ALBUM REVIEW - APTBS - Fuzz Club Session - Post Image - (300x300)ARTIST: A Place To Bury Strangers

RELEASE: Fuzz Club Session

RELEASE DATE: 15th February 2019

RECORD COMPANY: Fuzz Club Records 

‘APTBS’ have been plying their trade for nigh on a decade now, pummelling ears and breaking craniums with their sizzling brand of fuzzed out atmospheric noise-rock. Famously tagged with the ridiculous ‘loudest band in NYC’ monikor, the band have continuously amazed those who have seen them live, changing up their sound with every single gig and each time unleashing a darkly twisted cyclonic assault on their baying fanbase in the process. Following on from their 2018 released long player ‘Pinned’ and at the end of a European tour in support of the album, the trio spent the day at Lovebuzz Studio in South London to record a live session for  ‘Fuzz Club Records’, who have the arduous task of capturing the band’s full live sonic might on a vinyl only release. With tracks lifted from Pinned (‘Never Coming Back’ and ‘Punch Back’), 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’), this is a must have release for both long time fans of the band and for those wanting to experience the sheer sonic might of a band who’s sound has been perfected by months on the road. APTBS – ‘Fuzz Club Session’ is officially unleashed on the February 15th 2019 and is available to pre-order as a vinyl only release right now via

A pulsating whirl of sonic intensity hits you sure on the jaw as ‘We’ve Come So Far’ enters the arena. Originally released on ‘Transfixion’ back in 2015, it explodes into a swirling cacophony of reconfigured percussion, driving bass frequencies and wailing guitars that lash and cajole the track to within an inch of its life. Haunting vocalisations appear out of the muggy frequency laden fog, ricocheting  on top of the tightly repetitive drum pattern and the constant chug of maliciously angry bass frequencies as Oliver Ackermann, the band’s vocalist/guitarist and founding member unleashes a fury of infectiously raw guitar lines that seem to cling to absolutely everything. ‘We’ve Come So Far’ was sublime on the original studio album back in 2015 but it has been redesigned here as a different animal altogether. Up next, ‘Drill it Up’ erupts into a cloud of dark, sluggish atmosphere. Walls of heavy bass twang and buffer brilliantly as those charging drums ride rough shot all over the mix, cymbal’s crashing, those fills and rolls sounding like explosions of thunder as Ackermans snarling vocals accompany distorted lines of guitar as they scream skywards. Originally released on 2012’s ‘Onwards To the Wall’, ‘Drill It Up’ is a swirling sonic animal on this live release.

‘Never Coming Back’, lifted off the bands latest long player Pinned’, begins wailing in a malicious feedback laden cloud before twisting into a kind of driving, bass heavy post-punk hue. Duel vocalisations courtesy of  both Ackerman & new drummer Lia Simone Braswell, who joined the band just last year, are up front, raw and in your face as they lead us through the verse parts, building in intensity at the arrival of guitars and driving percussion as we fall into that delicious chorus attack. Dion Lunadon’s bass line holds everything together here freeing up both drums and guitars to sync & change tempo when needed. ‘Never Coming Back’ charges into a huge crescendo of wailing noise before falling back into it’s quick step finale. The brilliant ‘Punch Back’, also taken from ‘Pinned’, is led out on vocals by Lia Simone Braswell, who’s voice suits this tracks intensity. Charging drum patterns meld with cascading lines of bass and sublime layers of guitar as the band collectively create a huge wall of non-stop, raging sonic noise until we’re led into swirling opening salvos of the magnificent ‘Ocean’.

‘Ocean’ was originally released on the band self-titled album back in 2007. Here, it is deftly reimagined into swirling psychedelically charged behemoth drenched in layers of reverb and meticulously stacked with raging walls of feedback-laden guitar, busy percussion and sullen bass lines. Again, Ackermans brilliant vocal seems to come from out of nowhere, floating on the sonic melee below but barely audible above the ensuing din as Braswell keeps a steady metronomic time and Lunadon’s remorseless bass signature undulates throughout. For long time fans of the band ‘Ocean’ will stir the senses here as the full weight of the bands sonic fury hits you like a cataclysmic punch in the face. The live session concludes with a previously unreleased track. ‘Chrome Shadow’ rattles on a bedrock of percussion, throbbing bass pulls & scuzzy guitar trickery. Deeply atmospheric, the cascading bass line materialises out of the gloom, instantly solidifying the track as those wailing vocalisations drenched in effects meld as one with those screaming lines of guitar. Momentary instrumental pauses add weight as catchy chord changes and layers of reverb combine to make one fantastic closing salvo.




Del Chaney - (Author Photo)

Del Chaney has spent the last six years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog – The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm  – Primal Radio –  has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting genres of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.