I have a soft spot for Stars, even for this new track which blatantly goes out of its way to explore a whole new world of fans throughout commercial radio. It’s catchy… very catchy and there is nothing wrong with that. My 17 year old, angst-ridden self would be mad at my 28 year old self for saying that… but that little prick had a big mouth and I’m trying to forget him anyway.
“I Don’t Want Your Body” and “Fixer” are from their fifth LP release, The Five Ghosts, which hit stores on June 21st via Vagrant Records in the US. Check out the video for their first single, “Fixer”, after the jump.
The first time I put on Ceremony’s new record, Rohnert Park, I knew I’d heard it somewhere before. The promotional material told me I was supposed to be reminded of protopunk and 80s hardcore. RIYL Fucked Up, Black Flag, and the Stooges. Maybe. But that didn’t sound quite right.
Then it clicked. On Rohnert Park, Ceremony reminds me of Flipper, the San Francisco punk band that didn’t tune, played terribly and slowly, and featured irritatingly repetitive vocals. Flipper hopped on hardcore bills just to mess with the scene’s expectations. And they were awesome for it. Ceremony takes a similar approach, and this record is already dividing hardcore kids.
Rohnert Park begins with “Into the Wayside Part I” (of III) and leads directly into the first true song of the record, “Sick.” On “Sick,” vocalist Ross Farrar lists a whole bunch of stuff he’s sick of, including 20 year old bands like Cro-Mags and Black Flag (presumably because they rhyme), politics domestic and international (realism?), and even–you guessed it–sick of being sick.
“M.C.D.F.” swings awkwardly, and “Moving Principle” rails against the modern world (hate that thing). The next track, “The Doldrums (Friendly City),” is a slogging three minutes of piercing single note melodies and jangling guitars, torpedoing the momentum of the first few tracks. Later in the record, Ceremony offers the No Trend -esque “Into the Wayside II,” which forgoes lyrics in favor of a story about saving some old guy (I think), and includes an ill-advised guitar solo.
The album continues with four indistinguishable minute-and-change songs, and then, inexplicably, it gets great.