A Place to Bury Strangers

(Copyright © 2006 Piero Scaruffi | Terms of use )

A Place To Bury Strangers (2007) , 6.5/10
Exploding Head (2009) , 6/10
Worship (2012), 5/10

New York' A Place to Bury Strangers, consisting of vocalist and guitarist Oliver Ackermann, bassist Jono Mofo and drummer Jay Space, debuted with A Place To Bury Strangers (Killer Pimp, 2007). The songs are actually all over the map. The loud and abrasive style for which they became famous is represented by the neurotic garage-rock of Missing You, infected by the alien viruses of Neu and Suicide while the singer indulges in the morbid psychedelia of Pink Floyd on the way to a collective soaring and ear-splitting refrain; by Don't Think Lover, that weds the guitar inferno of the Stooges and crystalline pop vocals; by the festival of looped hard-rock riffs and trancey litanies of Breathe; by the pounding and distorted My Weakness. The melodic shoegazing maelstrom She Dies was less successful in its attempt to capture the magic of My Bloody Valentine. There are other brilliant ideas in completely different directions, such as the fusion of early Pink Floyd and dance-punk in Another Step Away or the dark disco-music of the 1980s plagiarized in I Know I'll See You. The closing pensive Ocean succeeds in balancing poppy and noisy instincts within an existential framework reminiscent of dark-punk of the 1980s.

Exploding Head (Mute, 2009) matched the retro-appeal of In Your Heart (echoes of disco-punk) and Keep Slipping Away (echoes of dark-punk) with the sadistic appeal of the propulsive and bluesy It Is Nothing, of the manic sideral pounding Deadbeat with blasts of ferocious distortions (sort of Gun Club meet My Bloody Valentine), of the macabre Stooges-ian shuffle in overdrive Ego Death, and of the tribal beat and maximum distortion of Lost Feeling. The project might be moving towards the mainstream (as demonstrated by the catchy Everything Always Goes Wrong and by the danceable Exploding Head), but retains most of its passion and originality.

(Translation by/ Tradotto da Alessio Morrone)

La band newyorkese degli A Place To Bury Strangers, consistenti del chitarrista e vocalist Oliver Ackermann, del bassista Jono Mofo e del batterista Jay Space, debuttarono con l’album A Place To Bury Strangers (Killer Pimp, 2007). Le canzoni sono effettivamente dappertutto. Lo stile rumoroso ed abrasivo per il quale divennero famosi è rappresentato del nevrotico garage-rock di Missing You, infettato dai virus alieni di  Neu e Suicide mentre il cantante si abbandona alla morbida psichedelia dei Pink Floyd sulla strada di un ritornello sublime e assordante. Si succedono poi Don't Think Lover, che sposa l’inferno chitarristico degli Stooges e il canto pop cristallino, il festival di riff hard-rock ciclici e le litanie trance di Breathe, e la martellante e distorta My Weakness. Il vortice melodico shoegaze She Dies riesce meno nel tentativo di catturare la magia dei My Bloody Valentine. Ci sono altre idee brillanti in direzioni completamente diverse, come nella fusione dei primi Pink Floyd ed il dance-punk in Another Step Away o la dark disco-music degli anni ‘80 palgiati in I Know I'll See You. La chiusura malinconica Ocean riesce nel bilanciare istinti pop e noise in un contesto esistenziale reminiscente del dark-punk degli anni ’80.


Exploding Head (Mute, 2009) abbina il fascino retrò di In Your Heart (eco di disco-punk) e Keep Slipping Away (eco di dark-punk) con il sadico appeal della propulsive e blueseggiante It Is Nothing, del bombardamento siderale maniaco Deadbeat con raffiche di feroci distorsioni (una sorta di Gun Club che incontrano i My Bloody Valentine), del macabro miscuglio Stooges-iano in overdrive Ego Death, e del ritmo tribale e massima distorsione di Lost Feeling. Il progetto potrebbe muovere verso il mainstream (come dimostra l’orecchiabile Everything Always Goes Wrong e la ballabile Exploding Head), ma conserva di più la sua passione ed originalità.

The EP Onwards to the Wall (2012) includes the terrifying I Lost You.

Worship (Dead Oceans, 2012) introduced a much less distorted sound, and was still as varied (or confused) as the previous ones.

(Translation by/ Tradotto da xxx)

Se sei interessato a tradurre questo testo, contattami

(Copyright © 2006 Piero Scaruffi | Terms of use )
What is unique about this music database