Posts Tagged ‘Live Dates’

The forthcoming full-length from Los Angeles–based band Agriculture, The Spiritual Sound, traces a narrative arc through extremes.  The album is largely a fusing of the visions of its two principal songwriters: Dan Meyer and Leah Levinson.  Though distinct, their voices converge in a singular spiritual grammar—one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression.

Dan writes like someone clawing toward the divine through noise, channeling Zen Buddhism, historical collapse, ecstatic grief. Leah’s songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Dan takes the lead on their next release, a quieter moment amongst the chaos. About the track, he says;

“This is a love song to a future child. It is so moving to me that even though this child does not exist in the form of a child yet, all of the matter that will one day make up their being is already in the world. And of course this is true of all things that have ever existed. So even though I’m talking about a kid that I want to have one day, I’m really talking about the principle that everything is totally connected.”

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Agriculture’s formation mirrors their duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation that was laid on 2022’s The Circle Chant expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure.

Agriculture’s writing process is built on dismantling and revision of self. Dan and Leah bring songs to the band and then allow them to be pulled apart and rebuilt communally: reshaped through conflict, repetition, and deep trust. Richard adds guitar melodies and solos, and Kern constructs rhythms which are sometimes familiar but often unconventional. Finally, with Richard producing, the final form of each song is realised through intense collaborative work in the studio. Although a time consuming and ego-frustrating process, this allows the band to find the spirit of the songs not through inspiration, but through persistence.

Yet, even in its most ambitious moments, The Spiritual Sound remains rooted in the ordinary and in the day-to-day relationships between the people who made it. Gas station snacks. Inside jokes. Sleeping on floors. Playing shows in rooms that smell like mildew. The spirit here isn’t abstract, it’s live. This is spiritual music that starts with imperfect gear and a long-in-the-tooth tour van.

Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes: “the only way out is in.”

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Photo credit: Milan Aguire

AGRICULTURE LIVE DATES 2025:

Sep 17  Kortrijk, BE — Wilde Westen
Sep 18  Haarlem, NL — Patronaat

Oct 8  Brooklyn, NY — Union Pool (Record Release Show)

Oct 27  San Antonio, TX — Paper Tiger $
Oct 28  Austin, TX — Mohawk $
Oct 30  Atlanta, GA — Masquerade $
Oct 31  Saxapahaw, NC — Haw River Ballroom $
Nov 01  Silver Spring, MD — The Fillmore $
Nov 02  Philadelphia, PA — Union Transfer $

Nov 04  Louisville, KY — Zanzabar
Nov 06  Oklahoma City, OK — 89th Street
Nov 08  Albuquerque, NM — Launchpad
Nov 09  Phoenix, AZ — Valley Bar
Nov 11  Denver, CO — Hi-Dive
Nov 13  Salt Lake City, UT — The State Room
Nov 14  Boise, ID — Neurolux
Nov 16  Seattle, WA — Madame Lou’s
Nov 18  Vancouver, BC — Fox Cabaret
Nov 19  Portland, OR — Mississippi Studios
Nov 21  Sacramento, CA — Cafe Colonial
Nov 22  San Francisco, CA — The Chapel
Dec 04  San Diego, CA — Soda Bar
Dec 05  Los Angeles, CA — Lodge Room

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New Irish trio Rún are preparing to release their debut self-titled album on Rocket Recordings on 22nd August, and today share with us another taster in the form of ‘Strike It’.

About the track the band comment, “’Strike It’: A barely contained explosive doom riff with an industrial patina; points to the hypocrisy of a religious institution in profound dereliction of its duty to the most weak and vulnerable of us. The song addresses the macabre details of the Tuam babies controversy in Co. Galway, Ireland.”

The Irish word Rún can mean secret, mystery, or love, or perhaps some elusive combination of the three, reflecting the many aspects of life that defy easy explanation. In wrestling with these, it can become necessary to commit oneself entirely, to jump in at the psychic deep end in search of the vibrations and feelings at hand. This is where the band Rún come in.

The debut album of Rún – the result of three powerful artists locking horns and bringing equally passionate and uncompromising approaches to bear – is no less than an extraordinary collective catharsis. Yet more evidence that true heaviness is about much more than a cranked amp. It’s an emotionally driven and richly atmospheric journey into the darkest recesses of states earthly and unearthly, from a spiritually intrepid outfit who alchemise experimental methods and improvisatory states to reach intimidating heights of sonic and psychic intensity.

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Live dates:

21 Aug / Galway / Roisin Dubh
22 Aug / Cork / Nudes
27 Aug / Dublin / Spindizzy Records (instore)
29-31 Aug / Birmingham / Supersonic Festival
6 Sep / Sligo / Minor Disturbance Festival
15 Nov / London / Rich Mix (w/ Sirom)
19 Nov / Glasgow / The Glad Cafe
20 Nov / Newcastle / The Lubber Fiend

Rún comprise firstly Tara Baoth Mooney – sometime Jim Henson voice artist, with a longstanding background in everything from folk and choral music to experimental film-making. Diarmuid MacDiarmada – Nurse With Wound co-conspirator and brother of Lankum’s Cormac, brings with him the experience of avant-garde collaborations with a plethora of artists stretching back over thirty years. Drummer, sound designer and engineer Rian Trench, meanwhile, has worked on everything from the psychedelic IDM of Solar Bears to auto-generative experiments to orchestral arrangements, and owns the studio – The Meadow on Ireland’s East Coast – in which the album was made.  
The disparate artistic practices of the three members of the band collude in this context to create something no member could have foreseen. “Beyond the larger themes we explore, the work is often inspired by dreams, synchronicities, and other uncanny influences found in everyday life” reckons Diarmiud.

Besides this, an extremely diverse range of musical influences make their presence felt here, from William Basinski and Pauline Oliveros to Om, Coil and The Necks. “Suffice to say that there was a variety of sacred musics, acid-folk, cosmic jazz, stoner / sludge-metal, avant-garde composers and a hint of R&B being ground up and baked in with everything else in our wonky witches’ kitchen.” They say, “Things that possibly shouldn’t go together are juxtaposed to create something surprising and new.”

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Photo by Robert ‘Scan’ Watson

Finnish black metal act HEXVESSEL have set their signatures under a multi-album deal with Prophecy Productions.

HEXVESSEL will release their seventh studio full-length via the label and have already been confirmed for this year’s edition of Prophecy Fest.

HEXVESSEL comment: “I am a fiercely independent minded artist and Hexvessel has its own sound, ideology and spiritual path”, vocalist and guitarist Mat ‘Kvohst’ McNerney explains. “I wanted a label that would respect, care for and nurture that wild art spirit. I have known and been friends with Martin Koller, Stefan Belda, and Prophecy for many years. We go back to the origin of Hexvessel and our first live shows abroad and they have always supported my work. I felt we would always be destined to work together in a creative aspect and I am proud to now come under the banner of a label that stands for true beauty in art and creative music.”

Prophecy Productions state: “We are all thrilled to welcome a long-time friend and outstanding artist such as Mat McNerney and Hexvessel to our roster”, the label’s founder Martin Koller writes. “Hexvessel are in many regards the perfect fit for Prophecy Productions as their highly individualistic and ever evolving music is exciting as hard to pin down and limit to only one genre.”

Listen here:

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HEXVESSEL comment on the digital single: “I actually started writing ‘Under The Lake’ as the first song for our return to black metal before the other parts of Polar Veil took shape”, mastermind Mat McNerney reveals. “Although it was always a favourite of mine, ‘Under the Lake’ still remained unfinished. This was partly due to the fact that its theme was neither polar nor set in wintertime, which meant that the song did not sit well with the rest of the album. Instead ‘Under the Lake’ is about summer hikes into the secluded and remote deep fell areas where you will find bottomless clear lakes or ‘saivo’. In Sámi beliefs, saivos (sáiva) were thought to be homes to the deceased as well as various spirits and deities. The Sámi word sáiva was used to refer to a holy lake or fell, and the spirits residing in it. It could also denote a dwelling of the deceased or anything sacred; depending on the context. A saivo, like our own world, was usually believed to exist beyond a hole at the bottom of a lake, with another identical lake upside down. To me, this is a perfect metaphor for looking at the world. There is a deeper meaning out there, if you look hard enough. ‘Under the Lake’… there is another lake. I am glad that this personal favourite of mine finally comes to see the light of day. It happens in the preternatural summer in which we announce our pact with Prophecy!”

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Live

07 AUG 2024 Jaroměř (CZ) Brutal Assault Festival
13 AUG 2024 Manchester (UK) Rebellion
14 AUG 2024 Brighton (UK) Chalk
15 AUG 2024 Sheffield (UK) Corporation
16 AUG 2024 London (UK) Oslo
17 AUG 2024 Bristol (UK) ArcTanGent Festival
24 AUG 2024 Dūburio Sala (LT) Mėnuo Juodaragis
6/7 SEP 2024 Balve (DE) Prophecy Fest
28 SEP 2024 Heidelberg (DE) New Evil Music Festival
23 OCT 2024 Berlin (DE) Kantine am Berghain
24 OCT 2024 Leipzig (DE) Soltmann
25 OCT 2024 Bruxelles (BE) Atelier210
26 OCT 2024 Paris (FR) Backstage by the Mill
27 OCT 2024 Maastricht (NL) Samhain
28 OCT 2024 Hamburg (DE) Hafenklang
29 OCT 2024 København (DK) Stengade
30 OCT 2024 Göteborg (SE) The Abyss
31 OCT 2024 Oslo (NO) Goldie
01 NOV 2024 Jönköping (SE) The Hush Hush Club
02 NOV 2024 Stockholm (SE) Hus 7

In 2022, a year after the release of Kvitravn and as a prelude to the forthcoming and much anticipated live dates, Wardruna are presenting Kvitravn – First Flight of the White Raven.

An immersive audio arrangement that underscores the experiential paradigm shift and masterful musicianship of their superlative and boundary-pushing virtual live experience First Flight of the White Raven of March 26th 2021. This new release captures their special set list consisting of songs from Kvitravn and a selection of favourites from the discography, and will be released on a 2LP, as well as 2CD that also features the original studio album track listing. To mark the event’s exceptional impact, it will also be available as a limited Boxset Edition including 2LP (black), 2CD, DVD with livestream performance and bonus documentary material and three videos (only available in the boxed set), flag of the CD album cover, certificate of authenticity for the box and an exclusive autographed card signed by Einar Selvik.

As a taster, they’ve shared the performance of ‘Solringen’ from the release.

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Wardruna’s UK tour commences in March. About the tour Einar comments “It has been more than two years since we last gave a performance in front of an audience. Needless to say, this long and unwanted hibernation has made us very excited to finally be able to realistically plan our return to the stage.”

Full list of dates in the UK and Ireland below:

Thursday 17th March: Southbank Centre, London

Friday 18th March: Albert Hall, Manchester

Sunday 20th March: Cambridge Corn Exchange, Cambridge

Monday 21st March: Symphony Hall, Birmingham

Tuesday 22nd March: The Glasgow Royal Concert Hall, Glasgow

Wednesday 23rd March: Vicar Street, Merchants Quay, Ireland

​Plus more live dates can be found here: http://www.wardruna.com/tour-dates/

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With their recent single ‘Going Nowhere’ taking a lunge into darker, surfy/gothy territory (while retaining the garage/grunge style of their debut album and the ‘In The Mouring’ EP), Weekend Recovery are a band who clearly aren’t content to stay in one place for too long – musically or geographically.

With their second album, False Company, just around the corner – and the indications are it’ll be a belter – the recently streamlined power-trio are hitting the road later this month with a handful of shows to showcase some new material. No doubt there’ll be a few older rabble-rousing favourites, too.

Since the release of their debut album, Get What You Came For in 2018, they’ve garnered radio play, played at Camden Rocks, and expanded a committed fanbase through some hard gigging. We’ve covered them enough times here at Aural Aggro to give a two-thumbs-up recommendation to get down and see them.

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Dates are as follows:

20 March – Blackpool, Bootleg Social (supporting Cut Glass Kings)

21 March – Leeds, Headrow House (w/support from Carry the Crown)

28 March – Manchester, Retro (main support to Joan the Wad)

Event details and tickets are on Weekend Recovery’s Facebook page.

Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion) and Kevin Doria (Growing, Total Life) have joined forces on the new LP are SING SINCK, SING, out via Constellation on 10th May. As a first offering, the duo have shared the track ‘We Will’, which layers oscillating waves of melancholy drone with plaintive, reverb-cloaked vocals, before eventually coalescing into a determined and hopeful refrain. You can hear it here:

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As the title suggests, this is also an interstitial album of sorts, an identity-bridge that leads away from Menuck as ‘solo’ artist and towards SING, SINCK SING which will be the new band name for future work by the duo.

Efrim Manuel Menuck & Kevin Doria Live Dates:
09 May – Montréal, QC @ Ritz PDB
10 May – Toronto, ON @ The Burdock
11 May – Hamilton, ON @ Christ Church Cathedral
16 May – Brooklyn, NY @ Murmrr
25 May – Biarritz, FR @ Festival Usopop
27 May – Limoges, FR @ Le Phare
31 May – Zottegem, BE @ Dunk Festival
01 June – Amsterdam, NL @ Best Kept Secret Festival
02 June – Barcelona, ES @ Primavera Festival
03 June – Poznan, PL @ LAS
04 June – Berlin, DE @ Arkaoda
06 June – Brussels, BE @ Botanique Rotonde
07 June – Diksmuiden, BE @ 4AD
09 June – Paris, FR @ Villette Sonique

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Tim Hecker shares the haunting new song ‘Keyed Out’ from his incoming, ninth full-length Konoyo, which is incoming via kranky on 28th September. Listen to it here:

Regarding ‘Keyed Out’, Hecker says: "The track "Keyed out" was written over several sessions and finished in a small temple on the outskirts of Tokyo, during one of our initial trips to record with Motonori. I wanted to resist the temptation to overload the music with layers and layers of hyper-edited texture, as if that would help the piece become more whole. The song is a lonely deteriorating synth line, refracted and isolated, played alongside a small court music ensemble on what was a crisp birdsong-filled November morning."

Tim Hecker announces more live dates including rare ensemble appearances in the US. Forthcoming performances for Konoyo will feature traditional Japanese Gagaku musicians on the shō, ryuteki and hichiriki in synergy with his own explorations of noise, dissonance, and melody, creating a hybrid of electronic abstraction and otherworldly minimalism, alternately heavy and gentle. Full dates below.

Tim Hecker + The Konoyo Ensemble

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October 2 – Tokyo, WWWX (Japan)

October 6 – London, Barbican Centre (UK)
October 4 – Lisbon, Culturgest (Portugal)

October 7 – Krakow, Unsound Festival (Poland)

October 9 – Berlin, Funkhaus (Germany)

JUST ANNOUNCED FOR 2019

February 18 – New York, National Sawdust

February 19 – New York, National Sawdust

February 22 – Los Angeles, Masonic Lodge at Hollywood Forever Cemetery

February 23 – Los Angeles, Masonic Lodge at Hollywood Forever Cemetery [http://tinyurl.com/ycas9n4l]

Konoyo ("the world over here") was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.

As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.

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