Archive for the ‘Previews and Editorial’ Category

…And You Will Know Us By The Trail Of Dead have announced a European headline tour for September / October 2019. These shows will be in support of their as-yet-untitled new album, due out later this year. The full list of dates is as follows:

14th September – Leffingeleuren, Leffinge, Belgium

15th September – Le Petit Bain, Paris, France

16th September – Melkweg, Amsterdam, Netherlands

17th September – Doornroosje, Nijmegen, Netherlands

19th September – Stadtgarten, Cologne, Germany

20th September – Sommercasino, Basel, Switzerland

22nd September – La Santeria, Milan, Italy

23rd September – Strom, Munich, Germany

25th September – Festsaal Kreuzberg, Berlin, Germany

26th September – The Stage Club, Hamburg, Germany

27th September – Forum, Bielefeld, Germany

29th September – The Waterfront, Norwich, UK

30th September – The Deaf Institute, Manchester, UK

1st October – Oslo, London, UK

2nd October – The Cluny, Newcastle, UK

3rd October – The Caves, Edinburgh, UK

…And You Will Know Us By The Trail Of Dead recently celebrated 20 years of the album ‘Madonna’ with a European tour in February, performing the album in its entirety.

TOD 19

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Russian Circles named their 2016 album Guidance in reference to the uncertainty of the future. It was a fitting title for the times, with the album coming out a few months before America’s tumultuous presidential election, but it was intended more as a reference to the band’s own absence of a blueprint as they navigated their second decade as a band than as a social commentary. If there were questions as to how to move forward as a musical unit or individual doubts as to how to continue toiling as artists in the underground, the three years of relentless touring on the album only served to reinforce the Sisyphean struggle of artists. With their latest album Blood Year, Russian Circles forsake the sonic crossroads of divergent musical paths found on albums like Guidance and Memorial to offer up the most direct and forceful collection of songs in their discography.

The Chicago trio have always explored the dynamics of volume and timbre, with their albums vascilating between caustic attacks and blissful respites. Blood Year begins with the calm before the storm in “Hunter Moon”, where a few narcotic repetitions of guitarist Mike Sullivan’s melancholic plucked chords and woozy slide guitar usher in the first assault. “Arluck” charges out of the reverberating sustain of somber drones with Dave Turncrantz’s pounding rack and floor toms, expertly captured by Kurt Ballou at Electrical Audio in Chicago. The studio’s reputation for pristine drum tones is on full display in those opening bars, and when the drums break and Brian Cook’s grinding bass line forces its way into the mix it becomes evident as to why the band returned to Steve Albini’s world-famous recording studio where they’d tracked Enter, Geneva, and Memorial. Sullivan dives into the song with his signature finger-tapped leads and stacks loops of idiosyncratic harmonies on top of it. The song barrels through bottom heavy chugged guitar patterns and tightly wound noise-rock riffage before the rhythm section drops out to leave a lone guitar line in the ether. A second guitar line comes in on top of it. Then a third. The chasm fills with an orchestra of guitar loops before the drums and bass come back in and build to the song’s vicious conclusion.

With Sullivan, Turncrantz, and Cook all residing in different states, Russian Circles have typically crafted their albums by piecing together song fragments and home recordings into meticulous texture-rich studio productions. But after seven tours in North American and five trips to Europe in support of Guidance, the band made a conscious effort to approach the songs on Blood Year with the same organic feel of a live show. In an age where rock records are often built on a computerised grid, Russian Circles chose to track the foundations of the songs together in one room as complete takes without click tracks. The human pulse and unmetered energy is immediately obvious in the dissonant barrage of “Milano”. The no-frills wall of distortion and mid-tempo stomp of the song recalls some of Russian Circles’ most unrelentingly savage moments—Memorial’s “Burial”, Geneva’s title track, Empros’ “309”. The first half of Blood Year closes with “Kohokia”, a harrowing song that somehow manages to capture the unsettling negative space of Spiderland in one moment, the blurry clamor of ashen metal in the next, and ultimately arriving at a triumphant pinnacle of staccato bass chords, battering ram drums, and heroic tapped guitar leads.

Side two begins with one of the few reserved moments on the album in the slow fever-dream loop-stacked baritone guitar lines provided by Cook on “Ghost on High”. It’s less a song than a prelude to the tremolo-picked battle anthem “Sinaia”. Guitar overdubs were done at Ballou’s God City studio, and the engineer’s gift for rendering a variety of exquisite distorted tones can be heard in the timbre-rich medley of pastoral drones in the introduction, fury-of-Valhalla tremolo picking in the verses, scathing black metal-tinged snarl in the bridge, and cataclysmic chords in the finale. Russian Circles albums have typically ended with a comedown—the pensive “Xavii”, the folk ballads of “Praise Be Man” and “Memorial”, the delay-soaked ambience of “Philos”—but Blood Year ends on its most vengeful note, with the barbaric battery of “Quartered”.

If Guidance was meant to be an exploration of forking paths, Blood Year is an almost single-minded statement of authority. While it retains the dexterity, multi-faceted techniques, and dramatic compositions that have been a trademark of Russian Circles since day one, Blood Year fully embraces the most forceful aspects of the band’s repertoire.

Listen to ‘Arluck’ here (tour dates after):

USSIAN CIRCLES IRELAND/UK DATES

AUG 08 Dublin, IRE @ Button Factory *

AUG 09 Galway IRE @ Roisin Dubh *

AUG 10 Belfast UK @ Limelight 2 *

AUG 12 Glasgow, UK @ G2 +

AUG 13 Manchester, UK @ Gorilla +

AUG 14 London, UK @ Earth +

AUG 16 Bristol, UK @ ArcTanGent Festival +
Support from

* No Spill Blood 

+ A.A. Williams

With further European tour dates to be announced soon.

Following their sell-out April live dates, Daughters announce their return to Europe this October, one year since the release of their acclaimed album You Won’t Get What You Want (Ipecac Recordings) which is still leaving a powerful mark on listeners. Full details of all incoming live shows, including their summer festival shows are listed below. Tickets are on sale now: official.com/live

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DAUGHTERS EUROPEAN LIVE DATES:

JUNE/AUGUST

June 21 – Clisson, FR @ Hellfest [SOLD OUT]

August 4 – Katowice, PL @ Off Festival

August 5 – Leipzig, DE @ Naumanns

August 7 – Oslo, NO @ Blä (Oya Fest aftershow)

August 8 – Josefov, CZ @ Brutal Assault Festival

August 9 – Cologne, DE @ MTC

August 10 – Rees, DE @ Haldern Pop Festival [SOLD OUT]

August 12 – Wiesbaden, DE @ Schlachthof

August 13 – Zurich, CH @ Bogen F

August 14 – Le Locle, CH @ Rock Altitude Festival

August 15 – Bristol, UK @ ArcTanGent Festival

OCTOBER

October 4 – Antwerp, BE @ Trix Club

October 5 – Nijmegen, NL @ Soulcrusher Festival

October 6 – Paris, FR @ La Maroquinerie

October 8 – Clermont-Ferrand, FR @ La Coopérative de Mai

October 9 – Toulouse, FR @ Le Rex

October 10 – Barcelona, ES @ AMFest

October 11 – San Sebastian, ES @ Dabadaba

October 12 – Porto, PT @ Amplifest

October 13 – Madrid, ES @ Sala 0

October 16 – Lausanne, CH @ La Romandie

October 18 – Bologna, IT @ Locomotiv Club

October 19 – Vienna, AT @ Arena

October 20 – Bratislava, SK @ Fuga

October 22 – Berlin, DE @ Bi Nuu

October 23 – Copenhagen, DK @ Loppen

October 24 – Stockholm, SE @ Slaktkyrkan

October 25 – Malmo, SE @ Plan B

October 26 – Aarhaus C, DK @ Radar

October 28 – Bremen, DE @ Tower

October 29 – Munster, DE @ Gleis 22

October 30 – Lille, FR @ L’Aeronef

October 31 – London, UK @ Islington Assembly Hall

November 1 – Liverpool, UK @ Arts Club

November 2 – Dublin, IE @ The Grand Social

Having just ended their European tour to a packed out audience in Manchester, MONO will return for one more show in the north of England for 2019 as co-headliners for the City Hall Ballroom Stage at this year’s Tramlines Fringe alongside AND SO I WATCH YOU FROM AFAR.

MONOCLG5095-BW-RE

Once again NMC Live will be taking over Sheffield City Hall Ballroom with the finest post-everything sounds and noise for Tramlines. Having hosted the likes of Alcest, Basement, Nordic Giants, Oathbreaker and more.

AND SO I WATCH YOU FROM AFAR and MONO will be joined by A. A. WILLIAMS, BODY HOUND, BOSS KELOID, SVALBARD and TRIGGER THUMB.

Doors are from 3 p.m and tickets priced at a mere £6 in advance from www.sheffieldcityhall.co.uk

The stage is running as part of the fringe festivities in the city centre.

Facebook event – https://www.facebook.com/events/273205670285469/

Tramlines_2019-Banner

Once again NMC Live will be taking over Sheffield City Hall Ballroom with the finest post-everything sounds and noise for Tramlines. Having hosted the likes of Alcest, Basement, Nordic Giants, Oathbreaker and more, they are pleased to welcome back AND SO I WATCH YOU FROM AFAR as a headliner again. The band comment,

“We always feel right at home in Sheffield, the history, the music, the people, its not unlike like Belfast in many ways. If this years show at Tramlines is anything like the last one its going to be something very special indeed."

– R

A. A. WILLIAMS, BODY HOUND, BOSS KELOID, SVALBARD and TRIGGER THUMB will be joining them, as well as a further co-headliner to be announced in May.

Doors from 3 p.m, and tickets priced at a mere £6 in advance from www.sheffieldcityhall.co.uk from 9 a.m on Monday 8th April. The stage is running as part of the fringe festivities in the city centre.

Tramlines_2019

Some press releases are special and uplifting and make our day when they land in the Aural Aggro inbox. This is one of those. Because news doesn’t get much better than this.

Hull Doom merchants, The Parasitic Twins today announce a lo-fi heavy cover of the 90s classic ‘Spaceman’ by Babylon Zoo, out on Friday, April 5, 2019 with all proceeds going to The Campaign Against Living Miserably (CALM). The single is taken from a split EP with York-based hardcore punks, The Carnival Rejects (released via Bandcamp on May 31st in association with Man Demolish Records). Artwork for the piece was made by Jess Zchorn.

Of the decision to record the cover, drummer Dom Smith comments: "Man, we love Babylon Zoo. This is a classic track that was way ahead of its time, and we just wanted to mess with it, and we’ll probably stress a lot of people out, but use it as a way to bring attention to an incredible cause in CALM."

Of CALM’s importance on a national scale, Dom adds: "Male mental health is becoming more spotlighted every day, and myself and Max [guitars and vocals] want to offer any support we can to spread the word."

For those interested in donating to CALM can do so here:

CALM

The Parasitic Twins will also head out to Europe and across the UK for a run of shows this April with grindcore mates, Boycott The Baptist and Clunge Destroyer:

APRIL TOUR DATES

19th – The Morgue, Leeuwarden – Holland

20th – Muggefug EV, Cottbus – Germany

23 – Bird’s Nest, London – UK

24 – The Parish, Huddersfield- UK

25 – Paradiddles, Worcester- UK

26 – The Bobbin, Lancaster- UK

27 – The Old England, Bristol- UK

28 – Secret Show, Carlisle- UK

For more information visit:

https://www.facebook.com/ParasiticTwinsBand/

Clara Engel’s 2017 album, Songs for Leonora Carrington rather impressed us here at Aural Aggravation. So we were pretty pleased to learn she has a new album almost ready. Entitled Where a CityONce Drowned, the album features six new songs, ‘with an instrumentation of voice, electric guitar, cello, guitalele, hammond organ, synthesizer, banjo, electric koto, bass, harmonium, and bowed glockenspiel’.

She says, ‘it is populated by dogs that race through the night sky, the Russian witch Baba Yaga, a meditation on deep time and climate change, wild goats, and a song that arose from looking at a book of Tarkovsky’s polaroids. These songs feel like a product of my time, and also reflect how out-of-step I often feel with my time.

‘I recorded the basis for the album in Bethlehem PA, in the final hours of December 4th, 2018, with Taylor Galassi accompanying me on cello. The last time Taylor and I worked together was in 2009, when we recorded The Bethelehem Tapes — also live-off-the-floor, in one sitting. It felt wonderful and seamless to work together again.’

She’s shared a taster here, and it’s beautiful:

…and we’re very much looking forward to hearing the whole album…. an when we do, you’ll be the first to know.