CEREMONY, Citizens Arrest

Due to scheduling conflicts - Ceremony show moved to The Barbary!

CEREMONY

Citizens Arrest

Leather, Waxahatchee

Sun, June 10, 2012

Doors: 7:30 pm / Show: 8:00 pm

The Barbary

Philadelphia, PA

$10.00 - $12.00

This event is all ages

Due to scheduling conflicts the Ceremony / Citizens Arrest show has been moved to The Barbary. All tickets will be honored!

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CEREMONY
CEREMONY
Breakup albums mark a turning point for a band: the moment when their sound completely changes and reaches a new level of emotional clarity. All that heartbreak and malaise condensed into any single record often makes for a defining piece of work, no matter the genre. The best records explore the nooks and crannies of sadness, learning it inside and out — celebrating it.

Ceremony’s fifth studio album, The L-Shaped Man, uses singer Ross Farrar’s recent breakup as a platform to explore loneliness and emotional weariness, but it is by no means a purely sad album. Rather than look inward, Farrar uses his experience to write about what it means to go through something heavy and come out the other side a different person.

In order to tell Farrar's story, Ceremony have almost completely stripped back the propulsive hardcore of their previous records, turning every angry outburst into simmering despair. “We’ve always tried to be minimalists in writing, even if it’s loud or fast or abrasive,” says lead guitarist Anthony Anzaldo. “It’s really intense when I hear it. Not in a way where you turn everything up to ten. Things are so bare, you’re holding this one note for so long and you don’t now where it’s going—to me, that’s intensity.” That intensity is apparent on “Exit Fears,” the first full song on the record. It meticulously pairs Justin Davis’ loping bassline, which pulls the track along, with Anzaldo's icy, minimal guitar work. It brings to mind some alternate version of Joy Division that hasn’t quite lost all hope. It gets close to exploding, but instead plays the shadows, never quite rising above a nervous simmer.

“A lot of the content has to do with loss, and specifically the loss of someone who you care deeply about,” Farrar says. “There is no way for you to go through something like this artistically and not have really strong emotions of loss and pain. There’s not really any way to hide that.” Farrar, for his part, is singing with a new kind of intensity, his baritone swooping and retreating from stressed angst to unsettling near-mutter as he sings, “You told your friends you were fine/ you thought you were fine too…” and later, “nothing is ever fine/ nothing ever feels right/ you have to tell yourself you tried.” It’s the first of many lyrically direct moments, and it should be hard to listen to, but Ceremony have so effortlessly nailed the sound of sadness that it feels great to live inside for awhile.

The sound is abetted by producer John Reis, who honed his sound in seminal bands like Rocket from the Crypt, Drive Like Jehu, and Hot Snakes. Much of the gravelly aggression he experimented with in those bands is present on The L-Shaped Man.

There's a story behind the title too. “I was speaking to our driver Stephen while on tour,” Farrar says. “We were talking about men in general and what shape they are…their body type. I said, ‘I guess men are in the shape of an L. The torso is straight. Vertical. And then you have the little feet at the end.’ There’s this painter named Leslie Lerner who was living in San Francisco in the ‘70s and ‘80s and made these beautiful paintings. He died on my 21st birthday. A lot of the record is about the similarities in our ideas. In what we’re trying to make. Things that have to do with love and losing love.”
Citizens Arrest
Citizens Arrest
Citizens Arrest were a New York-based band that existed from 1989 to 1991. The group often blended hardcore punk, grindcore and powerviolence styles. Seems that most folks are familiar with them these days as Ted Leo was at one point the singer and then guitarist before joining Animal Crackers and then Chisel. Their main inspiration in the early days of the band were from Boston area hardcore from the 1980s like DYS and SSD as well as early powerviolence pioneers, Infest. In 2011, CXA reunited (with ALL original members) and resumed playing live shows and released a brand new 4-song 7" EP.
Leather
Leather
With only a hard to find cassette demo, one sold out 7”, a smattering of blog posts and some messageboard banter in their wake, Philadelphia’s Leather have just begun to emerge from an existence unknown to all but those “in the know.” Sterile, their new 7" EP release on the legendary East Coast indie label Jade Tree, is surely not the first adjective that crosses one’s mind when confronted with the noisy hardcore on this 4 song EP, aptly described by compatriot and Clockcleaner frontman John Sharkey as the likely result “...if Tad Doyle had owned Age Of Quarrel and actually listened to it.” It’s safe to say that picking up this vinyl will mean reliving these ten minutes hundreds of times over while waiting for the next recorded dose or a chance to witness a live show (likely to be in a dilapidated warehouse or a basement as grimy as their sound).
Waxahatchee
Waxahatchee
Out in the Storm, Katie Crutchfield’s fourth album as Waxahatchee and her second release with Merge, is the blazing result of a woman reawakened. Her most autobiographical and honest album to date, Out in the Storm is a self-reflective anchor in the story of both her songwriting and her life. As Crutchfield prepared for the release of her Merge debut Ivy Tripp, she found herself depleted emotionally and professionally amidst the dissolution of a noxious relationship. “Ivy Tripp doesn’t really have any resolution. It’s a lot of beating around the bush, and superficially trying to see my life clearly, but just barely scratching the surface. Out in the Storm digs into what I was going through without blinking. It’s a very honest record about a time in which I was not honest with myself.”

The album was tracked at Miner Street Recordings in Philadelphia with John Agnello, a producer, recording engineer, and mixer known for working with some of the most iconic musicians of the last 25 years, including Dinosaur Jr. and Sonic Youth. Agnello and Crutchfield worked together for most of December 2016, along with the band: sister Allison Crutchfield on keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine on drums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar. At Agnello’s suggestion, the group recorded most of the music live to enhance their unity in a way that gives the album a fuller sound compared to past releases, resulting in one of Waxahatchee’s most guitar-driven releases to date.
Venue Information:
The Barbary
951 Frankford Ave
Philadelphia, PA, 19125
http://www.myspace.com/thenewbarbary