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The History
Formed
around 1992, Only Living Witness is usually associated with the
rest of the Boston hardcore scene. Even though their hard sound
is far removed from the innate violent nature and full-on
hardcore of their counterparts, the band usually shared the
stage with the usual suspects from the scene. Soon after the
band signed with nascent label Century Media and in 1993
released Prone Mortal Form. Perhaps due to promotional
problems or the band’s unhappiness with the final mix of their
debut, Only Living Witness experienced a number of problems with
some of the label’s staff, the problems were sorted out before
entering the studio to record follow-up Innocents. Not
content with their overtly polished sound of their debut this
time the band decided to relax and approach the sessions with a
more laid back attitude. Unfortunately for the fans,
Innocents came out in 1995, after the band had
unceremoniously called it quits.
Members went on to form different bands; Jenkins worked on
Milligram, Miltown and Raw Radar War. Eric Stevenson and Craig
Silverman worked together in a band called Two Sun System and
Stevenson subsequently recorded with Hank Crane, reportedly
playing an alternative country hybrid. In 1999, Stevenson played
all instruments and released an album titled Dead Horse Town.
Last I heard, Jenkins recorded some vocals for 36
Crazyfists new album, out soon on Roadrunner records.
The Guitars
To
speak of Innocents and dedicate an entire section of this
article to the guitar would be to hypocritically undermine the
prevalent role that the drums play in this album. But life ain’t
fair so fuck it. First, I would like to point out the fact that
guitarist Silverman does not play one single solo in this
record; strange enough such absence is hardly felt. Why? Because
Silverman’s riffs are not only colorful exercises of imploding
energy but they reveal a methodical approach to a heartfelt
hardcore sound that had not even been invented yet. Second, I
would like to point out the fact that most of the riffs that
shape Innocents are short, concise and at times run in
circles. Numerous times, Silverman strums his axe and lets the
echoing sound drop before picking it up; this restrained style
works to the songs and listeners advantage because it is
preoccupied with the eloquent sound of the album and the band as
a unit.
The Production
Recorded
in 10 days with producer Tim O’Hare (who has worked with
Stellastarr, Sebadoh, The Folk Implosion, The Starting Line,
Dinosaur jr, Superdrag and Samiam among others), with the help
of drummer Eric Stevenson, this is the Achilles’ heel of
Innocents. The band, who were not happy about the overall
sound of their debut, insisted on approaching the production
phase from a totally different angle and ended up turning in an
unpolished product with all its ‘creaks and squeals’ as Jenkins
would put it in an interview soon after the production phase was
finished. The result undermines much of the instrumental
subtleties; namely gorgeous guitar touches, colorful drumming,
and the somewhat buried and solid bass playing of Chris
Crowley. To fully enjoy Innocents one must listen to it
with headphones.
The Rhythms
"Right now, too
many bands are writing heavy riffs, and how angry they are but
there is real music to be made,"
said Jonah Jenkins back in 1995 in reference to the then still
unreleased Innocents. Damn right, listening to this
album the first thing that comes to surface is how melodic the
songs are. Some people have even gone as far as partly
blaming this band in the subsequent rise of emo; though
not entirely true the fact that most of these negative and
introspective lyrics are paired to energetic 3 minute songs says
absolutely nothing about the catchiness of the entire album.
Innocents features two sides of a very talented band; on one
hand we have two moody acoustic numbers, and on the other we
have seven pummeling titles that never forget to groove and
push. Mostly built around short guitar riffs and its partner in
thrust, Stevenson’s articulate drums; the melodies mostly opt
for not reflecting the pessimistic lyrical nature and help the
album become a sort of musical dichotomy. Rhythmically,
Innocents is simply invigorating and more energizing than a
suspiciously sobering cup of Colombian coffee.
The Vocals
Jonah
Jenkins does not possess and extraordinary voice, but his
approach and delivery is perfectly matched to the melodic sounds
of the band. His approach brings to mind Kyuss’ John Garcia;
whose every day man vocals helped his band hone a whole new
sub-genre. Jenkins’ chords feel a bit strained at times, but
this helps the songs take a heavier approach. The lyrics, which
mostly deal with personal depression and disappointment in
general, are layered with utter conviction and give Only Living
Witness one of its most recognizable features. Jenkins
especially shines at chorus time, when much of the feeling is
dropped on the listener’s shoulders leaving us with a sense of
uneasiness. If we want to cite a similar sort of vocalization we
could mention ….. from Chum, who right around that time
unleashed another vastly underrated album (Dead to the World)
on the same label.
The Record
All
the way to fatalistic eighth track “Hank Crane”. The remaining
two tracks could not in a million years be tagged as ‘below
average’, but keeping up the quality of such relentless numbers
(mellow instrumental track “Placid Hill” included) is a big
enough challenge even for a band as solid as Only Living
Witness. “Downpour” features some really catchy choruses but the
band sounds tired, while closer “Total Particle Reversal”
features some bottom heavy low end and mid-paced dirge now
typical of doom stoner rock bands with a fanatical penchant for
Black Sabbath and Kyuss.
First track “No Eden” opens with a ‘clearing throat’ noise
that is immediately followed by a speedy acoustic guitar
strumming. Right off the bat, this is immediately followed by
the impressive skills of drummer Eric Stevenson whose octopus
approach is like that of 20 men pounding the shit out of a
single drum kit filling every gap with much gusto; his playing
does not reveal him as a show off but more like a proficient
drummer obsessed with adding to the overall sound of his,
emphasis on ‘HIS’, band. Innocents is relentless since
its inception. Opener “New Eden” shows the band at its most
confident, with constant tempo shifts and melodic guitar
layering that is unfortunately lost amidst poor production.
If the opening number informs you that this is indeed an
entirely different beast than the one of Prone Mortal Form,
second track “Knew Her Gone” is the track that dissipates any
remaining doubts. Innocents is indeed a classic. “New
Eden” hasn’t even come to a proper halt when the opening and
insisting pummeling notes bitch slap you in the face. Pay
attention to Eric Stevenson’s drumming, the dude is all over the
place. When the guitar sound is dropped is Stevenson’s turn to
sustain the whole band, he is the skeleton of a very muscular
body. The last 45 seconds of the song, minus the vocals, sound
almost as if they were reserved solely for him to show off his
skills.
Third track “Deed’s Pride” features rumbling guitars and
slows the mood a bit. This is more of a moody and groovy track,
perhaps a breather in a live setting, and the guitars got a
Clutch-like feel to them, sans the jamming side or the
stoner vibe. The imminent hardcore vibe can still be felt
though, you couldn’t call this heavy metal, yet directly linking
this sound to any of the other Boston Hardcore bands would be a
travesty. ‘No pride for what I didn’t create/no pride for
what I didn’t make happen’ Jonah Jenkins bellows, he is damn
wrong. This shit is tight.
“Placid Hill” is a nice, sweet and short instrumental. Waking
up from a pleasant dream sounds like this. Ironically, much of
the acoustic strumming reminds of English miserablist Nick
Drake. The falling guitar sound is a nice touch, makes you think
of morning dew and a nascent sun. It is a much needed break,
albeit a short one.
“Some Will Never Know” - Arguably, the quintessential Only
Living Witness song. A guitar is plugged in, feedback is
produced only to give room to an open guitar riff. As soon as
the rest of the band joins in Jenkins takes the wheel and never
lets up; it’s like your neighbor is singing, but where did he
learn to yell like that? Fast, groove-laden, pummeling, and
relentless in its execution. Craig Silverman’s guitar sound is
hyper simplistic for a whole minute; only to later pick up the
same open riff from the beginning of the track. Bassist Chris
Crowley deserves a place for simply fitting in a band this good.
“Strata” -The most melodic track of all. With a short crunchy
riff that falls like water off the Niagara, Silverman constructs
a song that stays within our earlobes by the sheer laws of
physics. Lyrics like ‘when I said I prayed I’d die before
you/ I meant in front of ‘, shows Only Living Witness are
not only aggressive and catchy but also smartasses. The pace or
tempo is quite odd; as the guitar sound is dropped it leaves
plenty of confusing space for Stevenson to keep up with the rest
of the band, that he does so well and with such a colorful and
tasty approach says a ton about his musical skills and timing.
Only Living Witness’ sound display certain affinity for all
things ‘rock’, and throughout Innocents one can sense a
band with a penchant for pop hooks.
“Freaklaw” -opens with a groovy guitar riff that also has a
bit of Clutch and a little bit of that ‘je ne sais quoi’
motherfuckers . I never really thought of such comparison until
now that I am listening to Innocents with headphones.
Both bands come from different scenes, but I would sincerely
like to dig deeper into this. ‘don’t wanna have to steal/
what is mine by right’ (check lyrics). I am a believer.
“Hank Crane”-sounds like doom to me. It reminds me of the way
I felt as a child every Sunday afternoon upon the realization
that there was school the next five days. A simple acoustic
guitar is strummed, an eloquent harmonica is blown, and timid
battle drums announce some impending sad issues at hand. Jonah
Jenkins sustains his chords without exaggeration. The track
lasts over five minutes, so cello, viola and strings were the
next natural step. Wisely, the participation of these is not
overused and even though the track only grows in immensity, it
never steps in cheesy territory.
Closing Notes
Lasting
29 minutes and 17 seconds Innocents was dead on arrival.
Without a band to promote the release, Century Media pretty much
dropped the album on the stores and left it for dead. One could
also argue that the label did not have the expertise to market
this release. Let’s not forget that back then the German based
label was still quite new in this territory and was more
concentrated in marketing European death metal. Innocents
features flawless sequencing, wisely leaving the two weakest
tracks to the end. That said Innocents has acquired cult
status on its own merits, no one but Only Living Witness can
take credit for this.
Much has been said about the timing of this release, not only
had the band expired by the time this was released, but most of
the material contained here could have fared much better in a
post-grunge environment. Many may not agree with this
assessment, but the aggressiveness of most of these tracks is
certainly more acceptable in the mainstream now. Innocents
has aged very well, despite tepid production the songs stand the
test of time not only because this is the sound of a gelled band
but because the melodies, rhythmic patterns, lyrical matter and
relevant instrumentation is simply timeless. Innocents
is without a doubt an album that will only grow in stature with
the passage of time.
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