Hi Oliver Ackermann and thanks for taking the time out to speak with us at Musicology.

The last time Musicology caught up with you in Australia was back in 2015 at Hermanns Bar in Sydney. The show came to an abrupt pause whilst the fire brigade was called out due to the intense fog machines during your performance setting off the smoke alarms, which if anything added a whole new, albeit unintended, dynamic to your set. The midnight black lighting, laser projections and of course fog machines are synonymous with your sets which begs the question, do you create these settings as a consequence of your sound or conversely the atmosphere you are harnessing drives the direction your music?

Definitely, we crank these things on to evoke the messed-up lives we live. As I get older, my vision gets blurred and I’m not as sharp with some things. At these moments in the wee hours of the night, when things are getting a little out of control, when I’ve pushed myself, when I’m feeling terribly sick and uncomfortable, are the moments when I unexpectedly become truly surprised. This is what reflects life in NY and reflects life growing up, and the first times GOING to shows. It was a haze and a mess then so it is only natural to bring the haze and mess now.

Since your last visit to Australian shores, you have added Lia Simone Braswell to your membership. How has Lia’s introduction altered the way APTBS write, record, and perform?

Lia pours tears in the rhythm of bad ass drum beats and sounds like a tortured heart when she sings. It makes everything very natural and keeps it honest while bringing a unique direction to the band that just wasn’t there before. We couldn’t really change the name of the band to ‘One Direction’ without telling a huge lie.

You are returning to Australia with a new record ‘Pinned’. In what ways did you want to push the sonic boundaries on the album that goes beyond previous releases such as Exploding Head, Worship and Transfixiation?

This record doesn’t push so many sonic boundaries for us, but just keeps on chugging along with the music in my head. It’s a more refined message and definitely has some more interesting rhythms and honed song craft. Some of it is dumbed down, but dumb is fun no?

With such a divisive political climate in America right now, has this political dichotomy of Trumpism Vs Liberalism impacted on your lyrical direction for new material and subject matter that you address on Pinned?

There is a little of this on the record, but I usually stray way away from this as I usually focus on things which are a little bit beyond what we are feeling in this very shitty present moment. I think a lot of the songs universally relate to this, but in the same way, there are the worst moments smashed against the best moments of my life in many of these songs it relates. I don’t really go into pointing out how stupid anyone is on this record so that isn’t covered but it does talk about people who are evil.

Here to play a string of dates, you are also slated for The Farmer & The Owl festival. Is there a disconnect in how you perform in a festival slot considering the larger audience, venue space, and broad spectrum of punters, compared to that of a more intimate setting of a standalone show which is tighter in capacity and attendees being full blooded APTBS fans?

I really get a rush playing any show at this point. It definitely comes across as something different, but there is still the anxiety and adrenaline that push me to the point of not caring if I knock my teeth out at shows like these, and if we are more naked and more in blazing bright light, I just can’t help but go for it more. I do like it a lot when we get to play with such great bands like at this festival as I feed off the energy of watching a great band.

When embarking on an extensive world tour that can run over the course of years, is there a certain feeling of being frozen in time whereby the material you are performing has been created some time ago and whilst performing and touring on the back of this, your own life stands still and is only released when the last road case has been packed and the last flight home has been undertaken.

I used to feel that when we would play like 70 shows in a row, but now we take a little bit more time and try to have some days to enjoy the places we are at. This really helps, otherwise it is like you are hanging out at a party and then playing a show and then hanging out at a party and then playing a show and there is nothing else. As I am playing the show, I am remembering every show from the tour. Nowadays, if that ever happens, I just throw a wrench in the works and make sure to bring it to someplace it has never been before.

New York is such a rich breeding ground for powerhouse musical acts such Jon Spencer Blues Explosion, Boss hog and new comers like Parquet Courts and Warm Drag. Where do you see yourselves in this musical landscape, specifically in the New York noise scene?

Geeze, I dunno. I like a lot of bands and people around here, and they are my friends. I can’t tell if we are a part of a scene, but I do like to push soundwaves. It reflects the city, and the city punches us in the face and reminds us we are alive.

Having met and performed with so many different musicians and artists over the years, The Jesus And Mary Chain, NIN and Brian Jonestown Massacre to name but a few, during that time has there been any defining moments or words of wisdom that were spoken to you which really resonated with you and in turn altered the way you approach your craft?

Hmmm. I always tried not to listen to what people say because that can taint something and take out the purity of the vision. But I guess the biggest thing that resonated with me is just how all of those people treated us as peers, and that really meant a lot when I often feel doubt, to have someone acknowledge what I do as legitimate it gave me purpose to keep on searching for that sound.