It must be said that this has been done many ways and many times before, for decades. Though turning in competent, talented, and passionate performances here, halfwaynorth will benefit to go further than halfway toward more songwriting originality. This is where all pop and rock music begins: the song. No amount of high-grade production (and this record has that) can make up for basic songs that are less than awesome. These are okay, and maybe even good, but that’s not enough in the context of so much similar work that has been world famous in the last 50 or so years.
Let’s take a word ride through each track:
- “Back to the Uhh” – A finely rockin’ guitar confidently opens with its powerfully catchy riff hook signature (a la Taylor Dayne’s “Tell It To My Heart,” plus Glenn Frey’s “One You Love”). Quickly following, the rest of the rhythm section gently crunches in to land solidly into a traditional rhythmic rock pop punk groove. This is then pretty much where things settle for the duration of the song. After the intro and the lead vocal entry, the first thought that comes to mind is Weezer, but this song and these vocals are not Rivers Cuomo. We pleasantly bop back and forth in standard classic rock fashion, and it feels good, though familiar and awfully predictable. In and out we rock, with some cleverly subtle variations here and there by the instruments, mostly in that beloved time-honored vein of careless and sloppy rock attitude playing. Still, as finely done as what has been done is, much benefit could be realized by more consideration toward better original songwriting and perhaps inclusion of more dynamic variations on the theme.
- “I Call Your Name” arrives with heavy debt hearkening back to Alice Cooper, maybe a bit of classic Neil Young and Crazy Horse, and similar era guitar-centric works of others. What follows (and may or may not be called the verse, because it does not come around again for the duration) offers a subtle, interesting guitar variation that tends to effectively draw one in—alas, enjoy it while it lasts. Next, we go a bit more pop melodic and dramatic, then chorus time, which feels somewhat anti-climactic and unresolved. Finish out with retro rock-out guitar, and it’s over. Why not come back to the “verse”—the most intriguing part of the piece? Again, a basic songwriting decision that other advanced writers may find less than optimizing to this particular collection of song parts. The overall vocals are more than adequate, but less than stellar, seeking something, anything leaning in a direction of increasing distinctiveness.
- “Powerlines” – great opening strum guitar, a little reminiscent of Live’s “Lightning Crashes”. The general spirit of this piece seems offered in the spirit and vibe of much of R.E.M.’s work. Standard, effective buildup by adding instrumental accompaniments and counterpoint layers, plaintive and roughly polished vocal styling, and strong word picture lyrics all do add to the intrigue. Overall, perhaps the best attempt at the most unique tune in this 3-song collection.
Review by Mike Ososki
