Filmbnw-000007050017

Emma Ruth Rundle - Guitar, Vocals

Andrew Clinco - Drums

Greg Burns - Bass, Keys

M A R R I A G E S

Management - Sargent House
Cathy Pellow - Manager 
Andrea Calderon - Day to Day 

Label - Sargent House 
Marc Jetton - Label 
Michael Roe - Europe

North American Booking - The Agency Group
Josh Kline - Agent

North American Press 
Stephanie Marlow - Publicist

UK Press 
Rachel Silver - Publicist

College/Specialty Radio 
Pirate Promotions 

US $ STORE // UK £ STORE


MARRIAGESBAND.COM

Salome (2015)

Kitsune (EP) 2013

MARRIAGES TOUR DATES

NEWS

Wovenhand // Marriages Live Review from Le Trabendo in Paris 











Last Sunday, the city of Paris and Le Trabendo was once again blessed to host yet another evening with David Eugene Edwards and the boys from Alternative Country/folk rock act Wovenhand from Denver, Colorado, on tour promoting their latest record released last year through Glitterhouse and Deathwish Inc. As the evening passed and the start of the show drew nigh, the venue ended up filling up with quite an impressive amount of fans, so I hastily made my purchases at the merch stand before heading into the pit to save myself a good spot.




Joining these Colorado cowboys on this current tour were another band I had been eagerly waiting to see, the Los Angeles band known as Marriages, featuring one of my favorite female vocalists, Emma Ruth Rundle, whom I got the opportunity to interview before the start of the show. This current tour marked the bands' first set of European dates, offering fans an opportunity to hear songs off the bands' debut album Salome, released earlier that week.

photos by Colin Gentile

 

To read full review click HERE.
via Two Guys Metal Reviews

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Marriages will be on tour with Wovenhand until the end of April and headlining a show in London May 1. See all show details HERE.
 

BEARDED GENTLEMEN MUSIC Interviews Emma Ruth Rundle and Andrew Clinco of Marriages 

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When I first met Bearded Gentlemen Music co-founder Jon, we pretty much instantly began swapping music recommendations with one another. I distinctly remember the time he handed me a Red Sparowes CD that he had just purchased. I remember looking through the disc’s cover sleeve as he was telling me about the band. I then began listening to the Red Sparowes and became immediately hooked. I will admit that I didn’t quite keep up with them, but I remember being excited when Jon informed me that Emma Ruth Rundle and Greg Burns of Red Sparowes had formed a new project called Marriages. The band’s first EP, Kitsune, was nothing short of incredible. Marriages had Red Sparowes’ sound, but they took little more simplistic, streamlined approach, and added Rundle’s vocals to the mix. To this day when I listen to it, I am always reminded of A Perfect Circle. That may just be me.With three years of touring, the addition of drummer Andrew Clinco, and work on other projects, Marriages have just recently dropped their debut LP, Salome. This album sees Marriages really take ownership of their sound. The band dials back the instrumentals and is able to tell a story with each individual track. Most noticeable, however, is Rundle’s pure confidence in her vocal ability. Where Kitsune saw her blending in with the music, she absolutely soars and makes a huge sonic impact throughout all of Salome’s songs. This album is incredible, and should be listened to in it’s entirety. When I first got my hands on the record, I listened to it 3 times before I turned it off. The abrupt and chilling ending is like the ultimate cliffhanger to a perfect movie. You are just left wanting more. I was so enamored with Salome, I jumped at the opportunity to ask Marriages’ Andrew Clinco and Emma Ruth Rundle a few questions about the new record, playing live, and who amongst their peers is really influencing them at the moment.

 

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BGM: I just finished listening to Salome in its entirety, and I am honestly floored. It is killer, and definitely a great progression from Kitsune. Would you please tell us a little about the creation of Salome and how the writing process may have evolved since the last album?

AC: Salome is a the culmination of over 2 years of writing, touring, rehearsing, and refining to arrive at a (hopefully) cohesive breadth of songs. Kitsune was more of a response to the opportunity to form an new project.  Kitsune happened quickly in a more stream of consciousness fashion.

This album is equal parts all of us – a fleshy patchwork quilt of our ideas and sensibilities sewn into one body kinda like Silence of the Lambs.  We had to be patient and wait for quality substance to accrue and we also had to be diligent to hack away shitty ideas that just never evolved or were unmemorable.

How has the addition of Andrew changed the dynamic of Marriages’ writing process?

ERR: Andrew has brought to the table a more refined sensibility when it comes to production and aesthetic than a typical drummer’s role.  He is also a guitarist so he is able to really understand the role of guitar in relation to constructing his drum parts.

Where did the recording process take place?

AC: We initially recorded a batch of demos in my Dad’s garage studio. Those became a rough model for how we wanted to lay the album out.

In February of 2014 we spent two weeks tracking the bulk of the record in a studio in Highland Park, CA called The Hobby Shop.  What followed was a slew of overdubs, vocal sessions, and critical refinement in various home studios from LA to PDX.

Any guest contributions on the new songs?

AC: Yes! Our dear friend Fred Sablan contributed his awesome guitar textures, solos, and feedback on a few songs.

Is there a concept or overall theme to Salome? Who or what, were some of your influences this time around?

AC: As a band we have always been interested in various mythologies and religious iconography.  Salome, the daughter of King Herod II is the archetypal femme fatale; an icon of seduction.  We found the imagery to be compelling and powerful and appropriately encompassing Emma’s lyrical motifs and the musical ebbs and flows we play with.  The title track “Salome” has a break down section in it that I feel serves a sonic illustration of the dance Salome performs before Herod Antipas.

With Kitsune, all six of the tracks are blended together into one giant piece of music, was there any temptation to blend/transition together all the songs for the new album?

AC: Kitsune has that seamless transitional nature because the songs were initially written as a live set.  It was captured in the recording process the same way.  Because the new album was written over such a wide span of time, each song was just treated as it’s own individual piece and not necessarily in direct relation to what came before or after it.  We wanted to write songs that could stand alone.  The “blending” element came through an aesthetic and stylistic thread that is the sum of its parts.

I saw that there is a bonus edition of Salome with two additional tracks, the nine track version of the album seems like a complete concept / journey. How do the other two songs fit in?

AC: Those 2 songs in particular are the oldest songs on the record and were more or less conceived before I joined the band.  One was a demo Emma had written back when she was playing with The Nocturnes and the other was something Emma and Greg had concocted as just a guitar and bass duo before adding drums. They didn’t make the record for a couple reasons, but in relation to your question, I would say that they weren’t necessarily within the bookends of this album’s “journey”.

When listening to a new album, I have a ritual of listening to it with headphones and trying to see if I am able to just lose myself in what I am listening to. I was absolutely able to do that with Salome. What is your ideal situation for listening to new music?

AC: Any situation where the music is not coming out of your laptop, iPhone, or television speakers.  Headphones are great.  I love listening in the car and watching how music can change my interpretation of physical space outside the vehicle; a moving soundtrack.

Speaking of, listening to anything that we should be checking out?

AC: Listening to Tubeway Army as I write this. Our friends from Deafheaven have a band called Creepers, and they rule.  Them Are Us Too is a new shoegaze band on Dais Records.  They are brilliant songwriters and musicians. Highly recommend their new album Remain.

Also, our labelmate Mylets has a new album out that is nuts. He’s a prodigal guitar virtuoso that will make anyone wanna burn their instrument after hearing him play.

If you each had to pick one musician that influenced your playing the most who would it be?

AC: Emma – Billy Corgan. Me – Jimmy Chamberlin  Greg – Simon Gallup

You guys played an outstanding show last year here at Kilby Court in Salt Lake City. It was easily one of the best concerts I had seen all year. Ethereal really. How has your live show progressed over the past couple of years?

AC: We’ve gotten more comfortable with calling open ended improvisational sections and have probably dialed up the angst a bit more.  We’ve definitely made an attempt to revert back to that seamless transitional nature of Kitsune when it comes to constructing a live set list. Song key and tempo are definitely factors that are considered when building a song order.

You played new material at that show, and have been including more and more of the songs from Salome in your sets recently. Do you have any personal favorites to play live at this point?

AC:Salome” is a fun one because its such an incremental build. It’s fun to start tempered and subdued and end loud as fuck. I especially enjoy playing it on drums because it’s open to numerous improvisational possibilities.

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What are the top 3 choices for food while Marriages is on the road?

AC: Greg is vegan. I eat gluten-free and Emma loves Coke Zero. We always try and yelp the healthier options to counter whatever damage we’ve done to our bodies the previous night.  Greg has a vegan restaurant finder app on his phone.  If you follow in Greg’s footsteps you will most likely be lead to a land of replenishing rations.

You have had the chance to tour with a number of great bands recently. Any tour-mates that you would say made a serious impression on you, whether as musicians or just personally?

AC: Touring with Master Musicians of Bukkake was a remarkable experience. That entire band as a whole are such world-class musicians and people, however their music has impacted all of us long before we got the opportunity to tour with them.

What was the most moving experience you have had personally with live music?

AC: I can’t speak for the whole, but watching MMOB organize and assemble on stage and carry out their mesmerizing visual and sonic rituals is quite a spectacle and transcendent experience. I highly recommend seeking them out in person.

Any U.S. tour dates coming up?

AC: Yes. We are looking to do the U.S. in July, but we are leaving for a month to tour Europe in April supporting Wovenhand.

via BEARDED GENTLEMEN MUSIC

Steel For Brains Interviews Greg Burns of Marriages 

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photo credit // Greg Burns


After releasing their debut EP Kitsune in 2012, the question from listeners and music critics alike was resounding and immediate.

When comes the Marriages full-length? Three years later and that question has been answered with Salome, a stunningly beautiful record that for all its atmospheric fragility, bears a weight and resonance as heavy as any metal release you’ll hear in 2015. Members Emma Ruth Rundle (vocals/guitars) and Greg Burns (bass/keyboards) both cut their respective heavy teeth in the influential post-rock act Red Sparowes, and though remnants of that sound were carried over with Marriages, the band’s exploration of melodic broadstrokes with a powerful undercurrent of haunting ambience. Now with drummer Andrew Clinco, the band looks to meet and exceed the expectations that have come with the near universal anticipation for their full-length debut. SfB recently asked Burns a few questions about the upcoming Salome, which is being released April 7 via Sargent House.

Marriages has been a band for a while now (since 2011 if I’m not mistaken), and now you’re releasing your full-length debut with Salome. Are these songs the creative culmination representing your time together over the last four years, or was the album more an exploration of newer creative perspectives for you all? Perhaps both?

Greg: It’s really a combination of both.  On Kitsune we were discovering our sound, and creating an identity for ourselves that stood apart from what Emma and I had done in Red Sparowes.  During that time, we met our full time drummer, Andrew Clinco.  Salome really represents an extension of our original sound, but at the same time the discovery of music through our new collective friendship, and the inspiration we all drew from that.

Were there new challenges for the band with the creation of the full-length as opposed to 2012’s Kitsune EP? If so, what specifically?

Oh yeah, plenty of challenges.  It’s hard to really put this in words, but at times I think we all felt the record was almost cursed…pretty much anything that could have gone wrong, did.  We had problems with the studios and engineering process, where it was almost impossible to get a full day of recording in.  We each had some pretty massive personal challenges during the recording; houses were robbed, personal demons were fought…for some time I think we almost lost hope.  To have the record come out has been incredibly rewarding.  Kitsune didn’t suffer from anything like that - it was a very easy album to record - we wrote and recorded the songs within six months of starting the band.

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Photo Credit // Nick Fancher

Much of the spectrum in which Marriages operates is in the idea of contrast where seemingly opposing dynamics are paired together. It’s a difficult thing to pull off successfully without having it seem like arbitrary juxtaposition. You guys have avoided that handily, and I’m curious as to what your approach to that specific dynamic of your sound (contrast) is, or if it’s something you deliberately avoid being conscious of.

Thank you - I agree that balance is tough.  We don’t explicitly discuss this when writing, but it’s something that we do recognize and play with.  That tension is one that I think is fundamental to the band’s sound.  I think it’s more a result of us wanting to challenge each other, as well as find musical territory that is (hopefully) unique within a rock context, but can still reference the music that inspires us.

There’s a lot of experimentation specifically with the vocals with various effects being used and interweaved with the other instrumentation where it becomes a part of the music itself, if that makes sense. Is that something the band explored from the very beginning, or did you find that exploration of vocal experimentation happening gradually over time?

I can’t speak for Emma, but I can tell you that the vocals have evolved quite a bit over the lifetime of Marriages.  Originally the intent was to have the vocals sit in with the music and, at times, blend in to a point where they were indistinguishable.  Emma used a vocal pedal for awhile that took it into a very effected territory and, along with her use of delay and reverb, was really embedded within the music.  With Salome, we intentionally had the vocals become more prominent, although still have them spiral in and out of the general instrumentation in a way that is, at times, ambiguous and intertwined with the other instruments - mostly guitar and keyboard.

 

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Photo Credit // Greg Burns

As much congruency as the music has it’s hard to imagine the band’s creative process being anything but exclusively collaborative. That said/assumed, is the writing process one that is solely based in creative solidarity, or do you all create on your own as individuals and then bring the pieces together, so to speak?

We do both.  Either way, though, the songs become collaborative - it’s the seed of the song that either one of us brings in, or that we write collectively.

What do you see as the primary creative challenges for the band, and how do you all as individuals confront those obstacles?

One of the big challenges has been breaking away from what’s familiar. Specifically for Emma and myself, writing music that is different from our other projects (Red Sparowes, her solo works, etc.) can be tough, but rewarding.  It’s very easy to fall back into familiar, comfortable territory.  Fortunately we all call each other out on that - one of the core values of the band is that we’re always challenging ourselves.

There’s such an emotive weight and context to Salome that’s incredibly moving and honest. Again, it’s a characteristic often attempted by bands but rarely captures what seems like an authentic manifestation of what the lyrics or music are trying to “sell.” If you could, what would you attribute that kind of emotive honesty to when it comes to the music Marriages creates?

Thank you - I really appreciate that.  I’d say the main reason that Emma, Andrew and I play music together is because we all feel that the music should be genuine and honest.  I wish I had a better answer for you, but I really feel that it’s the only way we’re happy playing music.  If it felt faked, or disingenuous, we’d all hate playing it.  Ultimately, our music is an outlet for all of the shit we deal with in life.  We’d all go crazy if we didn’t have that outlet, and so it has to be honest, or it doesn’t serve it’s purpose.

I’m curious as to what you all do to challenge yourselves as musicians in the context of Marriages, and what your hopes are for the band in the coming years.

As a collective, we don’t let ourselves become lazy, or too comfortable.  We never let each other write to a template.  We use tools to force each other to think outside of the box (shorten measures, different time signatures, unfamiliar keys).  We bring in musical ideas that are well outside of any genre we’re associated with, but we also write ideas that are well within familiar genres and challenge the others to write something that brings it somewhere new.  We’re also all a little unbalanced, so that keeps us on our toes. (Laughs)
 

Thanks to Greg for his time.

Marriages is heading on their European Tour with Wovenhand starting April 9. See all show details HERE.

Marriages Tour Dates:
April 5 Los Angeles, CA @ The Echo (Part Time Punks / Record Release Show)
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*  **
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
July 11 San Francisco, CA @ Phono Del Sol
August 21 or 22 Bristol, UK @ Arctangent Festival

* w/ Wovenhand
** Emma Ruth Rundle Solo 

New Noise Magazine Stream New Album ‘Salome’ 

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Marriages‘ brilliant new album, Salome, is streaming in its entirety before its April 7th release date – tune in now on AVClub.com, as well as below. At first listen, the first thing one notices about Salome is the album’s 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 Marriages’ 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 Salome are 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 support of Salome, Marriages will play two European / UK festival for 2015; the first will be at Roadburn Festival on April 9th that will be directly followed by a European tour supporting Wovenhand, who has also just recently signed to Sargent House. In late August, Marriages will return to the UK to play ArcTangent Festival in Bristol alongside five other Sargent House bands including regular tour mates Deafheaven and Helms Alee.  In addition to playing a Marriages set, vocalist Emma Ruth Rundle will also be performing solo – check out a full listing of all Marriages shows below.

Salome is up for pre-order from iTunes or HelloMerch; keep up with Marriages via MarriagesBand.com and look for Salome on April 7th via Sargent House.

Marriages Tour Dates:
April 5 Los Angeles, CA @ The Echo (Part Time Punks / Record Release Show)
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 *  **
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
July 11 San Francisco, CA @ Phono Del Sol
August 21 or 22 Bristol, UK @ Arctangent Festival

* w/ Wovenhand
** Emma Ruth Rundle Solo 

via New Noise Magazine by Shrum

A.V. Club Streams “Salome” 

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Formed by two members of post-rock band Red Sparowes, Marriages’s sound is leaner than that of the band that spawned it. The group’s debut EP, Kitsune,matched Red Sparowes’ ambiance, but its upcoming debut full-length, Salome,tightens the screws until the band becomes a force all its own. Where Kitsunelocked together into a sprawling piece, Salome is composed of concise songs that don’t take away from Marriages’ vast scope. The A.V. Club is premiering all of Salome in advance of its April 7 release on Sargent House, and the record sees Emma Ruth Rundle’s voice haunt atop the band’s labored movements as the trio finds ways to make post-rock emphasize the second part of that genre descriptor.

Both physical and digital pre-orders of Salome are available now.

Antidote Mag Interview with Marriages' Emma Ruth Rundle 

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Marriages are a three-piece band from Los Angeles, CA who have made a splash in the daunting regime of music. Their shoegaze-esque sounds mixed with a heavy mindset flows gorgeously in each slow-building song they create, making them a band to keep an eye on.

Their new album, Salome, is scheduled for release on April 7th and it is a stunning assortment of psychedelia, brutality, forlornness, and confidence. Each track clearly depicts the band’s strengths, from front woman Emma Ruth Rundle’s soaring vocals to Greg Burns’ sultry bass riffs and Andrew Clinco’s entrancing drum rhythms. I had the opportunity to interview Emma about the group’s new album, some superstitions in association to Salome, and her opinions on the aesthetics of being a band. Check out what we discussed below:

JC: How did the band come into existence and is there a back story to the band’s name?

ERR: While there isn’t much back story to the name Marriages, I could spend some time trying to illustrate the strange events and people that have brought Greg and I into a musical relationship and to eventually forming the band.

The short story is this: Greg Burns and I played in another band together before Marriages. That band was Los Angeles-based, instrumental-post-rock outfit, Red Sparowes.

Just to clarify: Greg and I are not married and never were – ha – people ask sometimes.

JC: Salome marks your first official studio album. How was the process in creating this album in comparison to previous projects?

ERR: Salome was hard – it was a hard record to complete. Everything from the writing process to recording and mixing, it was hard, and seemed to take a lot of time. The space between releases makes this clear. I have felt, in some way, that there exists some force in opposition to this project. I’m superstitious. I’m curious to see what happens now that it’s survived and escaped.

JC: Where did the concept of Salome’s album cover come from?

ERR: It’s a collaboration between us all and is loosely based on the story of Salome and her famed dance. She’s quite the figure and has inspired a great many other works. A quick Google search will inform [those] who may not know of her as to her prolific incarnations and connotations. It is said that her dance in [front] of King Herod resulted in the beheading of John the Baptist. Making the album art was one of the more enjoyable activities related to this record. All of us had a hand in the production of the images but the execution fell onto our own Greg Burns who is also a gifted photographer.

JC: Is there a specific feeling or emotion you are trying to portray in making your music?

ERR: It’s different for each of us, I’m sure. Most of the emotion is communicated via the vocals and lyrics (for me) and each song works through things in my personal life and mind. It’s hard to answer questions like this because the other two members are not privy to my experience and I am not to theirs. We don’t talk about the personal aspect of the music. I am glad you asked this… it may be time to find out what the others think.

Salome is an angry record. In the songs that were written over the span of Salome’s coagulation, I felt defeated by addiction; whorish, betrayed and furious. I felt so much frustration with the relationships I was having with the men in my life and with myself for not being able to better control my erratic behaviors or the actions of others.

JC: How do you respond to any negative feedback? Does it affect you at all or do you shrug it off?

ERR: I don’t wish to be affected by any kind of feedback and I try not to look at it too much. It’s not hard to avoid, really, as long as it stays safely caged within the internet. When it happens in person, say at show, I try to be cordial and focus on the task at hand. It would be most impactful if it came from a peer or someone close.

JC: What have been the best concert experiences for you? Where are your favorite places to play?

ERR: I have a memory like a goldfish and find it hard to remember specific shows but after doing several tours, you start to remember venues and cities. For Marriages – I love Red 7 in Austin and The Earl in Atlanta – the energy in these places is good for the music we play.

One show stands out. Marriages was opening for Bosnian Rainbows in Atlanta in 2013 in front of a pretty packed house and a fight broke out mid-song. I stopped the show and was able to help break and a knife was handed up to me on the stage. We spread the word of love, people united in the moment and the show went on and was awesome.

JC: Where do you hope to see Marriages in a few years?

ERR: I am curious to see what becomes of Marriages in the wake of Salome. There are things bands “should do” like tour Europe (which we are doing this April in support of Wovenhand) and the U.S., start work on another release, etc.

I would really like to find a way for Marriages to be more productive in a way that doesn’t incur so much resistance from the ether. Find focus and finish the art book we have been working on for some time. I would like for us to have collaborated with some other bands. I would like to see us getting tighter as a group of musicians (playing-wise). I would like to see us headline our own tours. I want to see us happy – but not to the detriment of writing angsty music – ha.

By Jacob Crepeault of AntidoteMag

Don’t miss Marriages on tour in Europe starting April 9th at Roadburn Festival then as direct support to Wovenhand as well as a few headline shows of their own including Budapest and in London, UK on May 1st. See ALL Marriages dates and pre-order info at their new site.
Marriagesband.com

MUSIC&RIOTS MAGAZINE FEATURES MARRIAGES // ISSUE #10 

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Marriages are the cover story in the new issue #10 of Music & Riots Magazine out today. You can read the whole issue online HERE // ( READ EMMA RUTH RUNDLE INTERVIEW HERE)) also has a great 8/10 Album review for Salome on page 84-85. Don’t miss Marriages on tour in Europe starting April 9th at Roadburn Festival then as direct support to Wovenhand as well as a few headline shows of their own including Budapest and in London, UK on May 1st. See ALL Marriages dates and pre-order info at their new site. 


 

 

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

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LIVE (MONTREAL) 2013