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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