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Ever wonder where the groove went?

It enlisted in The Celebration Army. All of it.

The Celebration Army's music strongly harkens to the golden ages of classic rock and R n B (and even to a raw, dirty sort of funk that people tend to keep a naughty secret). Listen to songs like "Black Blue Jeans" and you'll experience a stylistic breadth that takes listeners all the way from frenetic rock to ingenious hooks to driving funk and back again. The Celebration Army grooves in a way that justifies excessive sweating, oddly moist lips, and ugly grimaces of musical hypnosis. Better yet, they give reviewers a chance to write things that would normally be too vague for publication: Troy Larabie lays it down with insanely tight drum work that is also delicious and crispy; Leandro Motta's bass playing is a massive, slippery eel of funk that somehow sounds right at home in a band that is not really a funk band. But it's always better to be specific: Oliver Pigott's powerful and technically stunning voice comes as a great sonic relief in a rock epoch typified by indie singers whose style is best described as vocal ennui; Nelson Sobral's guitar work is a masterclass not only in playing with artful restraint but also in tone craft, he is never pretentious but pulls out every sweet, warm overdrive tone that has ever existed.

 Matthew James
(written by)

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