House Fight – “To Keep from Going Backwards”

September 30th, 2019

House Fight’s 2019 EP, “To Keep from Going Backwards“, is colorful ear candy to satisfy your pop-punk palette. It’s unusual to hear a medium-tempo track that still manages to get a party started, and that’s exactly what the first track of the EP, “Breakdown”, does. The best way to describe the mix is crisp – The musical presentation is masterfully blended together for a cogent song as a driving force. More importantly, the variety of the song’s structure will keep listeners begging for more – The second chorus even kicks it into second gear with hints of screamo, with shouts of “Oh my god, Oh my god, I think I’m having a breakdown.” It would be interesting to hear “Breakdown” at a higher tempo, especially at a live performance.

Next, “Pull The Plug” takes hints from the band Royal Blood, which is known for its two-person lineup that uses an octave peddle on a bass to create guitar riffs. The bass and guitar riffs in the intro are so tight, and fill the space of the mix wonderfully. But all of a sudden, the drums take off, and the air is filled with vocal harmonies in the chorus. “Pull The Plug” is a great example of the importance of a chorus that contrasts well with the verse.

“Drown” is the third song of the EP, with the most energy thus far when listening through. By the third song, “Drown” feels vaguely similar to chorus of “Pull the Plug,” with the exception of the lead guitar playing in a higher register. The best part of this song is the rise of the pre-chorus, and the plateau of the chorus. “Drown” is the longest song in “To Keep from Going Backwards“, and the rise-and-fall of the song structure keeps the track vibrant enough for its runtime of almost five minutes. Perhaps the saving grace of “Drown” is the brief acoustic section clocking in near four minutes, which gives the effect of a pop-punk power ballad.

“Knocked Back” has the catchiest guitar riff in the entire release. Where can I get a guitar tab for this please? Seriously. Rather than focusing on a blend of chords, the upbeat instrumental riff packs a punch, especially when the double kick comes in. This track displayed a stellar percussive performance as well, with the drums ducking in, out, and around all other moving elements in “Knocked Back.” It’s one of those performances that is predictable enough to satisfy your ears, but leaves enough room for surprises that has you putting “Knocked Back” on repeat.

“Tunnel Vision” certainly speaks to the anxiety behind the phenomenon. The song itself is driven, featuring more screamo overdubs than the previous songs. It’s House Fight’s darkest songs on the record, and is sure fun to listen to. But I wouldn’t recommend it for the faint of heart.

Finally, “Stilts” is a welcome back to familiar territory from the darker overtones of “Tunnel Vision,” presenting a bitter-sweet ending track of “To Keep from Going Backwards“. The most memorable line from “Stilts” comes from its pre-chorus: “Why should I give up on myself when the whole world gave up on me?” Perhaps this is an example that the most important emphasis in a song should be spoken in the plainest terms. I praise House Fight for their ability to convey complex emotions in simple ways that are communicative and relatable: “I feel the weight of the world pulling me down and when I open my mouth the words won’t come out.”

“To Keep from Going Backwards” packs a punch. House Fight presents six action-filled songs that are lyrically relatable, while knowing the fine line between musical familiarity and packing surprises at every corner. Do yourself a favor and give this a listen.