Category: noise rock

Video by William Ruben Helms

New Video: A Place to Bury Strangers Share Tense, Brooding and Atmospheric “Losing Time”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — released a rarities album Rare and Deadly earlier this year through Dedstrange. 

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes. 

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose. 

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation. 

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback. 

Rare and Deadly includes the previously released, “Everyone’s The Same,” “Acid Rain” “Where Are We Now” “Song for Girl From Macedonia” and what was announced as the album’s then-final single “Time.” But the JOVM mainstays surprised folks with the surprise release of another single off the time album “Losing Time.” “Losing Time” is a brooding and tense song that features swirling and malevolent textures and a motorik pulse beneath Ackermann’s icy yet punchy delivery. Arguably, the most Suicide-like tracks in the band’s expansive catalog, the song is rooted in a brutally realistic acknowledgment– that forces beyond your control will drag you forward, that time and death wait for no one.

“‘Losing Time’ tackles the uneasy truth that life keeps moving whether we’re ready for it or not. Set against our signature storm of noise and tension, it’s a song about change, mortality and surrendering to the inevitable,” the band explains.

Directed by legendary horror movie director Travis Stevens, the accompanying video for “Losing Time” emphasizes the song’s themes with an uncanny precision.

Video by William Ruben Helms

New Video YHWH Nailgun’s Bruising, Visceral “Magazine”

Lane Stewart’s gorgeously shot and brooding short film accompaniment to YHWH Nailgun’s “Magazine.”

Video by William Ruben Helms

Live Footage: Kim Gordon Performs “PLAY ME” on “The Tonight Show Starring Jimmy Fallon”

The legendary Kim Gordon released her third solo album, the Justin Raisen-produced PLAY ME on earlier this year through Matador Records. PLAY ME is reportedly distilled and immediate, and sees Gordon expanding on her sonic palette to include more melodic beats and the motorik drive of krautock. 

“We wanted the songs to be short,” Gordon says of her continued collaboration with acclaimed, Los Angeles-based producer Justin Raisen. “We wanted to do it really fast. It’s more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work—that came forth even more on this record.” 

PLAY ME is the follow-up to 2024’s critically applauded sophomore album The Collective, which featured the two-time Grammy-nominated single “BYE BYE.”  PLAY ME sees Gordon processing in her imitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times-like fascism, the A.I.-fueled chill vibes flattering of culture — where dark humor voices the absurdity of our moment. But despite its frequent outward gave, the album is essentially an interior effort, one in which heightened emotionality pulses through physical jams, while rejecting definitive statements in favor of an inquisitiveness and curiosity that keeps Gordon searching — and ever in process. 

Amid PLAY ME’s rabbit-hole reality bricolage, pitch-shifted vocals and shadowy layers of dissonance, the album’s material are clear-eyed about the attention they pay to a world that would rather you be distracted and rage-baited into oblivion. “I have to say, the thing that influenced me most was the news. We are in some kind of ‘post empire’ now, where people just disappear,” Gordon says, echoing the title of one of PLAY ME’s tracks.

PLAY ME will feature the previously released “NOT TODAY,” and “DIRTY TECH,” as well as the album’s third single, album title track “PLAY ME.” “PLAY ME” may arguably be the most hip-hop influenced track of the entire album with the song anchored around a swaggering DJ Premier-like production tweeter and woofer rattling beats paired with a meditative, modal jazz trumpet line. Gordon’s imitable croon takes on a subtle staccato, hip-hop like flow to match.

Yesterday, Gordon and her backing band performed “PLAY ME” on The Tonight Show Starring Jimmy Fallon. She finhishes her NYC vist with a surprise, sold-out show tonight at Night Club 101. And because of overwhelming demand, she added a second show at Warsaw on September 16, 2026. Check out the rest of the tour dates below.

Video by William Ruben Helms

New Video: Cowards Share Bruising “Fear of Fear”

Italian noise rock/shoegaze/post-punk trio Cowards — currently founding members Luca Piccinni (vocals, guitar) and Guilia Tanoni (vocals, bass) and the band’s newest member Michele Prosperi (drums) — formed back in 2019 and quickly established a sound deeply rooted in 1990s aesthetics featuring a blend of abrasive, feedback and noise-driven guitar textures and elements of dream pop and grunge.

Following the tragic and untimely death of their previous drummer Pepe Carella in 2021, the band found renewed momentum with the addition of Michele Prosperi. The band released their full-length debut, last year’s God Hates Cowards through Bloody Sound. They supposed the album with extensive touring of the Italian club scene, as well as a run of the Italian festival circuit.

Building upon a steadily growing profile, the Italian trio will be releasing their sophomore album Can You Hear Me through Bloody Sound on Friday, June, 19, 2026. Can You Hear Me? reportedly sees the Italian trio further cementing a sound rooted in noise, post-punk and shoegaze while being more nuanced and texturally layered. While still featuring the abrasive guitars they’re known for, there are more atmospheric passages, a more forceful and driving rhythm section and it’s all underpinned by urgent, unflinching vocals.

Whereas God Hates Cowards thematically was intensely introspective, Can You Hear Me? sees the band turning their gaze outward. Personal unrest and unease is merged with a much wider narrative, in which individual emotional collapse reflects a broader systemic breakdown.

Can You Hear Me?‘s first single “Fear of Fear” is a bruising and bombastic, 90s alt rock-meets-METZ mosh pit friendly ripper that thematically channels John Cale’s “Fear is a Man’s Best Friend.” “Fear feeds on itself, limiting and controlling us — yet it can be faced and dismantled,” the band explains.

The animated video for “Fear of Fear” channels Edvard Munch’s The Scream while capturing paralyzing fear — of the thing just around the corner; that will relentlessly chase you down and so on.

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Video by William Ruben Helms

New Video: A Place to Bury Strangers Shares Pulsing and Uneasy “Time”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — released a rarities album Rare and Deadly earlier this year through Dedstrange. 

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes. 

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose. 

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation. 

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback. 

Rare and Deadly includes the previously released, “Everyone’s The Same,” “Acid Rain” “Where Are We Now” “Song for Girl From Macedonia” and the album’s final single “Time.” Anchored around a motorik pulse and swirling, feedback and distortion field guitars, “Time” sounds as though it could have been a B-side on Exploding Head. “The song stares down erosion — of belief, of certainty and trust — as faith slips through your fingers, no matter how tightly you grip,” the band explains. “Suspended between hope and collapse, ‘Time’ captures the quiet panic of watching something once solid slowly disappear, and the distorted beauty hat emerges when you keep moving forward even as meaning fractures and reforms.”

Directed by Steve Ward, the accompanying video for “Time” follows a man in a bright white jacket, as he runs around and dances with exploding camera flashes around him. If you or someone you know is photosensitive, this will be a difficult watch for you — but it captures the JOVM mainstay’s long-held live aesthetic.

Single Review by William Ruben Helms

New Audio: Riga’s Les Attitudes Spectrales Return with Scorching “Absorbed”

Riga-based noise punks Les Attitudes Spectrales — co-founders French-born, Latvian-based Julien Stark (vocals, guitar) and his Latvian-born spouse Rūta Stark (bass, vocals), along with Adrians Grīns (guitar) and Mārtiņš Kuzmins (drums ) — was initially founded in 2014 as a duo featuring its co-founders Julien Stark and Rūta Stark. And as a duo, the band released two lo-fi albums 2014’s Floral Wreck and 2015’s Where’s My Ghost Milk?

Shortly after the release of Where’s My Ghost Milk?, the Riga-based outfit expanded into a quartet with the addition of Grīns and Kuzmins. As a quartet, the band released 2019’s Vampire in the Summer and 2022’s award-winning Songs For No One on vinyl through boutique French label Specific Recordings. 

The quartet signed to Latvian underground tastemaker label I Love You Records, who will be releasing the band’s fifth album, Watch The Sword About To Drop on May 26, 2026. The 10-song album is reportedly one of the most fearless and heaviest albums they’ve written and recorded to date, while capturing a band on the verge of exploding into the global noise and rock scenes. 

Watch The Sword About To Drop will feature the previously released, breakneck  King Gizzard and the Lizard Wizard and Osees-like “A Trip Down Memory Loss” and the album’s second and latest single, “Absorbed.” Arguably one of the more straightforward songs of the forthcoming album, “Absorbed” is a scorching ripper that seemingly channels Drive Like Jehu, Hot Snakes, The Men and others. It’s two-and-a-half minutes of raw, forceful playing and mosh pit friendly vibes.

Single Review by William Ruben Helms

New Audio: Riga’s Les Attitudes Spectrales Shares Mosh Pit Friendly “A Trip Down Memory Loss”

Riga-based noise punks Les Attitudes Spectrales — co-founders French-born, Latvian-based Julien Stark (vocals, guitar) and his Latvian-born spouse Rūta Stark (bass, vocals), along with Adrians Grīns (guitar) and Mārtiņš Kuzmins (drums ) — was initially founded in 2014 as a duo featuring its co-founders Julien Stark and Rūta Stark. And as a duo, the band released two lo-fi albums 2014’s Floral Wreck and 2015’s Where’s My Ghost Milk?

Shortly after the release of Where’s My Ghost Milk?, the Riga-based outfit expanded into a quartet with the addition of Grīns and Kuzmins. As a quartet, the band released 2019’s Vampire in the Summer and 2022’s award-winning Songs For No One on vinyl through boutique French label Specific Recordings.

The quartet signed to Latvian underground tastemaker label I Love You Records, who will be releasing the band’s fifth album, Watch The Sword About To Drop on May 26, 2026. The 10-song album is reportedly one of the most fearless and heaviest albums they’ve written and recorded to date, while capturing a band on the verge of exploding into the global noise and rock scenes.

Watch The Sword About To Drop‘s first single, “A Trip Down Memory Loss” is a breakneck, King Gizzard and the Lizard Wizard and Osees-like mosh pit friendly ripper. The first time I heard “A Trip Down Memory Loss,” I could picture a room quickly turning into a sweaty, joyous mosh pit but the song is rooted in some of the bleakest lyrics that the band’s Julien Stark has ever written.

“Alzheimer’s runs in my family. I didn’t decide to write about it, it just came out. It’s common for me to write a sentence and then work around it. In this case, I started with the final line (“Where was I?”) and the first line was the part I wrote last. It turned out to be about being an old person having hallucinations and falling down the stairs,” Julien Stark says.

Video by William Ruben Helms

New Video: Crocodiles Shares Noisy and Swaggering “Time Is Wasting Me”

Crocodiles‘ Brandon Welchez and Charles Rowell have had a nearly 30 year history together: After initially become acquainted at a local Anti-Racist Action meeting, Welchez and Rowell found their respective teenage bands booked on the same bill at a punk gig hosted by a local Mexican restaurant in their native San Diego.

As their mutual friend Russell Cash put it in a previous band bio, a young Welchez watched in awe as a teenage Rowell clambered up a confused family’s table and proceeded to bash the living hell out of his cheap guitar. When his set was through, Charlie melted into he crowd and found himself awestruck as the young Welchez took the stage and proceeded to shriek, croon, howl and spit his way through his own band’s allotted 20 minutes.

When the show ended, the pair found each other, expressed their mutual admiration, and over a shared Coke agreed to dissolve their respective bands and work together.

After a few false starts, the duo found their footing professionally with noise punk outfit The Plot To Blow Up The Eiffel Tower. They spent five years crisscrossing the country, playing every dump that would let them play, while building a cult following. They met and inspired other like-minded freaks — and occasionally, they’d get beaten up by feral rednecks. Eventually the band imploded in a crowd of poverty, frustration and addiction. But Welchez and Rowell kept their partnership going.

After several years experimenting with their songwriting and sound, and trying out various lineups and different names, they decided to kick out the half-assed, half-committed losers and jokers they ere working with at the time and replaced them with a beat-up, old drum machine. They then set out to work on the batch of songs that would become Crocodiles debut, 2009’s Summer of Hate.

18 years later, Welchez and Rowell have proven to be restlessly creative and endlessly shape-shifting bouncing between garage rock, psych punk, noise pop, art gaze and more. They’re relocated multiple times with stints residing in San Diego, New York, Paris, Mexico City, London, and Los Angeles. But a few a couple of things have remained: They’ve continued to tour incessantly, bringing their unique brand of rock to fans in almost every corner of the globe. And they’ve never wavered on their teenaged mission to help achieve other escape a life of drudgery, boredom and expectation through music, art, friendship, and of course, adventure.  

The duo’s forthcoming album ninth album, Greetings From Hell is slated for an April 24, 2026 release through Indianapolis and L.A.-based Invisible Hits. The album’s latest single, album opening track, the swaggering and noisy “Time Is Wasting Me” is pure, classic Crocodiles — forceful, crunchy riffs, the duo’s unerring knack for catchy, earworm-y hooks and choruses, thunderous drumming paired with Welchez’s punchy sneer. It’s a song meant to be played at ear drum shatteringly loud levels.

Directed by Sam Macon and edited by Eric Arsnow, the accompanying video is a deft mix of live concert photography, collage and animation that captures the swaggering and frenetic pulse at the core of the song.

The duo will be embarking on a short run of tour dates to support the new effort. Hopefully, they’ll be more dates soon. Perhaps an NYC date?

Video by William Ruben Helms

New Video: A Place to Bury Strangers Share Mournful “Song for Girl from Macedonia”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing a rarities album, Rare and Deadly through Dedstrange on April 3, 2026. 

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes. 

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose. 

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation. 

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback. 

Rare and Deadly will include the previously released, “Everyone’s The Same,” “Acid Rain” “Where Are We Now” and the album’s fourth and latest single “Song for Girl From Macedonia.” A brooding motorik pulse and swirling and atmospheric feedback serve as a lush yet mournful bed for Ackermann’s equally mournful delivery expressing a bitter sense of “what if.”

“We played a show in Macedonia anded this girl, who deeply connected with the music. Her brother helped us load gear, pure kindness, no ego. She was killed by a drunk diver, crossing the road,” Ackermann explains. “This song is for her. A small attempt at honoring someone, who deserved more time.”

The accompanying video features some mind-bending animation created by the band’s original projectionist Spencer Bewley.

Video by William Ruben Helms

New Video: A Place to Bury Strangers Returns with Broodingly Atmospheric “Where Are We Now”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing a rarities album, Rare and Deadly through Dedstrange on April 3, 2026. 

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes. 

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose. 

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation. 

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback. 

Rare and Deadly will include the previously released, tense and menacing “Everyone’s The Same,” “Acid Rain” and the album’s third and latest single “Where Are We Now.” “Where Are We Now” features Ackermann’s reverb-drenched vocal paired with broodingly atmospheric, throbbing motorik pulse. But more than any other previously released APTBS track, “Where Are We Now” conveys an uneasy sense of what if-fueled regret.

Ackermann says that the song is about “looking back at friends you lost touch with. Wondering where they ended up. Remembering when everything felt possible.”

The accompanying video features footage Ackermann edited from footage from the Library of Congress National Archives. Ackermann says he made the video because “I think we need to look at people more and see the value and wonder of life so we can be compassionate towards others.”

Video by William Ruben Helms

New Video: Kim Gordon Shares Jazzy “PLAY ME”

The legendary Kim Gordon will be releasing her third solo album, the Justin Raisen-produced PLAY ME on Friday through Matador Records. PLAY ME is reportedly distilled and immediate, and sees Gordon expanding on her sonic palette to include more melodic beats and the motorik drive of krautock. 

“We wanted the songs to be short,” Gordon says of her continued collaboration with acclaimed, Los Angeles-based producer Justin Raisen. “We wanted to do it really fast. It’s more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work—that came forth even more on this record.” 

PLAY ME is the follow-up to 2024’s critically applauded sophomore album The Collective, which featured the two-time Grammy-nominated single “BYE BYE.”  PLAY ME sees Gordon processing in her imitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times-like fascism, the A.I.-fueled chill vibes flattering of culture — where dark humor voices the absurdity of our moment. But despite its frequent outward gave, the album is essentially an interior effort, one in which heightened emotionality pulses through physical jams, while rejecting definitive statements in favor of an inquisitiveness and curiosity that keeps Gordon searching — and ever in process. 

Amid PLAY ME’s rabbit-hole reality bricolage, pitch-shifted vocals and shadowy layers of dissonance, the album’s material are clear-eyed about the attention they pay to a world that would rather you be distracted and rage-baited into oblivion. “I have to say, the thing that influenced me most was the news. We are in some kind of ‘post empire’ now, where people just disappear,” Gordon says, echoing the title of one of PLAY ME’s tracks.

PLAY ME will feature the previously released “NOT TODAY,” and “DIRTY TECH,” as well as the album’s third single, album title track “PLAY ME.” “PLAY ME” may arguably be the most hip-hop influenced track of the entire album with the song anchored around a swaggering DJ Premier-like production tweeter and woofer rattling beats paired with a meditative, modal jazz trumpet line. Gordon’s imitable croon takes on a subtle staccato, hipKhop like flow to match.

Directed by Barney Clay, the accompanying video for “PLAY ME” is grainy, security camera-like footage that follows a stylish Gordon in a mall. It’s a forceful and uneasy bit of commentary on our Big Brother-esque surveillance world.

Video by William Ruben Helms

New Video: A Place to Bury Strangers Returns with Pulsing “Acid Rain”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing a rarities album, Rare and Deadly through Dedstrange on April 3, 2026. 

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes. 

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose. 

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation. 

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback. 

Rare and Deadly will include the previously released, tense and menacing “Everyone’s The Same,” and the album’s second and latest single, “Acid Rain.” “Acid Rain” is a frustrated howl of a song, anchored around a relentlessly breakneck, motorik pulse, buzzing guitars, wild bursts of scorching feedback paired with Ackermann’s vocals, which are also fed through effects pedals.

“Acid Rain” was informed by the first Trump presidency. “Cruelty felt not just normalized, but weaponized. Watching people in power openly coerce others into silence, compliance, and violence was horrifying, and still is,” APTBS’ Oliver Ackermann explains. “What shook me most was how casual it all felt, how easily people turned their heads while others were being crushed.”

“The chanting at the beginning was recorded during the George Floyd protests in Manhattan and Brooklyn, real voices, real streets, real fear mixed with hope,” Ackermann adds. “For a moment, it felt like maybe people would finally wake up and refuse this racist machinery. But here we are, still watching detention centers, modern slavery, and countless other atrocities continue under different names. ‘Acid Rain’ is rage, grief, and disbelief all colliding at once, the sound of watching history repeat itself while knowing exactly how wrong it is.”

Directed by Gerson Vargas, the accompanying video was shot on January 16, 2026. The video follows the band as they get on the last car of a Manhattan-bound M train at Marcy Avenue, turning the subway car into a moving stage for a raucous live rendition of “Acid Rain” during the length of the Williamsburg Bridge into the Lower East Side. The guerilla-styled footage wasn’t scripted. There’s no script. And as a result, it perfectly captures the relentless pulse of the song and the city.

Single Review by William Ruben Helms

New Audio: A Place to Bury Strangers Share Menacing “Everyone’s The Same”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing a rarities album, Rare and Deadly through Dedstrange on April 3, 2026.

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes.

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose.

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation.

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback.

Rare and Deadly‘s first single “Everyone’s The Same” is anchored around a tense and menacing, motorik pulse and swirling, feedback-drenched guitar paired with Ackermann’s vocal, which manages to be simultaneously defiant, punchy and yearning.

“I had a dream where a man led me to a brook, peaceful and calm. When he turned his head slightly, I saw the most evil smile imaginable,” Ackermann says of the song. “But when I looked directly at him, it was just the back of his head again. Beauty and horror coexisting in the same space. It felt like hell leaking into something serene. Maybe that’s reality sometimes. And maybe pretending otherwise is a kind of survival.”

Video by William Ruben Helms

New Video: Kim Gordon Returns with Trap-inspired “DIRTY TECH”

The legendary Kim Gordon will be releasing her third solo album, the Justin Raisen-produced PLAY ME on March 13, 2026 through Matador Records. PLAY ME is reportedly distilled and immediate, and sees Gordon expanding on her sonic palette to include more melodic beats and the motorik drive of krautock. 

“We wanted the songs to be short,” Gordon says of her continued collaboration with acclaimed, Los Angeles-based producer Justin Raisen. “We wanted to do it really fast. It’s more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work—that came forth even more on this record.” 

PLAY ME is the follow-up to 2024’s critically applauded sophomore album The Collective, which featured the two-time Grammy-nominated single “BYE BYE.”  PLAY ME sees Gordon processing in her imitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times-like fascism, the A.I.-fueled chill vibes flattering of culture — where dark humor voices the absurdity of our moment. But despite its frequent outward gave, the album is essentially an interior effort, one in which heightened emotionality pulses through physical jams, while rejecting definitive statements in favor of an inquisitiveness and curiosity that keeps Gordon searching — and ever in process. 

Amid PLAY ME’s rabbit-hole reality bricolage, pitch-shifted vocals and shadowy layers of dissonance, the album’s material are clear-eyed about the attention they pay to a world that would rather you be distracted and rage-baited into oblivion. “I have to say, the thing that influenced me most was the news. We are in some kind of ‘post empire’ now, where people just disappear,” Gordon says, echoing the title of one of PLAY ME’s tracks.

PLAY ME will feature the woozy and glitchy album single “NOT TODAY,” and the album’s second and latest single “DIRTY TECH” “DIRTY TECH” pairs the legend’s imitable delivery with a sleek trap production featuring twinkling and growling synths. “I was kind of musing about, is my next boss going to be an AI chatbot?” Gordon says. “We’re the first ones whose lights are going to go out—not the tech billionaires. It’s so abstract that people can’t comprehend.”

Directed by Moni Haworth, the accompanying video features the stylishly dressed legend wandering around an eerily abandoned office.