The Witnesses Issue #27

Black Eyes and White Lies (Howler)

By Bill Copeland
Published: March 1st, 2006 | 12:00am

Black Eyes and White Lies, the sophomore effort from the Witnesses, may be a breakthrough work by a band we’re all about to become very familiar with. The new songs from this New York City outfit grab the ears with unique vocals, catchy melodies, and irresistible rhythms.

Lead singer Bonnie Bloomgarden sounds sweetly quirky, like Cyndi Lauper singing over an edgy rocknroll band. Her male counterparts make the quintet sound like a technically advanced version of Kiss, with crisscrossing harmonies and aggressive lead vocals making their way through guitar attacks, bouncy bass notes, and quick, sudden drum fills.

The Witnesses, though, are more than a sum of influences. Possessing a singular sound, they maintain their personalities in a variety of song structures. Opener "Hard Up" bristles with dissonant guitar tension while a male-female vocal trade-off adds even more drama. A dual guitar approach from Oakley Munson and Darian Zahedi briskly rubs two fiery players against each other to create musical sparks. Bloomgarden’s organ work layers a timeless quality around some tunes, giving them simultaneous ’60s and 21st century sounds. Every song has radio accessibility and plays like an amphetamine rush. "Stockholm Syndrome" has a catchy call-and-response chorus, and "We’re Taking Over" sounds like a good Kiss song in its chorus chant and steady beat. There are no boring moments here.

If the Witnesses don’t break big with this release, there is no justice in the world.