
You’re the only thing worth taking, ooh with me.”

Worth noting, “Pretty Boy” features only one verse, in which ‘Pretty boy’ and ‘Baby girl’ are in it until the end.  The sound of the record is unique, with blending indie and psychedelic elements.  As always, you can depend on that signature, detuned sound Jesse Rutherford and company love.

✅ “Lost in Translation,” like “Chip Chrome” and “Pretty Boy,” also has a vintage quality, thanks in part to The Manhattans sample, “Wish That You Were Mine”. If it seems like “Lost in Translation” is going to reside in a slow tempo, the pace picks up, signaled by the chorus, which reveals the cards: “I’ve been gettin’ lost in translation / Trouble keepin’ up communication / We were havin’ fun, now I can’t wait to be done / Feels like I’m the only one that’s sick of playin’.” Love plays a role once more within the concept, and at its simplest, things simply aren’t ‘translating’ in the relationship.  Compared to “Pretty Boy,” “Lost in Translation” has a more traditional form including two verses.

“Devil’s Advocate”

“Devil’s Advocate” keeps Chip Chrome & The Mono-Tones rolling without a hitch.  The ear candy is abundant with the electrifying groove, vintage sound effects, and generally, sort of a ‘washed out’ sound.  Rutherford sings with incredible ease, painting the palette with great effectiveness.  Even if he’s breezy, there’s some definitely energy and swagger, particularly with lines like “I trade the whip out for a bike, uh / Designer for some Nikes.”  It’s the opposite of what we might get from hip-hop, but there’s that same oomph.  One of my favorite lines appears on the third and final verse:

“Married to my friends
They don’t always like me
I stay together for the kids, uh
I gotta do the right thing.”   

One of the most familiar things about “Hell or High Water” are the luscious, detuned guitars, again, a staple of The Neighbourhood.  Otherwise, this enjoyable joint is completely different from anything else we’ve ever heard from the band.  “Hell or High Water” has a rad indie/country/folk vibe. It’s incredibly charming, showcasing the range and capabilities of the band.  Rutherford continues to impress vocally, never over-singing, but always amplifying the listening experience.  Like “Pretty Boy,” there’s only one verse, stuck between two choruses.  Five tracks in and Chip Chrome & The Mono-Tones continues to be pretty awesome.

“Cherry Flavoured” 

The Neighbourhood delivers quite the alluring, charming, vibe-laden record with ✅ “Cherry Flavoured”. Aesthetic and vibe are quite important on “Cherry Flavoured,” with detuned pad and acoustic rhythm guitars establishing a ‘druggy’ sound.  That sound appears to be by design with ‘highness’ mentioned throughout the record.  We get the first taste of it on the very brief first verse where Jesse sings, “Sweet and sour motivation / Wish I could keep concentration.” Of course, he doesn’t keep concentration as the chorus addresses his unhealthy high… That said, the refrain, a distinct section following the post-chorus, speaks of a more positive high:

“Cherry flavoured conversations with you
Got me hanging on
Down to Earth from all the waiting
Take me somewhere beyond.”

It seems as if Rutherford and company could be referencing fans and those who love them as opposed to potentially destructive drugs.  The second verse is longer and more dynamic, fitting given the progression of the record itself.  An outro, which is quite the about face, concludes this intriguing, unique standout. The brief “The Mono-Tones” is quite distinct – perhaps even accurately characterized as wacky.  The backdrop isn’t so ‘extra ordinary’ per se, but the pitch-shifted vocals by Jesse Rutherford gives this interlude plenty of character.  There’s also some meaning behind it, as Rutherford places emphasis on “boys” and “Voice in my head tellin’ me to make a choice.”

“BooHoo” 

✅ “BooHoo” marks another stylistic shift on Chip Chrome & The Mono-Tones.  It’s also one of the best songs on the album.  Embracing sleek R&B, in an alternative sense, Jesse Rutherford continues to sound comfortable and confident vocally, no matter the backdrop.  Like the rest of the album, we get a catchy, memorable chorus (“Boohoo, I heard what’s happenin’ lately, why I’m so down”), and intriguing lyrics throughout (“Call her Alexander ‘cause I treat her like McQueen”).  Of this standout, Rutherford explains to Apple Music, “It’s me dealing with my insecurities in my relationship with my girlfriend, who’s very popular.” Fair enough. 

Follow-up ✅ “Silver Lining” cedes no momentum, providing listeners with another top-notch groove, colorful production, and relatively accessible songwriting. Following the concept of the album, Rutherford explains his character, Chip, has been worn down.

“Gave everybody a piece the last time
You said it would be the last time.”

Rutherford goes on to add, from a personal perspective (the most accessible way to evaluate this album), the song is about things changes and endings.

“If you find that silver linin’, you’re already in deep
There’s another piece, that was buried underneath.”

“Tobacco Sunburst” 

Most of Chip Chrome & The Mono-Tones is short where duration is concerned.  That said, penultimate record “Tobacco Sunburst” is the only record that exceeds four minutes (it’s actually almost five minutes).  Even so, like everything else, the results are positive.  Jesse continues to sound beautiful on this emotional ballad that never feels forced or the least bit rushed.  The lyrics are relatively simple yet highly effective and evoke a mood by all means. 

The Neighbourhood concludes Chip Chrome & The Mono-Tones with the shorter “Middle of Somewhere.” Like much of the album, we are introduced to the chorus at the onset.  The chorus marks the most traditional section of this song.  Even with two verses, neither fits a straightforward, traditional bill.  That’s perfectly fitting considering this is an experimental album overall.  There’s a dreamy vibe from the start that’s definitely – wait for it – a VIBE.

Final Thoughts 

Chip Chrome & The Mono-Tones is by far the quirkiest album that The Neighbourhood has released to date.  That said, it’s arguably the most intriguing and innovative.  Lyrically, the band doesn’t ‘reinvent the wheel,’ even with a conceptual element, but musically, the way they shift through various genres and sounds effectively is quite impressive.  As the final album in the band’s recording contract with Columbia, it’s an awesome one.

✅ Gems: “Pretty Boy,” “Lost in Translation,” “Cherry Flavoured,” “BooHoo,” “Silver Lining”  

The Neighbourhood • Chip Chrome & The Mono-Tones • Columbia • Release: 9.25.20

Photo Credit: Columbia