Synthesizer by A Place to Bury Strangers: Album Review
Synthesizer by A Place to Bury Strangers: Album Review
NYC’s A Place to Bury Strangers just released their seventh album, Synthesizer, and how lucky our ears are to hear its beautiful noise. Despite their notoriety as a loud, guitar-driven band — they put the power into power trio — they’ve never shied away from electronics. Synthesizer finally gives the instrument its props for its contribution to the band’s sonic assault. In fact, the vinyl album cover is actually a working DIY synthesizer. DO try this at home, kids.
Synthesizer finally gives the instrument its props for its contribution to the band’s sonic assault.
The band has always worn their post-punk influences on their sleeves. Notable patches on said sleeves include the Jesus and Mary Chain, Brian Jonestown Massacre, and even New Order — with their melodic bass lines and affectless vocal delivery — but with Synthesizer and the previous See Through You, they have established a sound of their own that will undoubtedly influence some Gen Alpha kids starting their bands 10 years from now.
The success of these back-to-back albums owes as much to the return of husband and wife bassist John and drummer Sandra Fedowitz as it does to longstanding frontman Oliver Ackermann’s maturation as a songwriter. The rhythm section anchors the chaotic blast of Ackermann’s guitar work. That they’re married seems to strengthen their bond as a rhythm section. Their interpersonal chemistry carries over to their rhythmic chemistry, which is foundational to the album.
Synthesizer explodes out of the gate with opener “Disgust.” The squall of the guitar bombards you from all sides, a freight train carrying a cargo of barely controlled chaos, pummeling you relentlessly. Even though it feels like it’s going to head off
The rhythm section anchors the chaotic blast of Ackermann’s guitar work.
the rails at any moment, the skinny jeans tight rhythm section pulls the song back in. And the false ending midway through the song barely gives you a second to breathe in.
“Fear of Transformation” stands out the most on a lean, filler-free album. Picture director/composer John Carpenter showing up at a Suicide gig at CBGBs, where he gets invited to party backstage after the show. One thing leads to another, then 9 months later, this song springs forth, their beautiful bastard love child.
Ebru Yildiz
“Have You Ever Been in Love,” a song written by the whole band, channels the reverb-driven, feedback-drenched Beach Boys sound of the early Jesus and Mary Chain layered with Ringo Deathstarr-like backing vocals from Sandra Fedowitz. A Place to Bury Strangers is no stranger to female vocals, so hopefully we can hear more of her voice in the future.
Epic album closer “Comfort Never Comes” sounds like Ackermann brought a surf guitar to a spaghetti western soundtrack. Beginning with the cacophony of the opening cut, the rhythm section put up a heroic fight reining in Ackermann’s guitar. The album finally comes off the hinges in the outro, the Fedowitzes finally abandoning their duty, seconds before the song ends.
The album is due out October 4, 2024, on the band’s Dedstrange label. Get it!
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