Author: BD Joyce
- Artist: Agnostic Front
- Album: One Voice
- Year of Release: 1992
- Country: USA
- Label: Relativity Records
- Format: Jewelcase CD
- Catalogue Number: RO 9222 2
Despite their enduring status as firstly, innovators of crossover thrash and hardcore and latterly, widely respected elder statesmen of the heavy music scene, Agnostic Front have largely failed to capitalise on their reputation either commercially or critically, with the possible exception of the acknowledged importance of their first two albums to the genesis of a strain of punk rock that has arguably been refined and improved upon by a number of bands that they themselves have inspired. If they were ever going to break through and enjoy more sustained mainstream success, it is likely that One Voice was their best opportunity. The release of Metallica’s monstrously successful self-titled effort, which found stratospheric popularity in 1991, redefined the possibilities for more extreme sounds, and in the years that followed, bands such as Fear Factory, Machine Head and Biohazard all found the kind of success that has always eluded Agnostic Front with sounds that owed more than a little to the music that had filled the scuzzy clubs of New York City in the mid-1980s. Part of the reason for this might have been the fragmented nature of a band that had become used to losing their main songwriters after the release of every new album, and had also been hampered by the prison sentence of lead singer and primary lyricist Roger Miret. But fundamentally, the main reason that Agnostic Front were unable to seize the opportunity presented to them by circumstances was that One Voice is a mediocre album that lacks the sonic heft and precision song-writing of the albums that it ultimately trailed in the wake of.
Some of this mediocrity is a consequence of poor sequencing, which breaks one of the unwritten rules of album production, and loads the majority of the best tracks on the record towards the back end. While this does ensure that One Voice finishes strongly, it leaves the listener with a misleadingly positive impression of the album as a whole, which never quite recovers from the disappointment of the slew of average songs that litter the first half of the album. It’s as if what should have been the perfectly smooth and pristine concrete foundation has been spoiled by a careless footprint, left by a construction worker clocking off early. As if to underline the sense of anticlimax, first track ‘New Jack’ raises hopes, with a blizzard of feedback and chugging guitars that are surely, inevitably, the prelude to the all-out brutality of a legendary thrash riff to rival ‘Angel Of Death’, or ‘Battery’. However, the anticipated explosion fails to ignite, and in its place is a middling blast of rather generic D-beat punk rock. ‘New Jack’ is the sonic equivalent of returning home from the supermarket to find that you’ve unwittingly bought non-alcoholic beer instead of 7% IPA to chug down in front of the big game, or caffeine-free coffee the morning after you just haven’t had enough sleep, and it appears that the simplistic excitement that Agnostic Front could be relied on to supply even if the songs weren’t quite there has been mislaid in a bid to sound a little more professional, a little more considered, a little more musical.
The title track, which appears as the second track in, exemplifies the issues that afflict the album, consolidating a number of problems into a 3 minute blast of unfortunately forgettable hardcore. Although compositionally, Agnostic Front achieve probably their most natural balance between punk and metal to date on One Voice, sonically, the album is very much a metal album. The guitars, presumably in part because of the arrival of Matt Henderson on lead guitar, replacing Steve Martin (not that one, again), favour the scooped-mid crunch that had become the most imitated tone in metal since the release of the aforementioned Black Album, and the overall mix swaps the full and organic tones that tend to pre-dominate in punk rock for a heavily (in fact over-) compressed and dry metallic scree, which seems to reduce the entire possible frequency range to a monotonously narrow spectrum, which can’t help but leave the record feeling a little undercooked and even sterile. Particularly egregious is the dreadful drum sound which, prefiguring one of the more disappointing production trends of the 21st century, opts for a trebly click instead of a thunderous bass-drum bottom end, ensuring that the many sections of the guitars galloping their way along the low-E string in synch with Will Shepler’s sterling double-bass work sound tragically underpowered. The production issues are compounded by the odd choice of a minute-long instrumental (‘Infiltrate’) as the third track in, which is not quite an intro or interlude, but simply a snatch of chunky, moderately diverting riffing which goes precisely nowhere. Frankly, it all speaks of a band that hit the studio armed with a clutch of good songs, but no real vision of the album that they wanted to emerge with, all the while nursing the belief that they would be sufficiently inspired by the recording process to magically produce a masterpiece. ‘Infiltrate’ is evidence enough that this belief was to prove hopelessly optimistic.
Their inability to produce consistent quality across the entire is especially unfortunate, as the highlights of One Voice are actually among the best tracks of the band’s career thus far, and good enough to transcend the sub-par production. ‘The Tombs’, which appears to be an autobiographical tale of rough justice inspired by Miret’s own experiences of the US prison system, is a rare example of the band exhibiting an uncharacteristic level of musical dexterity and capacity to progress and develop which has remained largely untapped to this day. A punk sense of harmony crashes headlong into thrashing riffs that verge on Voivodian in their dissonance, the vocal phrasing is rhythmically intriguing and Henderson’s guitar solo decorates a speedy bridge section with a surprisingly fluid virtuosity which underlines the metal component of their sound spectacularly. From this point in, the overall calibre of the music trends mercifully skywards. The stuttering riff and bouncy hardcore of ‘Over The Edge’ is vital and refreshing, and ‘Crime Without Sin’ utilises the space between the blunt-force riffs and hanging chords in a way which resembles Biohazard covering Helmet to brilliant effect. Until now, Agnostic Front had generally filled every available second of their traditionally short running time with breakneck crossover thrash, failing to heed the lesson offered by many of the greatest rock ‘n’ roll bands that the sense of dynamics and tension that can be derived from the notes un-played can be one of the most powerful weapons in a band’s arsenal. ‘Crime Without Sin’ shows that Agnostic Front have themselves reached this important realisation and it brings a welcome variety to the album.
Best of all is the penultimate track ‘Force Feed’, which demonstrates all of the most thrilling facets of the band’s sound, but crucially, allies the serrated chugging of the D-beat thrash with the kind of memorable vocal hooks that are generally lacking from the rest of One Voice. There’s nothing overly poetic or cloaked in mysterious metaphor about a chorus that repeats the phrase “Force fed lies”, but it does demonstrate the enduring power in aggressive music of a rudimentary slogan used well; and in the same way that “Fuck you, I won’t do what you tell me” will never fail to elicit a reaction in the live arena, on a smaller scale, the same is likely to be true for ‘Force Feed’, precision built for the band’s live show. The song would be perfectly adequate even without the absolute demolition caused by the ripping mid-tempo mosh riff that dominates the final section, but its addition elevates the track from very good to classic-adjacent, and almost demands the pressing of the repeat button as soon as things draw to a close.
All told, One Voice is a frustrating album. Mystifyingly back-loaded, it provokes a certain amount of musing on the question of how important pacing and sequencing is to an album. Would the same songs in a different order create a different artistic statement? Perhaps on the more naive and visceral likes of Cause For Alarm, all about the temporal experience of the sound, the order of the songs is relatively less important. But One Voice has designs on offering something more than energy and excitement, and has clear pretensions in terms of representing some form of definitive and lasting statement of exactly what Agnostic Front should be at this point in their career. And therefore, correspondingly more thought needs to be given to creating something coherent that flows from the first to the last track, something that most of the successful metal bands of that era were adept at producing. Had Agnostic Front deconstructed One Voice and put it back together, Frankenstein-like, in a different configuration, the songs individually would clearly be no better, but the album as a whole could be improved. The other factor which weighs against Agnostic Front in 1992 is that where once they were at the forefront of creating something novel and even extreme, One Voice pales a little bit in comparison to the records it was up against at this point in time. Pantera’s Vulgar Display Of Power, for example, was released in the same year, and delivered a potent cocktail of ultra-muscular metal which out-performs the not dissimilar One Voice on almost every criteria imaginable. ‘Fucking Hostile’ is the sound that Agnostic Front are reaching for, but failing to grasp, and nothing on One Voice comes close to replicating the kind of intensity that Pantera seemed able to maintain effortlessly, albeit blessed with the kind of sharp, punchy production that Agnostic Front so desperately needed. As it is, One Voice is an occasionally brilliant, but mostly average record that just cannot compete with the best that the metal and hardcore scenes had to offer in 1992. Musically, it is probably the band’s most accomplished album thus far, but lacking the pure exhilaration of their earlier releases, it is ultimately less essential, less vital, and less worthy of your time.