A PLACE TO BURY STRANGERS
BROOKLYN BAND ANNOUNCE LIVE RECORD + AUS/NZ TOUR
SHARE FIRST VIDEO FROM FUZZ CLUB SESSION LP: WATCH ‘PUNCH BACK’ HERE
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 are 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 Lovebuzz Studio 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. To announce the release, APTBS are now sharing the first video from the session – the first taste of what’s to come on the Brooklyn bands Fuzz Club Session comies in the shape of the snarling garage-y noise-rock of ‘Punch Back’.
“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.
PRAISE FOR APTBS
“The most ear-shatteringly loud garage/shoegaze
band you’ll ever hear” The Washington Post
“Setting tinnitus-inducing noise-pop against a tension-wracked
Joy Division-meets-Ministry backdrop, this Brooklyn trio
drenches lovesick indie pop in sheets of
deafening static and distortion.” Pitchfork
AUSTRALIAN & NZ TOUR-DATES
Thur February 28 – Melbourne – Cherry Bar
Fri March 1 – Adelaide – Crown & Anchor
Sat March 2 – Wollongong – Farmer & The Owl Festival
Sun March 3 – Sydney – The Lansdowne
Thur March 7 – Auckland – Hollywood Theatre
Friday March 8 – Wellington – Meow
THIS IS NOT THE END
When Oslo’s Spielbergs brought their debut single We Are All Going To Die to the world in February this year, their impact was immediate. It was a rallying cry, an urgent and insistent examination of mortality that instantly exploded through the rafters and shot for the sky. It was a track that united rock and indie fans and writers the world over, topping the Hype Machine as most blogged about band in the world, making Lamacq’s Livener on BBC 6 Music and cementing the band as ones to keep a very close eye on going forward.
However, along with the many plaudits that the debut EP Distant Star received, one question usually followed; how do you follow-up a statement like that? Where some see a hill to climb, others see the weight as a gift, and if there’s one thing Spielbergs are never short on it is ideas. With its strength in immediacy, boldness in anthemia, and trademark Spielbergs when-are-the-wheels-going-to-fall-off intensity, This Is Not The End sets its stall out as an album that wrestles despondency, anxiety and hope, broadcasting their talent for melody and emotionally wrought song writing clearer than ever.
In spite of how things play out thematically, there’s a certain warmth that is hard to extinguish when three life-long friends are creating music they love together. As a result, listening to Spielbergs is like picking up that classic record that you and your friends bonded over as teenagers. They have that rare skill of finding a way to channel their own life story – through a thick wall of guitars and feedback – into something that makes you pine for the past, but gives you the strength to stare down your future. It’s the feeling of freedom gained from confronting harsh realities with the knowledge that better days are ahead.
In amongst the sludgy despondency of Five On It, the lets-skip-town triumphism of Distant Star, the bruising march of We Are All Going To Die, and the giddy 4AM, tracks such as Familiar and McDonald’s (Please Don’t Fuck Up My Order) offer some thoughtful respite, showing the band as far more than simply upstarts.
As the final chord rings out on Forevermore’s attacking climax, there’s the sense of a story coming to an end. The truth is, This Is Not The End is merely the opening chapter. As far as introductions go, This Is Not The End is a handshake that threatens to either turn into a hug, or tear your arm off completely. For Spielbergs, it’s a line they are happy to tread again and again.
Spielbergs embark on a headline tour of the UK in Feb 2019
Previous press for Spielbergs:
“Big, heart-on-sleeve guitar-rock with a go-for-broke anthemic intensity… will have you either tearing up, punching the sky, or both.” – Stereogum – Band To Watch
“Pummelling yet melodic guitars batter you round the heart with nary a pause for breath… Full of huge, lung-busting, shouting-into-the-wind vocals and relentless drums, guitars and everything else, they show little concern for restraint.” – DIY
“It offers the kind of swaggering, punch-drunk escapism we used to spend all our time wishing for in our teenage years, while making it feel utterly achievable even now we’re much older and far more cynical.” – Gold Flake Paint
“A roller coaster ride of rollicking riffs, descending and ascending with a luminous fury and friskiness, before delivering us back home again safe and sound, but breathless.” – The 405 – Song Of The Day
“Your new favourite band.” – Kerrang!
“Guitars drill down at all angles, while the pummelling percussion sounds like a cement mixer trying to chew up a steel beam.” – CLASH
“‘We Are All Going To Die’ is the perfect introduction to the trio – with clattering rhythms and razor-sharp riffs combining for a devastating listen.” – NME – Emerging Artist Of The Week
“Harnessing the sun-kissed escapism of road-trip-rock acts like Japandroids and Cloud Nothings, their pessimistic streak is cast aside be searing riffs and an urgency most lo-fi groups could do well to glean from.” – AnotherMan
“One of the most exciting bands of 2018.” – The Independent
Cambridge’s highly regarded band The Scissors return with a brand new album replete with their signature swirling keyboard-fuelled psych-pop,horrorshow freakbeat guitars and new wave post-punk basslines. Titled “Look Good In Cheap Clothes” the 7th December release shows a real development from its popular predecessor “Haunted Mirror”. With a dazzling mix of garage punk, otherworldly pop, and some new explorations the band demonstrate a significant shift in their sound whilst retaining the core of their alternative take on music.
“Swirling keyboard-fuelled psychpop with horrorshow freakbeat guitars and new wave post-punk basslines.”
Release date 23 November 2018
A new album from Attila the Stockbroker is always something to get excited about, and Restoration Tragedy looks like being something a bit special.
“Growing up and living in Southwick, the port town of Shoreham Harbour in West Sussex, I’ve spent my life next door to the site of a pivotal moment in English history. After his defeat at the Battle of Worcester in 1651, Charles II travelled south in disguise, chased by the New Model Army, and ended up at Shoreham Port, sneaking off to France in a coal boat called Surprise from a spot 400 yards from where our house now stands. I’ve always been interested in the history of the English Civil War and its aftermath and like many locals been aware of the story. Completely coincidentally, I’ve always loved early music, have taught myself to play many ancient instruments and believed those simple sounds could be harnessed to the energy of punk in the same kind of way that The Pogues combined Irish music and punk.
“Last October, I suddenly had an idea. I’d write a whole album about the English Revolution, the Commonwealth, the Levellers, Diggers and Ranters (the radical sects whose ideas spread like wildfire after the execution of Charles I in 1649) and the part my home port played in Charles II’s escape. I’d do so from exactly the opposite perspective to that of the local Cavaliers who celebrate the latter with a music festival called The Great Escape, a (now closed) music venue called the Escape Club and a Royal Escape Yacht Race! And I’d use many of the instruments and musical ideas that were around at the time.
“In 1660, after the Restoration, the Act of Oblivion was passed, and everyone was supposed to forget about those eleven years when ‘the world turned upside down’. But down the centuries many have remembered, the ‘Good Old Cause’ of the Commonwealth has been an inspiration to many subsequent radical movements, and in recent years interest in the period has if anything increased. So here is the story of 1649 and its aftermath as seen from the perspective of a modern day Ranter (I have been a ranting poet since 1980, as many will know) and my band, playing Roundhead Renaissancecore and celebrating a period which the rich and powerful have always tried to wipe from history.”
Attila The Stockbroker is a performance poet and musician of 38 years standing, making his live debut in Harlow, Essex in 1980, since when he has done over 3,000 gigs in 24 countries, including pioneering performances in East Germany and Albania, and published 8 poetry collections and over 20 albums. He is a long term ally and collaborator with R*E*P*E*A*T, having released a split single ‘Baghdad Ska’ with the label on white vinyl back in 2004 (look here). He relaunched his band as Barnstormer 1649 in 2018, also featuring Tim O’Tay, MM MgGhee, Jason Pegg and Dave Cook. He is a lifelong Brighton & Hove Albion supporter and his acclaimed autobiography Arguments Yard (35 years of Ranting Verse and Thrash Mandola) was published by Cherry Red Books in 2015, see R*E*P*E*A*T review here
NOTE: This album is available on CD and vinyl only, and not download. The lyrics and the historical references explained on the record sleeve and in the CD booklet are such an essential part of the whole that Attila didn’t want people to have the music without the words and pictures!
Available from http://www.attilathestockbroker.com/merch.php and gigs – nowhere else!
Spanish indie rockers Hinds head out on their biggest UK tour yet this November, arriving at Cardiff’s Tramshed on the 14th and the Junction in Cambridge on 20th
Their highly anticipated sophomore album ‘I Don’t Run’ was released back in April, showcasing a bigger, better, faster, funnier and more dexterous side of Hinds; and last week the girls dropped their first new music since the album, ‘British Mind’ the video for which you can see here.
ANNOUNCE WINTER UK TOUR DATES
NEW ALBUM “I DON’T RUN” OUT NOW
After releasing their highly anticipated sophomore album I Don’t Run in April, HINDS head out on their Autumn 2018 UK tour this November.
With 17 shows in the UK this will be the band’s longest and largest UK tour to-date, and it will include a special one day Hinds’ curated mini-festival at London’s 1,500 capactiy Hackney Arts Centre on Saturday 1st December.
I Don’t Run was released on April 6 via Lucky Number and showcased a bigger, better, faster, funnier, more dexterous Hinds. Co-produced by Hinds and Gordon Raphael (The Strokes, Regina Spektor), and engineered by Shawn Everett (Alabama Shakes, The War On Drugs, John Legend), it is the product of a band fighting for their place, a band unwilling to rely upon their successes, a band who have just begun to prove themselves, and a band who plays hard but works even harder.
UK Tour Dates tickets HERE
12/11 Portsmouth, UK Wedgewood Rooms
13/11 Manchester, UK Manchester Academy 2
14/11 Cardiff, UK The Tramshed
16/11 Liverpool, UK Arts Club
17/11 Birmingham, UK The Mill
19/11 Oxford, UK The Bullingdon Arms
20/11 Cambridge, UK The Junction
21/11 Southampton, UK Engine Rooms
23/11 Tunbridge Wells, UK The Forum
24/11 Leicester, UK Dryden Street Social
25/11 Nottingham, UK Rescue Rooms
27/11 Hull, UK Fruit
28/11 Edinburgh, UK The Caves
29/11 Leeds, UK The Church
01/12 London, UK Hackney Arts Centre
03/12 Sheffield, UK The Leadmill
04/12 Newcastle, UK Riverside