A&E

Five thoughts: A Place to Bury Strangers (March 12, Beauty Bar)

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A Place to Bury Strangers, March 12 at Beauty Bar.
Photo: Spencer Burton

1. Having arrived on the Beauty Bar’s back-patio halfway through tour-supporting opener Creepoid, I’d be interested in seeing that band here again. Ranging from a fuzzed-out ’90s feel to a more restrained slowcore style (see, in particular: the extended closing number), the Philadelphia four-piece prime the sizable crowd nicely for the hypnotic headliners to come.

2. Coming on right at 1 a.m., APTBS instantly fills the Downtown air with sound. It might not feel as ear-crushingly loud as during the Brooklyn band’s epic 2008 Vegas debut at the old Bunkhouse, but the volume’s still high enough to leave a bit of a post-show buzz, even with earplugs safely in place throughout. Most significantly, the mix is spot-on, with Oliver Ackermann’s guitar, Dion Lunadon’s bass and Robi Gonzalez’s drums all occupying the exact right amount of space. Ackermann’s vocals are relatively low, but as with most any shoegazey outfit, that’s by design for maximum trippiness.

3. The hour-long set takes hold more as it goes. Lunadon often drives the melody down low, pairing with Gonzalez to create the throbbing heart of what could, in other hands, be a pop song, while Ackermann washes swirling, distorted layers over the top. Around the midpoint, the three men gather near the stage’s center, using a heap of electronic machinery to begin building a pulse that borders on danceable. Over the next 10 minutes, the piece slowly transforms from the show’s most accessible number to its noisiest—impressive range from a group most famous for delirious sonic assaults.

4. From strobing lights to clouds of fog to psychedelic images onscreen, theatricality plays a significant role in APTBS’ live approach, yet the trio pulls off arty without seeming pretentious. Even when Lunadon stands high on a speaker and plays while looking into the night sky, it feels like we’re still watching a passionate garage band, albeit one with access to superior audio and visual equipment.

5. In a somewhat surreal episode, longtime Beauty Bar booker Ruben Rodriguez—recently replaced in that role by the venue’s owners—arrives on the scene and ascends to the stage between songs. He speaks to Ackermann, wanders aimlessly for a bit and then shouts something into the mic before disembarking. Kudos to the band for being so tolerant of the intrusion, and kudos to Rodriguez for the many memorable shows he’s staged at the venue these past few years.

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