Posts Tagged ‘Ipecac Recordings’

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

Spotlights, the Brooklyn-based band whose music finds “that perfect balance between crushing heaviness and dreamier melodies” (WFPK), release Love & Decay on April 26 via Ipecac Recordings. Spotlights’ music is iron tone in a velvet glove. They strike with full force, perfectly balancing the weight and sound spectrum of each instrument. And yet it’s a weight that’s also sublime in it’s beauty, with dream-like vocals encased in the mix of subharmonics. A rich and unctuous vibration that melts in your ears, nourishes your brain, and engulfs you with their warmth, like the gravity of a small planet.

"The Age of Decay encapsulates everything we do on this record,” explains guitar player/singer Mario Quintero. “Musically, it has some of the heaviest moments as well as the most dynamic and melodic. It shows little bits of what we get into throughout the entire album in one track. Lyrically, it reflects on personal points in my and Sarah’s relationship, how things grew from when we met, moving around the country and chasing this thing together. The juxtaposition about love against this backdrop of a world that can be hard to deal with.” Mario continues “It’s intangible, It’s intense. It’s beautiful. There’s an impending darkness underneath everything and a sense of unease, but it’s also honest and vulnerable. It’s just really important to us. Regardless of why anyone might react, that’s why we do it.”

As a taster, they’ve aired ‘The Age of Decay’, which you can listen to here:

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Spotlights - Love

Ipecac Recordings – 26th October 2018

The title of Daughters’ fourth full-length is perhaps self-explanatory. It’s certainly going to not appeal to a lot of people. Most people, in fact. The first track, ‘Cities’ is a grinding dirge driven by a grimy, oppressive low-end throb and crashing percussion that’s reminiscent of early Swans and that plods along for five minutes or so before exploding into a supernova f brain-drilling noise. And then things start getting really ugly.

‘Long Road No Turns’ lurches into truly horrible discord, the atonal semi-monotone vocal pitched against a screeding metallic noise and pumping heartbeat drum that breaks into manic chaos, but somehow ends up with a gentle harpsichord strum to fade. And you’re left staring into space, tense, heartrate accelerated, wondering just what the actual fuck you just heard. This is precisely the album’s appeal. It’s spectacularly unpredictable, and spectacularly noisy, but also impressively articulate in musical terms.

By contrast, ‘Satan in the Wait’ is a mote structured and melodic affair, with picked notes and loping drums building to well-placed crescendos. It’s still a bleak noise-orientated construction, but the slanted Am Rep / T&G influenced racket is coloured with a strain of Bauhaus-like art rock. And Daughters aren’t afraid to experiment: the low-slung sleaze of ‘Less Sex’ is altogether more electronic in its persuasion, a deliberate beat underpinning a deep, dark bass oscillation and big ruptures of racket on top by way of punctuation. It’s low and slow and inches into bleak technoindustrial territory. And yet it sits remarkably comfortably within the overall shape of the album. Comfortable is of course relative.

For the most part, though, it’s a blistering frenzy of angular, guitar-driven noise that sits with the best of The Jesus Lizard, Shellac, Blacklisters with the howling mania of ‘Guest House’ proving a lurching, awkward standout. ‘Let me in!’ Alexis Marshall hollers, deranged.

‘Daughter’ is also exemplary when it comes to the band’s dark, dingy genre-straddling noise, incorporating elements of both electro-based industrial doom-disco and jagged: it’s a monster tempest of difficult noise that’s hard to place and even harder to contain or categorise. The vocals, manic, clean but with the edges fuzzed by distortion; the bass, low, dirty, distorted and thick, the drums gritty and overloading…. And so on.

‘The Reason They Hate Me’ is a thunderous, blistering standout that invited favourable comparisons to Pissed Jeans’ recent work, while the lumbering lurch of seven-and-a-half minute closer melds 90s noise rock, Pavement-inspired wonkiness, and The Fall’s bloody-minded bludgeoning of just two or three chords into oblivion for an eternity. Likewise the taut, nagging ‘Ocean Song’ that exploits not only quiet / loud dynamics to full and challenging effect, but also pushes minimal chords and maximum dissonance to achieve optimal tension and discomfort.

You Won’t Get What You Want isn’t an album that leaves you feeling satisfied. Restless, twitchy, uncomfortable, on edge, yes, drained and even ruined, but satisfied, less likely.

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Daughters – You Won’t Get What You Want

Ipecac Recordings – 15th June 2018

Christopher Nosnibor

Having teased us with the Cure cover which accompanies four remixes from their Seismic LP and provides, in part, the EP’s title, Spotlights deliver the rest of the tracks.

There’s substantial range here: Kris Dirkson’s remix of ‘Hang us All’ (retitled ‘The Hanging’) hinges on cinematic shoegaze, ethereal but, whittled to half its original length, feels focused and tightly structured.

Mario Quintero’s remix of ‘Ghost of a Glowing Forest’ (‘Till Darkness Comes Out’) is quite the contrast: a sprawling, murky, dubby beast that transitions from near-ambience to slow industrial thud, it sits between NIN and Portishead.

‘The Size of a Planet’, here reworked by Void Mains and retitled ‘I’ve Giant’ accentuates the heavy, bass-led doom drone that lies beneath the graceful lead parts on the album version, and draws it out to almost seven minutes. It’s pretty hefty. In combination, they make for a strong release, and while standing well in their own right, serve to return the attention to the album that spawned them.

The rendition of ‘Faith’ is utterly breathtaking. They’ve not messed with the original in terms of form or structure, and it’s remarkably faithful (sorry) and respectful – but with the heavy guitar work and even heavier drumming, it amps up the intensity to epic levels.

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SpotlightsEPcoverlores1

I’m The Devil and I’m Ok is the second album from the transatlantic group Split Cranium, featuring Faith Coloccia (Mamiffer, Mara), Aaron Turner (Mamiffer, Sumac, Old Man Gloom and so much more), Nate Newton (Converge, Doomriders, Old Man Gloom), Tomi Leppänen (Circle, K-X- P) and Jussi Lehtisalo (Circle). Released on 25th May 2018, ‘Evil Hands’ is out now as a taster… Get your lugs round it here

The Melvins, who recently announced the April 20th release of Pinkus Abortion Technician (Ipecac Recordings), have debuted the Mackie Osborne directed video for ‘Embrace The Rub’.

"’Embrace The Rub’ is a Steven McDonald penned, punker tune throwback to his days as a young Hawthorne, CA punk hanging out with Black Flag,” explained Dale Crover. “For some reason, I decided that this tune really needed a piano part.”

Watch the video here:

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Ipecac Recordings – 1st September 2017

Christopher Nosnibor

Dälek have always been about progress and evolution, and not only remaining contemporary but pushing the parameters. Since they emerged in ’98, they’ve stood at the forefront of the challenging end of hip-hop, a genre which has witnessed immense expansion over the last two decades – but has equally seen its horizons shrink dramatically within the suffocating avenues of the commercial mainstream. One might say that this polarity is a key fact in the framing of Endangered Philosophies. The polarisation between the mainstream and everything else musical is representative of the world at large: the political landscape provides perhaps the most significant and substantial indicator here, with left and right parties both moving further away from centre and claiming almost equal ground in the process, and not just domestically here in England.

Endangered Philosophies is an album for the now, as the press release points out: ‘Within the context of the current political landscape, the title Endangered Philosophies certainly brings to mind pertinent issues of moment, notably the rampant rise of anti-intellectualism, as well as the all too rapid erosion of genuinely progressive values in the face of fearful reactionary forces.’

‘Echoes Of…’ launches the album with a nauseating washing machine churn that grinds along before the thumping rhythm crashes in. the vocals are low in the mix – rare and seemingly contradictory for a hip-hop album, but this is Dälek, an act as inclined toward rock and industrial tropes as conventional hip-hop stylings. It’s a gnarling industrialised trudge, and the whiplash scratching and other overt concessions to genre form are crushed hard against one another into an oppressive and intense slab of sound.

‘Weapons’ is woozy, dark, and suffocating. ‘Few Understand’ is less abrasive, but rides on a dense, pulsating swell of sound underpinned by a plodding beneath that carries a real weight. Sometimes, a live drum sound is all it takes to elevate a hip-hop track above the conventions and into fresh, liberated territories.

With the vocals enveloped in delay and heavy layers of extraneous noise, the lyrics aren’t always entirely prominent, but the sentiment is entirely clear at all times. The shuffling trudge of ‘Son of Immigrants’ is underpinned by an almost subsonic bass. In contrast, there’s something approaching a levity about ‘Beyond the Madness’, the semi-ambient synths drifting cinematically over the insistent rhythm, and the seven-minute ‘A Collective Cancelled Thought’ is monumentally weighty, the bass churning beneath a shifting, turning squall of sound. ‘Battlecries’ is slow and bleak, with lyrics about black males being murdered and the state of culture and society providing the message to the work of the mixed medium.

It’s the contrasts which lie at the heart of the compositions on Endangered Philosophies which make it the album it is, and which render it so compelling.

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Dälek share a brand new video for ‘Echoes Of…’, the opening track from their upcoming new album, Endangered Philosophies (1st September, Ipecac Recordings). The video was directed, animated, and produced by Chris White (EAM – Electric Action Messages).

Watch below, and check out their recently announced European tour dates further down.

ENDANGERED PHILOSOPHIES TOUR DATES:

Thu. 2-Nov-2017 FR Grenoble – La Bobine w/ Labrats Bugband
Sat. 4-Nov-2017 FR Lyon – Bizarre! w/ Dead Obies
Sun 5-Nov-2017 CH Martigny – Les Caves Du Manoir
Mon 6-Nov-2017 DE Esslingen – Komma
Tue 7-Nov-2017 DE Nuremburg – Musik Verein
Wed 8-Nov-2017 DE Berlin – Urban Spree w/ debmaster 
Fri 10-Nov-2017 DK Copenhagen – Stengade 
Sun 12-Nov-2017 BE Kortrijk – Sonic City Festival, curated by Thurston Moore, with Moor Mother…
Tue 14-Nov-2017 UK Colchester – Colchester Arts Centre
Wed 15-Nov-2017 NO Oslo – Bla with Moor Mother
Thu 16-Nov-2017 UK London  – Underworld Camden
Fri 17-Nov-2017 FR Paris – Batobar
Sat. 18-Nov-2017 FR Brest – Festival Invisible at La Carene with Action Beat and Camera

SUMMER TOUR DATES:

Fri. 18-Aug-2017 Club Cafe – Pittsburgh, PA
Sat. 19-Aug-2017 Double Happiness – Columbus, OH
Sun. 20-Aug-2017 Mac’s – Lansing, MI
Mon. 21-Aug-2017 Reggies – Chicago, IL (w/ Cult Of Luna)
Tue. 22-Aug-2017 Mod Club Theatre – Toronto, Canada (w/ Cult Of Luna)
Wed. 23-Aug-2017 Corona Theatre – Montreal, Canada (w/ Cult Of Luna)
Thu. 24-Aug-2017 Worcester Palladium – Worcester, MA (w/ Cult Of Luna)

Fri. 25-Aug-2017 Gramercy Theatre – New York, NY (w/ Cult Of Luna)

Sat. 28-Oct  Baltimore, MD  Rams Head (Days of Darkness Festival)