CORRECTIONS HOUSE - Know How To Carry A Whip LP

The long-anticipated sophomore full-length from Corrections House is darker, denser, and more despairing than its predecessor Last City Zero. This 45-minute audio apocalypse was captured by the band’s own Sanford Parker (Minsk) and recently institutionalized minister of propaganda, Seward Fairbury, in Vietnam. Boasting a guest appearance by Negative Soldier, Know How to Carry a Whip finds features the fiery lineup of Parker, Fairbury, Scott Kelly (Neurosis), Bruce Lamont (Yakuza) and Mike IX Williams (Eyehategod) at their most punishing, painting electronic mosaics of deviance and decadence with brushes made from bristles of the damned.

Immersed in experiences of longing and loneliness from the depths of their creators’ collectively decaying hearts, each of the nine movements reveals a new, unsettling sentiment of danger, paranoia and looming defeat. An underlying theme of confinement and release bridges each track. Distorted, static-sodden and tribal, entwined around Williams’ unassailable manic street preacher prose and intermittently juxtaposed by the smooth, cradling sounds of Lamont’s lingering saxophone, Know How to Carry a Whip is at once glacially devastating and metaphysically cathartic. “The music is simultaneously suffocating and freeing,” expounds Kelly, “but it also has the energy of a whirling dervish.”

In a rare, lucid transmission from the mental facility in which he currently resides, Fairbury further elaborates on the production. “The songs typically originate from the loops and beats generated from Sanford, then the skeletons of riffs are built by Scott and Bruce. Mike IX adds his profound observations and I do the final production. These new songs are far more developed and fluid then the first record. There is a prevailing groove that dominates.” Allegedly plotting an elaborate escape, Fairbury plans to rejoin his brothers in their systematic propagation of auditory abuse later this year.

Corrections House methodically creates and destroys through sonic disease and transcendent musical deconstruction. All things in all ways. There is nothing else.