Tag Archive: “Ipecac Recordings”


The term “supergroup” is thrown around a lot these days, though many of the bands adorned with this label don’t always live up to the hype. Dead Cross is not one of those bands.

Dead Cross is set to release their debut, eponymous album this Friday, August 4, 2017, as a joint release between labels Three One G, owned and operated by the band’s bassist, Justin Pearson, (The Locust, Retox), and Ipecac Recordings, owned and operated by the band’s bizarrely versatile vocalist, Mike Patton (Faith No More, Mr. Bungle, Fantômas). It’s a 28-minute banger of a hardcore album. Simply put, it’s a monstrously heavy and weird record, yet one that’s unpretentious and seemingly aware of its humble roots.

Dead Cross started in November, 2015, after a band called Philm featuring Dave Lombardo (Slayer, Fantômas) unexpectedly ended. Ross Robinson (At the Drive-In, Glassjaw, Slipknot), a renowned producer who was hip to Lombardo’s band-break-up-blues, was simultaneously conducting some recording sessions with Pearson and Michael Crain (Retox). With this perfect storm in place, things escalated rapidly; a band was formed, songs were recorded as they were simultaneously being written, and a debut live performance ensued less than a month later. Gabe Serbian (The Locust, Head Wound City) served as the band’s original vocalist, though stepped aside halfway through the recording process to be closer to his daughter. Patton, also a close friend and a former bandmate of Lombardo, enthusiastically accepted the band’s invitation to join as their new vocalist.

Justin Pearson gave a nod to his vocally inspired partner when we asked if there were any tracks on the record that stuck out to him the most. Here’s what he had to say:

“My favorite track on the album might be ‘Grave Slave’. I think Patton’s vocals, specifically his ‘witch voice’ rules and really makes this track for me.”

As soon as this track kicks in, you’ll likely know what Pearson is referencing. Patton fans will similarly rejoice in these spastically ferocious moments, accentuated with an abundance of deeply layered vocal harmonies and one of the most impressive tonal ranges in the business. Consistent with his unmistakable lyrical approach, Patton trudges his listeners through an onslaught of nightmarish imagery, pitch-black humor, and a disgusting amount of references to bodily fluid. Indeed, much of this album delivers a quintessential “Patton-esque” experience, though his performance maintains an impressive freshness throughout.

While the album demonstrates a limitless range in technical playing proficiency, there’s not a lot of over-thinking it here. Like many of Robinson’s past involvements, the album’s production is original, raw, and largely driven by visceral, gut-instinct. When asked what it was like working with Robinson, Justin Pearson told us the following:

“Working with Ross is rad. He is a brilliant man. But when I say that, I don’t just mean as far as him being a producer or even things pertaining to music. But just as a human, and his outlook on life, and more specifically his use of energy from the human spirit. That might seem a little new age-ish, but fuck it. The dude is on a whole other level with certain things in life.”

As you listen to the record, you may very well find yourself chuckling one moment at a bizarre lyrical phrase or a squirrely guitar riff, and then contemplate starting a riot the next. This is accomplished in a surprisingly linear fashion, especially considering the band’s roster. You aren’t going to hear a lot of genre shifting or even too many unusual time signature changes (do not approach this record expecting Mr. Bungle). Instead, you will hear a matured repertoire of finely crafted hardcore riffs between Pearson and Crain, some bone rattling blast beats and drum shredding by Lombardo, and one of the most haunting vocal performances by Patton to date.

This is also one of the most heretically charged albums on which Patton has ever performed. Songs like “Divine Filth,” featuring a delightfully macabre duet of sorts between Patton and Crain, and “Church of the Motherfuckers,” the album’s epic finale, make it pretty clear this album isn’t exactly geared for fundamentalists. And while this album certainly shouldn’t be categorized as a political record, there’s simply no denying the influence our past election cycle and our contemporary political climate had on shaping the album’s overall vibe. If any of this seems difficult to believe, you needn’t look any farther than the animated video for the album’s opener, “Seizure and Desist.”

As the core chaos from the aforementioned track settles, the audience is granted a roughly 40-second respite of atmospheric creepiness. You may want to take a few breaths at this point, as its one of the few low-key breaks you’re going to get. “Idiopathic” is on deck, and delivers an unrelenting attack, reminiscent of old-school east coast hardcore acts like Agnostic Front or Deep Wound.

The album inspiration is much farther reaching than just the east coast, however. Case in point, the album’s only cover song, “Bela Lugosi’s Dead” (originally written by England-based Bauhaus), proves the group’s genuine appreciation for punk’s many subgenres and forefathers all over the globe. It’s a chilling and driving rendition of the influential tune, only about a third as long as the original, and far away the deepest deviation from the album’s sonic motif.

The album will be available for purchase August 4, 2017. To promote the record, the band will be touring for the first time ever. Secret Chiefs 3, featuring Mike Patton’s former bandmate, Trey Spruance, will support most of upcoming dates as well. Check below for details. (Ipecac Recordings/Three One G) – Words by Andrew Humphrey


August 10 Santa Ana, CA  The Observatory *

August 11  Las Vegas, NV  Brooklyn Bowl

August 12  Phoenix, AZ  The Marquee *

August 14  Dallas, TX  Gas Monkey Bar & Grill

August 15  Houston, TX  Warehouse Live

August 16  Austin, TX  Emo’s

August 18  Tucson, AZ  The Rialto Theatre *

August 19  San Diego, CA  The Observatory North Park

August 21  Los Angeles, CA  El Rey Theatre

August 23  Berkeley, CA  The UC Theatre

August 25  Vancouver, BC  Vogue Theatre

August 26  Seattle, WA  The Showbox

August 27  Portland  Wonder Ballroom

August 29  Sacramento, CA  Ace of Spades

September 8  Baltimore, MD  Baltimore Soundstage

September 10  Philadelphia, PA  Union Transfer

September 11  Boston, MA  Royale

September 12  New York, NY  Gramercy Theatre

September 13  Brooklyn, NY  Warsaw

September 15  Detroit, MI  St. Andrew’s Hall

September 16  Chicago, IL  Riot Fest *

September 17  Milwaukee, WI  Turner Hall Ballroom

September 19  Minneapolis, MN  First Avenue

September 20  Lawrence, KS  Liberty Hall

September 23  Denver, CO  Ogden Theatre

* – Secret Chiefs 3 do not perform

Nevermen, the leaderless trio of Tunde Adebimpe (TV On The Radio), Adam “Doseone” Drucker (Anticon/cLOUDDEAD) and Mike Patton (Faith No More/Tomahawk) has set a Jan. 29 release date for their self-titled debut, Nevermen (North America: Ipecac Recordings; Internationally: Lex Records).

Pre-orders for the 10-song album are available now, with iTunes pre-orders  (https://itunes.apple.com/us/album/nevermen/id1051561235?ls=1&app=itunes) including an instant download of “Tough Towns” (https://soundcloud.com/nevermenmusic/nevermen-tough-towns), a song Rolling Stone described as “a quirky, cinematic avant-pop single” featuring “five minutes of eerie synthesizers and understated hip-hop beats.”  Nevermen physical pre-orders can be found here: https://merchaye-revolve.squarespace.com/ipecac-music/nevermen-nevermen-cd (CD) and https://merchaye-revolve.squarespace.com/ipecac-music/nevermen-nevermen-lp (vinyl).

Nevermen is neither side-project nor super group; it’s merely meant to be — a years-in-the-making partnership in which these men shared all duties, discovering their collective sound with the sort of glee and freedom usually reserved for first-timers. Amid this wild, weird churn of rock, pop, rap, soul, and other, it’s shockingly easy to lose track of who’s singing at what moment, and that’s the point: to quote Tunde/Adam/Mike in song, “The frontman digests its self.” Nevermen, the album, finds these three giants shredding their egos to get at the heart of why they do what they do, to explore the hopes and fears and wins and losses of anyone who carves career out of what started as dream.


Le Butcherettes, who are currently on tour with the Melvins, will release A Raw Youth, the Teri Gender Bender-led outfit’s third album, via Ipecac Recordings on Sept. 18.

Le Butcherettes have released two albums, their 2011 debut Sin, Sin, Sin and the 2014 offering Cry Is For The Flies.  Gender Bender “has a tremendous gift for capturing feelings and emotional processes that are difficult to narrate,” said NPR in a 2014 feature. The LA Weekly dubbed her the “most volatile woman in rock” and the Chicago Tribune’s Greg Kot proclaimed her a “breakout star.” Admirer Henry Rollins, in a 2014 interview with the Los Angeles Times said, “She’s a star. It’s like a great character in a movie. You want to know what happens when the movie is over. You want to know the rest of the story.”

The band, rounded out by drummer Chris Common and bass player Jamie Aaron, recorded the album at RLP Studios (The Morgue Portable Disaster Unit) in El Paso, Texas. Omar Rodriguez Lopez once again produced, as he has done for both previous Le Butcherettes’ releases. Guests include Iggy Pop on “La Uva” and John Frusciante on “My Half.”

Le Butcherettes’ tour dates (all dates below with the Melvins):   June 16     Grand Rapids, MI     Pyramid Scheme

June 17     Clarkston, MI     DTE Energy Music Theatre

June 18     Columbus, OH     A&R Music Bar

June 22     Toronto, ON     Danforth Music Hall

June 23     London, ON     Call The Office

June 25     Cleveland, OH     The Grog Shop

June 26     Syracuse, NY     Westcott Theater

June 27     Boston, MA     Paradise Rock Club

June 28     Hamden, CT     Ballroom at The Outer Space

June 29     New York, NY     Santos Party House

June 30     New York, NY     Santos Party House

July 1     Philadelphia, PA     Underground Arts

July 2     Baltimore, MD     Ottobar

July 3     Carrboro, NC      Cat’s Cradle

July 5     Nashville, TN     Exit/In

July 6     Louisville,KY     Mercury Ballroom

July 7     Indianapolis, IN     The Vogue Theatre

July 8     Chicago, IL     The Double Door

July 9     Madison, WI     High Noon Saloon

July 10     Rock Island, IL     Rock Island Brewing Company

July 11     Minneapolis, MN     Grumpy’s

July 12     Fargo, ND     The Aquarium

July 13     Sioux Falls, SD     The District

July 14     Omaha, NE     The Waiting Room

July 16     Ft. Collins, CO     Aggie Theatre

July 17     Denver, CO     Summit Music Hall

July 18     El Prado, NM     Taos Mesa Brewing

July 19     Albuquerque, NM     The Launchpad

July 21     Phoenix, AZ     Crescent Ballroom

Le Butcherettes have joined Ipecac Recording’s roster and will release their sophomore release, Cry Is For The Flies, on Sept. 16 via the Bay Area label in conjunction with Nadie Sound.

The band has also confirmed an August tour with Antemasque (tickets for all shows are on-sale tomorrow, June 27):

August 2     San Antonio, TX     The White Rabbit

August 3     Austin, TX     The Mohawk Austin

August 4     Houston, TX     Fitzgerald’s

August 5     Dallas, TX     Tree’s

August 7     El Paso, TX     Tricky Falls

August 8     Tucson, AZ     The Rock

August 9     Phoenix, AZ     The Crescent Ballroom

August 10     Santa Ana, CA   The Observatory

August 12     San Francisco, CA   Great American Music Hall

August 13     Los Angeles, CA     The Roxy

Isis will release a remastered edition of their third album Panopticon on April 29 via Ipecac Recordings. Former band vocalist/guitarist Aaron Turner said of the new outing:

“After some years away from the material, Panopticon now feels like the most optimistic of all the Isis albums, dark as the subject matter may be. Giving voice to my concerns about the loss of privacy and the deterioration of personal freedom through the lyrics on the album made those subjects weigh less heavily on my mind.

Something about the sound of the songs feels open and bright to me as well – post-millennial depression and pre-apocalyptic paranoia hadn’t yet taken hold I suppose. Panopticon also feels like a turning point to me in the trajectory of Isis, and serves as a personal place-marker for me in terms of how the world of music and music consumption was shifting radically around that time.

Things have certainly become cloudier since then and more uncertain – in that way the subject matter of Panopticon also now seems a bit premonitory.”

New packaging and a 12 page booklet created by Turner will also be included.

The Melvins are set to release Tres Cabrones, a 12-song release that finds Buzz Osborne and Dale Crover reuniting with original drummer Mike Dillard, on Nov. 5 via Ipecac Recordings.

Tres Cabrones is as close as we’re willing to get to the Melvins 1983 line-up,” explained Osborne.  “The best part is it’s all new songs.  I specifically wrote tunes that would be good for these guys to play and it worked out great.  We had no interest in rehashing tunes we wrote 30 years ago and chose instead to simply create NEW songs.  It worked out perfectly.”

The Melvins are currently in the midst of their 30th Anniversary Tour in their ongoing four-piece iteration (father-to-be Jared Warren is on paternity leave with Butthole Surfers’ bass player Jeff Pinkus filling in). 

Here are the dates:

August 5     Atlanta, GA      The Loft at Center Stage Atlanta

August 7     New Orleans, LA     One Eyed Jack’s

August 8     Houston, TX     Warehouse Live – Studio

August 9     Austin, TX     Mohawk

August 10     Dallas, TX     Trees

August 13     Salt Lake City, UT     Club Sound

August 14     Boise, ID     Neurolux

August 16     Seattle, WA     Neumo’s

August 17     Seattle, WA     Neumo’s

August 18     Bellingham, WA     Wild Buffalo Hall of Music

August 19     Vancouver, BC      Commodore Ballroom

August 20      Portland, OR     Wonder Ballroom

August 22     San Francisco, CA     Slim’s

August 23     Sacramento, CA     Ace of Spades

August 25     Los Angeles, CA     FYF Fest

August 26     San Diego, CA     Casbah

August 27     Pioneertown, CA     Pappy & Harriet’s


Palms, the Los Angeles-based band featuring members of ISIS and Deftones came together following the demise of ISIS, with Jeff Caxide (bass), Aaron Harris, (drums) and Clifford Meyer (keyboards/guitar) electing to continue playing music together.  Naturally it wasn’t long before the band was garnering the attention of music press.  Spin said Palms “is the slow-orbiting-rocket float of Oceanic-era ISIS painted in soft colors, now with the gushing, soaring melodies that would work on an older sibling’s mixtape next to Cure, Echo & the Bunnymen, US, or Depeche Mode.” Alternative Press awarded the album four stars, Revolver described the release as a “dreamy, swooning… masterpiece,” and Decibel ever-so-accurately described the record by saying “this feels very Los Angeles – Michael Mann’s Los Angeles – pulsing with strange, isolated life and beauty.

Ghettoblaster whole-heartedly agrees with all of the above, so it was a no-brainer to pursue Aaron Harris to ask some questions about the band’s debut (for Ipecac) while the band prepares for their first live shows ever.  This is what he said about it…

When did you begin writing the material for Palms?  

It’s hard to remember but I believe it was about two years ago. Spring time 2011. That’s when we starting jamming and writing material. 

What was the most difficult song to take from the initial writing stage through recording and mixing?  Why was it so troublesome?

Honestly none were that challenging. If I had to pick one I’d say “Mission Sunset” because of its length and many parts. Chino decided to start tracking vocals with that track because he figured if he could do that one he could do the others, ha ha. He’d never tracked vocals to a song that long before.
Which of the songs on Palms is most different from your original concept for the song?

That would be “Shortwave Radio.” We revisited that one after the other songs were written because we thought we could make it better. I changed my drum beat and we changed a couple of the arrangements around. 

Did you have any guest musicians play or sing on the record?

No we didn’t. That would have been fun, but we had a hard enough time getting all of our stuff done in time. We talked to Adam Jones from Tool about playing some guitar on the record, but there wasn’t enough time. 

Aaron, you’ve done a lot of production work since the demise of Isis.  Did you apply that knowledge to Palms and did you step in to more of a producer role?

Yeah it’s been my main focus since the ISIS split. I really love it. I’m still able to be really creative and help other achieve their sound. I was really happy that the other guys had trust in me to do the record. My only concern was keeping perspective with these songs after hearing them so many times. I was really careful of that. The record was produced by the band as a whole, but I recorded and mixed the record. In a way, I produced in the mixing. Producer is such a confusing term and often abused I think. 

Is there an overarching concept behind your new album that ties the record together?

I think so. We left that up to Chino and didn’t get involved with what he was saying really. I think he had a feeling with the record and there’s a slight concept there. Musically I think the record is influenced by our lives and surroundings. Living here in southern California is really great. I think it would be hard to be impacted by this place.  

(Palms are streaming their self-titled debut album (June 25 release via Ipecac) in its entirety via Spin (http://www.spin.com/articles/stream-palms-debut-chino-moreno-isis-deftones/).

Palms is available for pre-order both in its digital form, with pre-orders gaining immediate access to a download of “Tropics” (https://itunes.apple.com/us/album/palms/id644888681), and in a variety of physical pre-order bundles that include limited edition vinyl, t-shirts and posters (http://www.bluecollardistro.com/categories.php?cPath=1657).

The band play their first live dates in July with a four-date west coast outing, followed by a performance with System of a Down at the Hollywood Bowl on July 29:

July 10     San Diego, CA     Belly Up Tavern

July 11     Santa Ana CA     The Observatory

July 12     Los Angeles, CA     The Troubadour     SOLD OUT

July 13     San Francisco, CA     Slim’s

July 29     Los Angeles, CA     Hollywood Bowl     SOLD OUT)


Black Pudding

Mark Lanegan and multi-instrumentalist Duke Garwood recently teamed up to release Black Pudding via Ipecac Recordings on April 16.  Lanegan, never one to shy away from unique collaborations, and Garwood has often been described in the UK press as Lanegan’s “spiritual cousin across the Atlantic waters.”  He is praised in his home country as a master bluesman.  Black Pudding was recorded at Pink Duck Studios in Burbank, Calif. by Justin Smith (Tegan and Sara, The Hives) and mixed by his Queens of the Stone Age associate Alain Johannes.

Ghettoblaster recently caught up with Garwood for a short chat about the album.  This is what he said about it…

How did you and Mark Lanegan begin working together? When did you decide you’d like to do a full album together?

I toured with The Gutter Twins throughout 2009 and around that time we decided to make a record. The writing began the same year.

What was the songwriting process for the album?  Did you and Mark co-write the songs or did he write some and you write others? 

I wrote and recorded ideas and sent them to Mark, he picked the ones he liked and we took it from there.

How long was the actual recording of the album?

About two weeks.

What was the most difficult song to take from the initial writing stage through recording and mixing? Why was it so troublesome?

Only “Sphinx” was quite difficult to record and that was because the guitar part is very complex, but it all came together beautifully in the end.

Did you have any guest musicians play or sing on the record? 

Alain Johannes plays a wonderful mellotron melody and a very magical guitar part on one of the tracks.
Who produced the record? What input did that person have that changed the face of the record?

The record was engineered by Justin Smith, a legend. Mark and I produced it.

Do you anticipate a US tour behind Black Pudding?

Time will tell.

Mark Lanegan has teamed up with multi-instrumentalist Duke Garwood to release Black Pudding via Ipecac Recordings on Apr. 16.

Lanegan, never one to shy away from unique collaborations, has previously worked with Belle & Sebastian’s Isobel Campbell, The Afghan Whigs’ Greg Dulli and as a member of The Screaming Trees, Soulsavers and Queens of the Stone Age.

Black Pudding was recorded at Pink Duck Studios in Burbank, Calif. by Justin Smith (Tegan and Sara, The Hives) and mixed by his Queens of the Stone Age associate Alain Johannes.