Once again, another fruitful year in extreme music draws to a close. We saw some long awaited comebacks by legends, three quarters of the original SABBATH line up, VOIVOD and CARCASS. The godfathers of U.S. death metal had a healthy year with strong releases by SUFFOCATION, DEICIDE, and IMMOLATION. We also saw young superstars, GHOST B.C. and KVELERTAK, release good sophomore albums. Perhaps the most polarizing and criticized album is SATYRICON‘s self-titled album, which was roasted by the majority of the media and fans.
Among the mountains of releases, there is one album that we’ll gush about again and again, and that’s CARCASS‘ comeback album, Surgical Steel. There are always good and interesting albums coming out all the time, and then there are the untouchable albums that only the legendary bands could create. Surgical Steel scorches everything in its path and clearly shows that in the pantheon of active bands, they are at the top.
To state that hyperbole and false statements of quality are hallmarks of the music industry would be stating the obvious. Additionally, the term “super group” is often thrown around too haphazardly. Just because a bunch of guys from bands that people dig form a side project doesn’t really mean a thing.
Well, the truth is that CORRECTIONS HOUSE have proven to be one of the best new bands in extreme music and their full length debut, Last City Zero, is an instant classic. The band is indeed a collection of guys from bands that people have dug for a long time: Mike IX Williams (EYEHATEGOD), Scott Kelly (NEUROSIS), Bruce Lamont (YAKUZA), Sanford Parker (MINSK) and Seward Fairbury.
Sonically, CORRECTIONS HOUSE is free form in the sense that the songs are not composed of a traditional band configuration (guitars, bass, drums) nor traditional song structures. Instead, the band are unbound in their sound – using layers of cold mechanical electronics, different brooding guitar and saxophone sounds, various vocal styles, and various other sound effects. The album explores experimental stylings and acoustic guitars in varying degrees. Some songs are sonically heavy like “Serve or Survive” and “Bullets and Graves” while others are stripped down like the title track.
Last City Zerois more of an experience than anything else and a spiritual one at that. The band’s atmospheric soundscape approach is absolutely potent. The feelings of desolation, desperation, and nihilism cannot be understated. What I’m trying to get at is that for many, Last City Zero will speak to them on a deeply profound level; a life changer if you will.
Bands like CORRECTIONS HOUSE don’t come along too often and the magic here is undeniable. Awesome. (Neurot Recordings)
Having just begun their march through Europe, the CORRECTIONS HOUSE legion — Mike IX Williams (EYEHATEGOD), Scott Kelly (NEUROSIS), Bruce Lamont (YAKUZA), Sanford Parker (MINSK) and their minister of propaganda, Seward Fairbury — announce a short run of Stateside takeovers to usher in 2014. Set to commence January 2nd in Seattle, CORRECTIONS HOUSE will pillage their way through Portland, Los Angeles, San Diego, and San Francisco.
CORRECTIONS HOUSE are currently touring in support of their Last City Zero debut, issued via Neurot Recordings in late October. Produced by Parker at Electrical Audio, Soma Studios, 60 Psycho Hum and Nodferatu’s Lair,Last City Zero is an audio product of societal ruin and psychological decay. At once beautifully hideous, graceful and terrifying, the record travels far beyond the confines of any one specific genre and continues to reap the applause of exploratory fans and critics globally.
In related news, CORRECTIONS HOUSE recently unleashed a video for the track “Bullets And Graves“: