So your debut album gets you noticed, puts you on the ground. The very ground you stand on is half solid, half loose. One step to decide fate; either step forward and clean up your past mishaps, or fall backward and be buried in doubts. Well after two hit singles and a gold record, a forward step would seem more probable than falling further backwards. In the case of
Hawthorne Heights , their latest effort (or lack of)
If Only You Were Lonely proves that the phrase sophomore slump has more meaning than ever, as they have moved in just about every direction but ahead.
Of course the obvious anticipation with the album would be a probable increase for a more predominant triple guitar attack. Sadly, guitar parts have been dumbed down in quality. Rarely does a lead come up, but hey in our lovely world of myspace and TRL, accessibility reigns over talent. That seems to be the focus of this album; accessibility. Almost all of the songs contain an attempt at a catchy chorus, some even succeed. But by far one of the most frustrating aspects of the album is the fact that the exact same formula is used throughout the majority of the same. As previously mentioned, the guitar work has decreased in value. The three guitar parts are not very carefully worked out at all as riffs are completely uninspired and leads are practically nonexistent. Production wise, the bass seemed to lose its unique tone it held in the previous album, which is a major downside to the album. Vocal have improved on one end surprisingly. JT has worked on his singing voice and it shows in plenty of songs. It is such a shame he is backed by bland music work as his voice is not yet at the level where he can completely carry songs alone. Casey’s scream has not really progressed at all, but it is used less often; major plus. When it does come out it is way low in the mix, one of the many traits of this album that just scream “eat me up mainstream, eat me.”
While the majority of the vocals are JT’s improved singing, his lyrics have not taken a positive turn to say the least. They still contain no depth what so ever as they practically read like a diary entry. An exert from
I Am on your Side ,
“End this now, we've gone too far. Let's take back words that turn to scars. If I could find a way to turn back time, had to let you know I'm on your side.” A failing relationship? Again? Yes the album is quite the opposite of uplifting and cheerful. The band seems quite content with the subject of lost loves as their sophomore album is comprised with nothing more than this. A major overflow is felt in this department and the poor music work does not even make this listenable even on a depressing day. Speaking of a major overflow, the band also seems quite satisfied with their “new” found song structure. The new meaning new for them, as this is the formula that is used way too much mainly in the mainstream.
We all know it; the lovely hard paced intro, leading into a more mellow verse not necessarily slower just softer. Of course there is a faux dramatic build up into the chorus which means more distortion. A bridge opening with a tiny instrumental section, than one distant guitar and vocals comes out next. The heavy amounts of screaming might come out during the bridge, since all of their seemingly teen targets with music A.D.D. will have already made up their mind 2 minutes into the song whether or not they like the band. Finally the lovely ending chorus will come out; repeat, and eventually things will fade. Sound familiar? Well if the answer is no, than that will all change by the time this album comes to a close. If their target was mainstream they hit the bulls eye. The structure of songs does not change very much, and sometimes the riffs seem to follow the same trend.
This Is Who We Are opens the record with a nice intro riff. It is nice, the first time you hear it. Switching gears if you will, our environmentalists will be very pleased to know that
Hawthorne Heights does indeed recycle. Proof is track four
Pens and Needles , where practically the same riff comes out. Despite the blatant resemblance of the intro riffs, both of these songs end up being above average, making them highlights for this record. Being the first time the formula has been used,
This Is Who We Are feels like a very well put together song. The screaming is nicely placed when used, and JT’s singing improvement is shown. However, the much anticipated potential music improvement is not felt. Sadly, not a whole lot changes during the next 40 minutes of the record regarding the desired instrumental improvement. The first single off the record
Saying Sorry will show this just fine. There are plenty of times during the song where it is difficult to hear two guitars playing. The music work is just plain tedious and not convincing in the least bit as the song comes off as very forgettable.
Musically, the best this album has to offer is on
Breathing in Sequence . It opens like a typical song, but dual guitar patterns are heard during the verse. Later on at around 2:25 in the song the closest thing to a guitar solo Hawthorne has ever done comes out. The outro contains a pleasant surprise as the guitar riff ends up getting harmonized with some rhythm in the back round. Three guitars are finally heard two thirds of the way through the album. Unfortunately, the song contains dreadful lyrics and very half-hearted vocal delivery during some sections. It seems that the band has trouble putting everything together; when something goes wrong and is later corrected, a new problem arises. What often failed in their previous album were transitions. Here they have developed; yet do not risk anything as the band sticks to way too tight of a similar formula. In other cases things have gotten worse. Many were expecting increased musical work, but if anything the band has dumbed things down. They must have loved the success Ohio is for Lovers gained for them and tried to mold an album after it for mainstream triumph. Sadly things did not work out for the better to say the least, as the album’s repetition is overwhelming along with its negative attributes.
After their debut some potential was shown. However, whatever light was visible at the end of the tunnel for the band was quickly covered up by their newest release. Basic music work is found on the majority of the album, and lyric wise things are still as mess. While there are three guitarists, they often seem to take the backseat as the band fails once again to take even close to full advantage to their position. The kind of music they are attempting to make focuses around the lead singer; and while JT has improved he is not up to that task quite yet. No exercising of varied structure occurs here, as this record becomes not only predictable, but an obvious step in the wrong direction for the band. They have taken a step back and are no longer on solid ground. The band seems to be in a hole that their skimpy imaginations and limited risk attitudes will have a difficult time digging themselves out of. After their debut, many shut the door on
Hawthorne Heights and while at the time I left it cracked open, that has changed. In the words of
Dead in the Water , “
Close the door, lock it tight."
Final Rating: 2/5
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.This Message Edited On 06.12.06
