Corrections House – Know How To Carry A Whip


Know How To Carry A Whip is Corrections House‘s second album following on from 2013’s unique Last City Zero (both Neurot). Colder, Harder, Bleaker than before, Know How To Carry A Whip takes that what they did before and refines it.

A potent mix of clashing styles hung together with a framework of pounding industrial beats and loops, punctuated with mechanical clanking courtesy of Sanford Parker, leave the listener on the back foot as the rhythm travels down the off-beaten track. This mechanical cacophony brings to mind the factory sounds of the industrial English midlands which famously inspired Black Sabbath and continued with bands like Godflesh of which this shares a sense of aesthetics.

Layers are hammered together disjointedly with crushing and oppressive riffs courtesy of Scott Kelly (Neurosis) and Bruce Lamont (Yakuza), which feels like you could imagine Dälek covering Neurosis’ Through Silver In Blood (Relapse) would sound like, whilst also having a similar feel to DHG in the way the styles are shoved together.

Added to this potent mix, Mikey IX Williams (Eyehategod) puts in one of his finest performances to date with his distinctive lyrics and poetry that’s both persuasive and abrasive, a dystopian flow of decadent imagery and sharp-witted wordplay as evidenced on song titles such as ‘Crossing My One Good Finger’ and ‘I Was Never Any Good At Meth’ delivered with fervour of a manic street preacher who’s doing it for his own amusement rather than to save anyone in particular.

This is most notable on the tracks ‘Superglued Tooth’ and ‘Hopeless Moronic’ which contains some Mikey’s more memorable lines, delivered with cold calculated fury and working in tandem with Scott Kelly‘s intoned incantations and reverberating roars: layer upon oppressive layer of jarring discordance and a cold machine-like calculation make this album a step up from their first album.

‘When Push Comes to Shank’ shows more than a smidgen of influence from Joy Division, but with even more despair: love won’t tear you apart it’ll leave you in an alley missing a kidney. The album finishes on the lengthy ‘Burn The Witness’ a bleak meditation on the industrial world grinding to a halt and tearing itself apart with a fury and efficiency, machines drown in a black sludge of despair.

Know How To Carry A Whip sounds like a soundtrack to the end of the world as we know it, and it sounds more relevant with each and every listen.





On The Road… Corrections House


If you didn’t catch Corrections House on their brief run of US dates, before Mike IX Williams fell ill, and they canceled the remainder of the tour, that’s a real pity. Catching the band in Boston on a dead Sunday night the band played a superb set, oblivious to whether the room had been packed or not. Each member of the collective was laser focused and on point. If Mike IX was feeling ill, his performance showed not an iota of weakness. Just anguished brilliance and passion that he delivers every time he steps on stage. It was interesting to see the band spread out on a decent stage for once, rather than smushed together uncomfortable as I had seen them in the past. Bruce Lamont and Scott Kelly made the most of some extra foot space, thrashing around at times, convulsing in time to riffs and movements. As per usual, Sanford Parker may take his spot at the back of the stage, but his sonic work speaks volumes and is the glue that holds the group together. In addition to jamming cuts off of Last City Zero (Neurot), they played their touching, twisted cover of ‘Cortez The Killer’ by Neil Young. The band promises to spread more discontent with their sophomore release in 2015, as well as more touring, so don’t sleep next time!


Scott Kelly photo by Echoes in The Well



Bruce Lamont photo by Echoes in The Well



Sanford Parker photo by Echoes in The Well


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