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A PLACE TO BURY STRANGERS

A Place To Bury Strangers

See Through You

    A Place to Bury Strangers defund post-punk orthodoxy with the most audacious and varied songwriting of their career on their sixth album, See Through You' on Oliver Ackermann's label, Dedstrange. Following up on 2021"s highly acclaimed Hologram EP, the rebooted lineup' vocalist/guitarist Oliver Ackermann plus drummer/vocalist Sandra Fedowitz and bassist John Fedowitz (both of Ceremony East Coast)' delivers an overclocked set of futuristic electronic punk music encoded with punishing industrial rhythms, swirling voltage-starved guitars and unclassifiable auditory annihilation. Across thirteen tracks recorded in seclusion throughout the nihilistic absurdity of the coronavirus pandemic, See Through You is proof-positive that the group hailed as 'The Loudest Band in New York' is still finding new ways to push the needle deeper in the red.

    BIO:
    Fans all over the globe know: Oliver Ackermann always brings surprises. The singer and guitarist of New York City’s A Place To Bury Strangers has been delighting and astonishing his audience for close to two decades, combining post-punk, noise-rock, shoegaze, psychedelia, and avant-garde music in startling and unexpected ways. As the founder of Death By Audio, creator of signal-scrambling stomp boxes and visionary instrument effects, he’s exported that excitement and invention to other artists who plug into his gear and blow minds. In concert, A Place To Bury Strangers is nothing short of astounding — a shamanistic experience that bathes listeners in glorious sound, crazed left turns, transcendent vibrations, real-time experiments, brilliant breakthroughs.

    And just as many of his peers in the New York City underground seem to be slowing down and settling in, Ackermann’s creativity is accelerating. He’s launched a label of his own: Dedstrange, dedicated to advancing the work of sonic renegades worldwide. He’s also refreshed the group’s lineup, adding bassist John Fedowitz and drummer Sandra Fedowitz, and the band has never sounded more current, or more courageous, or more accessibly melodic. The Hologram EP is the first release from the new lineup — and the first on Dedstrange — and it’s no overstatement to say that the reaction has been ecstatic. Ghettoblaster wrote that the band’s racket outpaced everything to emerge from New York City in the past decade. Brooklyn Vegan praised Ackermann’s “terrific, emotive” singing, and lauded the group’s recent commitment to foregrounding its melodies and lyrics. Pitchfork, Flood, AllMusic: they’ve all lined up to call Hologram an example of the best work of a tireless band with a deep discography and an unquenchable drive to create challenging, unprecedented music. A Place To Bury Strangers release their highly anticipated sixth album See Through You February 4, 2022 on their newly formed label Dedstrange.


    TRACK LISTING

    Side A
    1. Nice Of You To Be There For Me
    2. I’m Hurt
    3. Let’s See Each Other
    4. So Low
    5. Dragged In A Hole
    6. Ringing Bells
    7. I Disappear (When You’re Near)
    Side B
    8. Anyone But You
    9. My Head Is Bleeding
    10. Broken
    11, Hold On Tight
    12. I Don’t Know How You Do It
    13. Love Reaches Out

    A Place To Bury Strangers

    Hologram - Destroyed & Reassembled (Remix Album) - Black Friday Edition

      AVAILABLE ONLINE ON SATURDAY NOVEMBER 27TH FROM 8AM.

      LIMITED TO ONE PER PERSON.


      Hologram: Destroyed & Reassembled White Vinyl LP will be an LP of Remixes of A Place To Bury Strangers upcoming EP Hologram.

      Featuring an awesome group of bands including Girl Band, Penelope Isles, Do Nothing, Bodega, Weeping Icon, Ganser, Ceremony East Coast, plus bands from our label including Randy Randall (No Age), Data Animal, Jealous, Plattenbau & more and two of our favorite remixers Grimoose & The Bodies Obtained.

      TRACK LISTING

      End Of The Night (Data Animal Remix)
      I Might Have (Plattenbau Remix)
      I Need You (Grimoose Remix)
      In My Hive (Ceremony East Coast Remix)
      End Of The Night (The Bodies Obtained Remix)
      In My Hive (Jealous Remix)
      End Of The Night (Daniel Fox/Girl Band Remix)
      Playing The Part (Penelope Isles Remix)
      I Might Have (Randy Randall Remix)
      Playing The Part (Bodgea Ben Remix)
      In My Hive (Do Nothing Remix)
      Playing The Part (Weeping Icon Remix)
      I Need You (Ganser Remix)

      A Place To Bury Strangers

      Hologram

        Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound. 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. 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.

        A Place To Bury Strangers

        Fuzz Club Session

          For over a decade Brooklyn’s A Place To Bury Strangers have been dealing in pure sonic destruction. Famously lauded as the loudest band in NYC, their thunderous noise-rock has seen them pick up a cult following and shatter many unsuspecting eardrums across the globe. With no release or live show similar to the last, APTBS have continually twisted their malevolent sonic assault into something not of this world. Following 2018s Pinned LP (Dead Oceans) the trio is back once again – this time with a live session LP on London-based imprint Fuzz Club. Whilst in London at the end of a European tour in support of Pinned, the band spent the day at Love Buzz Productions in South London to lay down a Fuzz Club Session, due for release February 15th as a vinyl exclusive alongside a collection of videos which will be released online.

          Raw, punishing and unpredictable, the LP – recorded live in one take - perfectly captures the APTBS ethos through-and-through and sees the unwavering intensity of their live show committed to wax like never before. “It’s good to record at the very end of the tour,” reflects Oliver Ackermann, the band’s vocalist/guitarist and founding member: “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” Some songs on the session may date back a decade but, true to the APTBS way, they’re totally reconfigured and pushed to their very limits.

          Spanning their lengthy back- catalogue, there are two tracks from Pinned (‘Never Coming Back’ and ‘Punch Back’), one from 2015’s Transfixiation (‘We’ve Come So Far’), one from 2012’s Onwards To The Wall (‘Drill It Up’), another from their 2007 S/T album (‘Ocean’) and a previously unreleased track (‘Chrome Shadow’). What makes this LP stand out is the way in which the live setting perfectly captures the band’s ability to work as a collaborative unit; every member feeding off one another, their tight-knit playing hardened by months on the road. Ackermann’s visceral guitars and FX pedal manipulations may be what defines the APTBS sound but just as integral on this LP is Dion Lunadon’s scuzzy, remorseless basslines and the primal percussion and snarling vocals of Lia Simone Braswell, who joined the band just last year. There aren’t many bands who can make deafening chaos sound so tight and meticulous but that’s just how APTBS roll. The Fuzz Club Session LP serves as a perfect indoctrination into the fuzzed-out world of A Place To Bury Strangers - taking you through a no-holds-barred tour of their discography whilst also offering a glimpse into the almost-hypnotic power of their live show. This is an album just as much for fuzz veterans as it is for the uninitiated. 

          TRACK LISTING

          1 We'Ve Come So Far
          2 Drill It Up
          3 Never Coming Back
          4 Punch Back
          5 Ocean
          6 Chrome Shadow

          A Place To Bury Strangers

          Pinned

            Try, if only for a moment, to envision a scenario in which you could still be completely *surprised* by a rock band. It’s not easy. In fact, it’s increasingly rare.

            A couple of years ago, A Place to Bury Strangers were in search of a new drummer. Lia Simone Braswell, an L.A. native, had recently moved to New York, and was playing drums in shows around Brooklyn "just to keep her chops up." As it turned out, APTBS bassist Dion Lunadon caught one of those shows and, after seeing her play, was moved to ask her if she’d want to come to a band practice sometime.

            "I told some of my friends about it before I met up with them," Braswell says, of the rehearsal that would soon lead to her joining the band. "They told me, 'You’re just gonna have to keep up as much as you possibly can.’"

            "To be fair, she had also never seen us live," Lunadon adds. "She didn’t necessarily know what she was getting into."

            What she was getting into: For well over a decade now, A Place to Bury Strangers-Lunadon, founding guitarist/singer Oliver Ackermann, and, officially, Braswell-have become well known for their unwavering commitment to unpredictable, often bewildering live shows, and total, some might say dangerous volume. They don’t write setlists. They frequently write new songs mid-set. They deliberately provoke and sabotage sound people in a variety of cruel yet innovative ways. They can and will always surprise you. "When something goes wrong on-stage, a lot of bands will crumble under the pressure," says Ackermann. "We like the idea of embracing the moment when things go wrong and turning it into the best thing about the show."

            This April marks the release of Pinned, their fifth full-length and an album that finds them converting difficult moments into some of their most urgent work to date. It’s their first since the 2016 election, and their first since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space where Ackerman lived, worked, and created with complete freedom. "After DBA closed, I moved to an apartment in Clinton Hill," he says. "I couldn’t make too much noise, couldn’t disturb my neighbors. I would just sit there and write with a drum machine. It had to be about writing a good song and not about being super, sonically loud."

            There are searing meditations on truth and government-led conspiracies ("Execution"), as well as haunting, harmonized responses to the tensions of our current political climate ("There’s Only One of Us"). It all opens with "Never Coming Back," a frightening crescendo of group vocals, vertiginous guitar work, and Lunadon’s unrelenting bass. "That song is a big concept," Ackermann says. "You make these decisions in your life…you’re contemplating whether or not this will be the end. You think of your mortality, those moments you could die and what that means. You’re thinking about that edge of the end, deciding whether or not it’s over. When you’re close to that edge, you could teeter over."

            It’s a clear and honest statement of intent, not just for everything that follows, but for this band as a whole. "As things go on, you don’t want them to be stagnant," Ackermann says. "Being a band for ten years, it’s hard to keep things moving forward. I see so many bands that have been around and they’re a weaker version of what they used to be. This band is anti-that. We try to push ourselves constantly, with the live shows and the recordings. We always want to get better. You’ve got to dig deep and take chances, and sometimes, I questioned that. It took really breaking through to make it work. I think we did that."

            They definitely did. 

            STAFF COMMENTS

            Barry says: Throbbing bass, snappy distorted vocals and churning, machinated minimal-wave vox and NIN-esque claustrophobic ambience, all held withing a solid and impenetrable shell of gnarly, saturated guitars. Superb.

            TRACK LISTING

            Single CD/LP
            Never Coming Back
            Execution
            There’s Only One Of Us
            Situations Changes
            Too Tough To Kill
            Frustrated Operator
            Look Me In The Eye
            Was It Electric
            I Know I’ve Done Bad Things
            Act Your Age
            Attitude
            Keep Moving On

            Double CD/LP

            Never Coming Back
            Execution
            There’s Only One Of Us
            Situations Changes
            Too Tough To Kill
            Frustrated Operator
            Look Me In The Eye
            Was It Electric
            I Know I’ve Done Bad Things
            Act Your Age
            Attitude
            Keep Moving On
            When You’re Alone
            The World Dies
            She Goes Out With The Devil
            Flickering Fly
            Punch Back
            Delusion Of Time
            Now That You’ve Left It All
            I Will Follow You

            A Place To Bury Strangers

            Worship

              A Place To Bury Strangers’ new album is explosive, visceral, and dark.

              Coming off the back of their hugely well received ‘Onwards To The Wall’ EP (their first release for new label Dead Oceans), this is the album that they have been promising and hinting at on their previous two.

              More dynamic, more honest, more brutal and more melodic.

              A Place To Bury Strangers

              Onwards To The Wall

                ‘Onwards To The Wall’ packs every bit of the searing sonic maelstrom listeners have come to expect from A Place To Bury Strangers. Yet, the adroit songcraft that’s always been there is brought more the fore, pop hooks are repurposed and more instantly recognizable.

                Now joined by bassist Dion Lunadon, formerly of The D4, in whom the band have found a crucial companion in pulling timeless melodies from their jet engine textures.

                Standout ‘So Far Away’ takes all the pure pop perfection of The Box Tops’ ‘The Letter’ and shoots it through with a barely-harnessed dark energy and snarling propulsion. The title track carries a similar balance of classic, 60s pop hooks and doomed-out vibes, employing a boy-girl vocal trade off that’s at once both sexy and menacing.

                A handful of contemporary bands are currently exploring the new limits of loud. And here, A Place To Bury Strangers prove that they have not only been leading that charge for some time now, but that they are also evolving and maturing on those front lines.

                ‘Onwards To The Wall’ is a fresh, complete artistic statement. It’s a new chapter, a prelude for what awaits on the horizon. It is a taste of greatness to come.


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