the innocence mission

from left: Don Peris, Steve Brown, Karen Peris and Mike Bitts

The Innocence Mission emerged from Lancaster, Pennsylvania in the late eighties bearing a folkish, atmospheric, airy-guitar style that owed as much to 10,000 Maniacs as it did to Simon and Garfunkel. Comprised of four schoolfriends, Mike Bitts (bass), Steve Brown (drums), Don Peris (lead guitar, keyboards) and his newlywed wife Karen Peris (vocals, guitar, keyboards), the band found a niche on A&M Records's roster upon the strength of the ep Tending the Rose Garden. Since then The Innocence Mission has been cultivating a personal, contemplative style that explores the most fragile regions of the post-punk, "enlightened", arty sound.
The Innocence Mission (1989, A&M), the band's self-titled debut, if anything was strikingly unique (especially for its era). Karen's lyrics (on this record), obviously contrasting the literary sophistication of a Natalie Merchant and a John Lombardo or the imagination of a Morrisey, may seem plain at first glance, like random scribblings in a notebook; yet there is something to be said for their humility, which comes across as refreshingly honest. In those days Karen's words primarilly covered the desperate insecurity of youth. Above all, the shining point of the album is Karen's unique, wonderfully odd sorprano (comparable to Kate Bush and Mary Margaret O'Hara), displayed at its most fledgling stage. That combined with Don Peris's beautifully chiming guitar style and the slower, more subtle rhythms is what makes this record such a beautiful listen. Some of the finer moments are the elegant "Mercy" and the consuming "Surreal" and "Wonder of Birds".
The group's second album, Umbrella, (1991, A&M) is definitely more polished, and some might even say it loses a bit of The Innocence Mission's raw intensity. Yet, the melodies are stronger, as is apparent in the gorgeous opening track "And Hiding Away", and the rhythms become the focal point. Overall, it's, a step up, with beautifully reflective lyrics that reach the most personal emotions of the listener with remarkable ease. It carries on the theme of emotional burdens (which seems to be the consistent topic of Karen's words) as well as childhood memories coupled with Catholic imagery. Karen's singing has also improved, and she seems to have a greater control over her voice.
Glow (1995, A&M), the third album, wouldn't see the light of day for some time. But the wait was surely worth it, as this record displays The Innocence Mission reaching what is considered by the broad portion of their fanbase to be their peak. It is, as it is named, a brightly burning flame, swirly, driven by a more neo-psychedelic guitar jangle. Karen's voice having pleasingly settled, the melodies are easier while the rhythms are more intense. Karen's lyrics are no longer as desperate and emotionally burdened, expressing a settled comfort in her family life. The band's groove clearly flaunts the solidity of experience. It is their most upbeat record to date, although you wouldn't know it from the quiet single "Bright as Yellow" or the drifting ballad "Happy, the End". The passive energy of "Brave" and "Speak Our Minds" is utterly thrilling, as Don's gorgeous, chiming guitar riffs command the tunes eloquently.
At this point things would shift dramatically in the world of The Innocence Mission. Unhappiness with their status on A&M and an overall feeling of security in their fanbase would lead the group to leave the label for more freedom on independant label Kneeling Elephant. Yet the more affecting change would occur in 1998 when Steve Brown would depart the band to fullfill a lifetime dream of opening his own restaraunt. The band didn't seem at all alarmed by his departure, despite the fact that it would delay the release of a new record. At the same time Don and Karen's difficulty in conceiving a child led to some unhappiness for the two (that no doubt would come across on the album). The recording process for Birds of My Neighborhood (1999, Kneeling Elephant) was slow and apparently comfortable for the remaining members, who chose not to add a new drummer. The new record is consoling, emotional, personal their quietest and most folkish yet. Birds of My Neighborhood may not quite match up to its innovative predecessors, but few artists can come across so astoundingly strong from such a stripped-down setting. The band seems more than comfortable where they are, and Don and Karen are quite content with their new baby boy. At the same time, this is clearly a veteran band, one that has proven their abilities with already classic records and their live shows remain fantastic and sold out.
Perhaps many are satisfied with The Innocence Mission's new direction, but surely the group's most powerful albums were the first three, which are all very different but ultimatly equal in their greatness. No doubt a new drummer would only clutter things, but one can always hold to the hope that Steve Brown will one day return. Certainly this won't occur anytime soon, for the band just released an even more folkish record, a collection of traditional hymns called Christ is My Hope (2000, Kneeling Elephant) to benefit the charitable work of Food for the Poor and the Council of Churches' foodbank in Lancaster. Don has also announced plans to release a solo album. All in all, The Innocence Mission is one of the most unique and consuming bands of the last ten years, engaging their audience in one of the most human and uplifting musical journeys to be taken, and they've certainly proven they have the power to remain so for the long haul.

the innocence mission in 1989