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"Celebration vocalist Katrina Ford wishes a violent death upon the era of glum audience members motionlessly watching glum bands with glum arms crossed. 'I want the line between the people on stage and the people watching to be blurred,' she says. 'When people on both sides cross the lines and forget their assigned roles, they forget who they are - you've forgotten your problems, you've forgotten the world, and abandoned yourself to the music and the moment.' The Celebration's aggressive assault on conventional show-going protocol has gone a long way towards granting Katrina's own wish. Over a year's worth of thrilling performances of ever-escalating quality, they've delivered a cavalcade of inspired, sincere, mysterious moments which has justifiably earned the band a rep as one of the best live shows in the country - the kind of band about which word of mouth travels from person to person in hushed, reverent tones.
On paper, the Baltimore-based trio's songs suggest an ecstatic collision between the dark-tinged no-wave of the early '80s undergrounds of New York or London and the inspired meldings of art-rock and gypsy-folk explored by both Dog Faced Hermans and The Ex's two records with cellist Tom Cora. But live, these songs become tarmac from which the band takes flight, transforming the clubs, galleries, and warehouses in which they play into aural temples where musicians and audience break bread together. 'I hope that going to one of our shows is a way for people to release themselves from all the darkness of their day,' says drummer David Bergander. 'That's what we're doing.'
This same cathartic, transforming energy flows throughout their self-titled debut record on the storied 4AD label. The record came about during a month spent locked down in Brooklyn's Headgear studios during the brutally cold month of February 2005. 'We showed up around one o'clock the first night, and loaded our stuff in with the idea that after unpacking we'd sleep and get to work in the morning,' says David. 'But as we set things up to get that sound we like, we ended up getting excited and staying up all night recording.' That energy never abated. 'We put in 14 to 16 hours a day - for a month making this record,' remembers Katrina. While they were technically staying for the month in a pad three blocks away, they essentially lived in the studio while they recorded, ordering in all their meals as they perfected the eleven electric songs that comprise the album. 'We lived inside the music, without any distractions,' says David. TV on the Radio's David Sitek, who the band refers to as their 'Godfather,' produced the sessions, as well as laying down additional guitar, electronic texture, and backing vocals from himself and his bandmates."
[reproduced or excerpted from band website linked above]
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