Witness is the second album released by Iowa hardcore quintet Modern Life Is War, released in 2005 via Deathwish Inc. This is the last M.L.I.W. album to feature Chris Honeck on bass and Matt Hoffman on guitar, as both members would leave the band after the album's release. The album cover was created by Converge singer J. Bannon, and features an image of Main Street, Marshalltown - the city in Iowa where the band members are from - taken in 1896.
Building on the success and hype of M.L.I.W.'s previous album, 2003's My Love. My Way., Witness became a watershed record for the band, selling well in hardcore circles and achieving acclaim from numerous music publications and website reviews. It is normally considered the band's finest release.
The song "Martin Atchet" is based on Peter Milligan's graphic novel Skin, which revolves around the story of a young skinhead, Martin Atchitson, who grew up in 1970's London with thalidomide-related birth defects.
To commemorate its 10th anniversary, Modern Life is War reissued a remastered version of the album with updated packaging and liner notes on June 2, 2015 followed by a nine-date North American tour.
Witness is a good hardcore album. Outstanding tracks are "The Outsiders (AKA Hell Is for Heroes Part I)" and "D.E.A.D.R.A.M.O.N.E.S.". I sometimes find the vocals a bit bleak and unconvincing, but the great instrumental part surely makes up for it.
I wasn’t expecting much going in since hardcore isn’t usually my genre, but this floored me. Witness avoids the standard breakdown clichés and instead goes for something slower, heavier, and more melodic. That restraint makes the brutality hit harder.
The vocals can be a grind and I can see how they’d put people off, but I got used to them quickly. What matters is how much emotion they carry. The lyrics add another dimension. Songs like Marshalltown capture small-town frustration, anger, and restraint in a way that feels raw but thoughtful. It's personal and political.
D.E.A.D.R.A.M.O.N.E.S. is more upbeat and immediate, showing they could step outside the gloom without losing power.
At 27 minutes it’s the perfect runtime: intense, emotional, and over before the weight of it wears off. I ended up loving this far more than I expected.
4,5*
I can forgive reviewers not invested in the genre to dismiss this record, but for those who say they are, you gotta be kidding me if you can't hear how stellar it is!!! Every single track slaps, the whole thing is intense from back to front, and most importantly, its hardcore punk aesthetics feels *haunted*: ghosts and ghouls abound here, disillusioned souls left on the margins of society, screaming what's left of their lungs out to paint a bleak picture of modern America. Those goddamn desperate lyrics... That goddamn voice perfectly attuned to the woes of the Midwest... Those goddamn guitar riffs, tight, infectious, heavy, angular, and yet filled with dread and melancholy at the same time... It's the platonic ideal of what a mid-noughts hardcore punk LP was supposed to sound (along with admittedly slightly different-sounding examples found in Comeback Kid, Have Heart or Verse's discography).
For me, no other album from that specific era and adjacent music style suggested by users on this generator sounds *this* authentic. Plus, this one has been pretty influential, without Modern Life Is War ever fully receiving the credits they should have received. Without *Witness*, I'm not sure we would have had Defeater or Fucked Up a couple of years down the line, for instance -- at least not in the shape hxc punk fans came to know them. In short, a stone-cold masterpiece.
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5/5 for the purposes of this list of essential albums.
10/10 for more general purposes (5 + 5)
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Number of albums from the original list I find relevant enough to be mandatory listens: 465
Albums from the original list I *might* include in mine later on: 288
Albums from the original list I won't include in mine: 336
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Number of albums from the users list I find relevant enough to be mandatory listens: 61 (including this one)
Albums from the users list I *might* select for mine later on: 80
Albums from the users list I won't select for mine: 146
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Emile... Ma propre balise temporelle... Tu trouveras mes trois dernières réponses sous les albums d'Eric B. & Rakim, Shpongle et Ookla The Mok
Oh Witness is right up my street, it gives me mid 00 vibes of acts like Alexisonfire or Rise Against (maybe vocally more than musically there) or even Anti-Flag with their intensity in places but they're heavier and more screamy, and it really leaps out to my ear in the same ways. Good melodies, heavy gritty riffs, vocals are so-so but they work in the context of the music, I'd happily listen again, 4.
D.E.A.D.R.A.M.O.N.E.S. is the standout track from this. There's enough variety in the music to make the shoutiness less oppressive, and it's short enough to get the message across without overstaying its welcome.
Better than it might otherwise have been.
That's definitely some more hardcore. I don't know. Like punk, I think it is fundamentally anachronistic past a certain point, and that point for hardcore is, you know, the Eighties. Thrash thrash, shout shout. Within these constraints this is very solid, and as a bonus very succinct.
This sort of thing already exists on here. It's fine.
My personal rating: 3/5
My rating relative to the list: 3/5
Should this have been included on the original list? No.
This is decent hardcore. Although I'm not a huge hardcore punk fan I liked it. Perhaps wouldn't have gotten much further if it wasn't relatively short though. 3.
Add one more to my list of I enjoyed this. Thought it was a good record but I’d love to hear from the person who put this on the list the why behind adding it. Other than being a good record what pushed it over the top to be 1000 to hear record. Because I thought it was good. I enjoyed it. But I feel I’m missing something that others have seen.
Too much screaming. How on earth do you your like that?
Kidding aside, poignant lyrics really a testament to the time it was recorded. Just hurts the ears after a while.
Vocals killed this one for me, the instrumentals were interesting enough for a mid-aughts hardcore LP, but the raspy, abrasive shouting sat on top of the mix and kinda drowned everything else out.
This is the kind of punk I just can’t enjoy. There’s something that differs between screaming punk and screaming metal that makes the punk sound so much worse. Sometimes the older simpler albums are better for a reason. This was pretty modern and you could feel some of that in the album but not for improvements. This album just felt like tense anger without any real message. 3.5/10