Posts Tagged ‘Ipecac Recordings’

Dead Cross unveil a third and final single, and video, from the band’s eagerly-awaited album, II (28th Oct, Ipecac Recordings) with today’s release of ‘Christian Missile Crisis’.

Justin Pearson explains the themes behind the song: ‘Christian Missile Crisis’ takes an obvious jab at organized religion, NRA-holes who clearly compensate for their lack of masculinity by fixating on gun ownership and gun ‘rights,’ and the fact that a large enough amount of Americans have the inability to negotiate peace and prefer oppressing others.”

Watch the video here:

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Accompanying the release of “Christian Missile Crisis,” is the launch of an online auction, in partnership with Fender, to benefit the American Foundation for Suicide Prevention (San Diego chapter) and The Satanic Temple’s Religious Reproductive Rights Campaign. The fundraiser, features two custom Fender Player Lead III guitars, one black, and one beige. Both guitars have been modified by The Black Moon Design with clear vehicle wrap grade vinyl decals featuring art from the band’s album. The band said, collectively: “In light of the recent loss of our ex-bandmate, comrade, brother, and all around amazing person Gabe Serbian, Ipecac Recordings and Three One G will donate all proceeds from the beige guitar to help suicide prevention awareness. All proceeds from the black guitar will go to help fight laws that do not promote the health and safety of individuals in relation to bodily autonomy.”

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Photo Credit: Becky DiGiglio

The Bobby Lees offer a final preview of their forthcoming album, Bellevue, due 7th October via Ipecac Recordings, with today’s release of “Ma Likes To Drink” and its companion video.

Drummer Macky Bowman said of the track: “To paraphrase John Berger: there is a stark difference between being naked and being a nude. To be naked is to be natural. Stripped of societal confines you are free to be as languorous or wanton as you wish. Even in naked acts of exhibition the primary spiritual benefactor will be the model, not the voyeur. Conversely to be a nude is to be reduced to no more than your physical form, displayed as a trite odalisque for the pleasure of greasy slobs. On an unrelated note we are all very proud of this song and video! We really hope you enjoy. Love you!”

The static shot clip, featuring singer Sam Quartin on a stationary bike sandwiched between a pair of mannequins, was directed by John Swab who also created the band’s videos for “Dig Your Hips”, and the video-meets-film short, “Hollywood Junkyard”. The band have also recently released the visualiser for “Monkey Mind” in anticipation of Bellevue‘s full release.

Watch the clip here:

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The Bobby Lees - Main Photo2 Aug 2022 - credit Cyrille Bellec

Photo Credit: Cyrille Bellec

Dead Cross, the SoCal band featuring Michael Crain, Dave Lombardo, Mike Patton and Justin Pearson, share a second single from their forthcoming album II (Oct. 28, Ipecac Recordings) with the release of ‘Heart Reformer’ and its accompanying video.

“’Heart Reformer’ was as much fun to write as it is to listen to,” says Crain of the song. “It’s a classic Dead Cross song. It’s a pit stirrer and a fist pumper!”

The short-film like clip, which takes the track’s title literally, was directed and edited by Dark Details (a.k.a. Chris J. Cunningham). Watch it here:

The band broke the news of II’s impending arrival with the release of ‘Reign of Error.’ The one-minute and forty-five second wake-up call of a song is matched with a Displaced/Replaced-crafted clip that offers a scathing critique of the U.S. Supreme Court.

II, while both a raucous hardcore collection, and at times, a politically-charged opus, has its roots in friendship, with the band rallying together after Crain received a surprise cancer diagnosis. "Words can’t even begin to describe how much this album means to me. It’s birthed of pain and uncertainty,” adds Crain. “The slow, excruciatingly painful, and nauseating recovery from cancer treatments were the catalyst for every riff and note on this album. However, my will to live and be with my brothers Justin, Dave, Mike, and co-producer Ross Robinson, got me out of bed and running into the studio every day to get it all on tape.”

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Dead Cross II cover by Eric Livingston

Dead Cross, the four-headed Hydra featuring Mike Patton, Dave Lombardo, Justin Pearson and Michael Crain, return with the abrasive 9-song album, II, on Oct. 28th via Ipecac Recordings.

The album, while both a raucous hardcore collection, and at times, a politically-charged opus, has its roots in friendship, with the band rallying together after Crain received a surprise cancer diagnosis.

"Words can’t even begin to describe how much this album means to me. It’s birthed of pain and uncertainty,” explains Crain. “The slow, excruciatingly painful, and nauseating recovery from cancer treatments were the catalyst for every riff and note on this album. However, my will to live and be with my brothers Justin, Dave, Mike, and co-producer Ross Robinson, got me out of bed and running into the studio every day to get it all on tape.”

Watch ‘Reign Of Error’ here:

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Christopher Nosnibor

Human Impact may have cancelled the UK leg of their tour citing, among other things, Brexit – which is disappointing, but unsurprising – but the arrival of new music offers some solace, I suppose.

Put simply, the UK’s separation form the EU has completely fucked the arts, especially touring musicians not only within the UK, but those wanting to play here, and not only those coming from the EU. The idea that we’re some kind of powerful supernation with immense international clout for trade and everything else is beyond deluded: we’re a small island with little to boast economically right now. So here I am, sitting by candlelight in an attempt to reduce my energy consumption, while sipping a pint of homebrew because the price of beer is soaring almost as fast as diesel and train fares – which is one reason I’ve not been to a gig all month, and it’s starting to feel like lockdown as actually better than this, meaning the timing of arrival of ‘Imperative’ couldn’t be better.

The band announced a new lineup with the release of their first new material since last year’s EP01 as follows: ‘Human Impact is super excited to announce that our line up for the upcoming European tour will include Jon Syverson (Daughters) on drums and Cooper (Made Out of Babies) on bass. We will miss Phil Puleo and Chris Pravdica, but our evolution as a band continues and Jon and Coop will join us in making these live shows truly unforgettable. Human Impact’s self-titled debut album arrived on the eve of the pandemic back in March 2020, which received much critical acclaim and landed them the front cover of New Noise Magazine France. Human Impact followed up with an eight-song EP, dubbed EP01 a year later in March 2021 which featured a mix of singles and unreleased B-sides that were recorded simultaneously to the debut album. ‘Imperative’ is the first new music from the band since then’.

It’s one hell of a way to herald the new phase of the band. ‘Imperative’ is an absolute beast of a tune, an angry grey mass of anguish and angst that slams and grinds and kicks and churns with the nihilistic fury of the best of Unsane and Daughters. It’s brutal, not in its abrasion, but in its straight-up solid bludgeoning. The guitars are steely, but corroded, the sound of twisted metal against a frenzied bass and rolling drums. Feel the pain.

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2022 TOUR DATES

15/06/22 : Sonic Morgue @ Kuppelhalle/Silent Green – Berlin (DE)

17/06/22 : Trix – Antwerpen (BE) 1

8/06/22 : Paradiso – Amsterdam Noord (NL)

19/06/22 : Mezz – Breda (NL)

20/06/22 : Botanique – Brussels (BE)

21/06/22 : Paard – Den Haag (NL)

22/06/22 : Grand Mix – Tourcoing (FR)

24/06/22 : Hellfest – Clisson (FR)

25/06/22 : Nadir – Bourges (FR)

26/06/22 : La Ferronerie – Pau (FR)

27/06/22 : Sye electric – Gigors et Lozeron (FR)

28/06/22 : Tannerie – Bourg en Bresse (FR)

29/06/22 : Sedel – Lucerne (CH)

30/06/22 : SoloMacello @ Bloom – Mezzago (IT)

01/07/22 : RCCB – Rome (IT) 0

2/07/22 : Freakout – Bologna (IT)

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