Ipecac Recordings – 18th September 2026
Christopher Nosnibor
Their bio tells us that ‘Cor de Lux didn’t come out of a content pipeline, a shared folder, or an algorithmic moment. They came out of a rehearsal room,’ and their Bandcamp page describes them as ‘4 friends in a Post Punk-Noise Rock band. Melodic hints and synth tones that trickle into a garage angst progressive fury.’ These two snippets give an insight into what kind of band they are, and how they operate, but don’t really give the measure of Year of the Horse, an album which goes beyond both post-punk and noise-rock or any permutational crossover of the two to render something that’s varied, embraces experimentalism, and at times is quite off the wall.
Single cut ‘The Cringe’ is exemplary, crashing in on a lolloping rhythm and blistering squall of guitar by way of a backing to a dispassionate but nevertheless urgent-sounding dual vocals from Tim Lusk and Dawn Moraga, before suddenly pulling up and following a short but meandering moment of ponderous desert rock, swerves off in a vaguely trippy prog direction, with a swirling synth and strolling synth. In contrast, ‘Ping Pong’ – not a cover of the Stereolab classic – is a slice – and at six minutes long, a very generous one – of quintessential dream-pop. A laid-back, balmy indie song with a hint of C86 whimsy, gently melodic and evocative of dappled sunlight in woodlands in early summer, it’s neither post-punk nor noise-rock, but it’s easy on the ear – until the switch that lands around the four-minute mark when it unexpectedly takes off like a rocket. And it’s here that it becomes apparent why Ipecac would be interested in them. They’re a band unconstrained by genre boundaries: not necessarily weird, but different.
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‘Cannibal’ takes the chiming guitar and driving bass of the UK goth sound circa 1984 and spin them with slightly spiky vocals and a mid-80s indie twist – nothing that’s immediately specific to a band, but then not entirely generic either.
‘The Western’ whips up a choppy frenzy and is perhaps one of the most overtly post-punk-meets-noise-rock songs on the album, and it drives pretty hard, before ‘Bread Bag’ serves up a slice of mathy post-rock… but that’s not quite it. But I can’t think long enough to capture my thread because there’s a sudden explosion over overdrive, and then it’s off somewhere else again. As the album progresses, the harder it becomes to situate it in a way that feels in any way meaningful – but that doesn’t mean that Year of the Horse is in any way incoherent. The more wide-ranging and eclectic the songs are, the more the sound of Cor de Lux is defined.
‘The Deli’ is simultaneously motorik and noodly: Pavement might be an obvious touchstone, but it’s more obscure acts like Moderate Rebels that come to mind, and Rosa Mota, too, and as fast as can process and much faster than I can type, we’re into another post-rock noise burst and then some more breezy, jaunty indie rock. One thing that does stand out is just how un-American they sound, at least to my ear. Year of the Horse is quirky. It’s not a common American trait. It’s nuanced, and wile it’s by no means a flippant, inconsequential work – it’s anything but – it’s threaded with a kind of knowingness, a twinkle in the eye which hints at a certain humour. But more than anything, Year of the Horse is a work of genius, in that it brings together myriad incongruous elements and doesn’t just make them gel, but amalgamates them in a way which feels entirely natural. How do they do it? Magic, alchemy, or something, I guess.
So many acts strive to make hybridity work, and so many fail, because it feels forced, self-conscious, the segments don’t flow or connect up, and it sounds awkward, jarring. Not so with Cor de Lux, and Year of the Horse keeps it succinct with just nine songs and a run time of thirty-eight minutes, the majority of the songs sitting in the three-and-a-bit-minute bracket. It’s a rare beast, this: an album that will blow your mind, but subtly. It’s crazy, but it’s packed with tunes. Truly inspired.
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Photo: Olivia Howe
