Sound and Fury & Spaceland Present
Pissed Jeans, Marissa Nadler, All Your Sisters
448 S. Main St.
Los Angeles, CA, 90013
Doors 7:00 PM / Show 8:00 PM (event ends at 11:59 PM)
This event is all ages
Ceremony’s lead guitarist Anthony Anzaldo doesn’t want to talk about the fact that his band has been around for over ten years. Or that they’ve drifted away from the hardcore genre that made them, or that they jumped ship from their long-time label, Matador Records, to join Relapse Records instead. Or that their sixth album will mark four years since the iconic punk band has released any new material. These things aren’t really important. What matters is that In the Spirit World Now is Ceremony’s most driving, intelligent collection of songs to date.
“We knew this had to be the best thing we have ever done,” admits Anzaldo. “We couldn’t come back after four years with a record that only had a few good songs.”
Produced by Will Yip (Title Fight, Circa Survive, Turnover) and mixed by engineer Ben Greenberg (The Men, Pharmakon, Hank Wood And The Hammerheads), In the Spirit World Now grows with each listen, balancing Yip’s pop sensibilities with Greenberg’s noise-punk influence through dramatic, shining synthesizer hooks and a mature vocal strategy. Drummer Jake Casarotti and bassist Justin Davis power through the 11-tracks as a strong yet sparse backbone that interlocks with guitarists Andy Nelson and Anzaldo to create a pop-centric, post-punk canvas for frontman Ross Farrar to expel the most vulnerable parts of himself. (And, thankfully, there are many.)
Farrar, who has been studying and teaching at the Syracuse University MFA Poetry Program for the past three years, has found himself as a vocalist on Spirit World, not only sounding more confident and in the pocket than he ever has before, but exploring amorphous lyrical territory about arrested development, botched relationships, and the never-ending hamster wheel of self-destruction so many creatives fall into.
“I’ve been very interested in will, as in a person’s faculty of consciousness and how we navigate actions and self-control,” Farrar says. “I’ve been worried for a long time that my lack of self-control will inevitably destroy me, so any paranoia on that matter is focused on this record.”
Spirit World is a carefully composed punk record by a band who is so in tune with one another as players that their physical separation didn’t affect the music when it came time to get together and work. Despite living in opposite ends of the country, they met up, rehearsed the new material, and demoed it out in Anaheim at a friend’s studio. After two weeks, the tracks were loose with Farrar only mumbling melody ideas on top of the band. A few months later, they linked up with producer Will Yip and he flushed out the demos, helping develop the structure as the songs took shape in the studio. To add some grit to their slew of polished post-punk hits, Anzaldo called on Greenberg to help develop melodies and interject synthesizers and keyboards into the songs before he mixed the record.
“We really took it song by song on this album,” says Anzaldo. “We pushed ourselves more than any other record. We didn’t have a lot of time together, so the time we did have was precious, and we were hyper-focused on making the best songs possible.”
Spirit World is full of layered sonic fury and anxiety, each song building up to a point and then descending down through a militant hook. “Turn Away the Bad Thing” sets the tone, guitars climbing around the driving bass line, as Farrar sings, “It’s getting harder for me to be alright/Eyes adjusting to the dark/The momentum of all these last resorts built inside of me.” Songs like “Presaging the End” and “Calming Water” feel romantic and distressed, while
“Further I Was” and “Years of Love” are driven by Farrar’s rebellious energy as he repeats the hook with a deadpan realness. “Years of love can be forgotten/In the hatred of a day.” But the true stand-out is the title track, “In the Spirit World Now”, a haunting pop gem with a sticky chorus and lead synth riff that plants itself in your head as Farrar chants the track’s name over and over like a mantra. “The spirit world is a sort of nebulous and ectoplasmic place where things may not be quite what they seem,” he says. Spirit World marks a milestone for this legendary Northern California punk outfit who have stayed true to themselves as songwriters throughout massive sonic growth throughout their long, storied career.
“Not reflecting on the evolution of the band is what keeps us motivated,” Anzaldo admits. “There is always a song we haven’t written, a band we haven’t played with, artwork we haven’t thought of. We are creators by nature, not by choice.”
Post-Hardcore/Noise Rock band formed - 2003 in Allentown, PA.
American singer-songwriter and painter, born 5 April 1981 in Washington D.C., USA.
All Your Sisters
All Your Sisters was conceived in 2011 in Reno, NV by Jordan Morrison as an outlet to process the suffering that Morrison witnessed while working graveyard shifts as a paramedic. The primal state of debased humanity certainly left a blistering mark that can be heard in the project's third full-length, 'Trust Ruins.' Morrison also mines themes from his oppressive religious upbringing as well as a series of paramount life events – both devastating and blissful – that preceded the album's inception.
In the final two months of 2016, then residing in San Francisco, Morrison experienced the elation of becoming engaged in tandem with the fatal drug overdose of his brother-in-law, as well as the Ghost Ship warehouse fire in Oakland that claimed the lives of many in the Bay Area music scene. Compounded with the recent presidential election, a sense of inescapable doom and dystopia lingered, forcing Morrison to re-examine the direction of his life. He explains, "This record is about making hard life choices, living with those decisions, and the struggle to live life on life’s terms. If I die tomorrow, I don’t want any regrets.”
Engineered by Jack Shirley (Deafheaven, Oathbreaker, Bosse-de-Nage), 'Trust Ruins' is the score to a series of de-indoctrinating sermons aimed at Jordan himself. Drawing on the energetic industrial and post-punk influences of the previous 'Uncomfortable Skin' (The Flenser, 2016) and 'Modern Failures' (2014) LPs, 'Trust Ruins' is a dark, dynamic assortment of songs
that pushes far past nostalgia to create something new. Punchy electronic drums provide a foundation for layers of dreamy piano, howling guitars, brooding synths, and Morrison's commanding croon that often unravels into a yell. While 'Trust Ruins' may seem hopelessly bleak, it is anything but with its moments of beauty and raw emotion that offer a sense of hope in a crumbling world.
$20 Advance / $25 Day of Show
The Regent Theater
Sat, October 19
Mon, October 21
Wed, October 23
Fri, October 25
Sat, October 26