Hawthorne Heights – The Silence In Black And White Acoustic

Post-hardcore emo rockers Hawthorne Heights never landed high on my to do list.  They’ve always been somewhat of the whiny mid-00’s b-side to Taking Back Sunday (of which I’ve never been terribly fond of in the first place).  But alas, even with my blinders on I can’t ignore them altogether.  Fact is, the Dayton, Ohio quintet has been around long enough to celebrate the tenth anniversary of their first full length, The Silence In Black And White.

To mark the milestone, Hawthorne Heights has released an acoustic re-envisioning of the eleven-song disc.  The best that can be said about the experiment is that the complete omission of any of the generic hardcore barking eliminates one of my all time post-hardcore pet peeves.  The resulting disc is relatively listenable, even if JT Woodruff’s high pitch on opener, “Life On Standby,” made me want to give up in the opening moments.

Not surprisingly, the best songs deviate the furthest from their source.  “Dissolve & Decay” serves as an early ringer that pulls out some commendable Latin-rhythms in the form of exotic percussion.  Subtle shaking and tapping paired with Mexican-inspired acoustic strings in a mid-song instrumental bring to mind the likes of Mariachi El Bronx more than anything born of the emo scene.  The twist doesn’t make for anything too outlandish, but when combined with calmer vocals (assumedly led by Micah Carli), the track exceeds expectations.

Unfortunately, the remainder of the album lands mostly in the middle.  While infinitely more enjoyable than their original counterparts, songs like “Blue Burns Orange,” “Ohio Is For Lovers” and “Screenwriting An Apology” remain bogged down by Woodruff’s repetitive vocals – even if instances of piano and modest electronic embellishments maintain overall momentum.  Just the reality that calmer vocal led verses in tracks like “The Transition” influence morale so heavily reinforces The Silence In Black And White (Acoustic) as a mixed bag.

Longtime fans will absolutely adore acoustic renditions of Hawthorne Heights’ early material.  For the rest of us, there’s room for some modest enjoyment, and an opportunity to say we’ve sat through an entire Hawthorne Heights album.  While Woodruff’s vocals are typically all over the place, it’s worth pointing out that the band never feels rushed, handling the acoustic format well from a guitar standpoint.  It’s not exactly a ringing endorsement, but it’s likely the best light I’ll ever frame Hawthorne Heights with.