Corrections House, Shroud Eater, and Holly Hunt Destroyed Churchill's Pub in Miami
Eventually, Corrections House member Sanford Parker found his way to the table of effects pedals, microphones, and mixers where he began to weave a distorted and warped tapestry of pre-recorded and tweaked voices. A blanket of sputtering noise spread beneath the voices and for a long time, Parker remained alone on the stage, donning a black button-down shirt that featured the band's logo on a pair of shoulder patches while waiting for the crescendo of sound to welcome his bandmates.
To the side of the stage, Scott Kelly could be seen nodding away in a trance to the repetitive noise being created by Parker. Eventually, whether based upon a set amount of time or simply a compulsion to join the fray, Kelly stalked across the stage and picked up his guitar, adding a harder edge to the already gnarly and swirling cloud of sound. The two would soon be joined by Lamont, who proceeded to blow volleys of delayed and effected sonic ribbons from that waiting baritone sax. Finally, after an extended segue that followed each member's arrival and aural additions, Mike IX Williams found his way to stage and rifled through a pile of notebooks and scribblings, selecting lyrics on the fly with which to narrate the freeform mayhem.
"Will time forgive me?" asked Williams.
Throughout the marathon performance, Corrections House crafted a din that swelled from sonic apparition to mechanical chop-and-chunk, settled into Kelly singing of a sorrow-filled hymn that reminded us of a doom-infused Tom Waits song, and was rounded out by Lamont's incessant tweaking and melding of the sounds that he created with either his saxophone or voice through an array of pedals and effects.
The band's performance was as much a challenging war of sonic attrition as it was a unique moment in time that felt immediate and emotional -- all of the characteristics that denizens of noise and/or fans of the experimental so adore in a performance. The final ride to the end found Williams screaming in a state of pure catharsis over the explosive volume his bandmates created. We could not tell if the set came to a close deliberately, or if the sound system simply refused to take the abuse any longer. Williams thanked the audience, Kelly stood drenched in sweat and bewildered, and the rest of the band ceased their literally physical attack on the stage speakers.
With the International Noise Conference looming near, the set felt right at home on stage at Churchill's, particularly with the noise Svengali that is Rat Bastard working sound.
For Fans of: The early bit of the Swans discography, NIN, Neurosis, John Zorn on cough syrup.
Personal Bias: Would have been just as satisfied by a set of the same people playing Sabbath covers.
Random Detail: Bruce Lamont used steel wool and a contact mike through a delay pedal. And now we've seen everything.
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