Posts Tagged ‘Ipecac Recordings’

Ipecac Recordings – 29th April 2022

Christopher Nosnibor

Dälek emerged in the late 90s when hip-hop was transforming in all directions. But while the Wu-Tang Clan and their offshoot projects had a level of dynamism and radicalism about them, it’s no understatement that Dälek shattered through their achievements, and if there was any debate about that, then Precipice really should settle it. It’s felt like we’ve been teetering on the edge of a precipice for a long time, and that pre-millennium tension has, over time, proven justified as the entire world careers into some kind of end-of-days chaos. If this sounds like some hysterical end-of-days paranoia panic, you’re probably not paying attention. The pandemic was just a sideshow, a distraction from global tension, climate change… Trump, Brexit, the war in Ukraine and the threat of nuclear war stepped up to levels not seen since the 80s… Are we still at the edge of the precipice, or have we just tipped – or powered, full-throttle – over it? I’m too dazed and bewildered to know, but Dälek have provided a soundtrack that conveys the sense of confusion and dislocation brought on by uncertainty and tension.

‘Lest We Forget’ is a mid-shade, mid-tempo swell of ambience that swirls around densely before ‘Boycott’ hits hard and heavy. Christ, that booming bass! That eddying noise that drones and warps! The beats! Man, the fucking beats! They’re heavy alright, and there’s no let up on ‘Decimation (Dis Nation)’.

If so much mainstream contemporary hip-hop has been overtly commercial, with Precipice, Dälek remind that hip-hop’s origins were a voice of protest, of antagonism toward the mainstream, against the government, against oppression, against suppression. N.W.A were telling it like it is with ‘Fuck Tha Police’, and fuck shit, nothing has changed thirty-four years later.

Dälek are a whole lot more subtle and less up-front and in your face in their antagonism, but they’re no less aggrieved, and no less political. This means that their impact is just as powerful, albeit in different ways, and sonically, Dälek are devastating. There’s a physicality to their music, and where the lyrics aren’t necessarily so prominent, the weight of the beats, the density of the bass and the murk of the midrange combine to create a force like colliding with a wall of breeze blocks.

‘The Harbingers’ slows things down, and it’s dark, stark, the atmosphere desperate, desolate, while ‘Devotion (when I cry the wind disappears)’ feels almost uplifting as the synths soar and their subtle, sonorous sounds swoop upwards before the seven-minute ‘A Heretic’s Inheritance’ crashes in, hard, cyclical, heavy, an urgent throbbing riff marking the intro amidst a maelstrom of scratching feedback and extraneous noise. It throbs and thrums, and this isn’t hip-hop like you get on the radio, it’s not the shit—hop of the mainstream beloved by the masses. No, this is fucking brutal, and it kicks and punches hard, repeatedly, leaving you winded, breathless, gurgling., while MC dälek repeats the mantra ‘I hold myself to high standards / I don’t give a fuck if the gods are angry’. No doubt that applies to the gods of capital. Fuck them.

The title track is weightier still, and it’s positively skull-crushing, and it goes to show that it doesn’t have to be metal to be heavy, and the final track, ‘Incite’ is stark, tense, and gloomy, rounding off an album that packs a lot of weight and tension. It’s hard to place exactly how it feels as an experience, and how it sits, musically. Precipice is the sound of dislocation, of alienation. It’s real life.

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They’ve had records produced by Jon Spencer. Henry Rollins and Debbie Harry are fans. The Bobby Lees are HOT.

Un-tempered, no frills rock ‘n’ roll comes from The Bobby Lees as they release the video for the riotous new track ‘Dig Your Hips’, taken from the upcoming four-song Hollywood Junkyard EP on June 17th. The band are also set to tour throughout June and July, which will mark the band’s first shows in the UK and Ireland.

On the song, Sam (vocals) says "This song’s about a psychotic episode I had while partying in the desert, and the feeling of wanting to set fire to your life and run away from it with someone you barely know."

Drummer Macky adds, "this song is about exactly what it sounds like. With most things but most notably art there’s no such thing as objectivity, pretty ironic considering how objects are viewed as a pretty ubiquitous medium for artistic expression. Anyway, the way we relate with an object, surprisingly, has a lot to do with our own spacial and conceptual relationship to it. All that is to say that it’d feel a little too self indulgent to give a personal overview of the song as at the end of the day I’d just be forcing you to watch the movie, my movie, before you read the book, so to speak… That being said, this song is about exactly what it sounds like. I really hope you like it!"

The video, directed by John Swab, was shot in an abandoned factory whilst the band were on tour in Tulsa, Oklahoma in March.  Watch the video here:

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Photo Credit: John Swab

Ipecac Recordings and contemporary American soul band King Garbage are pleased to present "Monster Truck," the latest single to be lifted from the band’s album Heavy Metal Greasy Love. The album will be released on April 1 and is available to pre-order now.. Digital pre-orders include downloads of pre-release singles ‘Busy On A Saturday Night,’ ‘Piper’ and ‘Peanut Butter Kisses.’

Bass-y piano revs up ‘Monster Truck,’ which the band’s Zach Cooper calls “somewhere between musical theatre and classic rock.” Vic Dimotsis notes, “This song is less ‘sea salt’ and more ‘salt of the earth’. It makes more sense 100 miles outside of any major city and may be one of the few songs ever written to use ‘truck nuts’ in the chorus.”

Vic adds, “Truck Nuts glisten off the back bumper, swinging low with challenging and poetic weight. In the American South, a truck is not just a truck, but an idea. Curiosity shakes its leathery wings in this Joel Seger Springsteen high test musical theatre redline onesie, with stars down the sleeves, blow your tailfeathers off type alpha Stevie Nicks with no intent on ever returning from said pyrotechnics.”

Stream ‘Monster Truck’ here:

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Photo Credit: Josh Finck

Forged in the fires of the East Coast underground music scene in the 90s, experimental Hip Hop pioneers, Union City, NJ-based duo Dälek has spent decades carving out a unique niche fusing hardcore Hip Hop, noise and a radical approach to sound. Their brutal sonic temperament pushes rap music’s capacity for noise and protest to some exhilarating conclusions.

Following in the footsteps of their predecessors Public Enemy while drawing from influences as varied as My Bloody Valentine and German experimentalists Faust, Dälek have succeeded in adding completely new textural and structural dimensions to rap music.

A visceral and powerful live act, Dälek spent over a decade touring and bringing their raucous and blistering performances to audiences around the world. During this time they toured with and supported a wide range of acts in the Hip Hop, Rock, Metal, and Experimental genres including Flying Lotus, De La Soul, TOOL, The Melvins, Grandmaster Flash, Pharcyde, Fantomas, KRS One and The Bug.

For their latest and eighth album, Precipice, Dälek unleashes a work that is practically bristling with fury and power. Arriving on April 29th via Ipecac Recordings. Predominantly the work of the core duo, Will Brooks, aka MC Dälek and Mike Manteca (Mike Mare), Precipice features a guest appearance of Adam Jones of Tool on one of the album’s tracks. The band has enlisted Paul Romano (Mastodon) for the striking cover art, and the packaging features the art of Mikel Elam.

Today Dälek are sharing a video for the brickyard boom-bap track ‘Decimation (Dis Nation)’ which was directed by Brooks and can be viewed here:

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Initiated before the outbreak of COVID-19, the group briefly put Precipice on hold before returning to inject a newer, more dynamic energy into the album’s songs. The result is a timely work, that is teaming with immediacy.

Precipice was a completely different record pre-pandemic.” MC Dälek explains. “We had been working on the sketch of what the album was going to be at the end of 2019. I think me and (Mike) Manteca had narrowed it down to 17 joints out of the 46 or so that we had started with. Me and Joshua Booth had taken the 17 and really fleshed out the joints. The idea was to bounce them back to Mike and then arrange and write lyrics. 2020 obviously had different plans for everybody. We basically put everything on hold. I ended up doing the MEDITATIONS series that year on my own. I think the catharsis of that project, its rawness, the pandemic, all the death, the social upheaval, everything that went down… when I went back and listened to what we had down… it just wasn’t right anymore, it wasn’t strong enough, it wasn’t heavy enough, it wasn’t angry enough. It just didn’t say what I needed it to say.

With Precipice, Dälek have once again tapped into the heartbeat of the day and used that energy to create a vital statement about the world we live in. Continuing in the long tradition of revolutionary Hip Hop, Precipice builds new cadences born out of tumultuous times.

After decades of challenging and expanding the sonic fabric of Hip Hop itself, giving way to new approaches and possibilities, Dälek is set to take their rightful place as one of the culture’s true innovators.

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Photo Credit: MICHAEL PATRAS

King Garbage, with their contemporary take on American soul, return today with a new single and a Josh Finck directed video, ‘Busy On A Saturday Night.’ The song is the latest song to be unveiled from their forthcoming album, Heavy Metal Greasy Love, which will be released on April 1st via Ipecac Recordings and is available to pre-order now. Digital pre-orders include downloads of the new single ‘Busy On A Saturday Night’ plus two additional pre-release singles, ‘Piper’ and ‘Peanut Butter Kisses.’

‘Busy On A Saturday Night,’ which is available now on all streaming platforms, draws its inspiration from a magnet on that was on the fridge of King Garbage’s Vic Dimotsis’ great grandmother. “It had a sweaty male stripper pictured on it and said, ‘Everything I want is either taken, or busy on a Saturday night,’” laughs Vic. He adds, “Blurry as a memory on a slinky night out. A Tom Waits-inspired roadster awaits high high heels on a sure fire adventure. Losing articles of clothing to the magnet of the pavement, the band plays on through a duct from another world, and our eyes blur from both lust and disgust. Such motion seems still, as the accelerator and brakes lose meaning. A quiet lonely brunch awakens us from a distant stare.”

Watch the video here:

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Photo Credit: Josh Finck

"I wrote ‘Revolve’ on an unplugged electric guitar in a hotel room in San Francisco and it sounded great! Obviously then it wasn’t hard to make an all acoustic version of Revolve work. it’s a great riff" says Buzz Osborne of The Melvins of the latest track to be shared from their forthcoming album, Five Legged Dog (Oct. 15, Ipecac Recordings), which premiered yesterday via Kerrang! and is now streaming on all digital platforms.

The 36-song newly recorded, acoustic collection features a career-spanning collection of songs, from 1987’s Gluey Porch Treatments to 2017’s A Walk With Love & Death, the entire gamut of the legendary band’s catalogue is represented.

Five Legged Dog also features acoustic versions of several rarities from the influential band’s overflowing discography including a cover of Redd Kross’ “Charlie” (from the limited-edition “Escape From LA” single), “Outside Chance,” a Turtles’ cover from the “Slithering Slaughter” single and new interpretations of The Rolling Stones “Sway,” Brainiac’s “Flypaper,” and Fred Neil’s “Everybody’s Talking” (popularised by Harry Nilsson). Butthole Surfer Jeff Pinkus lends his vocals (and banjo) to “Don’t Forget to Breathe” and “Everybody’s Talking.”

“I knew I wanted to do something ridiculously big,” explains Buzz Osborne of the band’s first ever acoustic offering. ”36 songs reimagined by us acoustically is certainly ridiculous but it works. The magic of the songs is still there regardless of it being acoustic. Since we weren’t touring we had the time to do something of this size. I’m very excited about this record. Dale and Steven did a fantastic job on this. I think it’s a very special record. I can’t think of anyone else who’s done something like this.”

Dale Crover noted: “I think people will be surprised that we can do an acoustic version of a song like ‘Night Goat’ without losing any of the heaviness. We also worked hard on the vocal arrangements. People are going to freak out!”

Listen to the acoustic ‘Revolve’ here:

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Photo Credit: Bob Hannam

Mr. Bungle have released “Loss of Control,” a Van Halen cover that the band debuted during their Halloween 2020 streaming special, “The Night They Came Home” (June 11th, Ipecac Recordings). The single is available now, while a live performance video of the song was unveiled via Guitar World.

"Mr. Bungle tried to play this song in the ’90s and we scrapped it because we sucked at it,” explains Trey Spruance. “I think it worked this time for a lot of reasons. My own is that, thanks to the new Raging Wrath era, I’ve had to re-approach the guitar like I did when I was 13 and 14. It was all about Eddie Van Halen for me back then, so circling back at this moment felt really natural. Those riffs and lead parts at least are super fun! I’m just glad Scott took the palm-mute breaks. Jesus!"

Scott Ian adds, "I generally don’t get nervous about learning someone else’s riffs. When it’s an EVH riff it’s a whole different story! I was terrified! With "Loss of Control" I did my best to just hold on and go for the ride. What a riff!!! As a fan I’d have to say it’s a PERFECT SONG for Mr. Bungle to cover. I hope you enjoy listening as much as I did getting to play it."

“The Night They Came Home,” which was directed by Jack Bennett, finds the Northern California-born band performing songs from their recently released album, The Raging Wrath of the Easter Bunny Demo. The two-hour film is available on CD + Blu-Ray, CD + DVD, VHS, and digitally. The film portion features Bungle’s performance, Neil Hamburger’s opening set, three official music videos (“Raping Your Mind,” “Eracist,” and “Sudden Death”), as well as extended behind-the-scenes footage including several surprise cameos. The VHS release, limited to 1000 collectible copies, is an edited, performance-only portion of the film.

Watch the vid here:

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Tomahawk today release their first full-length album in eight years, Tonic Immobility (Ipecac Recordings), and with it they have shared a new video ‘Predators and Scavengers’ directed, animated and produced by Diego Cumplido.

Watch the video here:

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Tomahawk, who recently announced their first full-length album in eight years, Tonic Immobility (March 26, Ipecac Recordings), have shared a second track from the twelve-song album, debuting the graphic video for “Dog Eat Dog.”

"It’s a statement about competition, oppression, and unity–served up with a healthy dose of slapstick humour,” said Duane Denison (The Jesus Lizard/Unsemble) of the Eric Livingston directed clip. Mike Patton (Mr. Bungle/Fantômas) added: "Dogs patiently wait, obediently, for humans to snuff each other out…so they can take over the world. Dogs rule!!!!”

Watch the video here:

Mr. Bungle, who are mere days away from the release of The Raging Wrath of the Easter Bunny Demo (Oct. 30, Ipecac Recordings), have shared a third and final single ahead of the 11-song release, streaming “Sudden Death”.

The song’s arrival comes as the Bay Area-born band, which features core Mr. Bungle members Trevor Dunn, Mike Patton and Trey Spruance with Scott Ian (Anthrax, S.O.D.) and Dave Lombardo (Dead Cross, Slayer, Suicidal Tendencies), prepare for the Halloween virtual live concert experience dubbed “The Night They Came Home!” The online event screens at 7pm GMT on Oct. 31 with the on-demand program available for the following 72 hours. Tickets and exclusive merchandise are available now via www.mrbungle.live.

Hear ‘Sudden Death’ here: