by Joseph Mastel
The terms ‘legends’ or ‘legendary’ get thrown around often nowadays, almost to the point where the term has lost some meaning. It is a word that some people practically use in their daily vocabulary. However, A Place To Bury Strangers are indeed legends (and are very worthy of the title) in the noisy post-punk and shoegaze scenes. Ever since forming they have developed a reputation from fans and critics alike for their extremely loud and intense live shows. Their records live up to this reputation with many of them, especially Exploding Head, receiving critical acclaim.
A Place To Bury Strangers’ - currently consisting of Oliver Ackermann, John Fedowitz, and Sandra Fedowitz - nail everything from top to bottom “to a tee” on their latest album, Synthesizer. With an insistence to continually experiment, a wide-ranging combination of styles, mesmerizing vocals, louder-than-hell guitars, and mayhem-filled atmospheres, the record continues to show why APTBS remain one of the best. Album opener “Disgust” is a fantastic combination of noise rock, synth-pop, and punk. Harsh guitars screech and howl as if they are in agonizing pain. There is just something so appealing about the wild, weird, and frantic energy of this song, that continues throughout the entire record.
“Don’t Be Sorry” doesn’t waste a second, the highlight coming in the form of the bass, which drips with flavor. A Place To Bury Strangers prove that sometimes less is more because it would not have the same impact if they tried pushing this track to be extended lengths. An ominous, eerie, Gothic-like synth opens “Fear of Transformation,” giving it an 80s horror movie vibe. The gnarly combination of techno with punk is super satisfying. The song gets blasted into oblivion once the thunderous guitar riffs come into play. Featuring some of the best songwriting on the album, the lyrics paint a bright and vivid picture of the struggle to face our fears.
“Join The Crowd” mixes the roughness of industrial rock and post-punk with club and disco sensibilities with ease. It takes a much more minimalistic approach compared to the rest of the album. Reminiscent of The Downward Spiral and Broken era Nine Inch Nails, the steady, rough drumbeat and simplistic yet incredibly invigorating guitar chords are dynamite. A Place To Bury Strangers show that a simple guitar line can be just as badass as a super technical or elaborate one. If you love songs that ‘go all in,’ “Bad Idea” is the track for you. The trio dial up the intensity and volume of the instrumentation to 100%, the results super heavy, messy, explosive, and wildly thrilling. With no time to breathe, the song starts by bombarding the listener with chaos, an eruption of overpowering noise, and an aggressive atmosphere. The drums are ferocious and powerful and the guitars howl out of control. Noise rock does not get much more extreme than this.
Crank up the volume as loud as possible for the super intoxicating “You Got Me,” the record’s most accessible song. Among the album’s best, the track features one of the year’s greatest guitar riffs, catchy and demanding repeat listens. Ackermann’s vocals are magnificent, with so much emotion and passion. It has a very gorgeous and beautiful atmosphere to it as well. Lyrically, it manages to be bleak and heartwarming, often simultaneously, destined to become an instant favorite at live shows.
“It’s Too Much” feels like an acid trip as Ackermann’s vocals have a bit of a psychedelic edge and the instrumentation seems to be heavily influenced by classic shoegaze. A Place To Bury Strangers shows off their versatility here, offering a different vibe from the rest of the album. “Plastic Future” on the other hand takes a complete 180. Imagine APTBS meets New Order meets Joy Division meets David Bowie, and you would end up with this track. It sounds like a delightfully exciting time, doesn’t it? The vibe makes it feel like it would be the perfect song to tear up the dance floor.
The album closer “Comfort Never Comes” is the best of both worlds. At times it can be pretty peaceful, stunning and ethereal sounding. Other times, it can be deafening and frenzied. Even at nearly eight minutes, it never overstays its welcome, primarily due to the consistent pace throughout the runtime. Synthesizer is a near-perfect display, without a single dud in sight.