Jump to content

Search the Community

Showing results for tags 'The L-Shaped Man'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • General
    • Vinyl Collective Message Board
    • Cassette Collective Message Board
    • Sale/Trade/Wants
    • Turntables & Other Audio Equipment
    • Everything Else Message Board
  • Help
    • Forum Tech Support
  • One Member Club's All posts must be exactly THREE words.

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Instagram


Facebook


Snapchat


Website URL


Skype


AIM


MSN


Location


Interests

Found 1 result

  1. Ceremony teased three videos, which combined give us the (potential) name of their new album on Matador Records: The L-Shaped Man https://instagram.com/p/0pzwkbktHN/ https://instagram.com/p/0pzuEuEtHJ/ https://instagram.com/p/0pzr7CEtHF/ 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. 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.
×