Texas Trio House Parties Share Captivating EP, “Side Effects”
Emerging from Texas, pop-punk trio House Parties gives a classic and irresistibly nostalgic sound. Forming in 2019, the band is climbing fast in the hearts of their fans. Side Effects is the second EP release from the band, coming out via Equal Vision Records. “Mid-life Crisis” and “Braindead” were released as singles prior and have already garnered over 10,000 streams each on Spotify.
“Braindead” starts the EP off strong. The drums stand out on this track, even starting the song off with a jazz-esque fill. Throughout the song in each break, drummer Wesley K. Jones steals the spotlight. This song has the essence of a State Champs song—very true pop-punk. In the vein of the genre, the song is full of fun and playful lyrics that aren’t afraid to be aggressive either. Guitarist Spencer Trinidad echoes the vocals in the chorus but plays on the verses with interesting distortion. At the end, the band leaves the bridge simple and clean to emphasize it. For a surprise ending, the song opts into a higher key at the end of the song to keep the momentum going, and ends with a repetition of “you’re so braindead!”—I mean, can’t you just imagine screaming that in the car with your friends?
“Get a Grip” is a lyrical hot shot. For an idea of the contents: “I’m a burnt-out burden and destroyed all of my plans/ never cared ‘bout what you think of me/ majored in self-sabotage/ spent time fixing the clock” starts the song. As teased from the lyrics, the song is about begging yourself to get better and fixating on your insecurities. The melody is insanely catchy, along with the ear-worm guitar riff that repeats in the verses. The vocals are layered more in this song than their others, featuring some standout harmonies and underlying ad-libs. The song feels like bottled-up teen angst that’s been waiting to be released.
Photo: Trey Karnes
I was attempting to avoid a Hayley Williams comparison, but it seems to be inevitable in “Midlife Crisis”. Vocalist Chaney Elaine has as smooth of a voice as the superstar with just as much edge as Paramore’s early days. The bridge/breakdown seems to be metal or hardcore-inspired, along with the base riffs of the song. The bridge/breakdown seems to be metal or hardcore-inspired, along with the base riffs of the song. Especially paired with such a beautiful voice, this combination is unique and sets it apart not only from the others on the EP but also from the entire genre. For me, this one was an immediate playlist add. Male vocals make an appearance on other songs, but their feature on this one felt especially powerful. This song is spooky and witchy, and definitely the hardest on the EP.
The band slows things down in the next song. Featuring an acoustic first chorus and building back up throughout, “Waterworks” is a beautiful ballad. This is an ode to the singer’s emotions and how deeply she feels them. This song leans further to the pop side, with its introduction featuring what sounds like electronic drums, then leaning into the aforementioned acoustic guitar/vocal feature. After this first chorus, live drums kick in and the riffs get louder until the sound explodes at the second chorus. Power chords ring as the drums intensify and the singer wails. This song reminds me of early Kelly Clarkson if her instrumentals leaned more into rock. I love the dramatic story-telling of this song and the way that it ripples in intensity.
On their EP, the band shares: “The songs on this EP are about the rollercoaster of emotions we feel day to day. A byproduct of human interactions and how we react and internalize our experience. Each song on this record highlights a different visceral emotion coupled with aggressive riffs and a contagious energy. We all feel the side effects of our lives and more specifically our own minds; This record is an expression of just that, no matter how unpleasant it can be at times, we learn to live with it.” The 4-song EP is worth a listen for anyone who likes the blending of genres—more specifically pop, rock, and pop-punk.