A Place To Bury Strangers – ‘Synthesizer’ album review: noisy, energetic, and anything but perfect
THE SKINNY: For a long while, music and technology worked in tandem, but the moment it crossed over into artificiality and threatened the integrity of the art, ambivalence crept in. Suddenly, everything that was authentic was praised, and the synthetic aspects of technological advancements became a ridiculed entity. A Place To Bury Strangers has always existed at the odd intersection between now and then, but even in their most digitally embracing moments, it’s all about celebrating the basics.
“It’s pretty messed up, chaotic,” said Oliver Ackermann of Synthesizer, “But it feels really human.” To describe the latest record as “real” wouldn’t be too distant from what it actually represents—the album itself is made up of a circuit board that can be used to build the instrument, symbolising the interactive nature of art that refocuses creativity by looking back at the successes of the past. Within its walls, noise and energy escape with the fervour of a late-night improvised jam, jarring in its desire to disrupt anything resembling perfect—but that’s the entire point.
Writing from instincts without compromising on resonance, Ackermann prioritised the basics of creativity and collaborating in a communal setting to end on something that felt completely raw and as far away from modern tech efficiency as possible. Borne out of the early 2000s New York rock scene and billed by many as the “loudest band in New York”, this new record blends their early associations with extreme noise and accessible, melodic hooks, culminating in a fresh and intense explosion of sounds.
Besides the intriguing sonic developments, Synthesizer proves the band’s ability to transform everyday musings and difficulties into art. Paranoia, anxiety, disillusionment, and the desire to throw out the rulebook align well with the disordered arrangements. It’s cataclysmic in execution but wrapped in a broader sense of accomplishment that can only be delivered by a band that truly knows what—and who—it is up against.
For fans of: The phrase, “They don’t make ’em like that anymore.”
A concluding comment from a banker: “This sounds exactly like my morning commute. Turn it off.”
Synthesizer track by track:
Release date: October 4th | Producer: Oliver Ackermann | Label: Dedstrange
‘Disgust’: Exploding like a hurricane bursting through your door, ‘Disgust’ takes the fun element of DIY a step further by appearing entirely instinctual and technically proficient in its minimalism. [3/5]
‘Don’t Be Sorry’: With an intro riff guaranteed to gear up an entire room of fans, ‘Don’t Be Sorry’ exudes darkness straight from the underground scene with a heady dose of accessible modern indie-rock tropes. [3/5]
‘Fear Of Transformation’: In an effort to break free from the cage that occurs in the face of fear, ‘Fear of Transformation’ emerged as a direct response to paranoid stagnation. Blending gothic punk with industrial DIY, this track is one of the record’s standouts, distilling an aura of unsettling anxiety with the drive to stand up tall against life’s struggles. [4/5]
‘Join The Crowd’: With a steady beat and energetic build-up, ‘Join The Crowd’ simultaneously halts and guides, embodying the duality of genre convergence and a lack of overthinking. [3.5/5]
‘Bad Idea’: Erupting the only way that is expected from A Place To Bury Strangers, ‘Bad Idea’ celebrates spontaneous production to create an intriguing yet slightly jarring blend of noise that would appear daring for any other DIY rock outfit but somehow, this band layers it with meaning even when the lyrics themselves appear inaudible. [3/5]
‘You Got Me’: Another album standout, ‘You Got Me’ holds more heart than the accompanying tracks, the melody proving the band’s ability to inject catchy melodies even when the arrangements appear unforgiving in conjecture. [4/5]
‘It’s Too Much’: With jittery rhythms and techno lines throughout, ‘It’s Too Much’ erupts like a swirling haze of instrumentation, almost like the intoxicating nature of attending a club late at night when nothing appears clear except the whirl of neon and accompanying strobe lights. [3/5]
‘Plastic Future’: Within Synthesizer, there’s no place for respite, but the consistent energy keeps engagement high, with songs like ‘Plastic Future’ providing a necessary reminder of the enduring charm of creating from the heart. [3/5]
‘Have You Ever Been In Love’: With a more traditional rock edge, ‘Have You Ever Been In Love’ feels built for the stage, its guitar licks almost surging from the speaker and pulling you into its exciting realm of unsolicited affairs. [3/5]
‘Comfort Never Comes’: A slower and more contemplative affair, ‘Comfort Never Comes’ closes Synthesizer on a note of reflection, its more stripped-back nature providing space to breathe after a much-needed outbreak of musical adventure. [4.5/5]
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