Posts Tagged ‘Ipecac Recordings’

Human Impact, the New York-based outfit that features members of Cop Shoot Cop, Unsane and Swans are to release their self-titled, debut album on March 13 via Ipecac Recordings.

When news broke of the band’s inaugural live performance (August at NYC’s Union Pool), the New York Times said: “This supergroup’s lineup represents the fulfilment of a noise rock fan’s most fervent wish; the face-melting guitar sound of Chris Spencer (Unsane), coupled with the sampling mastery of Jim Coleman (Cop Shoot Cop), supported by the innovative percussion of Phil Puleo (Cop Shoot Cop, Swans) and strung together with the minimal yet impactful bass rhythms of Chris Pravdica (Swans).”

An early preview of the forthcoming release is available now, with album opener, “November” streaming here:

It has been a busy year of touring for Daughters, who have recently completed their third and final European dates in support of their highly-praised album, You Won’t Get What You Want (Ipecac Recordings), and today the Providence-born outfit debut their third video from the album, “Guest House."

“It is always exciting to see our work interpreted by talented artists.” says vocalist Alexis Marshall of the A.F. Cortes directed video. “We first became familiar with Andres through his wonderful photographic work. His ability to capture unique moments, often missed by other photographers, is uncanny and we trusted him to be able to bring the same abilities as a director.”

The “Guest House” visual continues Daughters’ exploration into the world of black and white photography and film. Both of the band’s previously released videos from You Won’t Get What You Want, “City Song” and “Less Sex”, used the colour-free palette to create stunning, thought-provoking pieces that played on darkness and light, shadows and shading, to impart a variety of emotions, from the magic of a flickering candle to the beauty of the human form, and with “Guest House,” the exploration of psychological tension.

The “Guest House” video arrives as the band launches a three-week North American tour, kicking off the trek this Saturday with a sold out show at Neumos in Seattle. The tour follows two prior sold out North American outings, a nod to the band’s riveting, and intimate, live performances.

AA

Daughters North American tour dates:

November 30 – Seattle, WA @ Neumos # [SOLD OUT]
December 1 – Vancouver, BC @ Rickshaw Theatre *⁣⁣⁣
December 2 – Portland, OR @ Bossanova Ballroom *%⁣⁣⁣
December 4 – San Francisco, CA @ The Fillmore ^%
December 5 – Los Angeles, CA @ The Belasco Theater +⁣⁣⁣
December 6 – San Diego, CA @ SOMA Sidestage ^ ⁣⁣⁣
December 7 – Phoenix, AZ @ The Pressroom ^⁣⁣⁣
December 8 – Albuquerque, NM @ Sunshine Theater ^⁣⁣⁣
December 10 – Austin, TX @ Emo’s ^⁣⁣⁣
December 11 – New Orleans, LA @ One Eyed Jack’s ^⁣⁣⁣
December 13 – Birmingham, AL @ Saturn ^⁣⁣⁣
December 14 – Atlanta, GA @ The Masquerade ^⁣⁣⁣
December 15 – Tampa, FL @ The Orpheum ^⁣⁣⁣
December 17 – Carrboro, NC @ Cat’s Cradle ^⁣⁣⁣
December 18 – Washington, DC @ 9:30 Club ^⁣⁣⁣%
December 19 – Brooklyn, NY @ Brooklyn Steel ^⁣⁣⁣
December 20 – Philadelphia, PA @ Union Transfer ^⁣⁣⁣
December 21 – Boston, MA @ Paradise Rock Club ^⁣⁣⁣
⁣⁣⁣
^ w/ HEALTH, Show Me The Body
+ w/ Protomartyr, Show Me The Body
# w/ Lingua Ignota
* w/ Lingua Ignota, Haunted Horses
% Merch bundles not available

Ipecac Recordings – 1st November 2019

You could look at this from two different angles: one – some people never grow up. Two – some people never sell out. Cunts’ eponymous debut is the product of both simultaneously. The ‘snarling LA-based punk band’ features guitarist Michael Crain (Dead Cross/Retox) and singer Matt Cronk (Qui), with drummer Kevin Avery (Retox/Planet B), bass player Keith Hendriksen (Virginia Reed) and guitar player Sterling Riley (Hepa.Titus).

So they all have other projects, and so the fact Cunts will never achieve radio play or mainstream attention simply by virtue of being Cunts isn’t an issue. Then again, their other projects won’t achieve major-league success and radio play either, despite not being graced with a media-blackout moniker, meaning that none of them has anything to lose or gain here. So yeah, fuck it: Cunts are keeping it real and keeping it antagonistic, and forget being cynical, they’re doing this for the right reasons: they’ve got the rage. Rage used to be for the young, descending into the impotent bitterness of the cliché grumpy old man. But times have changed. Older, wiser, more furious and better equipped to articulate that rage, Cunts represent the new generation of over-40s who, rather than mellowing and settling into midlife, have all the anger and need to vent or suffer an aneurysm. These are the worst of times, and we live in a divided world.

This is proper old-school gnarly US hardcore punk shit, played at a hundred miles an hour, and if song titles like ‘Ass to Grind’ and ‘He’s a Lady’ carry distinctly un-PC connotations, the lyrics reveal the band as being on the right side of consideration for difference. They’re not afraid to venture into Unsane gore territory, but shock tactics aren’t entirely without merit in a desensitized society. There’s noting subtle about an of this, least of all the over art.

‘Goin’ Out West’ gets a bit Ministry, but with glammy / goth overtones to its thudding stomp, while a number of the frenzied thrashabouts, like ‘Fail at Failure’, clocking in at 1’46”, and the 1’ 26” ‘Seagulls’ bear hints of Dead Kennedys, while ‘For the Greater Good’ lunges messily into Unsane territory, and there are a fair few tracks that clock in well under three minutes, with the longest song on the album being just 4’08” and no other songs being much over three-and-a-half minutes.

Cunts is fiery, shouty, fast and furious with the emphasis on the furious. Primally raw and brutally uncompromising, it’s harsh but vital, and punk at its best.

You could look at this from two different angles: one – some people never grow up. Two – some people never sell out. Cunts’ eponymous debut is the product of both simultaneously. The ‘snarling LA-based punk band’ features guitarist Michael Crain (Dead Cross/Retox) and singer Matt Cronk (Qui), with drummer Kevin Avery (Retox/Planet B), bass player Keith Hendriksen (Virginia Reed) and guitar player Sterling Riley (Hepa.Titus).

So they all have other projects, and so the fact Cunts will never achieve radio play or mainstream attention simply by virtue of being Cunts isn’t an issue. Then again, their other projects won’t achieve major-league success and radio play either, despite not being graced with a media-blackout moniker, meaning that none of them has anything to lose or gain here. So yeah, fuck it: Cunts are keeping it real and keeping it antagonistic, and forget being cynical, they’re doing this for the right reasons: they’ve got the rage. Rage used to be for the young, descending into the impotent bitterness of the cliché grumpy old man. But times have changed. Older, wiser, more furious and better equipped to articulate that rage, Cunts represent the new generation of over-40s who, rather than mellowing and settling into midlife, have all the anger and need to vent or suffer an aneurysm. These are the worst of times, and we live in a divided world.

This is proper old-school gnarly US hardcore punk shit, played at a hundred miles an hour, and if song titles like ‘Ass to Grind’ and ‘He’s a Lady’ carry distinctly un-PC connotations, the lyrics reveal the band as being on the right side of consideration for difference. They’re not afraid to venture into Unsane gore territory, but shock tactics aren’t entirely without merit in a desensitized society. There’s noting subtle about an of this, least of all the over art.

‘Goin’ Out West’ gets a bit Ministry, but with glammy / goth overtones to its thudding stomp, while a number of the frenzied thrashabouts, like ‘Fail at Failure’, clocking in at 1’46”, and the 1’ 26” ‘Seagulls’ bear hints of Dead Kennedys, while ‘For the Greater Good’ lunges messily into Unsane territory, and there are a fair few tracks that clock in well under three minutes, with the longest song on the album being just 4’08” and no other songs being much over three-and-a-half minutes.

Cunts is fiery, shouty, fast and furious with the emphasis on the furious. Primally raw and brutally uncompromising, it’s harsh but vital, and punk at its best.

AAA

Cunts

Cunts, the snarling LA-based punk band featuring Michael Crain (Dead Cross/Retox) and Matt Cronk (Qui), release their self-titled debut album on 1 Nov via Ipecac Recordings. Ahead of the full album review, you can listen to the debut single, ‘A Hero’s Welcome’ here:

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Cunts

Mike Patton (Faith No More, Mondo Cane) and renowned French composer Jean-Claude Vannier, share the final glimpse into their new album by way of the album track ‘Browning’ ahead of the release of Corpse Flower (Ipecac Recordings, Sept 13th).

A variety of musicians, both in Los Angeles and Paris, took part in the recording of Corpse Flower with the Los Angeles team including Smokey Hormel (Beck, Johnny Cash), Justin Meldal-Johnsen (Beck, Air, Nine Inch Nails) and James Gadson (Beck, Jamie Lidell). The Parisian players are Denys Lable, Bernard Paganotti (Magma), Daniel Ciampolini, Didier Malherbe, Léonard Le Cloarec and the Bécon Palace String Ensemble. The lyrics for “Ballad C.3.3.” are drawn from Oscar Wilde’s ‘The Ballad of Reading Gaol”’ poem, which was initially published using the name C.3.3.

Corpse Flower is available now for pre-orders (http://smarturl.it/CorpseFlower), including special embossed versions featuring Kenro Izu’s stunning cover photo. The album will be available on 180gram coloured vinyl, as well as a CD digipak and digitally.

Listen to ‘Browning’ here:

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Patton and Vannier

Spotlights have shared a video for the track ‘Mountains Are Forever’ taken from their latest album Love & Decay which is out now via Ipecac Recordings. The video arrives as the band commence their first headline tour across the US, having previously shared the stage Deftones, Melvins, Quicksand, Hum, Glassjaw, Pelican and Pallbearer – dates below.

Spotlights: Love & Decay US Tour

Tickets Ipecac.com/artists/Spotlights

July 12 Lexington, KY The Green Lantern

July 13 Grand Rapids, MI Pyramid Scheme

July 14 Toronto, ON Monarch

July 16 Pittsburgh, PA Black Forge 2

July 17 Philadelphia, PA Kung Fu Necktie

July 18 Brooklyn, NY Sunnyvale

July 19 Harrisonburg, VA The Golden Pony

July 20 Chapel Hill, NC Local 506

July 21 Asheville, NC The Mothlight

July 23 Atlanta, GA The Earl

July 24 Memphis, TN Hi Tone

July 25 Little Rock, AR Vino’s

July 26 Shreveport, LA Bear’s

July 27 Dallas, TX Double Wide

July 28 Austin, TX The Lost Well

July 30 Phoenix, AZ Valley Bar

July 31 San Diego, CA Bar Pink

August 1 Los Angeles, CA The Satellite

August 2 San Francisco, CA Thee Parkside

August 3 Sacramento, CA Blue Lamp

August 4 Reno, NV Jub Jub’s (Side Room)

August 6 Salt Lake City, UT The Loading Dock

August 8 Denver, CO Hi-Dive

August 9 Lincoln, NE 1867 Bar

August 10 Rock Island, IL Rozz Tox

August 11 Chicago, IL Subterranean

Spotlights - Love & Decay