Miami Native and Former Harry Pussy Guitarist Bill Orcutt Plays Brooklyn

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Miami's eclectic, schizophrenic contributions to musical history run the full color spectrum and are recently being documented by our sister publication Miami New Times. From 2 Live Crew to the Miami Sound Machine to Phoenicia to the Laundry Room Squelchers, our identity as a geographically isolated and completely mentally fucked city is special. No other group personified this dementia better than 1990s act Harry Pussy.

Beginning in 1992, main members Adris Hoyos (drums, vocals) and Bill Orcutt (guitar) crafted insane, complex compositions that came off sounding like a harrowing mess to any listener not willing to commit to the insanity. You had to fully give yourself to the hysteria: The sounds emanating from Hoyos' frenetic vocal and drum assaults (sometimes playful, sometimes destructive) and Orcutt's guitar work that barreled through the room like a freight train of desire, emotion, and unbridled fucking rage that could suddenly and seamlessly transition into soft guitar meanderings from one beat to the next. 

Bridging these disparate sensations was the omnipresent breathing -- always gasping, panting -- of Hoyos between each of the band's live numbers (and sometimes even on studio recordings). They were a quintessentially "Miami" band with a badass Cuban female drummer from Hialeah who ripped into you and had not a single fuck to give, coupled (literally at the time, as they were in a relationship) with Orcutt, who was also born and raised in the County of Dade. 

With the addition of Dan Hosker on second guitar during their later years, the group only improved, becoming tighter, more cohesive, more devastating. This yielded some of their best work both on tape and in live performances. They were badass motherfuckers, still revered by the noise music community as one of the greatest noise groups ever. And they came from our own fucking city.

With that in mind, New Times asked me to attend Orcutt's performance at the Roulette in Brooklyn, New York, marking the rerelease of the long-out-of-print HP classic Let's Build a Pussy as well as a new release of early (some old, some already previously released on seven-inch and such) Walkmen recordings by the band called One Plus One. The lineup for the evening was slated to be a solo set by virtuoso drummer Chris Corsano (known for his work with Sonic Youth's Thurston Moore and saxophonist Paul Flaherty in their duo the Hated Music), a solo guitar set by Orcutt, and a final rare duo performance by Orcutt and Corsano. Fuck yeah.

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