Posts Tagged ‘European Tour Dates’

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.

Earth announce new album, Full Upon Her Burning Lips, to be released by Sargent House on 24th May 2019. Ahead of this, they’ve unveiled album track ‘Cats in the Briar’, which showcases the evolved sound of the band – now stripped back to core duo of Dylan Carlson and Adrienne Davies, and so resembling, albeit with different instrumentation, their first iteration.

In addition to scaling back on their ranks, Earth altered their previous trajectory by entering into Full Upon Her Burning Lips without a conceptual arc to guide the process, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music.” The absence of a pre-existing narrative guiding the compositions meant that the songs were more open and intuitive, often resulting in more terse musical vignettes like the richly harmonic “Exaltation of Larks” or the dreamily itinerant “Maidens Catafalque”.  Yet subconscious impulses gradually created their own subtext for the album. “I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were.”

Listen to ‘Cats in the Briar’ here:

Dylan Carlson is also undertaking a succession of solo dates around Europe, including the UK, which are as follows:

MAR 21 Newcastle, UK @ The Cluny

MAR 22 Bristol, UK @ Rough Trade

MAR 23 Manchester, UK @ Soup Kitchen

MAR 24 Birmingham, UK @ The Flapper

MAR 26 London, UK @ St John of Bethnal Green

MAR 27 Brussels, BE @ Botanique

MAR 28 Lille, FR @ La Malterie

MAR 29 Duisburg, DE @ Explorado Museum

MAR 30 Berlin, DE @ Cassiopeia

MAR 31 Prague, CZ @ Futurum

APR 01 Vienna, AT @ Grillx

APR 03 Munich, DE @ Feierwerk

APR 04 Lausanne, CH @ Le Bourg

APR 05 Zurich, CH @ Bogen F

APR 06 Paris, FR @ Sonic Protest Festival

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Internationally acclaimed composer and virtuoso cellist Jo Quail, who released new album Exsolve last week has unveiled her new music video for track ‘Mandrel Cantus’. Jo comments,

Mandrel Cantus is the second track on ‘Exsolve’ and the performance footage was filmed by Simon Kallas whilst creating the four excerpt videos for the rest of the album. Mike Fletcher is in Dunsborough, WA, and I work with Mike on many projects, both my own videos and soundtracks for his work as a landscape videographer and filmmaker. Mike blended his unique imagery to Simon’s footage,  not only complementing the existing four visuals of ‘Exsolve’ but also conjoining the look and feel from previous album videos too. Much of what I do is inspired by landscape, and the internal or psychological mirror of this too, our own personal ‘map’ if you like, and this video encapsulates that completely.

Watch the video for ‘Mandrel Cantus’ here:

Having recently completed a European tour with Mono and A Storm of Light, Jo Quail will be heading out again with Myrkur in December.

European tour w/ Myrkur

03 Dec: SE Stockholm, Vasateatern04/12 – NO Oslo, John Dee

05 Dec: SE Gothenburg, Pustervik

07 Dec: DK Aarhus, Voxhall

08 Dec: DK Copenhagen, Pumpehuset

10 Dec: PL Poznan, U Bazyla

11 Dec: PL Krakow, Kwadrat

13 Dec: HU Budapest, Durer Kert

14 Dec: AT Vienna, Arena

16 Dec: NL Tilburg, 013 KZ

18 Dec UK London, The Dome

19 Dec: UK Bristol, The Fleece

20 Dec: UK Nottingham, Rescue Rooms

21 Dec UK Glasgow, The Great Eastern

22 Dec: – UK Manchester, Gorilla

jq pr © Simon Kallas-2

Swans have shared an edit of the closing track on their latest album, The Glowing Man – out now on Mute / Young God (N America) – ahead of the start of their European tour in October 2016.

Listen to ‘Finally, Peace’ (edit) here:

 

‘Finally, Peace’, described by Michael Gira as a "farewell", sees Jennifer Gira join him on a double vocal track, an uplifting finale for the last album in Swans’ current incarnation. The song was described by The Arts Desk as "…redemptive and uplifting" and by The Quietus as "…optimistic" while The Line of Best Fit said, "…on closer "Finally, Peace", Swans bow out with a knowing nod to the innate vanity of the physical and fleeting."

Swans embark on the European leg of their mammoth world tour next month and return to the UK for a series of shows including two SOLD OUT performances at the Islington Assembly Hall on October 13 and 14. Anna von Hausswolf is Swans’ very special guest on the European dates, full details below:

SWANS EUROPEAN TOUR

6 Oct – Brussels BE, Orangerie Botanique

7 Oct – Eindhoven NL, De Effenaar

8 Oct – Brighton UK, Concorde 2 – SOLD OUT

9 Oct – Manchester UK, 02 Ritz

11 Oct – Glasgow UK, Oran Mor

12 Oct – Newcastle Upon Tyne UK, Northumbria University

13 Oct – London UK, Islington Assembly Hall – SOLD OUT

14 Oct – London UK, Islington Assembly Hall – SOLD OUT

15 Oct – Reims FR, La Cartonnerie

17 Oct – Hamburg DE, Kampnagel

18 Oct – Berlin DE, Huxleys Neue Welt

19 Oct – Prague CZ, Divaldo ARCHA Theatre

21 Oct – Budapest HU, A38 Ship

22 Oct – Vienna AT, Arena Big Hall

23 Oct – Graz AT, Orpheum Extra

25 Oct – Ljubljana SL, Kino Kiska Centre for Urban Culture

26 Oct – Zagreb HR, Lauba

28 Oct – Basel CH, Kaserne

29 Oct – Vevey CH, Rocking Chair

30 Oct – Bern CH, Reitschule Dachstock

1 Nov – Nantes FR, Stereolux

2 Nov – Nimes FR, La Paloma

5 Nov – Bologna IT, Teatro Auditorium Manzoni

6 Nov – Rome IT, Orion Live Club

8 Nov – Tourcoin FR, Le Grand Mix

9 Nov – Paris FR, Le Trabendo

10 Nov – Cologne DE, Gebäude 9

11 Nov – Munich DE, Feierwerk

12 Nov – Wiesbaden DE, Kulturezentrum Schlachthof

13 Nov – Utrecht, NL, Le Guess Who? festival

* with Anna von Hausswolf

Cinema Cinema, the full-throttle, experimentally-inclined rock duo from Brooklyn,  are getting ready to undertake their latest European tour (dates below). They are currently preparing to maser their fourth full length album, their second with Martin Bisi producing at BC Studios in Brooklyn, NY. In finishing the work they’ve overcome obstacles that included the studio – and much of their equipment being stolen from the recording studio.

Cinema Cinema first met Martin Bisi in 2012 in the aftermath of Hurricane Sandy. Bisi, whose BC Studios was located just a few blocks away from the band’s rehearsal studio, was walking through the streets overwhelmed by the destruction he encountered when he came upon guitarist Ev Gold and drummer Paul Claro clearing ruined instruments and amps from the remains of their practice space. The three immediately struck up a friendship and kept in touch thereafter.

Soon after that incident, the band experienced an amazing outpouring of sympathy and support from their friends, fans and fellow musicians who donated money and equipment, bought records and merchandise. This allowed Cinema Cinema to refurbish and replace equipment, and – with a bit of borrowed gear – and start playing live again within two weeks. In 2013, the duo would wind up performing some 75 shows, including  a handful of dates opening for Black Flag, as well as their first European tour, opening for Bisi.  Martin had kept in contact and they shared bills in Brooklyn shows which led to the European touring and then producing A Night At The Fights.

 

 

 

 

 

European tour dates are as follows…now if only they’d come to the UK!

SAT 20 AUG
@ Rock The Station Open Air
Leitersdorf AT

SUN 21 AUG
@ Funktown Chill Festival
San Leonardo IT

MON 22 AUG
@ TBD
Vienna AT

TUE 23 AUG
@ Stajenka Pegaza
Poznan PL

WED 24 AUG
@ Frappant
Hamburg DE

THU 25 AUG
@ Schokoladen
Berlin DE

FRI 26 AUG
@ Gangeviertel Festival
Hamburg DE

SAT 27 AUG
@ Gurtel NightWalk Festival
Vienna AT