Interview: Oliver Ackermann (A Place To Bury Strangers)

The first time that I witnessed A Place To Bury Strangers was at a Polish nightclub in the Greenpoint neighborhood of Brooklyn. With Chicago shoegazers Airiel set to follow, the then underground Brooklyn-based trio took the stage, only to be warned by the club manager that the show would need to end sooner than expected. 

With less time remaining than needed for both acts to complete full sets, APTBS packed everything they possibly could into a very abbreviated performance. In what may have only lasted 15 minutes, the trio erupted with the force of an earthquake, sending tremors throughout the room. Frontman Oliver Ackermann tossed his guitar around with reckless abandon as a strobe light highlighted the chaos with a stop motion-like effect. 

In that instant, I was hooked.

In the year or so that followed, the band’s reputation grew rapidly. Not only were the shows rivaling the loudness and intensity of My Bloody Valentine and Swans, but the music was a thrilling concoction of noise rock, post-punk, shoegaze, and industrial rock. 

At the center of it all was Ackermann. His effects pedal company, Death By Audio, was still in its infancy, but was already gaining attention from many notable guitarists. Every APTBS gig felt like a showcase for that work as the guitarist transformed his instrument into a wonderfully-terrifying machine seemingly capable of shattering entire worlds. 

Nearly two decades have passed since that aforementioned show at Europa in 2006. Success of early albums propelled A Place To Bury Strangers from performing at intimate DIY venues to headlining in front of thousands of rabid fans. Over the years, as the trio toured relentlessly, Ackermann’s boutique effects pedal company also grew and Death By Audio’s Williamsburg warehouse space became one of Brooklyn’s most vital underground venues from 2007-2014. 

But in 2024, Ackermann remains as humble and industrious as ever. For APTBS’ new album, Synthesizer — the band’s second release on its own Dedstrange label — the frontman designed the vinyl record packaging with a circuit board. Fans can purchase the album paired with a DIY parts kit which can be used to transform the album cover into a working synthesizer, just like the one Ackermann used to produce sounds throughout the album. 

In a recent phone conversation, Asheville Stages asked Ackermann how this ambitious idea came to fruition.

“I guess it was two things coming together. I always just thought circuit boards were kind of beautiful and cool, and you could do so much with them. And so I'd always thought that would be such a cool medium to design an album cover on. And I've been building a bunch of these sorts of synthesizers and different things that we've been taking out with us on the road. So it seemed like this was the time where I had enough knowledge to be able to turn that stuff into a working synthesizer that I knew we could throw together. As the album was getting closer to being finished, we threw that thing together and then recorded tracks on the whole record with that synthesizer, and then turned that into the cover. It just seemed like if it was possible then it was worth it to try to make it happen. It was a nightmare but it happened.” 

With the album having only just been released earlier this month, it’s yet to be seen if fans will struggle to assemble the DIY synth, but Ackermann has heard from at least one fan who’s built their own. And the Death By Audio head honcho says he’s happy to help.

“We built some and they worked, so that's great. I'm curious if other people can make it happen because it's not the easiest project to do. I could imagine some people could run into some problems, but we're always here to help. Sometimes you forget how difficult things are if you're used to doing this stuff, so, if people have questions, let me know.” 

Not only does Synthesizer have one of the most inventive album packages thus far, but it’s also an electrifying listen. The propulsive wall-of-noise sonic feast that’s always been a trademark of the band remains a defining feature, but it’s its own distinct entry into the trio’s discography. 

Some of that is a result of it being the first APTBS record with John and Sandra Fedowitz on bass and drums, respectively, but it’s also a result of Ackermann listening to more and more industrial music, which he hints could continue to influence the future sound of the project. It may be most on display in Synthesizer highlight “Fear of Transformation,” which opens with a throbbing synth and high-octane beat, only to be torn apart by thunderous guitar squalls as the song peaks. 

Ackermann shared what it was like to record with the new APTBS lineup for the first time:

“[Former Skywave bandmate] John and I kind of grew up together [in Fredericksburg, VA], so it was really natural. He and Sandra are very supportive of all the stuff and decisions, so it kind of made it easy to do all of this stuff. They kind of see it as — it is my band, so they're just sort of helping along with whatever crazy stupid ideas that I have. It's always cool to be working with friends on stuff.”

Asheville has long been a favorite tour stop for APTBS, and it’s been an usually long five years since the trio played Burial Beer Co.’s inaugural Burnpile Harvest Fest. When Ackermann & Co. return for a Sunday, Oct. 27, stop at The Grey Eagle, the desolation of the nearby River Arts District will certainly loom over the performance, but Ackermann hopes the show can offer a chance for fans to “get together and blow off some steam.” At its best, live music can be an intense and cathartic communal experience. As Ackermann says, “That's kind of always what you want out of a concert: just forget about your troubles and kind of drift off.”

Joining APTBS for what he refers to as “a dream tour” are up-and-coming NYC-based experimental noisemakers YHWH Nailgun, as well as Philly-based solo industrial artist Lunacy.  

We’ve all endured a rough month. We deserve an opportunity to let loose a little and have our faces melted, and there may not be a lineup more equipped for that task. 

IF YOU GO

Who: A Place To Bury Strangers with YHWH Nailgun and Lunacy
When: Sunday, Oct. 27, 8 p.m.
Where: The Grey Eagle, 185 Clingman Ave., thegreyeagle.com
Tickets: $21.21

(Photo by Ebru Yildiz)