Review: Witnesses ‘Joy’
For as long as I can remember I have been following the work of Greg Schwan’s Witnesses project. It started when I first reviewed Doom II back in 2020. Drawn towards sonic outpourings akin to a multitude of ‘90s Peaceville doom bands, such as My Dying Bride and Anathema, Witnesses had something which really struck a chord deep within. Maybe it was the nostalgia in sound or perhaps it was in part due to my ever-evolving interest in obscure doom bands, but either way, they offered a completely new perspective on doom music, so much more than mere Black Sabbath comparisons.
We are now at the tail end of 2024, and as the year is drawing to a close, and I believe this is now my fourth Witnesses outing, I feel very honoured to be able to review their latest album, Joy. It is six tracks of heavy transcendental doom, with both a retro ‘90s feel, and a splattering of doomy prog, which will entice, captivate, and overwhelm if you allow it to.
For those who already know of Witnesses, it is predominantly Greg Schwan’s child, and with Joy, such as previous releases, there is a familiar roster of artists he has brought in to give their all to the project. Most notably Matt Kozar and Gabbi Coenen, long-time contributors who again lend their talents to the project.
Keeping it fresh, this time most notably is the addition of vocalist Simon Bibby, otherwise known as the artist Thy Listless Heart. His vocal contributions bring an air of quality, which is hard to find elsewhere within the doom metal circles, and as he gives his everything to Witnesses, it is simply spellbinding.
Along with Bibby, there are a couple more new names, Angel Hernandez, who does an incredible job of demolishing the percussion side of things and Arianna Mahsayeh, whose cello work on the album opener Joy (Like A River) is wondrous.
When working in unison, Witnesses take you on a journey into the very depths of atmospheric nothingness, before sweeping you like a phoenix into the stratosphere. Such is the beauty and scope of Schwan’s vision, with every release there comes another layer being peeled away. Another awakening to a doom drenched darkness that only a true auteur would be able to pull off with such eloquence.
With Joy we see the band in a more bombastic mood, whereas a couple of their recent releases have featured more heavily on textures and ambience built on subtle nuances, Joy sees a return to the emotions I experienced when I first listened to Doom II. It’s harsh and abrasive and at times morose and caustic. The rushes of outpouring are venomous and when the fates align to create these moments, it is, for lack of a better word, joyous.
each track is a multilayered symphony…
The album itself is comprised of six tracks, five of which have a full vocal accompaniment and one instrumental track, which gives a moment for reflection and composure. Beyond that, each track is a multilayered symphony, a multitude of highs and lows, which truly encapsulate the notion of solace, both within and outwardly.
While each track is unique to itself, over the whole opus there is a feeling of unity, as if a series of similar stories have been compiled from completely different journeys and culminate in this one special moment in time. It’s also impossible to point to any specific standout moments as the whole experience is exceptional.
Each track is entitled Joy, followed by a subtitle in brackets with each subtitle giving a brief idea of the feeling of being joyful for a specific experience. No track has been committed to record because it’s a throwaway moment, the whole thing has been so meticulously created with specific reasonings to each and every second. It is an all-encompassing display, which you will be unable to turn away from.
The nods to those Peaceville recordings are evident throughout, spoken passages, string work, moody lows, and pummelling highs, it’s all here. It pushes me towards two of my favourite bands, but especially My Dying Bride, a band I have loved since the early ‘90s.
The ample guitar chugs lay on top of a building levelling drum display that showcases all those doom sensibilities, while the structure of each track pulls us in all manner of directions as they play through.
Admittedly, there’s no wailing Aaron Stainthorpe, but this isn’t a copy, this is a nod to heritage and Bibby’s vocals are earth shattering. Witnesses are its own entity and there is no need to imitate anyone else when they are such a phenomenal force of their own.
Schwan is an absolute visionary and deserves every bit of credit and respect that comes with the territory for his entire body of work. Joy is an absolute, ahem, joy to behold, and yet another addition to an incredible catalogue deserving of every inch of praise it will undoubtedly get.
Label: Independent
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Lee Beamish
