Emma Ruth Rundle - Guitar, Vocals Andrew Clinco - Drums Greg Burns - Bass, Keys

M A R R I A G E S
 
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Label - Sargent House 
Label: Marc Jetton


US $ STORE // UK £ STORE


 
BIO

The first thing one notices about the full-length debut album by Marriages, Salome, is its sense of space. Like pulling open a dark window shade mid-flight, we're abruptly presented with a crystalline brightness setting the tone from the outset, signifying an evolution from the somewhat insular buzz of 2012 debut EP, Kitsune. The second thing is that, unlike the stream-of-consciousness approach which found each track on Kitsune nebulously flowing into the next, Salome is comprised of concise songs, each one a light that flickers into existence, burns with magnificent intensity, and then expires.
 
The Los Angeles-based trio first began in 2011 as a collaborative effort between former Red Sparowes members Emma Ruth Rundle (guitar, vocals) and Greg Burns (bass, keyboards). Showcasing Rundle's exceptional playing more vividly than the dense architecture of the Sparowes could allow, Marriages' departure from purely instrumental rock, too, helped bring her to the forefront, revealing a voice equally fragile and ferocious. Enlisting Sparowes drummer Dave Clifford, they recorded Kitsune, released on Sargent House in 2012. Subsequent touring with Russian Circles, Deafheaven and others honed their vision while introducing the band to a broad cross-section of heavy music fans. Full time drummer Andrew Clinco completed the equation in late 2012, the final component in Marriages' frequently epic postpunk-by-way-of-stoner-rock sound. While the group busied themselves writing the songs that would become Salome, Rundle issued solo album Some Heavy Ocean in early 2014, earning praise from the likes of Pitchfork, NPR, etc. Promoting that record found her touring the US as direct support to King Buzzo of the Melvins, immediately after which Marriages set out on tour once more, this time with the legendary Boris.
 
Back in Los Angeles, Marriages spent the end of 2014 completing Salome, a timeless 9-song monolith of a debut LP. Propulsive, frequently iridescent, the compositions on Salomeare confident and evocative, the sound of a band focusing their strengths to great effect. Nowhere is this focus more evident than on opening track, “The Liar”. Frontwoman Rundle wastes no time settling into a haunting earworm of a riff, before unleashing a moody tangle of slides and reverb. Her breathy voice, veiled in subtle effects, elicits irresistible curiosity; though it may not always be clear what she's saying, there's undeniably something to the way she's saying it. Bubbling just under the surface is the overdriven bass of fellow Sparowes alum Greg Burns, who conjures a menacing rumble from his instrument in glorious contrast to the glassy needles of Rundle's wailing guitar. New addition Clinco, whose formidable presence appears largely responsible for the kinetic reconfiguration of the band's sound, functions as both an anchor and a jostling wave, holding it all together with precision while he rattles his cage. Second track, “Skin”, is perhaps even more infectious, to the point where becoming engulfed in the emotional tide of the song is simply unavoidable. Its indelible chorus is one of the album's most iconic passages. Here, especially, Marriages wear their influences on their sleeves, a convincing amalgamation of mid-eighties postpunk (Cocteau Twins, The Cure, etc.) and what ought to be called poststonermetal. Their shoegaze aesthetic combined with Rundle’s crushing riffs make Marriages unique among their contemporaries. The tumbling urgency of “Southern Eye” could fit comfortably on Echo and the Bunnymen's Heaven Up Here yet somehow sits squarely within the realm of Sargent House labelmates Russian Circles. Elsewhere, Marriages toy with a pop approach before invariably releasing a torrent of cascading noise, though never enough to bury the hook they've so cleverly constructed. Title track “Salome” is the album’s centerpiece. An ominous, otherworldly swell of emotional waxing and waning, it finds Rundle at her most vulnerable, strokes of Kate Bush and Sinead O’Connor writ large over a canvas of brooding, fuzz-pedal density. Comparatively subdued, though by no means anemic, “Contender” closes the album on a tentative note, its unresolved final chord a sobering wake-up suddenly casting doubt on the probability of the previous 43 minutes.
 
Throwing open the curtains on not only their sound but on their songwriting as well, Rundle, Burns, and now Clinco seem perfectly at ease scaling anthemic peaks and heartbreaking valleys, often in a single composition. Salome finds Marriages fully embracing their skill at crafting timeless songs with chillingly epic results. In January 2015 they'll embark on a co-headlining tour with Helms Alee, with the album release to follow on Sargent House on April 7th, 2015

Salome (2015)

Kitsune (EP) 2013

NEWS

Marriages Featured in Issue #16 of New Noise Magazine 

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Click HERE for hi-res

Marriages is about to kick off their 2015 European tour with Wovenhand on April 9th at Roadburn Festival.

See all dates and show details HERE.

April 9 Tilburg, Netherlands @ Roadburn Festival
April 10 Nijmegen, Netherlands @ Doornroosje
April 11 Leige, BE @ Le Hangar
April 12 Paris, France @ Le Tranbendo
April 14 Tourcoing, FR @ Le Grand Mix* (Emma solo only)
April 15 Vevey, Switzerland @ Rocking Chair
April 16 Aarau, Switzerland @ Kiff
April 17 Schorndorf, Germany @ Club Manufaktur
April 18 Leipzig, Germany @ UT Connewitz e.V.
April 20 Brno, Czech Republic @ Fleda
April 21 Linz, Austria @ Posthof
April 22 Ljubljana, Slovenia @ Kino Siska
April 24 Rijeka, Croatia @ Impulse Festival
April 25 Belgrade, Serbia @ Dom Omladine
April 26 Bucharest, Romania @ The Silver Church
April 27 Sofia, Bulgaria @ Mixtape 5
April 29 Budapest, HU @ A38
May 1 London, UK @ Hoxton Square Bar & Kitchen
August 21 or 22 Bristol, UK @ ArcTangent Festival

Marriages Interview // IDOL Magazine UK 

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Marriages thrive in LA, where the city creates a good tension. That’s why their music is so fierce, speaking deep to your rock sensitivity and wrecking with its emotional load. It’s been two years since band’s Kitsune EP debut, so their new release Salome dropping this April is the sound we know it’s been worth waiting for. Planning on tours and art projects, we speak to Marriages on their cool, rock life.

On the band… we started on the tail end of our previous band, Red Sparowes going on hiatus.  We wanted to go a new direction and focus on more vocal-centric, concise song writing.  Our goals were to create a band that wasn’t held to any constraints stylistically and was as light-weight as possible to make touring and the general challenges of being in a band as minimal as possible.  Andrew Clinco joined the band shortly after Kitsune was released, as our full-time drummer and equal songwriter.

On democracy… songwriting is a democratic process – anyone can bring in a song, and many songs are written collaboratively in the practice space.  Sometimes we’ll give ourselves arbitrary rules to try to create challenges in songwriting to keep things interesting – like limit the time of a song, or the instrumentation, but generally it’s a free for all.

On Salome… the title itself is inspired by a woman, a figure associated with violence and seduction.  While she is referenced in the bible, as well as other works, including Oscar Wilde’s tragedy, the inspiration wasn’t overt – rather it’s the artwork and the general theme of power through ritual, seduction and violence which, in her case lead the execution of John the Baptist.

The album took two years to write, in three studios and with two engineers.  It started to feel cursed for a second!  It’s really rewarding to see it out in the world now, we’re excited to get out and tour on the record.

On the power of music… live music is fascinating.  The energy of the audience, the shape and structure of the venue, the visual component of the band, the music itself.  It can all converge to be something amazing, or horrible. I’ve played the exact same songs, on the same tour, and the variables outside of the music itself can almost have more impact.  Generally, though, it’s the only medium I’ve been involved in that really engages all of the senses in that way. It can be a really powerful and trans-formative experience, and those moments can be very addictive.

On dreams…  lots of touring. Another record in the next two years. Also, we’re all visual artists, so we plan on putting out collaborative art projects associated with the album and band in general.

On Idols… most of them are personal figures in our  lives, honestly.  But otherwise, at the moment, Stanley Kubrick, Brian Eno and Josef Koudelka.

On Marriages’ soundtrack…

The Cure – A Forest
Swans – Killing For Company
Killing Joke – Love Like Blood
Hawkwind – Silver Machine
Tangerine Dream – Love on a Real Train

Listen to the title track ‘Salome’ here and watch out for Marriages’ new album out on Sargent House April, 7th.

MARRIAGES 'SALOME' PREMIERE // NOISEY 

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photos by Nick Fancher

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Marriages emerged in Los Angeles in 2011 as a collaboration between members of instrumental post-rock group Red Sparowes and dreamy folk-pop band The Nocturnes. A 2012 EP, Kitsune, expanded on Red Sparowes sprawling flavors, with vocalist/guitarist Emma Ruth Rundle’s ethereal, often effects-soaked vocals gently flowing through intense peaks and valleys.

Rather than continue along those same musical threads, Marriages’ debut full-length, Salome (Sargent House, April 7), reveals a dramatic about-face. Named after the biblical character who famously requested (and received) the head of John the Baptist on a platter in reward for an exotic dance, a heavy, mysterious aura abounds throughout the album’s carefully-sculpted song structures and shifting moods. Perhaps most notably, Emma’s vocals have transformed from a largely textural element to an electrifying centrifugal force.

[[MORE]]

Noisey spoke with Emma, who also works as a video and visual artist, to find out more about Marriages’ newfound style and how she likes her newly-adopted home of Portland, Oregon.

Noisey: You wrote your 2014 solo record, Some Heavy Ocean, during a turbulent time in your personal life. How was it to come out of that and back into Marriages?
Emma Ruth Rundle:
From a writing point of view, both things were happening parallel to one another… There wasn't really an evolution in the writing process that was related to me doing a solo record. There was, however, a shift in how we worked together as a group because we added drummer Andrew Clinco, who contributed quite a lot stylistically to the new stuff.

The vocals come out stronger on this record, where on the EP they follow the music in a softer, atmospheric way.
On Kitsune, the vocals were more of a texture and an instrument than a focal point. As we started focusing more on song-based music, it became clear that we wanted vocals to be more of a center weight in the music, something that you could really hear. On Kitsune, I was using a lot of vocal effects, a vocal shifter, a harmony generator. I don't use any of that stuff on Salome. Part of that came from touring on Kitsune. The way I was singing with those effects and the vocal range I was using, it simply was not able to translate live. Marriages is a pretty loud band, live. I wish we could turn down, but we've never really been able to. With the effects it was just a complete disaster. I miss the idea of treating vocals as more of a texture. Maybe there will be some room for that kind of singing in a project in the future.

Salome is a pretty loaded character and there are a lot of interpretations of who she is. Who is Salome to you, and what drew you to that imagery and persona for this record?
We have a song called "Salome," which I felt was the most emotionally-charged song on the record. I felt the content had represented a theme for me that worked for the whole record. She's a very strong character and calls to mind a lot of very strong imagery. I think of her as being an archetypal, scarlet woman, a Whore of Babylon figure. When we decided to call the record Salome, it was a combination of the song and deciding to focus on that imagery for the artwork.

Dreamy textures and experimentation come out in both your visual art and your music. What about these aesthetics inspire you to create?
There is something about dreamy textures, both visually and sonically that I feel can transport you outside of the everyday experience. It's an aesthetic I'm really drawn to, the dream state. The visual work, and especially the video work, creates a world I would like to escape into, though some of the visual stuff is quite the opposite. The video stuff would be something you'd gravitate to and the drawings would be a repelling force. With the music, people are usually talking about the use of reverb and the delay, which I've used really heavily on guitar and vocals.

Do your visual work and music inform each other? There is some religious imagery in your painting, and obviously Salome is a biblical character.
I don't come from a specifically religious background. I wasn't raised in the Catholic church. Quite the opposite. The art and the music are two separate venues for something that is similar in my world… I've made specific artwork to support musical statements, usually that would be the way it would go.

As far as everyday painting and music go, they aren’t necessarily informing one another, but if there is a certain subject coming up for me it will probably manifest itself in the music and whatever else I'm doing, whether it's doodling, or making a shitty experimental video. Then there are ideas that come that are completely singular, that you couldn't do in music. It's something you need to explore, a new art form to accomplish, which is exciting and keeps things interesting.

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Are you still living in Los Angeles? How involved are you with the music and arts community there?
I recently moved to Portland. My sister lives here. I wanted to move here for years and I finally did it. It's beautiful and there are seasons. Everything is spring‑looking, out the window there are trees with flowers. I hadn't really been an active member in what I would call the "real" music scene in LA, probably for six years. When we were young [we were] playing a ton of shows in LA, putting on events, and all of this DIY, but I hadn't been a part of that conversation in a while. In Portland, there is a tangible community here. You can walk around and run into people you know. You don't need a car and for the most part everyone is friendly. It seems like everyone here is doing something creative. It’'s a good spot to be if you want to be immersed in the creative community.

There are stereotypes of the “Hollywood” mentality in Los Angeles, and of Portland being kind of an opposite. Has that come into play for you, having lived in both places?
I was born and raised in Los Angeles. There’s definitely a tangible air of what you described happening there. It’s a huge place, and there are so many different versions of the city. Even within one neighborhood there are so many different groups of people, different communities, different races, and different languages. There is a lot going on in one place, and certainly most of it does not have to do with the “Hollywood” kind of shit. Being in music, which I guess falls under the category of “entertainment,” you’re exposed to it, and you’re around it. It’s not my favorite thing in the world.

I like Portland because it doesn’t feel that way… Although, I could just be in a honeymoon phase. Being an outsider living in a city that I’m not from is maybe making it seem to be something I want it to be and not what it is, but it definitely isn’t Los Angeles.


Marriages on tour:

April 9  Tilburg, Netherlands @ Roadburn Festival
April 10  Nijmegen, Netherlands @ Doornroosje *
April 11 Liège, Belgium @ Le Hangar
April 12  Paris, France @ Le Tranbendo *
April 14 Tourcoing, France @ Le Grand Mix* ** Emma Ruth Rundle Solo Show
April 15  Vevey, Switzerland @ Rocking Chair *
April 16  Aarau, Switzerland @ Kiff *
April 17  Schorndorf, Germany @ Club Manufaktur *
April 18  Leipzig, Germany @ UT Connewitz e.V. *
April 20  Brno, Czech Republic @ Fleda *
April 21  Linz, Austria @ Posthof *
April 22  Ljubljana, Slovenia @ Kino Siska *
April 24  Rijeka, Croatia @ Impulse Festival *
April 25  Belgrade, Serbia @ Dom Omladine *
April 26  Bucharest, Romania @ The Silver Church *
April 27  Sofia, Bulgaria @ Mixtape 5 *                                                               April 29 Budapest, Hungary @ A38                                                                  August 21 or 22  Bristol, UK @ Arctangent Festival 

* w/ Wovenhand

SEE ALL MARRIAGES SHOW DETAILS HERE

via Noisey

An Interview with Marriages' own Emma Ruth Rundle 









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You released your first solo album, Some Heavy Ocean, last year. What made you want to do this record now? I mean, to put your electric guitar (and more heavy sounds) aside and go do something a little bit more acoustic, yet with a heavy vibe, let’s say?

ERR: To be meticulous – I will point out that I did release another solo album before Some Heavy Ocean called Electric Guitar: One which is an ambient/experimental record that features almost no singing at all. Making a solo album of more “traditional” music is something I have wanted to do for a while. I had been writing and recording similar music under the moniker “The Nocturnes,” though that project did feature other musicians and some of their songs. Having had trouble with this group and with my involvement in Red Sparowes and Marriages, I wanted something that was just mine and a venue for this kind of music I write. If you have listened to Some Heavy Ocean you will understand that the material is simply not appropriate for a band or Marriages at all – it’s intimate and highly personal music.

And do you feel more exposed when you’re playing alone, just with your acoustic guitar, instead of having the amps and the band behind? Some artists that did that, like Mike Scheidt and Wino, told me they thought it was something scary, especially on the first concerts.

I absolutely feel exposed – I always feel naked when performing in any setting, but have found that doing it alone is very different. It’s complicated in that, by performing, I am making public the things that are deep in my heart and sharing my personal life and secrets with people in a way that is much more obvious and direct when I’m alone than it is when I’m playing with Marriages. Being alone is also freeing in a way; I don’t have the constraints of having to keep the songs the same at all – the music is unchained and in a sense unrehearsed. Not playing with other musicians (in a live setting) allows for this and the result can be very moving for me.

How was your writing process for this album? And how long did it take to reunite all these songs?

Writing for Some Heavy Ocean was just like everything – something I just do or did. I will always be writing this kind of music. The time during which these songs were written happened to be fraught with many kinds of personal struggles and drama that would suit any b-rated daytime soap. All of this resulting in a record of songs that I have a hard time with – they are right inside my ribs.

You recently toured with Steven Brodsky, from Cave In/Mutoid Man, who even played with you in a special video (Living With the Black Dog). How did you decide to do the video – did you already know each other? And any chance of recording something together?  

Stephen and I had never met before that tour – Sargent House set it up. I was so happy that we got to play together, as I am a big fan and it turns out he is awesome in every way. We don’t have any plans to record anything together yet, but I would love to do something with him.

You guys are about to release your first proper full length, Salome. For the first song I’ve listened, “Skin,” I got the sense that maybe your sound is more “open” and crystalline, a little bit more in line with what we can hear on your solo record. Was this a conscious move or just a natural result of your solo record  and what you’ve lived and listened to on these last few years?

Thanks for asking and for listening to “Skin.” I don’t think the evolution of Marriages has much to do with my solo work. It’s just been the natural progression of the band and the addition of permanent drummer, Andrew Clinco. The songs on Salome are more structured and vocally focused so I can see why you would ask.

It’s impossible not to note the drums are kind of everywhere on “Skin” (on the best way possible). Is this a new direction for the band (and the record)? Maybe the result of touring with bands/artists like Russian Circles and King Buzzo?

The new drum sound is solely the result of Andrew Clinco’s writing and playing style. He is a very special drummer. He really has his own presence and place in Marriages and has a lot to do with sound now.

Listen to the debut track “Skin” here.

Speaking of this, how is your writing process with the band? Do you write the melodies and lyrics alone? If so, do you know right away when you’re going to use the song on Marriages or your solo career?

Marriages is a band. For the most part, we write the music together and I usually add the vocals and lyrics later. There are only two songs on the new record that were not written this way. One of which, “Contender,” was written by Andrew. Greg added his parts and I only contributed some small guitar lines and the lyrics. The other song being “Under Will,” which I had written some time ago for a friend. Greg and Andrew do add their own touch to the song.

A great friend of mine saw you in San Francisco (with Boris) last year and was really impressed with Marriages, and especially you. What’s your state of mind after playing? And do you have some pre-concert rituals?  

Thank you. That was a special tour for me personally – I really felt like the whole band was connected in a special way at that time and that I was able to enter a different space while performing. As a band, we don’t have any rituals, although we have occasionally discussed a group hug before playing. Ha! I can’t speak for Greg or Andrew and how they feel after a show. I always feel differently and it never seems to have much to do with anything specific, other than whether or not I am able to forget myself during the performance. I think I’m often hard on myself, but I’m learning to be better about that.

Listen to the title track “Salome” off their new album here.

You were born and raised in LA. Do you think the city has influenced you in a direct way in the music you write? And what bands/artists would you consider to be “kindred spirits” over there?

I was born and raised in LA, but I have traveled and lived elsewhere. I spent a year in New Zealand, for example, but always find myself returning to the city from which I came. It would be nearly impossible to remove myself in a way that would allow me to see how I’ve been affected and shaped by the place I grew up. If anything – I can point to McCabe’s Guitar Shop in Santa Monica, a historically important folk music store; it’s been there for about 55 years now and I started hanging around it when I was 8 years old. I later got my first and only job working on instruments and selling guitars and banjos to all kinds of people. The store is also a school and I was surrounded by the best of the best players – never having real guitar lessons, I gleaned what I could from the greats around me and have cobbled together my own style of playing. The essence of traditional music comes from my time there and will always be at the root of things. That and lots of Smashing Pumpkins, haha. As far as kindred spirits in LA – there are the people I grew up around and played with…especially Troy Zeigler (Field) and Paris Patt (Woolen, The Nocturnes), and of course Greg Burns, who I ended up playing in two bands with. I’ve never been terribly social and met all the aforementioned through my presence at McCabe’s.

Although you’re not a metal singer or guitar player, your bands have a strong connection with this universe, one that’s considered sexist by many. How do you see this? And have you ever had any negative experience?

I love heavy music. The ways bands and scenes connect is something someone could write a paper about, or draw up a big family tree to illustrate the intricacies of connectivity between musicians. I can see how the association works in this case. I have NEVER once felt sexism present in the scene. The world of “heavy music” is one of the friendliest and most loyal I have experienced. The musicians and the listeners are (in my experience) the best people… and I often have the best times when we get paired up with a “heavy” band – Russian Circles for example. The only sexism I tend to experience in my musical life comes unexpectedly, and almost never from a fan or fellow musician. I once feared the “for a girl” mentality I know exists, but I never think of it anymore. I never feel it. There are many incredible women in and out of the heavy music world who can play technical and creative circles around some dudes – not to swoon too much (and I don’t want to play into any sex-based bullshit), but Helms Alee are one of the heaviest and most unique bands I’ve ever heard, two thirds of which are women. Good music is good. Who is playing it doesn’t seem to matter to me or to anyone else watching or listening.

Please tell me three records that changed your life and why they did it.

Siamese Dream – Smashing Pumpkins: why? guitars! Melodies and tones and puberty… It’s influenced my songwriting and guitar playing more than any other single thing. You either get it or you don’t with this band and this record. After that, it becomes hard to prioritize anything else – there is just so much and it’s colored by hormonal changes, heartbreak, discovering sounds– industrial, stoner rock and folk-noise. Is Godflesh or Neil Young more important? I just don’t know. Jeff Buckley or Sleepytime Gorilla Museum? Radiohead or John Cage – can’t make the call.

And when did you start to sing/play guitar? Do you remember who were your main influences back then? Your voice was already compared to  a lot of artists, including since Alanis Morrisette until your labelmate Chelsea Wolfe, among others.

I loved Mazzy Star and Nirvana. The first song I ever learned to play and sing was “Ride It On” by Mazzy Star. Here is a good place to interject a comment on sexism: people seem to know so few female singers, yet feel compelled to draw a comparison to someone, anyone. I’ve been compared to almost anyone white, female and active within alt-rock-shoegaze-goth-folk in the last 30 years. It’s ridiculous. My voice is my own and if anything I sound a lot like my sister and father.

What’s your opinion about file sharing? Do you think this is the main reason for the end of independent labels like Hydra Head?

I can’t really say whether or not it’s contributed to the demise of labels – I don’t know the details of Hydra Head’s situation. I’m not very savvy when it comes to file sharing and downloading shit. With Spotify and YouTube now, I don’t know how big this whole “illegally downloading content” problem really is anymore. I want Sargent House to do well and make enough money to stay open and keep taking care of its artists, but personally, if someone is going to rip my record from a friend or download my catalogue from the internet, I don’t really care. If it spreads the music and some of those people end up at a show or are turned on to new music, they end up supporting in the long run.

What are you most proud of in your career?

Not dying at age 27

This is the last one. How do you want to be remembered?

To be remembered at all is unusual enough for anyone. I hope I get a headstone somewhere… maybe in Lone Fir in Portland.

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                                   Photo by Gregory Burns

COS: New Track Premiere "Less Than" 

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On April 7th, experimental rockers Marriages will issue their full-length debut, Salome, via Sargent House. The nine-track effort follows the Los Angeles outfit’s 2012 Kitsune EP and sees vocalist Emma Ruth Rundle employing a more literal front-and-center approach as lead singer. Case in point: Marriages’ latest song, “Less Than”.

Whereas Rundle simply weaved her way throughout the blustery, brawny textures of the band’s previous release, here her cavernous voice commandeers the song’s spaces like a weapon all its own. (Anyone else hear a bit of Alanis Morissette in her tone?) As a whole, Marriages’ new chemistry seems to pack enough sonic potency and emotional fire to move mountains, or, at the very least, totally wreck your home stereo system.

For more of Salome, check out lead single “Skin”. The band will also be on tour this spring alongside Wovenhand. Find those dates here.

Marriages Announced to play Roadburn Festival and tour EU with Wovenhand starting April 9 

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Marriages have just been added to Roadburn Festival on April 9th and then will be joining Wovenhand as direct support on his European tour on select dates in April below.

SEE ALL MARRIAGES SHOW DETAILS HERE

Apr 09 - Tilburg, (NL) @ Roadburn *
Apr 10 - Nijmegen,  (NL) @ Doornroosje *
Apr 12 - Paris,  (FR) @ Le Trabendo *
Apr 15 - Vevey, (CH) @ Rocking Chair *
Apr 16 - Aarau,  (CH) @ Kiff *
Apr 17 - Schnorndorf, DE,  (DE) @ Club Manufaktur *
Apr 18 - Leipzig,  (DE) @ UT Connewitz e.V. *
Apr 20 - Brno,  (CZ) @ Fleda *
Apr 21 - Linz,  (AT) @ Posthof *
Apr 22 - Ljubljana,  (SI) @ Kino Siska *
Apr 24- Rijeka, (HR)  @ Impulse Festival *
Apr 25 - Belgrade,  (RS) @  Dom Omladine *
Apr 26 - Bucharest,  (RO) @ The Silver Church *
Apr 27 - Sofia,  (BG) @ MIXTAPE 5 *

LIVE (MONTREAL) 2013