Corrections House, Shroud Eater, and Holly Hunt Destroyed Churchill's Pub in Miami
|Corrections House's Mike IX Williams on the Churchill's stage.|
With Shroud Eater and Holly Hunt
Presented by Speedfreek
Churchill's Pub, Miami
Wednesday, January 30, 2013
Better Than: Not being "destroyed," "annihilated," "depressed," and "confused" on a Wednesday night.
In the Internet age, it is pretty much impossible for anyone with a computer to be surprised by a band. However, Corrections House -- a veritable supergroup of notable metal and experimental musicians -- has managed to keep info about what they do vague at best.
Yet despite this secrecy, the web buzz has been rampant with the sludge/stoner metal community, whose shared anticipation of performances and releases is based on the names of individuals involved alone.
-Mike IX Williams: "I Can't Damage Myself Too Much Anymore or I Might Wake Up Unconscious Forever"
-Q&A: Corrections House's Mike IX on How to "Destroy/Annihilate/Depress/Confuse"
The quartet features Bruce Lamont of Yakuza, Sanford Parker of Nachtmystium, Mike IX Williams of Eyehategod, and Scott Kelly of Neurosis. Now, a band featuring any one of these names would be worth seeing a hundred times. But all four of these individuals on stage at once ... How could the performance be anything less than a bacchanalian night of ripping post-Sabbath riffs and hulking hits?
However, what transpired last night on stage at Churchill's Pub wasn't the massive display of sludge and heft most were expecting. In fact, what the members of Corrections House brought to the 305 last night was most closely aligned with the interests of Miami's noise performance fans, and a completely unexpected (though none-the-less satisfying) detour into the realm of industrial beats, spoken-word performance, and psychedelic instrumental work.
Being that Corrections House information has been so vague, the openers chosen for the supergroup were Miami's keepers of sludge: Shroud Eater and Holly Hunt.
Shroud Eater opened its set with a somber funeral dirge of spaced-out guitar played over the thunderous clap of drummer Felipe Torres assaulting his cartoonishly large floor toms with a pair of orchestra mallets. The introduction carried on for just long enough to make the arrival of the group's well-loved churn of prehistoric sounding metal that much more impressive in its heft.
Along with the usual sonic warfare Shroud Eater is known for, the band performed a heap of fresh material last night that displayed an evolution of the trio's sound into something perhaps even scarier than the galloping riffs we have come to know and love. The thread of early '70s heavy psych that used to hide beneath the din of the band's vicious riffs has entered the limelight a bit more, affording the songs space to breathe and a dynamic intensity to the set. At one point in the evening, singer/guitarist/Queen of Pirates, Jean Saiz, was heard straight-up conjuring the likes of Satan himself over a looping storm of her guitar and bassist Janette Valentine's meandering fuzz-bass. Shroud Eater's performance last night was impressive, to say the least.
Next, after Holly Hunt's Gavin Perry had finished playing amplifier Tetris with his ever-expanding wall of speaker cabinets, he and drummer Beatriz Monteavaro let loose an unceremonious blast of subsonic mayhem that visibly frightened a crowd member standing in our vicinity. However, anyone that has borne witness to a Holly Hunt set certainly understands the audience's initial fear.
As Perry and the perpetually grinning Monteavaro worked through the lumbering sonic Goliaths that have recently begun to earn them a healthy following throughout the national sludge-metal community, heads banged slowly, eyes involuntarily shook in their orbitals, and the mystery of the sounds people have been blaming on secret Haarp weapons for years was finally solved.
The duo is already in the midst of recording a follow-up to the recently released Year One. And like the ladies and man of Shroud Eater, Gavin and Beatriz also dropping some new material into last night's set. For those wondering, the new songs are business as usual for the sludge-mongers, and we only hope that whatever poor studio has received the band lives through the tracking to record another day.
A short time later, the stage was cleared of Holly Hunt's gear and the building ceased shaking as a table of electronic gadgetry was set up where a drummer would normally sit and a baritone sax was seen curiously waiting in its case.