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Corrections House : Last City Zero

The word “supergroup” is tossed around so freely nowadays that it inevitably fails to inspire the same kind of awe it used to back in rock’s ’70s halcyon days; kudos, then, to Corrections House, who have elected not to describe themselves as such, despite being better qualified to use the term than most. Instead the quartet – Neurosis‘ Scott Kelly, Eyehategod vocalist Mike IX Williams, Bruce Lamont of Yakuza and Sanford Parker, who as well as playing in Nachtmystium, Minsk and Twilight has produced some of the most important metal albums of recent years – have gone with “end times collaboration”, an equally apt account of the apocalyptically heavy noise they are creating together. Last City Zero, the project’s debut full-length release (out October 28 via Neurot Recordings), is pretty much exactly what you would hope for from such a union, each player bringing just enough of their respective bands’ DNA to the table for their influence to be subtle rather than overpowering, with hardcore punk bleeding into tar-thick sludge, electro-acoustic post-rock soundscapes colliding with industrial body music and even (on the title track) sparsely-accompanied Rollins-style spoken word. It all comes together perfectly on epic opener “Serve Or Survive” (below): a funereal, Sabbath-esque riff rings out through the fog of Lamont’s sax and FX, swelling into a storm of serrated guitars, squalling electronics and Williams’ razor-throated howl before shifting gear as Parker’s piston-powered death-disco groove stomps its way to the foreground. That the group manage to maintain the track’s insane momentum over the following 40-odd minutes is nothing short of astounding, but from the brutish thrash of “Bullets And Graves” to the maximalist grind of ten-minute closer “Drapes Hung By Jesus”, via robot battle marches (“Party Leg And Three Fingers”, “Dirt Poor And Mentally Ill”), atmospheric outlaw country (“Run Through The Night“) and queasy jazz-noir (“Hallows Of The Stream”) there is no let up from the relentless cyclone of intense, aggressive malevolence. Regardless of whether they’re a “supergroup” or simply a super group, Corrections House have made a super album that transcends genre tags and stands as one of the year’s best.

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About foamhands

My name is Michael Dix; I'm a decade or so past being down with the kids, but to me new music never gets old. Apparently I like music that sounds like faulty kitchen appliances and ritual slaughter; really I just like what I like, whether that happens to be indie, pop, punk, hip hop, metal, electronica, Afrobeat or jazz. Follow me on Twitter @FoamHandsBlog to receive notifications of new posts and the occasional random brain-fart, and please share links wherever you can. Enjoy!

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