Posts Tagged ‘Ipecac Recordings’

Lustmord, the pioneer of modern ambient electronic music, and Dave Lombardo, one of heavy music’s most influential percussionists, have joined forces as Lustmord Lombardo.

The pair release their debut album, The Pulse of Atoms, on October 2nd via Ipecac Recordings, offering a taste of their new collaboration with the release of ‘Paleomagnetic Resonance’.

Watch the single video here:

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“One thing about an album like this is that you can’t really point it out as being part of any specific genre or hopefully any specific period,” Lustmord explains. “Is it from last year? Is it from 10 years ago, is it from 20 years ago, is it from 5 years in the future? It’s trying to create something that has its own sound, not tapping into whatever musical language or history you’re familiar with. It goes way, way further back. This is the sound of planets dying or of stars being born. It’s about a bigger picture. It’s the sound of the birth of the universe and the death of the universe; it’s not rock and roll.”

The two musicians met backstage at a Fantômas show, introduced by mutual friend Buzz Osborne, around the time that Lustmord and Melvins released their collaborative album. Nearly two decades later, Lombardo and Lustmord convened as Lustmord Lombardo, crafting an album that is as cold and distant as it is frantic and engaging. The Pulse of Atoms showcases an unheard side of Lombardo and brings Lustmord back to his industrial roots.

Rather than composing songs in a traditional sense, Lustmord built evolving walls and vortices of sound, leaving room for Lombardo to add percussion and various synthesizer layers. Once the editing and arrangement was complete, Lustmord mixed and mastered the record, which was a balancing act between the two players’ large, loud musical presence

“I’m very proud of this collaboration because it’s so different from anything else that I’ve done,” Lombardo adds. “And to create this body of work with Lustmord – this guy is
legendary! He rattles the plaster off of venues.”

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Buzz Osborne didn’t need another band. JD Pinkus didn’t need another band. Coady Willis didn’t need another band. Together with Clinton Jacob, they started one anyway. Meet Gatta Morta.

The quartet makes its debut today with Burn Witch Burn, a 4-song EP, available now via Amphetamine Reptile Records. Listen to the single ‘Black Hall’, which accompanies the release, here:

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“It’s always a good time for the world to embrace a new heavy/weird band,” Osborne says. “I had the idea for Gatta Morta while touring last fall. I realized I needed to start a band with these three. Seemed like a no brainer. Solidly weird rock music that needs to happen.”

Butthole Surfers bassist Pinkus agrees: “It’s been way too long since I got to write a heavy album from scratch with such high caliber players with such complimentary styles… and we’re just cat scratching the surface of what we got goin’ on!”

Rounding out Gatta Morta is Clinton Jacob, the creative force behind Chicago’s weirdo, pop-noise rock duo Mr. Phylzzz. “I just had this feeling that one day we would work together. I became friends with Buzz over the past few years doing shows together and having him play guitar on a Mr. Phylzzz song. When I was asked to be a part of Gatta Morta, I was speechless, but I was 100% ready for it.”

Burn Witch Burn lurches between thick, riff-driven heaviness and warped, psychedelic passages, with Osborne, Pinkus, Willis, and Jacob creating music that’s simultaneously reminiscent of their previous work and entirely new.

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Photo credit: Keturah Bishop

Cor de Lux, the unorthodox alt-rock foursome from North Carolina’s outerbanks, who recently announced their signing to Ipecac Recordings, release their label debut, the J. Robbins-produced YEAR OF THE HORSE, on 18th September.

A preview of the nine-song album arrives today with ‘The Cringe’ and its accompanying video. The snarling single charges forward at full blast before veering into an atmospheric passage where the intertwined guitars of Dawn Moraga and Tim Lusk drift into haunting territory.

Moraga says of the track: “Living in a developing country really engraved in my heart about knowing what is important and what is not,” referencing her time abroad in Nicaragua. “Materialism fades like bad jeans. The exploitation of the poor to make the rich richer makes my blood boil.”

Bass player John Bliven adds: “’The Cringe’ explains our disdain of the billionaire ‘elite’ and the system that keeps them rapidly gaining. ‘I make a dollar a day’ refers to CEOs giving themselves a tiny salary while obtaining massive share value. Those shares aren’t taxed unless sold, and even then, that tax rate is less than the income tax everyone else pays.”

Watch the video here:

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Produced by J. Robbins (War on Women, Mary Timony), YEAR OF THE HORSE captures Cor de Lux’s competing impulses: abrasion and melody. Atmosphere and momentum, chaos and control. Across nine songs, the Kill Devil Hills quartet balances post-hardcore urgency, shoegaze bliss, and guitar-driven catharsis. Recorded with Robbins, the album preserves the raw chemistry that defines the band while pushing their songwriting into sharper, more immediate territory.

YEAR OF THE HORSE is available for pre-order now with the album available on multiple limited vinyl variants (including a hyper-limited Bandcamp exclusive swirl vinyl and Ipecac/Cor de Lux orange effect vinyl), standard black vinyl, cassette, CD, and digitally.

Long before joining Ipecac Recordings, Cor de Lux was creating their own ecosystem in North Carolina’s Outer Banks, a place better known for wind, water, and distance than as an indie-rock launchpad. That outsider geography shaped them. There was no shortcut to visibility and no industry machine waiting nearby. So they did what bands do: they wrote songs, played hard, released music themselves, and kept going.

The group, Dawn Moraga (vocals/guitar), Tim Lusk (vocals/guitar), John Bliven (bass), and drummer Jacob Richardson, first introduced their sound on their self-titled 2020 release, followed by Mediain 2023. Across both records, Cor de Lux established a voice rooted in tension and movement: post-hardcore urgency, shoegaze atmosphere, guitar-centered unpredictability, and the chemistry that only comes from musicians learning each other in real time.

That chemistry is the band’s engine. Since their outset, the musicians have stayed true to their belief of creating art without ego. Preferring to arrive at rehearsals willing to chase ideas rather than dictating marching orders, their songs are born out of spontaneity letting each members’ skillset share equal space in the spotlight. As Moraga explains, the band will usually plug in and start jamming on a fresh idea before rehearsing their established set. Often, it will be a dead end road, but on special occasions it will cause them to scramble to get it recorded. “Usually once or twice a month we will hit on something and go ‘oh no, not another new song,’” says Moraga with a laugh.

YEAR OF THE HORSE sounds like a band that earned every inch of its growth. Cor de Lux has been building from the margins: hauling gear, making records on their own terms, and forging community one show at a time. Now, with the reach of Ipecac Recordings behind them, they arrive not as newcomers, but as something rarer: a fully formed band entering its next chapter.

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Photo credit: Jordan Olivia Howell

Ipecac Recordings – 10th April 2026

Christopher Nosnibor

What better pairing could there possibly be than the gods of grindcore paired with the supreme lords of sludge? It’s hard to think of one. They’ve toured together under the Imperial Death March banner in 2016 and 2025, but this is their first release together – and it’s not a split album, but a truly collaborative work, featuring members of both bands. It was recorded at the Melvins’ Los Angeles studio, with Buzz Osborne (vocals/guitar) and Dale Crover (drums) joined by Napalm Death’s Barney Greenway (vocals), Shane Embury (bass), and John Cooke (guitar).

And as advance single releases ‘Tossing Coins into the Fountain of Fuck’ and ‘Rip the God’ forewarned, so it is that Savage Imperial Death March is one absolute fucking beast of an album. It’s ‘Tossing Coins’ that kicks it off, a rabid overload of guitar mayhem, grindy riffery and wild guitar breaks underpinned by dingy riffs, all played at breakneck speed. Greenway gives guttural growls all the way and it’s nothing short of a sonic blitzkrieg. It’s very much a positive to summarise it as being a sum of the parts.

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The nine and a half minute ‘Some Kind of Antichrist’ is much more Melvins – with the weight of Bullhead, but as if the 33rpm album was being played at 45: thick, megalithic, speaker splitting riffs, but on Red Bull, and Buzzo’s hyper vocal countered by Greenway’s salivating growl. It’s a wild, filthy mess, and it goes on, and on, and it’s fucking fantastic – even when, or especially when, it goes weird about four minutes in. because weird is, good, and Melvins are good at being weird. Sometimes, they’re not quite so good at being weird, as the Prick and the ‘Cowboy’ single attest, but like they give a fuck. Melvins have always pleased themselves, and that’s reason enough to love them, if not necessarily all of their releases. You could hardly call Napalm Death crowd pleasers, either, and their lineup’s as been as evolutionary as their sound.

‘Awful Handwriting’ is a brief experimental electro-led interlude that’s daft and noisy in equal measure, and stands in total contrast to the grungey post-metal crossover of ‘Nine Days of Rain’ which immediately follows. Credit where it’s due, this album brings some stylistic surprises which sound like neither band, let alone what you’d expect from the two combined, and this is very much one of those songs.

After the sludge-grunge of ‘Rip the God’ which marks the start of the album’s second half and is very much on the side of the Melvins’ style, there’s a rush into the fast and furious, and while it’s wild and heavy and full-on and loud, it’s also fun, and entirely serious, it is not. With operatic vocals and bold, cinematic synths, ‘Comparison is the Thief of Joy’ leans very much toward the experimental side, while the final track, ‘Death Hour’ just goes all out of the riffery and guitar overload, with raving raw-throated vocals courtesy of Greenway sitting alongside Buzzo giving it his most Ozzy, before once again, shit gets weird. It’s as if they can’t help themselves. Ach, we’ve done some riffs, let’s fuck shit up and go weird… yeah, man. And why not? Neither band has anything to prove after all this time. And now it’s time to embrace the strange… but the keyboard riff from Van Halen’s ‘Jump’ played limply at the end…? That might be a step too far.

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Today, experimental Hip-Hop legends dälek release their latest full-length album, Brilliance of a Falling Moon.

Conceived, composed, and produced by Will Brooks (aka MC dälek) and Mike Mare, Brilliance of a Falling Moon is a sprawling, uncompromising record that speaks to the political timbre of the day. Taking its name from a section of Erik Larson’s 2011 novel In The Garden of Beasts, the album paints a fiery portrait of life and resistance in fascist America.

Recorded in the group’s Deadverse Studios over the course of 2024 and 2025, Brilliance of a Falling Moon’s beats are propelled by brutal, dust-caked drum breaks and cloaked in an ominous, otherworldly atmosphere. Taking aim at everything from The State’s suppression of information to colonialism and Trump’s demonization of immigrants, Brooks’ rhymes are practically burning with outrage at the current state of the world.

“When you listen to this, I hope you walk away with hope because we’re still fighting, building, and pushing.”

Check out the new video for ‘Normalized Tragedy’ below:

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Not only has dälek always presented an undiluted political stance in their music, the band is part of the continuum of bold, revolutionary hip-hop pioneered by Public Enemy and The Bomb Squad. dälek has spent decades carving out a unique niche fusing hardcore Hip Hop, noise and a radical approach to sound.

Founded by Will Brooks (aka MC dälek) and Alap Momin (aka Oktopus), dälek debuted in 1998 with Negro Necro Nekros, a sonic tour de force built upon thunderous drums, blissful ambient sections, and gritty, insightful lyrics. On watershed albums like 2002’s From Filthy Tongue of Gods and Griots (2002), Absence (2005), Abandoned Language (2007), and 2009’s Gutter Tactics (2009), dälek laid a template that added completely new textural and structural dimensions to rap music.

With this kind of musical and political pedigree, it makes sense that dälek would return with such a timely record that reflects all of our frustrations.

Once again the band has teamed up with artists Paul Romano and Mikel Elam for the striking package artwork.

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Photo credit: Jonny-Scala

The Melvins and Napalm Death share ‘Rip The God’, the latest in a chaotic alchemy conjured on their joint album, Savage Imperial Death March (10th April, Ipecac Recordings).

The album shares its name with the bands’ Savage Imperial Death March tours from 2016 and 2025, but marks their first full-length studio collaboration under the moniker.

About this next track, Shane says; “The opening Buzz riff begins with that classic timing – a hiccup right at the end of the riff cycle making the riff extra special! Simple yet tricky to remember…  it had my head spinning when I played the bass to it – Multiply that head spin with the guitar pedal noise static we all added – God was ripped and drunk on joyful noise…”

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The album was recorded at the Melvins’ Los Angeles studio, with Buzz Osborne (vocals/guitar) and Dale Crover (drums) joined by Napalm Death’s Barney Greenway (vocals), Shane Embury (bass), and John Cooke (guitar).

“I have loved the Melvins forever and their outlook on music,” Embury explains. “A chance to make an album of eclectic musical madness with them was truly an honour and a whole lot of fun, which surely is the whole point! Let’s do another one soon.”

“Napalm Death are one of my favorite bands ever,” Osborne says. “It was an absolute pleasure and a dream come true to do this collaboration with them. We wrote songs together. I would write a riff and we would learn it and record it right there. They wrote stuff and we would learn it immediately as well. It was truly a 50/50 partnership.”

"Funny how life turns out sometimes… collecting hard-to-find Melvins 7-inches on Bleecker Street in 1989 and then touring twice and doing an album with them within the following 35 years,” Greenway adds. “Had a great time with it all, and nice to work with fellow travellers in the Melvins who also couldn’t care about pandering to ‘demographics’. I felt myself almost
babbling lyrically during the recording, and that alone made for very fun recording times."

Savage Imperial Death March pre-orders are available now. The eight-song album will be released on CD, digitally, and across four limited-edition vinyl variants: Black As Your Soul, Indie Exclusive Obnoxious Orchid, Ipecac Exclusive Absurd Aqua, and Revolver Exclusive Neon Coral. An abbreviated version of the album was released during the band’s 2025 tour as a hyper-limited vinyl/CD edition. This iteration features new Mackie Osborne-created artwork and two new tracks (‘Awful Handwriting’ and ‘Comparison Is The Thief Of Joy’).

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mclusky have returned with new music (and some not-so-new music) in the form of a mini album called i sure am getting sick of this bowling alley, which ipecac recordings will release on 20th march (digital) and 1st may (vinyl). it will be released in the following formats: digital, black vinyl, ipecac/band translucent red vinyl and the rough trade exclusive variant, crystal fuchsia. today, they share the track ‘as a dad’.

‘as a dad’ is a song about several things.

the first of these several things are men who begin sentences / clauses with ‘as a dad…’. which is fine as long as the sentence / clause bears no relevance to the actual experience of being a dad. occasionally though, the prefix is appropriate (about 1/7). society must bend to this.

the second of the several things is a modern child’s wonder at how much it must despise its male progenitor in the early stages of life. the mother is all. the father can fall down the stairs and die in a puddle of his own slippers, and that’s okay.

the third, and last i can be arsed to list, of the several things, is something to do with the pride of being replaced by your offspring. i look forward to gradually fading into the background (unless i die suddenly in an avalanche) and becoming a grey footnote set against a sofa. when i stop breathing i hope nobody notices for at least an hour – this means that whatever board game is being played at this family gathering i’ve just fantasised is at least competitive (and wasn’t an expensive waste of time and money).

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if you happened to catch the new peaky blinders movie this past weekend, you might have heard ‘people person’ on the big screen along side music from nick cave and fontaines d.c. the song is from the band’s 2025 release, the world is still here and so are we. the movie is in cinemas now and on netflix 20th march, and the soundtrack is out now.

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Experimental Hip-Hop legends dälek offer up another new single from their latest full-length album, Brilliance of a Falling Moon.

Conceived, composed, and produced by Will Brooks (aka MC dälek) and Mike Mare, Brilliance of a Falling Moon is a sprawling, uncompromising record that speaks to the political timbre of the day. Taking its name from a section of Erik Larson’s 2011 novel In The Garden of Beasts, the album paints a fiery portrait of life and resistance in fascist America.

Today the duo share their latest single ‘Knowledge | Understanding | Wisdom’, which feels like a call to arms and reminder of the power that we can have in the face of the oppressor.

“’Knowledge | Understanding | Wisdom’ is righteous defiance in the face of those who attempt to keep us uninformed or misinformed. Nothing strikes fear in the heart of the oppressor like these three interwoven concepts.” – dälek

Check it here:

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Photo credit: Jonny-Scala

The Melvins and Napalm Death join forces for Savage Imperial Death March (10th April, Ipecac Recordings), a true collaboration – not a split, but a new album featuring members of both bands.

The album shares its name with the bands’ Savage Imperial Death March tours from 2016 and 2025, but marks their first full-length studio collaboration under the moniker.

Yesterday, the first track from the album, ‘Tossing Coins Into The Fountain Of Fuck,’ premiered with Jose Mangin on SiriusXM’s Liquid Metal.

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The album was recorded at the Melvins’ Los Angeles studio, with Buzz Osborne (vocals/guitar) and Dale Crover (drums) joined by Napalm Death’s Barney Greenway (vocals), Shane Embury (bass), and John Cooke (guitar).

“I have loved the Melvins forever and their outlook on music,” Embury explains. “A chance to make an album of eclectic musical madness with them was truly an honour and a whole lot of fun, which surely is the whole point! Let’s do another one soon.”

“Napalm Death are one of my favorite bands ever,” Osborne says. “It was an absolute pleasure and a dream come true to do this collaboration with them. We wrote songs together. I would write a riff and we would learn it and record it right there. They wrote stuff and we would learn it immediately as well. It was truly a 50/50 partnership.”

"Funny how life turns out sometimes… collecting hard-to-find Melvins 7-inches on Bleecker Street in 1989 and then touring twice and doing an album with them within the following 35 years,” Greenway adds. “Had a great time with it all, and nice to work with fellow travellers in the Melvins who also couldn’t care about pandering to ‘demographics’. I felt myself almost babbling lyrically during the recording, and that alone made for very fun recording times."

Savage Imperial Death March pre-orders are available now. The eight-song album will be released on CD, digitally, and across four limited-edition vinyl variants: Black As Your Soul, Indie Exclusive Obnoxious Orchid, Ipecac Exclusive Absurd Aqua, and Revolver Exclusive Neon Coral. An abbreviated version of the album was released during the band’s 2025 tour as a hyper-limited vinyl/CD edition. This iteration features new Mackie Osborne-created artwork and two new tracks (‘Awful Handwriting’ and ‘Comparison Is The Thief Of Joy’).

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mclusky have returned with new music (and some not-so-new music) in the form of a mini album called i sure am getting sick of this bowling alley, which ipecac recordings will release on 20th march (digital) and 1st may (vinyl). it will be released in the following formats: digital, black vinyl, ipecac/band translucent red vinyl and the rough trade exclusive variant, crystal fuchsia.

this follows their album the world is still here and so are we which was released in 2025.

content. it drives the modern music world. photos. opinions. more photos. more opinions (please note – not all photos and opinions are bad, just 99 per cent of them). how about – and indulge me here – music? that content-y enough for you? fact is we can’t stop writing, at least at the moment. it’s fun (that’s all it needs to be). it’s the common denominator of band. only death will slow us down (note – it won’t stop us).

the idea for this release started as a bit of a stop-gap – a thing with which to help promote the north american tour – and ended up as something else entirely. ‘i know computer’ and ‘as a dad’ are new and are singles (they may make the next album, who can say, it’s already half-recorded and you will like it). damien probably likes ‘i am computer’ a bit too much but that’s okay, the heart wants what the heart wants.

‘spock culture’ and ‘hi! we’re on strike’ were recorded during the the world sessions. why didn’t they make the album? i’m not sure. lyrically they are important historical documents, up there with the pusheen the cat books and/or the US constitution.

‘fan learning difficulties’ and ‘that was my brain on elves’ have only had a digital release before and are, to quote british children from forty years ago, ‘skill’. hopefully you can agree that i – and by osmosis, all of us – have read a lot of books. – falco x

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the live dates in north america are:

march 24 denver, co marquis theater

march 26 seattle, wa the crocodile

march 27 boise, id treefort festival

march 28 portland, or aladdin theater

march 30 san Francisco, ca the chapel

march 31 los angeles, ca the regent theater

april 2 austin, tx empire control room & garage

april 3 minneapolis, mn fine line

april 4 chicago, il metro

april 6 toronto, on mod club

april 10 philadelphia, pa underground arts

april 11 washington, dc black cat

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Photo credit: Rick Clifford (@rcstills)