Following the breach of their six year hiatus at the 2009 Grammy Awards, Blink 182 have been back in the studio writing and recording their sixth album, 'Neighborhoods'. Not since 'Chinese Democracy' has there been such anticipation surrounding the release of an album, but unlike Axl's new look Guns n' Roses, Blink's first album in eight years does not disappoint.

'Neighborhoods' is a piece of work which clearly reflects the coming of age between Mark Hoppus, Tom DeLonge and Travis Barker - something initially noted following their self-titled album released back in 2003; a more sincere effort compared to its two light-hearted predecessors, 'Take Off Your Pants and Jacket' and 'Enema of the State'.

Irrespective of the cliché to consider a band to have 'matured' in between albums, this is exactly what Blink 182 have done. In the eight years leading up to 'Neighborhoods' being written, the group have faced their own turbulent experiences: cancer, a plane crash, divorce, and the death of friends, family and long-term producer Jerry Finn. Thus, it would simply be ignorant to consider that Blink's new material would not be influenced by these heavy-hitting experiences. Where the intensity of the lyrics in 2003's Blink 182 often felt contrived, 'Neighborhoods' does not come across as forced musically or lyrically.

Even though they are still performed live with enthusiasm amidst nostalgia, gone are the days when 'Mutt' and 'Aliens Exist' were written - in their place the darker tracks of 'Neighborhoods' arise.

The album starts with the creeping introduction of 'Ghost on the Dancefloor', where the early lyric "Our song slowly starting, your memory felt so real" sets the tone for the rest of the album - juxtaposed are the notions of loss and gain, with the group stripping back their defences and sharing their recent encounters and emotions with the listener. It's this honesty and sincerity that sets 'Neighborhoods' apart from the preceding Blink 182, although for the sentimental listener the aging of the band does not render the unique Blink 182 sound redundant; the scratchy guitar, imperious drumming and thundering bass of previous Blink works are still apparent, the instruments entwined with the instantly recognisable sparring vocals of Mark and Tom.

Lead singles 'Up All Night' and 'After Midnight' infuse melodic guitar riffs and unusually-crooning drumming with the ominous lyrics heard throughout 'Neighborhoods' ("I kinda like the little rush you get, When you're standing close to death"), but in no way does this present the tracks as depressing. Instead, the listener is left to feel as if the band are talking to them, sharing intimate stories. The big brother who told rude jokes on 'Dude Ranch' has now grown up into a protective and considerate adult, intent on opening up and confessing their emotions in a personal manner.

The pop-punk sound that catapulted Blink 182 to worldwide fame can still be recognised in other tracks `Wishing Well´, `Heart´s All Gone´ and `Kaleidoscope´, with the hurried guitars and pounding drums rushing through the songs in a way that bands like All Time Low can only imitate. The album falters slightly in the last few tracks, held together only by the domineering drumming of Travis who gets to show off his incredible stick skills on `MH 4.18.2011´, a track which sounds like it has been taken from the Blink 182 cutting-room floor.

'Neighborhoods' delivers Blink 182 back to the world´s largest stages with a bang, and rightfully so. With the answer to the question "What´s my age again?" now being "thirty-something", it's credit to the band that they do not try and be anything else. It is this truthfulness that sets 'Neighborhoods aside from anything they have done before, adding a dimension to their music that a decade ago seemed impossible.

Released 26th September 2011 on DGC/ Interscope Records.

By Luke Forshaw.