Celestial Shore's second album, Enter Ghost, is a directive, a confession, and a confrontation. It's the reflection of its makers - Sam Owens, Greg Albert, and Max Almario - and the followup to 10x, their 2013 debut. It's a rock record, and one with the power to time travel with its instruments intact: the electric guitar, the electric bass, and the drum kit.
This musical skeleton is sentient. It rattled and rolled us here only sixty years ago. We've danced with it. We've dissected it. Celestial Shore's rock, sometimes appended with words like "art" and "angular" (words that could describe all music), has actually wiggled every which way since birth. It starts and stops with both intention and abandon. Sometimes it's saying three things at once. Sometimes it's saying one. It sounds a lot like love.
Recorded in the band's Brooklyn hometown last winter and road-tested on tour with Deerhoof in the spring, Enter Ghost is out on Hometapes this Fall. It begs to scratch its name into every tree... in a forest planted by the Zombies, Hendrix, and the Pixies.
Oh, and "Gloria" isn't about a girl. It's about New York City.
The whispers about Celestial Shore's debut full-length, 10x, began with the release of the balmy I'm-so-done-with-you song "Valerie" on Stereogum earlier this year. Sound travels: the Brooklyn trio has joined Portland, OR-based label Hometapes (whose sonic family tree includes Bear In Heaven, Megafaun, Matthew E. White, All Tiny Creatures, and Pattern Is Movement) and 10x will be released September 3rd in partnership with Local Singles (the new label begun by Brad Oberhofer). In nine songs, Celestial Shore deconstructs city life, the history of pop music, and their own jazz educations into something both heartbreakingly raw and mystically timeless. In between the lines, the band exalts the vibrant scene they call home: the album was mixed by Deerhoof's Greg Saunier, includes Empress Of's Lorely Rodriguez on vocals, and features cover art by Prince Rama.