Posts Tagged ‘A Place to Bury Strangers’

A Place To Bury Strangers announce ‘Hologram: Destroyed & Disassembled,’ a Record Store Day Black Friday exclusive out 26th November 26th on Dedstrange. Their Hologram EP is deconstructed and expanded into a 13-track album featuring mind-altering remixes by Daniel Fox of Girl Band, Penelope Isles, Do Nothing, BODEGA, Weeping Icon, Ganser, Grimoose, The Bodies Obtained, bandmates Ceremony East Coast plus Dedstrange label mates Jealous, Data Animal, Plattenbau, and Randy Randall of No Age. Vinyl will be available at your local record store on Black Friday. Visit www.recordstoreday.com for more details.

They’re also sharing a new music video for ‘Playing the Part’ directed by Heather Bickford to celebrate the vinyl release of Hologram.

As noisy as they can be, there’s true prettiness in the APTBS sound. Sometimes it’s buried in the hypnotic mixes, and sometimes, it’s right there on the surface. ‘Playing The Part’ is one of the most winsome things the group has ever recorded — it’s got a glorious guitar tone, an active, melodic bass line, and a graceful vocal from Ackermann that could legitimately be called sweet. Director Heather Bickford has matched the song with a video that underscores its beauty, and its strangeness, too. Bickford, who also stars in the clip, shoots Ackermann in a historic house in Flagstaff, Arizona that looks like something out of a reverie: there’s antique wallpaper, stained glass windows, curio cabinets stuffed with bone china, landscape paintings in gilded frames, and velvet drapes over the bed. Microphone in hand, thoroughly bewitched, animated by the enchantment of his surroundings, Ackermann slips into a dream.

Bickford elaborates: “‘Playing the Part’ was shot in Flagstaff, Arizona, on Oliver’s birthday, while Ollie and I were on a little getaway last November. He had actually proposed to me the day before while we were at Zion National Park so we were in a dream-like state of mind. Shot in a historic home, the vintage decor and wallpaper provided the perfect backdrop for the video."

Watch ‘Playing The Part’ here:

A Place To Bury Strangers 2022 North American Tour Dates – Tickets on sale here

Wed. September 15 – New York, NY @ Bowery Ballroom $
Mon. October 11 – New Orleans, LA @ Civic Theatre *
Tue. October 12 – Atlanta, GA @ Buckhead Theatre *
Wed. October 13 – Raleigh, NC @ Ritz *
Thur. October 14 – Washington, DC @ Anthem *
Fri. October 29 – Austin, TX @ Levitation Festival
Tue. February 1 – Philadelphia, PA @ Johnny Brenda’s #
Wed. February 2 – Montreal, QC @ Bar Le Ritz #
Fri. February 4 – Toronto, ON @ Lee’s Palace #
Sat. February 5 – Detroit, MI @ El Club #
Sun. February 6 – Chicago, IL @ Empty Bottle
Mon. February 7 – Milwaukee, WI @ Cactus Club #
Tue. February 8 – Minneapolis, MN @ First Ave. 7th Street Entry #
Fri. February 11 – Seattle, WA @ Neumos %
Sat. February 12 – Portland, OR @ Mississippi Studios %
Sun. February 13 – Vancouver, BC @ Rickshaw Theatre %
Tue. February 15 – San Francisco, CA @ The Chapel %
Wed. February 16 – Los Angeles, CA @ Teragram Ballroom %
Fri. February 18 – San Diego, CA @ Soda Bar %
Sat. February 19 – Tucson, AZ @ Hotel Congress %
Tue. February 22 – Denver, CO @  Larimer Lounge %
Wed. February 23 – Lawrence, KS @ The Bottleneck %
Fri. February 25 – Nashville, TN @ The High Watt %

* with Future Islands
$ with Maxband & Wah Together
# with Glove
% with TV Priest

A Place To Bury Strangers 2022 European Tour Dates – Tickets on sale now

Wed 09 March – Hafenklang – Hamburg, Germany  

Thu 10 March – Beatpol – Dresden, Germany

Fri 11 March – Klub Poglos – Warsaw, Poland

Sat 12 March – Futurum – Prague, Czech Republic
Sun 13 March – Randal Club – Bratislava, Slovakia

Mon 14 March – Durer Kert – Budapest, Hungary

Wed 16 March – Control Club – Bucharest, Romania

Thu 17 March – Mixtape5 – Sofia, Bulgaria
Fri 18 March – Eightball – Thessaloniki, Greece

Sat 19 March – Temple – Athens, Greece
Mon 21 March – 25th of May Hall – Skopje, Macedonia

Tue 22 March – Club Drugstore – Belgrade, Serbia

Thu 24 March – Mochvara – Zagreb, Croatia
Fri 25 March – Freakout Club – Bologna, Italy

Sat 26 March – Largo – Rome, Italy
Sun 27 March – Legend Club – Milan, Italy

Tue 29 March – Bogen F – Zurich, Switzeralnd
Wed 30 March – Backstage – Munich, Germany

Thu 31 March – Caves Du Memoir – Martigny, Switzeralnd

Fri 01 April – La Trabendo – Paris, France
Sat 02 April – Lafayette – London, UK
Mon 04 April – Kayka – Antwerp, Belgium
Tue 05 April – Gleis 22 – Munster, Germany
Wed 06 April – Melkweg – Amsterdam, Netherlands

Thu 07 April – Vera- Groningen, Netherlands
Sat 09 April – Hus 7 – Stockholm, Sweden
Sun 10 April – John Dee – Oslo, Norway
Mon 11 April – Pumpehuset – Copenhagen, Denmark

Tue 12 April Hole 44 – Berlin, Germany
Wed 13 April – MTC – Cologne, Germany

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Cold Transmission Music – 6th August 2021

Christopher Nosnibor

Sometimes, an album grabs you in just a matter of bars: The Cold Field’s Hollows is one of those rare records. Instinctively, the swathes of glacial synth draped over insistent, crisp and dominant drumming and paired with brittle, fractal guitars are pure Disintegration. So then it all cam down to the question of the vocals: would they spoil it? It’s a common thing, especially with goth bands. Musically, it’s on-point, but then there’s some bozo who can’t carry a tune in a bucket comes on like a cross between a baritone Morrissey and Kermit and ruins it. Not so here: Cold Field’s vocals are low in the mix and heavily processed, adding to the atmosphere and the mood, and it’s more Seventeen Seconds in terms of mix and it works so well.

As the press release details, ‘Conceived when hospitalized, songwriter and producer Ian Messenger wrote and produced a prolific forty-odd dark-minded songs the following year, of which ten were chosen for Hollows… Depressive themes of gloom and emptiness pervade the album but there is also a triumph against the darkness, a fist-waving into the void, and intimacy along with detachment.’

Drum machines and reverb are, I’ve found, the most precise routes to articulating darkness and detachment. It’s all in the way the drum machine strips away the human heart from the sound and the process, and reverb creates distance and separation. While most rock / metal-leaning genres shun drum machines (with notable exceptions including Big Black, Metal Urbain, Pitch Shifter and Godflesh, who harnessed the potential for immense power and relentless drive through sequenced beats), goth has embraced and run with it thanks largely to the way The Sisters of Mercy and The March Violets really took a grasp on how a tight bass welded to a mechanical rhythm has an effect that’s more or less hardwired. You don’t choose to dig this – it hooks you and becomes your life.

Hollows is faultless not only in its absorption and assimilation, but in its quality of songcrafting and performance.

‘Endless Ending’ ratchets up the mechanized bleakness, a full-on gonzoid goth groove, the guitars and synths blur together in an FX-laden wash while the bass drives hard against that non-stop, full-free rhythm that just thumps away hard. ‘Beauty—Expired’ is a bleak barnstormer, melding The Jesus and Mary Chain’s overloading guitars with the rockist tendencies of James Ray’s Gangwar with the psychedelia of A Place to Bury Strangers.

‘You Walk Away’ is more overtly electro, more New Order, but then again, with the heavy twang of a reverby guitar and blank monotone vocal, it’s Movement that it references above anything else, meaning it’s stark, bleak, and strangely affecting. It’s perhaps hard to explain without some sort of context or background, or a priori knowledge. You’re either in the headspace, or you’re not, but if you are, the you’ll know. And this speaks to that space, whether it’s comfortable or not.

The final track, ‘Into the Light’ stands out for its buoyancy, and the nagging guitar break again leans heavily on New Order – specifically ‘Ceremony’. But when executed with such panache, there’s no way to criticise this or any aspect of Hollows. It may be 2021, but this is an album that belongs to the early 80s. and in its mood, its atmosphere, its production, Hollows absolutely nails it.

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Dedstrange Records – 16th July 2021

Christopher Nosnibor

It’s been a while since we last heard from New York’s purveyors of treble-blasting psychedelic post-punk noise – they slipped album number five, Pinned out back in the spring of 2018, since when they’ve been relatively quiet. Not that one of the contenders for the ‘loudest band in the world’ tag ever do quiet, in terms of volume of output, with an EP and self-released single in 2019.

The Hologram EP is the first release with a new lineup, whereby core member Oliver Ackermann is joined by John Fedowitz (bass) and Sandra Fedowitz (drums) of Ceremony East Coast, and comes from a difficult place at a difficult time, ‘with songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in’, details the press release. The tone is pretty apocalyptic: ‘Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.’

And if Pinned was perhaps their most overtly 80s-sounding release, Hologram pushes the experimentalism that began to become pronounced from Transfixiation while amalgamating all of the elements that have featured across their career to date.

Previous singles ‘End of the Night’ and ‘I Might Have’ provide the opening salvoes: the former’s murky percussion-driven blast of noise is a bassy, booming, raw slice of fucked up psychedelia. Everything is warped, melting, overloading, like MBV covering The Monkees, and the latter being pretty much classic APTBS, a blur of three-chord rock ‘n’ roll riffing – the Jesus and Mary Chain as filtered through Black Rebel Motorcycle Club – minus any desire for even the slightest hint of polish.

‘Playing the Part’ is short, a melodic indie jangle with a light, easy melody and a melancholy that belies the breeziness as it emanates from the frayed edges. ‘In My Hive’ revisits the form of ‘Now It’s Over’ from Transfixiation, only it goes somewhere else – and if Transfixiation pushed the boundaries of songs that felt incomplete, fragmentary, as if the structures are only partial and prone to cracking and splintering apart as they go, then the Hive is being used as a piñata by some crazed maniacs, and all the while the insistent beat hammers away like a palpating heart in the midst of a panic attack.  

Things gets slower and dreamier with the slow-unfurling shoegaze wisps of closer ‘I Need You’. With a Cure-like wistfulness, it’s again familiar territory, particularly in context of Pinned, but also songs like ‘Dissolved’ from Worship. Where this differs, again, is in the production: the brutal shards of feedback still swirl and soak the bass and vocals and at times almost bury the sparse drums, but whereas before the EQ was geared toward the top-end and walls of ear-splitting treble, there’s a lot of mid- and lower-range present here, which creates a more subdued and less attacking sound.

As with everything APTBS do, it sounds distinctively like ABPTBS, but once again, sounds and feels different, and the mood on Hologram is as much the departure as any aspect of the songwriting or sound itself. Whereas there has historically been a sense of obliterative catharsis about the shattering noise that defines their catalogue, Hologram feels darker and more introspective, and it feels fitting.

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A Place To Bury Strangers share new single/video ‘I Might Have’ from their forthcoming Hologram EP out 16 July on founding member Oliver Ackermann’s label Dedstrange. Following lead single End Of The Night‘, ‘I Might Have’ is a fuzz-soaked sonic disaster in the best possible way. Past reflections collide with the brutality of a disintegrating world, stories of personal trauma, acceptance, and human failings emerge from the rubble of noise and destitute motorik rhythms. This is A Place To Bury Strangers at its most honest and unfiltered. Hologram serves as an abstract mirror to the moment we live in and ‘I Might Have’ smashes that mirror into a thousand pieces.

‘I Might Have’ is about the insecurities of life and growing up and when you just have to turn around and say ‘F*ck it,’” says Ackermann. “Life sucks so we may as well have a good time.” The accompanying video visualizes this mentality as it shows the band raucously hanging out together in New York City.

Watch the video here:

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A Place To Bury Strangers 2022 Tour Dates – Tickets on sale NOW

Wed 09 March – Hafenklang – Hamburg, Germany  

Thu 10 March – Beatpol – Dresden, Germany

Fri 11 March – Klub Poglos – Warsaw, Poland

Sat 12 March – Futurum – Prague, Czech Republic
Sun 13 March – Randal Club – Bratislava, Slovakia

Mon 14 March – Durer Kert – Budapest, Hungary

Wed 16 March – Control Club – Bucharest, Romania

Thu 17 March – Mixtape5 – Sofia, Bulgaria
Fri 18 March – Eightball – Thessaloniki, Greece

Sat 19 March – Temple – Athens, Greece
Mon 21 March – 25th of May Hall – Skopje, Macedonia

Tue 22 March – Club Drugstore – Belgrade, Serbia

Thu 24 March – Mochvara – Zagreb, Croatia
Fri 25 March – Freakout Club – Bologna, Italy

Sat 26 March – Largo – Rome, Italy
Sun 27 March – Legend Club – Milan, Italy

Tue 29 March – Bogen F – Zurich, Switzeralnd
Wed 30 March – Backstage – Munich, Germany

Thu 31 March – Caves Du Memoir – Martigny, Switzeralnd

Fri 01 April – La Trabendo – Paris, France
Sat 02 April – Lafayette – London, UK
Mon 04 April – Kayka – Antwerp, Belgium
Tue 05 April – Gleis 22 – Munster, Germany
Wed 06 April – Melkweg – Amsterdam, Netherlands

Thu 07 April – Vera- Groningen, Netherlands
Sat 09 April – Hus 7 – Stockholm, Sweden
Sun 10 April – John Dee – Oslo, Norway
Mon 11 April – Pumpehuset – Copenhagen, Denmark

Tue 12 April Hole 44 – Berlin, Germany
Wed 13 April – MTC – Cologne, Germany

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16th November 2018

Christopher Nosnibor

The latest offering from gothy New York duo GHXST is appropriately titled. That said, ‘gloom’ carries connotations of moping, listlessness, and the six tracks here are anything but mopey or listless: the downcast, foreboding bleakness of atmosphere is matched by a crackling tension which provides a more complex dynamic.

It begins with a dark pulsating throb and a heartbeat bass drum, distant, buried. Guitar excess howls over the top before settling to a dirge-like crawl of spindly, echo-soaked twang reminiscent of latter-day Earth with hints of Neurosis-inspired post-metal. Shelly X croons and whispers, a combination of ethereal longing and menace as shoegazey washes of sound carry her disembodied voice through the clouds towards the stratosphere.

‘Ocean is a Desert’ is still atmospheric, and combines searing country an psychedelia into the mix to create something epic and immersive Moreover, it brings a greater sense of solidity and a more obvious structure as they start getting riffy and the mechanised drums kick through the murk, and things grow denser still on ‘Vaquero’, which invites comparisons to Chelsea Wolfe and Esben and the Witch at their most sonically dynamic with its brooding drama.

Samples and strings and quivering synths pave the way for the 80s-shaded synth-goth of ‘Bad Blood II’, a chilly, steely grey song that’s both graceful and tense and calls to mind Curve at their best. Single cut ride is dark and dense, taking cues from The Jesus and Mary Chain’s ‘Mushroom’ and offering hints of A Place to Bury Strangers to deliver a deep, dark buzzing throb of mid-tempo droning guitar noise, before ‘Ride’, unveiled in advance of the release, is a gritty, grainy, mess of low-slung low-end riffage swamped in reverb and dirty distortion. And that’s the appeal of GHXST right there. Music to get lost in and to drag you down into the undertow of those dark, deep currents.

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GHXST - Gloom

Warren Records – 16th December 2016

Christopher Nosnibor

Throw together MBV, A Place to Bury Strangers and Nirvana and you’d probably get Lumer. ‘Futile’ is a blistering scuzzed-out grunge racket built around a ribcage-rattling bassline. A howl of angst with FX-heavy guitars amped up to eleven, it’s all over just three minutes. Short and to the point, it’s a real adrenaline shock. What more do you need? Keep it stormy. Keep it chopped out. Well futile.