After the pandemic hit, and the people of the world suddenly grew wary and suspicious of one another, Iguana Death Cult, one of Europe’s most exciting rock exports, became more than just a band to its members—it became therapy. The sounds they started to make tapped into the band’s acerbic bite established on their first two LPs, 2017’s The First Stirrings of Hideous Insect Life and 2019’s Nude Casino — (Paste described Nude Casino as evoking “the colorful mischief of nights out where even a humdrum accountant can feel like a Clint Eastwood desperado.”). Their explosive performances turned them into a cult live act among psych fans, who have thrashed to the band everywhere from Amsterdam to Austin. (It was during a particularly bananas set at SXSW that the band won over Innovative Leisure.) But working on the new album ‘Echo Palace’ (Out May 12th, via Innovative Leisure), huddled together as the world split apart, everything began to flutter like Remain in Light. When it came time to record the full set, the band headed to PAF Studio in Rotterdam, and then had the self-produced album subsequently mixed by Joo-Joo Ashworth (Froth, SASAMI, Dummy) at Studio 22 in Los Angeles and mastered by Dave Cooley (Tame Impala, Yves Tumor). The album is a big swing, stretching Iguana Death Cult beyond its garage rock origins and taking them to a new realm. The end result of Echo Palace is an appropriately worldly album from a group breaking past the confines of its home country.

Wine Lips, Iguana Death Cult, Annie Taylor

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