Archive for the ‘Previews and Editorial’ Category

Having recently unveiled the video to the killer lead song from their forthcoming EP, No Guts All the Glory, Weekend Recovery have announced they’re celebrating an EP launch in two of their favourite cities, namely  London and Leeds, at The Grace and Headrow House respectively, in early February of 2022.

Weekend Recovery recently debuted a new lineup as a three-piece, and a new sound that harder, rockier, and more direct, and these dates will provide an opportunity tom witness the emerging next stage of the band’s evolution, and they’ve got some cracking supports lined up, too.

Dates are:

Leeds, 3rd Feb with support from Salvation Jayne & Helle @ Headrow House. Tickets: www.weekendrecoveryofficial.bandcamp.com/merch/leeds-ep-launch

London 4th Feb with support from Dirty Orange @ The Grace. Tickets: www.ticketweb.uk/event/weekend-recovery-ep-launch-show-the-grace-tickets/11537935

No Guts’ is a corker and it’s already been getting early radio play, a sign that this is a band continuing their upward trajectory. Chances are they won’t be playing venues this size much longer. Exciting times.

See you down the front!

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The Virginmarys may have recently paired back to a two-piece and dropped the vowels from their name, but they’re very much alive and kicking and still very much set to appear at the London date of the first Ghost Road Fest, at London’s Kolis on Saturday 6th November and at the Belgrave in Leeds on Sunday 7th November.

While the lineups differ for the two events, Weekend Recovery, Salvation Jayne, SNAYX, You Want Fox, and Sadness and the Complete Disappointment are all confirmed for both dates. bang Bang Romeo headline Leeds on what promises to be a day of thrills and quality music, and while Pearl Hearts are only playing London, Leeds gets SHEAFS and Novustory.

While the world seems to be descending to shit, Ghost Road Fest is offering an oasis of nice, with a lineup that’s solid quality and gender-equal both north and south, and in one single move achieve on a single weekend something the government hasn’t managed in a decade.

Click on the image for full details and tickets.

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We’ll see you down the front in  Leeds!

Here at Aural Aggravation, we’ve been backing Jekyll, Sweethearts, and Polarized Eyes for a while now, so it’s exciting to see that End of the Trail Records, is curating a stage at this year’s Liverpool Sound City on Saturday 2nd October, featuring them alongside a host of other exciting new acts.

They’re showcasing a bunch of bands from the label, alongside acts from both seminal and stalwart independent label Fierce Panda and Fear Records, to pull together an exciting bill of up-and-coming talent. Live music is back with a bang, and these are exciting times with a wealth of fresh talent emerging.

The showcase will be held at EBGBS in Liverpool (of course!) Stage sponsored by Fear Records & Blaggers Records, with stage times (and band info links) as follows:

21.00 CHINA BEARS : INFO

19.50 ENJOYABLE LISTENS INFO

19.00 THE INSTITUTES INFO

18.10 SHADE INFO

17.20 POLARIZED EYES INFO

16.30 MOSES INFO

15.40 FAMILY JOOLS INFO

14.50 JEKYLL INFO

14.00 SWEETHEARTS INFO

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If you’re already going, you can’t go far wrong. If you’re not, tickets for Sound City are still available here.

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Media kudos for End of the Trail:

Genuinely in it for the music – LOUDER THAN WAR

Super cool – BBC RADIO 6

Echoing the grandeur of Factory – NARC MAGAZINE

Cruel Nature Recordings – 27th August 2021

Christopher Nosnibor

Grunge isn’t dead. Not by a long way. Although, the trouble with grunge is that even at its height, most of the bands weren’t that impressive, and the ones who were achieved the widest success were the weakest, most accessible of the crop. Without the polished and ultimately marketable Nevermind, Nirvana would have never achieved global domination, although both Bleach and In Utero were, and remain, far superior albums, while the like of Tad and Mudhoney are the true sound of grunge, and capture the gritty, sweaty toil of blue collar labour channelled into aural catharsis. These bands never set out to change the world, but to vent their frustrations and ultimately their sense of powerlessness through music.

Perhaps it’s an age thing, but being in sixth form when grunge exploded it felt like not only an exciting time for music, but that this was a wave of music that actually spoke both to and for my generation at the time. In a way I feel rather sorry for the Millennials and Gen Z; the blandness of contemporary music speaks of nothing but surface. Even when addressing genuine issues, there feels like not only an absence of depth, but an absence of real emotion, of soul. Perhaps it’s just that the mainstream industry, represented by the mainstream charts, dominated by mainstream artists on major labels is simply giving the entirety of its focus on monetising slick sonic wallpaper. It seems odd that generations so riven with pain and angst (and who can blame them?) should find solace in this kind of anodyne slop. It can’t just be the numbing effects of antidepressants: something is clearly awry. Small wonder, then, that some delve into their parents’ collections in order to find music that contains what’s missing for them.

New York’s Cronies formed in June 2020 by brothers Jack and Sam Carillo, the press pitch describes the project as ‘the creative offspring of Covid and isolation’. Creative is the word: having pulled in a couple of mates to render this a full band, they’ve already banged out a brace of Eps in the last year ahead of this, their eponymous debut, which Cruel Nature are releasing on another Bandcamp Friday, with Proceeds going to charity.

It’s a bowel-shaking bass note that strikes first, and the sustain is something. And then in lurches a grimy guitar that’s welded to a stumbling rhythm section – and it’s heavy. Then the drawling vocal rips into a fill-throated roar that’s pure Cobain. These guys have taken the relentless battery of Bleach and the nihilistic squall of In Utero as their template, with a dash of thrash and some of the grimy heft of Tad in the mix (‘Slush Fund’ even leans on the riff from Tad’s ‘Behemoth’ but chicks in some stun synths and some manic hollering that’s more reminiscent of The Jesus Lizard), and ‘A Slippery Slope’ throws all of these in at once, along with a sudden change of pace and direction two-thirds of the way in. On ‘Ritchie from Lebanon’ they build a massively dense bulk of noise, the guitars and bass churning, overloading at great volume.

What Cronies have that their peers lack – well, there are many things, if we’re analysing (and of course we are: that’s the purpose of music criticism). But first and foremost, it’s raw passion and energy. There’s nothing slick or ultra-processed about this: Cronies are unashamedly ragged, and really embrace the grunge ethic of the time when most of the bands from Nirvana to Mudhoney were still on labels like Sub Pop. It’s perhaps because of the band’s origins – confined, trapped – that the songs on Cronies teem and seethe with abject frustration. Sometimes, words simply cannot articulate those feelings, and all there is to do is scream and unleash howls of feedback instead of neat chords. And this is what Cronies do, and this is why they speak to us: it’s accepting the limitations of articulation and unleashing a primal howl. It’s powerful because it’s real.

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BIG | BRAVE are pleased to announce European tour dates in April and May 2022 in support of their latest album, VITAL out now on Southern Lord.  Dates and details below.

On their fifth album VITAL, the core trio of Robin Wattie, Mathieu Ball and Tasy Hudson traverse minimalism and instinct, structure/freedom and meticulous timing, elements that have been the cornerstones of BIG | BRAVE’s precise, rhythmical sound. Lyrically the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. VITAL was recorded with Seth Manchester at Machines with Magnets.

BIG | BRAVE EUROPEAN TOUR DATES 2022

+ Fågelle

08/04/2022 FR Dunkerque Les 4 Ecluses
09/04/2022 UK Ramsgate Ramsgate Music Hall
10/04/2022 UK Sheffield Record Junkee
11/04/2022 UK Leeds Brudenell Social Club
12/04/2022 UK Newcastle The Cluny2
13/04/2022 UK Norwich Norwich Art Center
15/04/2022 UK Glasgow Broadcast
16/04/2022 UK Manchester The White Hotel
17/04/2022 UK Leicester The Soundhouse
18/04/2022 UK Bristol The Crofters Rights
19/04/2022 UK London Electrowerkz
20/04/2022 BE Antwerp Kavka
22/04/2022 GER Hamburg Hafenklang
24/04/2022 SWE Göteborg Showdown
26/04/2022 NO Oslo Blå
27/04/2022 DK Copenhagen Pumpehuset
28/04/2022 GER Bremen MS-Loretta
29/04/2022 GER Schorndorf Club Manufaktur
30/04/2022 AT Innsbruck pmk *
02/05/2022 AT Linz KAPU
03/05/2022 CZ Prague Bike Jesus
04/05/2022 PL Warsaw Hydrozagadka
05/05/2022 LI Vilnius XI20
06/05/2022 LV Riga Noass
07/05/2022 EST Tallinn Svetaa Baar
09/05/2022 PL Gdynia Desdemona Club
10/05/2022 GER Berlin Kantine Berghain
11/05/2022 GER Dortmund Junkyard
12/05/2022 FR Paris Petit Bain
13/05/2022 FR Pau La Ferronnerie
14/05/2022 ES Oviedo La Salvaje
16/05/2022 PT Lisboa ZDB
17/05/2022 PT Porto Hard Club
18/05/2022 ES Madrid Wurlitzer Ballroom
19/05/2022 ES Barcelona Sala Vol
20/05/2022 FR Toulouse Le Connexion Live
21/05/2022 FR Lyon Sonic
22/05/2022 CH Geneva Cave12
24/05/2022 FR Strasbourg La Maison Bleue
25/05/2022 CH Zürich Rote Fabrik
26/05/2022 FR Metz Young Team Festival 22 
27/05/2022 BE Ghent dunk!Festival
29/05/2022 RU Moscow Bumazhnaya Fabrika
30/05/2022 RU St. Petersburg Lastochka

* no Fågelle, plus Trialogos

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Fast-rising Hull six piece Low Hummer have shared new single ‘Human Behaviour’ – the second preview of their much anticipated debut album ‘Modern Tricks For Living’ due September 17th on Dance To The Radio records.

A group of self-described ‘misfits from Hull’ – Low Hummer are one of Yorkshire’s most exciting new bands, throwing together classic indie songwriting, anthemic noughties garage rock and more than a little 80’s inspired synth sounds. A handful of much hyped singles in, the band are finally ready to release their debut album ‘Modern Tricks For Living’ and unleash their much discussed and seldom-seen ferocious live show out into the world.

With each new single finding the band played more and more heavily across BBC Radio 1 and 6 Music, featured in Spotify UK’s New Music Friday and lauded by tastemakers including NME, Dork and Under The Radar, Low Hummer announced in May that they would at last be releasing their debut album. Released on black vinyl, the album will also get a special ‘Dinked’ edition release – available through UK record stores pressed to 500 copies and almost immediately sold out.

‘Human Behaviour’ is the follow up to latest single ‘The People, This Place’ – this new offering lowers the intensity a little, bringing the effortless, rich and mellow vocals of Aimee Duncan to the fore over synth-led indie anthem. Written, demoed and recorded entirely during the album sessions at The Nave Studio in Leeds with producer Matt Peel, ‘Human Behaviour’ was one of the last songs added to the record by the band.

Low Hummer are a band endlessly fascinated with the world around them, with alienation, social isolation, manipulation and disinformation. All ideas that songwriter Dan Mawer has drawn from in his quest to settle these questions in his head through the band’s music. ‘Human Behaviour’ is no different and finds the songwriter battling with ideas of apprehensive thoughts, fleeting youth and the passage of time with typical depth and eloquence.

“Too cold to care, too old to feel brand new, the future’s hollow, ageing shadow

All beauty fades, young dreams of me and you, breathe shallow, ageing shadow

Cheek to cheek, hand in hand

In loving sorrow, this ageing shadow

I don’t know enough to be young”

Working on their debut album, the band set out to capture a true snapshot of their lives and the world around them. With the opportunity of hashing out ideas on the road taken away from them, Low Hummer began dissecting the tracks and piecing them back together on record, giving them the chance to explore their creative boundaries not just individually but as a group.

Released on 17th September, Modern Tricks For Living is available for pre-order now.

Low Hummer will be performing live throughout the rest of 2021, beginning with their biggest ever headline show to launch their debut album at The Social in Hull, before setting out to festivals including Reading & Leeds, Live at Leeds, Long Division and Gathering Sounds for the remainder of the year.

Full dates below. Check ‘Human Behaviour’ here:

Live Dates:

Gold Sounds Festival – Leeds – Sat 7th August

Reading & Leeds Festival – Reading – Friday 27th August

Reading & Leeds Festival – Leeds – Saturday 28th August

The Social – Hull – (Album Launch) – 24th September

Gathering Sounds – Stockton on Tees – 25th September

Long Division Festival – Wakefield – 25th September

Live at Leeds Festival – 16th October

Karma Weekender – Nottingham – 23 – 24 October

Fave 1 HB

The Metatrons have announced a string of UK tour dates, starting on 29th July in Bristol.

The Metatrons 2021 summer dates

The new album, Deconsruction by riot-pop band The Metatrons is available now through Chapter 22 Records.

"Deconstruction", their third album since their formation in 2011, takes the band to the heart of crunchy guitar pop music with very personal themes – from the joyful "(Who want their) Feet on the ground" to the not-so-subtle digs at those "in charge" in "Population 1" to the universal lifelong love of your favourite music reflected in "I hear you".

"We are really, really pleased to be working with Chapter 22 Records" says Simon Hinksman, guitarist and songwriter. "Their rosta of bands from the 80’s and 90’s were a big deal to us and the fact that they saw something in these new songs and that our band could be part of their family and sit alongside those iconic bands means a lot to us".

"We can’t wait for the album to be heard and get on the road with these new songs – they are energetic and noisy as well as very tuneful and catchy – a proper guitar pop record".

Check ‘Population 1’ from the new album, which can be ordered here, below:

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The Metatrons promo image

Ahead of the release of the first compilation on the NIM label – the snappily-titled Deprived of Occupation and Pleasure We Feast Aural Aggravation are immensely honoured to premiere ‘1010’ by Obviate Parade, the exploratory guitar vehicle for Paul McArthur of Damn Teeth.

With lyrics centred around Emily Dickinson’s 1010th poem, it’s a largely spontaneous cut, with all instruments and vocals recorded in a single take (albeit subsequently edited), it’s a magnificent balance of immediacy and controlled manipulation.

Don’t just take our word for it: get your lugs round it here:

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Dungeon synth pioneer, MORTIIS has announced the release of  Transmissions From The Western Walls Of Time – a live recording from 1997.

Very few audio documents exist of the handful of shows MORTIIS did in the    90s, and this is one of the few we were able to dig up. This recording was captured by an unknown person, bringing a video camera or cassette recorder to the show. The show was at the Transmission Theatre, now defunct, in San Francisco, November 12, 1997.

Transmissions From The Western Walls Of Time was released on limited edition classic black vinyl, and a strictly limited edition silver vinyl, which is now sold out. Both vinyl versions include an A2 sized poster. It is also available on Digipack CD.
The silver vinyl, was offered to members of the Fan Club/Patreon group Cult Of Thee Black Wizards which is a subscription based Fan Club style group. Membership includes free download of around 40 releases, studio updates, priority ordering of limited edition releases, exclusive merchandise, a monthly/bi-monthly video chat for members only (via a private members only Facebook Group).

Click the image for links:

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Christopher Nosnibor

13x is less of musical project and more of an experience. As such, the katt13x website, the platform of the proudly transgender antiscene artist is a brain-melting labyrinth of sound and image that has a William Gibson-esque retro-futurist vibe that screams cyberpunk while searing your retinas with wildly oversaturated images that often render what’s being presented barely distinguishable.

The EPK video is, without doubt, a perfect summary of everything, as raw, bleeding primary tones melt and glow radioactively through a selection of appropriated snippets and other spliced scenes that takes Burroughs’ cut-up technique to the height of early noughties simplism to create something disorientating, disturbing.

Remember when the Internet was considered scary, because it contained the worst and more terrifying shit, from images from murder scenes and people being hit by trains (the original traingirl video was a blur, but a sickening one)? Pages like gruesome.com seemed extreme, and the porn explosion that was so concerning to many consisted of just so-many thumbnails and low-res .JPEGS of barely 50K because dialling up on 14K modems at a penny a minute, that kind of prurience was actually a fucking luxury. 13x takes us back to a time before YouTube, when eBay and Amazon were in their nascency, and we had Yahoo! Auctions and most people accessed the Internet and email having installed AOL with a free 3.5” floppy disc passed on to them by a friend who’d bought a magazine from WHS.

I’m reminded of Stewart Home’s original Spacebunny-designed website, which was a primitive-looking affair, neon-green text on a black background, and every word was an internal hyperlink. Not because 13x looks like it, but because it’s a reminder of when the Internet was inventive, was crazy, because there were no riles and there was no corporate involvement. No-one really policed the Internet, but then, kids were safe because the fact was, no-one even had Internet. But it was then future, and those who were present were pulsating to race headlong into cyberspace, whatever that was. And this takes us back to the time when we were on the cusp, and is accompanied with a period soundtrack, of sorts.

That soundtrack is an array of glitching, overdriven technoindustrial noise propelled by harsh, smashing snare crashes and squelching, wet fabric thwacking deadened bass beats define the abrasive, disorientating sound. Abrasive soundclashes, with squalls of noise and shards of feedback flare and blare over woozy undulating basslines and retro blippy 16-bit game mzk.

The sound and visuals in combination are an extreme and intense experience, where everything goes off in your face all at once, and it’s magnificent: dizzying, overwhelming, uncompromising, and one that doesn’t just touch, but assaults the sense from all sides at once.