Janine Enriquez, Rob Fitzpatrick, Vince Enriquez, and Nicole Klopfenstein
Witch Hunt's album Burning Bridges To Nowhere is a record that has a good deal going for it in its best moments. However, these instances are not enough to make a good listen for the album's entirety. Although most of what's left may still be a slightly above average, despite the band using a more polished, poppy sound than many acts of its crust punk and anarcho-punk ilk, Witch Hunt often does not take the best aspects from these often-antipodal forms of recording.
Fans of these punk genres are getting behind the band saying they are amongst the best on the scene. One may somewhat see why: Witch Hunt takes the speedy drive and molten murk of the metallic, hardcore punk acts and combines it with glossier production, female-cum-male vocals, and a sense of melody. Yet, in my eyes, this aspect of the band's likeability sadly never breaks out of a mechanical structure, standardized pound, and monotonous chug. Frankly, the album, despite being at times admirable, is often times yawn inducing.
Burning Bridges To Nowhere sounds almost like it is a more violent version of a pop-punk record. Present is the melody, both in voice and in chorus, and the songs feel point-perfectedly structured in its hookier aspects. Yet most of the record is a little more sped-up and slashing than the usual pop-ridden punk album. Although Witch Hunt gets a lot right when they do the more melody-driven numbers, ("Silence" or "Void") the rest of the album is rather hazy in intent and dissipative in structure, resorting in a tuneless murk when their crust-tendencies shine through.
As instrumentalists the band comes up with some interesting sounds, and although much of the music is energetic, it is hardly fully developed or memorable. In the end, Burning Bridges To Nowhere is a flawed trail of an album: one that is usually drawn out to tedium with occasional bursts of interest in the strewn-about-flavorful execution of the process.
Story by Nick Schwab ©2009