Death to the Sun IV: The Final Episode at Churchill's Pub in Miami, November 24

Photo by Ronnie Rivera
Kenny Millions, AKA DJ Fucked-Up.

More explicit contrast came from experimental and electronic artists welcomely peppered in among the fonz-core, pop-punk, and rawk.

Kenny Millions was billed by name, even though he seemed to be in DJ Fucked-Up mode. Which, for those of you who are unfamiliar, is essentially a Kenny Millions set with pornography projected on the wall big-screen-style and totally fucked-up noisecore remixes of rap music. And for those unfamiliar with "a Kenny Millions set," that has historically involved the 65-year-old former Motown session jazz player turning his saxophone into a weaponized version of shrieking cats and calling the audience "cocksuckers." Welcome to Churchill's. Don't use the bathroom.

Photo by Ronnie Rivera
Dim Past.

Brad Lovett -- former guitarist for now-fully-imploded black metal trio, Slashpine -- steered the night into its most explicitly digital direction with his hot-to-trot Dim Past project. The bass was the center of gravity and even peered off the edge of dubstep. Luckily, Lovett managed to tightrope his way across throbbing bass that didn't fall off the wobble-womp cliff. More Skream than Boregore, if you will.

But let's be clear: This was not dubstep or even, really, formal bass music. This was techno, played on old-school equipment without a computer in sight, and mindful of classic styles like acid and minimal while staying dedicated to the dark, post-flood sound-sculpting of the Modern Love label.

But only Subway, featuring Nate Young from industrial-stomp unit Wolf Eyes, majorly bummed out most of the audience in that way exclusive to the noise music genre. We were personally enraptured by the pairing of psych-ill-delic vocals with way-stoned front-porch blues-guitar free-diddlin'. But most of the audience seemed confused or distraught. Rat Bastard was on sound duty. And with the gusto of Nietzsche writing about Wagner, he described the performance as "completely unlistenable!"

Photo by Ronnie Rivera
Cop City/Chill Pillars.

However, in the final analysis, it was good ol' fashioned rock music that really emptied the audience's collective psychic bowels. Palm Beach County's Cop City/Chill Pillars performed a set that may be best described as an enema. The good, the bad, the sexy, the gross ... It's all in there. And even though it hurts a little, you know it feels good. You freak. Jesus, our palms (and tongues) are getting hairy just thinking about this set.

We have frequently described this trio and their collaborators as a variant of caveman boogie rock. Well, in the wake of Hosed, the band's sophomore LP on Florida's Dying, it's clear that our lil' psychedelic neanderthal is growing up.

We can imagine you asking: "But what the fuck did they sound like?" And without a doubt, our answer is "the newest rock music possible."

Photo by Ronnie Rivera
Performer Whorish Boorish and DTTS organizer, Ricardo Guerrero.

Critic's Notebook

The Crowd: Rockers, rollers, fonzies, punx, hipsters, post-hipsters, artists, art-party animals, hornballs, secret freaks, obvious freaks, fiends, friends, and some of the most inebriated people we have ever seen in our entire lives.

From the Stage: Ecstatic cries, cryptic musings, pleas for narcotics.

From the Crowd: The unholy moan of self-sabotaging party savages.

From My Editor: "Don't bail on this one. You always party too hard or something at these weirdo fests."

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Location Info


Churchill's Pub

5501 NE 2nd Ave., Miami, FL

Category: Music

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