Friday Full-Length: Uncle Acid and the Deadbeats, Blood Lust

Posted in Bootleg Theater on February 15th, 2019 by JJ Koczan

Uncle Acid and the Deadbeats, Blood Lust (2011)

Starting later this year, you’re going to start to see a bunch of best-albums-of-the-decade lists. Any such list of heavy records that doesn’t include Uncle Acid and the DeadbeatsBlood Lust is doing it wrong. Released in 2011 through Killer Candy Records as the UK band’s second full-length (also discussed here), it was soon picked up by Rise Above Records for a wider vinyl and CD pressing, and garage doom was born. I’m not sure another single album has come out between 2010 and 2019 that has had as much of an influence on underground heavy rock — maybe Graveyard‘s Hisingen Blues in 2011, but even that’s debatable. In its raw guitar fuzz, eerie melodies, early mystique and outright perfect presentation, Blood Lust was every bit the proverbial right album at the right time. Any given week, it’s a safe bet that even going on eight years later, I’m going to hear some band come along who’ve copped the riff to “I’ll Cut You Down.”

And reasonably so. With the formative Vol. 1 (reissue review here) behind them in 2010, Uncle Acid and the Deadbeats unleashed a collection of tracks on Blood Lust that were not only aesthetically innovative, but impeccable in their construction. Even as they conveyed a sense of horror and VHS-style tonal grit, they did so over a classic heavy rock strut and swing on cuts like the aforementioned opener as well as “Death’s Door,” the shuffling side B opener “I’m Here to Kill You” and “13 Candles” that seemed to tempt you to snap along. With the short, quiet introduction of droning noise and a channel-flipping television — note the analog static scratch between channels; clearly it’s an old television — Blood Lust set its malevolent atmosphere early and only grew more evil in its purposes, lyrics shifting from stalking and murder to witches, cult ritualism and Satanic fervor. It was a record that most people would find angry, upsetting, and unpalatable, and that’s exactly what it was intended to be. A dogwhistle to an audience who didn’t know it was waiting for it, dressed in purple as an amalgam of style and substance up to that point that was largely unheard.

Looking back, there are moments throughout that run into the politically problematic. “I’ll Cut You Down” is direct in its glorification of violence against women, and in that context, “Death’s Door” and “Ritual Knife” seem to followuncle acid and the deadbeats blood lust suit. Uncle Acid have gotten a pass from a lot of accusations of misogyny because so much of what they do is storytelling and style-based, pulling from the influence of cult horror cinema and all that, but do I really need to say even pretending to kill ladies isn’t really cool? That’s something that their more recent work on last year’s Wasteland (review here) seemed to subtly pull away from, and fair enough for the change of political moment between 2011 and 2018 as issues of discrimination, violence against women and sexual violence became more a part of the international cultural conversation than they were when Blood Lust came out. Their third album, 2013’s Mind Control (review here), was more themed around cults and the inherent violence of thought as well as deed, but even 2015’s The Night Creeper (review here) seemed to return to its knife-wielding foundation even as it stripped away the grandiose production of its predecessor in favor of a rawer, nastier sound.

The overarching quality of Blood Lust, though, remains largely undeniable, and so does its impact. “I’ll Cut You Down,” “Death’s Door,” “13 Candles,” and closer “Withered Hand of Evil” are nothing short of landmarks, and even in “Curse in the Trees,” on which frontman and band mastermind Kevin R. Starrs donned the point of view of a witch being persecuted and burned alive, there was a nuance of their approach that begged the listener’s attention. At the time, roughly nothing was known about the band. There was no fanfare to the release of Blood Lust. It was simply out there one day — not that I’m any arbiter of what’s hip or anything, but for what it’s worth, I totally missed it — and its impact moved fast. It wasn’t really until Rise Above had it out on CD in 2012 as part of its then-allegiance with Metal Blade Records that the groundswell took hold, but even before that, there was significant word-of-mouth momentum behind it. And at that point, Uncle Acid hadn’t even played a show. They’ve hardly looked back since, but they didn’t start playing live until 2013.

Part of that, of course, was maintaining the mystery around the band. As mobile-based social media was allowing fans unfettered and direct access to artists — something taken for granted less than a decade later — Uncle Acid were minimal participants at best. They had a website that was a single page, then they had some shirts on it. They had a Facebook page with roughly no info. Their names weren’t known. Where they were from wasn’t really known, and most importantly, it wasn’t really known how they got that sound. The creepy, eerie vocals on “Withered Hand of Evil” or “I’m Here to Kill You” or the acoustic bonus track “Down to the Fire.” That wavering melodic sensibility on “I’ll Cut You Down.” It was all so new at the time, and Uncle Acid and the Deadbeats had managed to pull off manifesting this previously untapped niche while basically letting no one know who they were or what they were doing. Listeners didn’t even know how many people were singing on any given track, and because the sound was so fresh and so interesting, the demand for it became a whirlwind.

I don’t know if I’ll do a list of the decade’s best albums. I might put up a poll. But there’s no question that Blood Lust, even with its high body count, is destined for consideration as a classic heavy rock album, and of course Uncle Acid and the Deadbeats have gone on to become one of their generation’s most pivotal acts, crossing over to a wider appeal in audience while maintaining the identity of sound that even going back to Vol. 1 was theirs and theirs alone, and which Blood Lust saw them perfect. They’re on tour in North America this March with Graveyard, as it happens. We should probably all go. I’ll drive.

As always, I hope you enjoy.

It’s Friday, right? Made it? That’s good.

Okay.

Tomorrow night I’m going to go see C.O.C., Crowbar, The Obsessed and Mothership in Boston. I’m doing that. It’s happening. Monday I’ll have the review up. It’ll be good. I’m going alone because no friends but still, it’ll be good.

I’ve also got a butt-ton of writing to do this weekend, including two bios, stuff for the Roadburn ‘zine and posts for next week to get ready, so I expect to be completely out of my mind for the next two days more than usual. I started feeling overwhelmed on Wednesday for this coming weekend. Something about that just kind of feels like I’m living wrong. Whatever.

The notes are packed, so here’s what I’ve got so far:

MON 02/18 COC LIVE REVIEW; GIMME RADIO WRAP
TUE 02/19 THE MUNSENS REVIEW/SAVER PREMIERE/REVIEW
WED 02/20 BEES MADE HONEY IN THE VEIN TREE PREMIERE/REVIEW
THU 02/21 THE RIVEN VIDEO PREMIERE
FRI 02/22 CANDLEMASS REVIEW; CURSED TONGUE SIGNING ANNOUNCE

It’s almost 6:30 — I slept until 5AM, miracle of miracles — and the baby is just starting to stir, so I better go grab him out of his hexagonal not-crib and start the day proper. Before I go:

This weekend is a new episode of ‘The Obelisk Show’ on Gimme Radio. I still need to cut the voice breaks for it. I’ll try my best to make them not suck. It airs Sunday at 7PM Eastern at http://gimmeradio.com.

Also, please buy shirts: http://dropoutmerch.com/the-obelisk.

Your support is appreciated.

Please have a great and safe weekend, and while I’m making demands on your time, please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Uncle Acid and the Deadbeats Announce Fall & Winter Touring; New Album Due this Fall

Posted in Whathaveyou on April 30th, 2018 by JJ Koczan

UK garage doom forerunners Uncle Acid and the Deadbeats spent much of 2016 on the road touring the crap out of their 2015 fourth album, The Night Creeper (review here), which was by far their grimeiest yet. It’s important to add the ‘yet’ there because the band are set to have a new album out this Fall through Rise Above Records, which also reissued their long-lost 2010 debut, Vol. 1 (review here), late last year.

The band were relatively quiet in 2017 apart from that reissue, so one imagines the new record has been through a wringer of a writing process, and in addition to, you know, actually hearing it, I’ll be interested to find out who recorded/is recording the thing, since so much of the band’s approach comes down to sonic aesthetics and capturing that grainy, classic and threatening sound.

One more to get excited about, and from the looks of the announced European and UK tours, they’ll once again be doing some considerable road time.

From Rise Above‘s social medias:

UK’s scuzziest ambassadors of blood-curdling fuzz, UNCLE ACID & THE DEADBEATS, prepare to hit the roads of mainland Europe and Scandinavia this November/December in support of their much anticipated fifth album, due out this autumn.

Support will come from the mistresses of reverb-soaked garage rock, L.A. WITCH, who will be returning to Europe after their own successful headline tour this March/April.

Uncle Acid and the deadbeats UK tour dates announced. Supported by Blood Ceremony!

Begin: transmission

“These will be our first European shows in two years and we’re hungry to get back out and lay waste to many of our favourite cities. You will enjoy the show experiencing the latest PsychoVision screen technologies with piles of cranked up, ear splitting valve amplification to melt your minds. The nightmare shall resume!”

The specially commissioned artwork for the tour is by legendary Italian poster artist Enzo Sciotti (Fulci, Argento, Romero).

Stay tuned for further tour dates and album release info.

Uncle Acid and the Deadbeats live w/ L.A. Witch:
15.11 BE Brussels AB
16.11 NL Amsterdam Paradiso Noord
17.11 DE Hamburg Knust
19.11 SE Gothenburg Pustervik
20.11 NO Oslo Rockefeller
21.11 SE Stockholm Nalen
23.11 FI Helsinki Tavastia
25.11 DK Copenhagen Gra Hall
26.11 DE Berlin SO36
27.11 PL Warsaw Hybrydy
28.11 DE Dresden Beatpol
29.11 AT Vienna Arena
01.12 DE Munich Strom
02.12 IT Milan Legend
03.12 FR Villeurbanne Transbordeur
04.12 CH Zurich Dynamo
06.12 DE Karlsruhe Substage
07.12 DE Osnabruck Rosenhof
08.12 DE Koln Luxor
09.12 FR Paris La Maroquinerie

Uncle Acid live w/ Blood Ceremony:
16.01 Leeds Brudenell
17.01 Newcastle O2 Academy 2
18.01 Glasgow G2
19.01 Belfast Limelight 2
20.01 Dublin Academy Green Room
22.01 Manchester Gorilla
23.01 Birmingham O2 Institute 2
24.01 Cardiff The Globe
25.01 London Koko

https://www.uncleacidband.com
https://www.facebook.com/uncleacid/
https://www.facebook.com/riseaboverecords/
http://www.riseaboverecords.com/

Uncle Acid and the Deadbeats, “Melody Lane” official video

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Uncle Acid and the Deadbeats, Vol. 1: What Your Love Tells You to Do

Posted in Reviews on November 27th, 2017 by JJ Koczan

uncle-acid-and-the-deadbeats-vol-1-1

I don’t remember exactly when I made the decision, but at some point, amid an unceasing insistence of YouTube recommendations, I told myself that I wasn’t going to listen to Vol. 1 by Uncle Acid and the Deadbeats until I could do so on a physical format. The likelihood of this happening? Just about nil. My understanding is that maximum 100 copies of the original Killer Candy Records self-released CDR version were pressed, and I’ve seen numbers quoted as low as 20, so barring some lightning-strike/winning-lottery-ticket-type oddsbeating or an unspeakable act of generosity, it didn’t seem like the kind of thing that would ever be found, and likewise, the London-based band didn’t seem all that interested in putting it back into the public sphere — where, to the rest of the universe who probably just streamed it, it was anyway.

Listening now to the Rise Above Records reissue of Vol. 1, pressed to CD and LP in giving-proper-due form, this was unquestionably the incorrect choice on my part. Like most paths we take that lead us to willful ignorance, just the wrong way to go. I denied myself a crucial context in which to place Uncle Acid‘s subsequent three records — 2011’s landmark Blood Lust (discussed here), 2013’s Mind Control (review here) and 2015’s The Night Creeper (review here) — but more than that, I missed out on the seething rawness of “Dead Eyes of London,” the hook of opener “Crystal Spiders,” the psycho-surf of “Vampire Circus” (not to be confused with the Earthride album of the same name) and the organ-laced madhouse shuffle of “I Don’t Know.” Granted I didn’t know what I was missing, but that doesn’t mean I wasn’t missing it.

More the fool I, then, because particularly for those who became Uncle Acid fans around the time of Blood Lust — which Rise Above picked up for release in 2012 following the explosive reception that sent the band almost immediately to the fore of the heavy underground before they even really began playing shows in 2013 — Vol. 1 should be considered essential. One can hear the roots of “I’ll Cut You Down” and “Death’s Door” in “Crystal Spiders” and the later ultra-fuzzed-out swinging highlight “Do What Your Love Tells You,” and more than that, these pieces and others like the eight-minute “Lonely and Strange” stand up on their own as examples of the rare level of craft that has typified Uncle Acid and the Deadbeats‘ work throughout their tenure: memorable songs executed with a deep-running sense of vibe that, as Vol. 1 affirms, has been theirs all along.

uncle acid

Parts of the album are somewhat rudimentary compared to the more careful arrangements that would follow by the time the band — led by Kevin R. Starrs, who’s more “shadowy presence” than “frontman” here — got around to Mind Control, but that’s the idea. They’re supposed to be. The nodding “Witches Garden” buzzes its guitar alongside a running line of organ in a manner that makes character of its rough edges, and seems all the murkier for that in a way that feeds into the mood of the record overall. Of course, this is hearing it with the hindsight of the ensuing seven years and all that Uncle Acihas gone on to accomplish — not to mention a remix and master by Starrs — but while Vol. 1 isn’t shy about its flaws or moments of indulgence, it not only serves as an important documentation of the beginnings of the band’s development, but brims with the creative force that still drives them. Again, it’s as much worth hearing Vol. 1 for what it has to offer on its own as what it brings to the wider Uncle Acid discography.

For example, the aforementioned “Lonely and Strange” offers deceptive nuance at the end of side A in its blend of acoustic and electric guitar, hypnotic repetition in its rhythm, a charmingly clumsy transition at the 4:30 mark, and a long stretch of classically heavy rocking instrumental wistfulness that’s unlike anything the band would again conjure. A plotted-seeming solo is met with fervent crash cymbal before dropping to organ and noise freakout to resume with even more aplomb, and it rounds out its last minute with a dive into Sabbathian acoustics and bass.

To complement this, the band brings “Wind up Toys” to close out side B and end the record with a sense of motion that echoes the ’60s surf horrors of “Vampire Circus” but has even more of a rockabilly-style motoring to its core riff early before shifting into an acoustic bridge around two minutes in and from there departing on an extended guitar lead that carries through the remaining five-ish minutes of the track. That’s something Uncle Acid would just about never do at this point. Their approach has tightened to a degree that, unless they were brazenly breaking their own rules, it seems unlikely they’d indulge such a departure from structure once they’ve established it so clearly.

Nonetheless, it’s the kind of thing a band does early in their run when they’re figuring out who they want to be as players and as a group, and to have that moment preserved on Vol. 1 only makes this reissue more justified. Add to that the consideration that The Night Creeper seemed to be endeavoring toward a harsher bite than that of Mind Control before it, and one could further argue that Uncle Acid were at least on some level looking to come full circle in bringing the lessons they’ve learned since together with the bare-flesh authenticity of this material.

There are arguments to be made on either side of that, I suppose, but what’s more important is those arguments can be had now that Vol. 1 has seen an actual release, and that those who never had the chance to take it on before — or who did have the chance but were just too much of a dope to do so — can finally do so. In their aesthetic contribution and in their sheer level of songwriting, Uncle Acid and the Deadbeats are among the most important heavy bands of their generation, and Vol. 1 provides an essential look at their origins and a killer listen besides. It is not by any means to be avoided, in whatever form.

Uncle Acid and the Deadbeats, “Crystal Spiders”

Uncle Acid and the Deadbeats website

Uncle Acid and the Deadbeats on Thee Facebooks

Rise Above Records on Thee Facebooks

Rise Above Records website

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Uncle Acid and the Deadbeats to Reissue Vol. 1 Oct. 13

Posted in Whathaveyou on August 8th, 2017 by JJ Koczan

I’ve never heard Uncle Acid and the Deadbeats‘ first album. 2010’s Vol. 1 has been in my YouTube recommendations for years now, but I’ve blatantly refused to take it on — my position being that if I’m going to hear the super-limited, one-time-only release that started off one of the most landmark UK acts of this decade, I was going to do it right. The physical pressing. I didn’t even let it play when I grabbed the embed code to put it at the bottom of this post just now. And, well, as you can see in the PR wire info below, there were CD-Rs 30 made, and when I interviewed founding guitarist/vocalist Kevin R. Starrs back in 2015, I failed to ask him for one, so that was pretty much out. There you go. To this day, I’ve never heard Vol. 1, thinking maybe I’d run into it properly at some point or another.

Rise Above Records is about to make that much easier to do. The label that has stood behind the band since it stepped up in 2012 to issue their 2011 breakthrough, Blood Lust (discussed here), along with the subsequent offerings, 2013’s Mind Control (review here) and 2015’s The Night Creeper (review here), will oversee a first official pressing of Vol. 1 on Friday, Oct. 13, with a new mix and master by Starrs himself. It’s been kind of a quiet year for Uncle Acid so far, at least relative to the amount of touring they did in 2015/2016, and as such a perfect opportunity for the band to recount their beginnings to what’s now a vast and global audience. Myself included.

From the PR wire:

uncle-acid-and-the-deadbeats-vol-1

Rise Above Records To Release Uncle Acid The Deadbeats’ “Vol 1” Friday October 13th

First released on Friday February 13th, (40 years to the day after Black Sabbath’s debut LP), “Vol 1” was the first efforts of unknown songwriter, Kevin Starrs. Pressed in small numbers for a non existing fan base, the album took several months to shift all 30 CD-R copies and provided a small platform to fund its follow up, “Blood Lust” (2011).

Recorded on a tight budget of stashed dole money and with little knowledge or regard for conventional recording techniques, the chaotic results speak for themselves;

Distorted vocals, out of tune harmonies, ragged musicianship and everything pushed to the red. The clatter of mic stands falling over mid performance, the rustling of lyric papers, the missed key changes and flubbed lines. Everything you would want to avoid is here. Self-funded, self-recorded and self released to a fanfare of silence, “Vol 1” was a true D.I.Y. effort from start to finish. No great ambition, no target audience, no press support. Just a collection of songs for anyone who would listen. With it’s mix of budget horror lyrics, Everly Brothers obsessed harmonies, downer rock riffs, overly long guitar solos and bizarre high pitched vocals, “Vol 1” had very limited appeal outside a small group of underground fanatics.

In the years following, the album became something of a cult curiosity. Despite the shoddy work of bootleggers and impatient collectors, Starrs refused to re release the album until he could work on its remix and oversee the mastering. “It was a D.I.Y project from the beginning so I wasn’t going to give it up and let someone else mess with it. I also wasn’t going to cash in on something for the sake of it. I wanted it to sound the best that it possibly could. The record deserves my full attention, so with no new album to distract anyone in 2017, it was the perfect time to work on it and release it on CD and Vinyl. It can stand on its own… flaws included.”

So here it is, “Vol 1” in all its ragged glory… finally mastered and mixed for this release.

Enjoy.

“Vol 1” Track Listing:
1. Crystal Spiders
2. Witches Garden
3. Dead Eyes of London
4. Lonely and Strange
5. Vampire Circus
6. Do What Your Love Tells You
7. I Don’t Know
8. Wind Up Toys

https://www.uncleacidband.com
https://www.facebook.com/uncleacid/
https://www.facebook.com/riseaboverecords/
http://www.riseaboverecords.com/

Uncle Acid and the Deadbeats, Vol. 1 (2010)

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Northwest Hesh Fest 2016 Announces Lineup with Red Fang, Uncle Acid and Deafheaven Headlining

Posted in The Obelisk Presents, Whathaveyou on June 22nd, 2016 by JJ Koczan

Last year, The Obelisk was proud to be among the presenters for the Northwest Hesh Fest, and it looks like Northwest Hesh Fest 2016 — set for Sept. 22-24 at Dante’s in Portland, Oregon — will be no different. I’ll have a ticket giveaway closer to the event, so keep an eye out for that, and the festival has just unveiled the lineup for each night, and it brings some formidable names.

Headliners are Red FangUncle Acid and the Deadbeats, and Deafheaven, which I think would probably be enough on their own to draw a three-night crowd, but they’re joined by American Sharks, native Portlanders Witch MountainDiesto and Danava, as well as The Blood RoyaleBanquet and Greenbeard.

American SharksGreenbeard and The Blood Royale hail from Austin, Texas, which makes sense as a complement to the Portland acts since American Icon, which puts together the festival, is based there as well. Of the non-headliner acts, that’s as far east as Northwest Hesh Fest 2016 looks, but in bringing aboard UK garage doom forerunners Uncle Acid and the Deadbeats, it extends its reach internationally for the first time. That’s a hell of an opening salvo to the rest of the world.

More to come as we get closer to September and the fest itself, but American Icon announced the lineup today and tickets are now on sale both for the individual nights — for which you can see the complete lineup breakdown below — and for a combined three-night pass. I won’t tell you what to do with your time, but this looks like an awful lot of fun:

NORTHWEST HESH FEST 2016

Sept 22-24 @ Dantes in Portland Oregon
RED FANG-UNCLE ACID & THE DEADBEATS-DEAFHEAVEN
American Sharks-Witch Mountain-Danava
The Blood Royale-Diesto-Banquet-Greenbeard

9/22/16
Red Fang, American Sharks, Witch Mountain
http://www.ticketweb.com/t3/sale/SaleEventDetail?eventId=6780785&pl=dante&dispatch=loadSelectionData

9/23/16
Uncle Acid & The Deadbeats, Danava
http://www.ticketweb.com/t3/sale/SaleEventDetail?eventId=6776535&pl=dante&dispatch=loadSelectionData

9/24/16
Deafheaven, The Blood Royale, Greenbeard, Diesto, Banquet
http://www.ticketweb.com/t3/sale/SaleEventDetail?eventId=6780605&pl=dante&dispatch=loadSelectionData

Northwest Hesh Fest Three-Day Pass

Northwest Hesh Fest event page

Northwest Hesh Fest on Thee Facebooks

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Uncle Acid and the Deadbeats Announce US Tour with Danava and The Shrine

Posted in Whathaveyou on June 20th, 2016 by JJ Koczan

uncle acid and the deadbeats

UK garage doom forerunners Uncle Acid and the Deadbeats will use Psycho Las Vegas as the launch point for a coast-to-coast US tour joined by Danava and The Shrine. The band, who were also announced as headliners for North West Hesh Fest, which caps the run on Sept. 23 at Dante’s in Portland, Oregon, seem to be hitting some places beyond the major markets this time around — granted they’re still in Brooklyn, Dallas, L.A., Chicago, etc., but they’ll be at The Orange Peel in Asheville, North Carolina, and The Stone Pony in Asbury Park, New Jersey, too, which finds them digging deeper into the US circuit than they have in the past. Of course, they’ll likely draw just about anywhere, so all the better as they continue to support last year’s fourth outing, The Night Creeper (review here), on Rise Above Records.

Just off the PR wire:

uncle acid tour poster-700

UNCLE ACID & THE DEADBEATS Announce Details of North American Tour

The UK’s greatest cult band, UNCLE ACID & THE DEADBEATS, have announced details of a run of North American dates beginning at the end of August and running through September.

The dates are as follows:

UNCLE ACID With Danava and The Shrine:
8/27: Las Vegas, NV @ Psycho Fest*
8/28: Los Angeles, CA @ Fuck Yeah Fest*
8/29: Phoenix, AZ @ Club Crescent
8/31: Dallas, TX @ Trees
9/2: Birmingham, AL @ The Saturn
9/3: Atlanta, GA @ Terminal West
9/4: Tampa, FL @ State Theater
9/6: Asheville, NC @ The Orange Peel
9/7: Richmond, VA @ Broadberry
9/8: Washington, DC @ The Howard Theater
9/9: Asbury Park, NJ @ Stone Pony
9/10: Brooklyn, NY @ Music Hall of Williamsburg
9/12: Detroit, MI @ The Majestic
9/13: Chicago, IL @ Metro
9/15: Denver, CO @ Gothic Theater
9/16: Colorado Springs, CO @ Rawkus
9/17: Salt Lake City, UT @ The Complex
9/19: Boise, ID @ Neurolux
9/20: Missoula, MT @ The Wilmna
9/22: Seattle, WA @ El Corazon
9/23: Portland, OR @ Dante’s*

*Festival Appearance

They released their breakthrough album Blood Lust in 2011, a homage to British Hammer and folk horror films of the 1970s, a candle-lit head-trip of withered hands, ritual knives and gallows ropes. Mind Control (2013), their third album, looked further afield, to the post-Charles Manson US for inspiration: Jim Jones dosing the Kool-Aid. Blue Cheer, Blue Oyster Cult and B-movie biker movies. War, Watergate, serial killers and suicidal TV evangelists.

www.acidcoven.com
www.facebook.com/uncleacid

Uncle Acid and the Deadbeats, Live in Athens, May 20, 2016

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Desertfest Belgium 2016: Uncle Acid, Coogans Bluff, Vodun, Wolvennest and Black Swarm Added

Posted in Whathaveyou on June 2nd, 2016 by JJ Koczan

desertfest belgium 2016 header

Our friends at Desertfest Belgium 2016 might be understating it somewhat when they refer to Uncle Acid and the Deadbeats as a ‘crowd-pleaser,’ but the point still stands. The UK outfit are every bit worthy of holding near-top position on the poster for the event, next to Pentagram, and wherever they end up on the final bill, they’re a damn good get. Also joining the lineup today are UK upstarts Vodun, Germany’s Coogans Bluff, and Wolvennest and Black Swarm, assuring that Desertfest Belgium 2016 gets its due course of offbeat vibes and varying swaths of heavy. You can see the full lineup below. It already looks like a killer weekend, and I have the feeling they’re not even close to done compiling it.

From the PR wire:

desertfest belgium 2016 new poster-700

DF Antwerp 2016 ADDS UNCLE ACID, COOGANS BLUFF & more!

We’ve enjoyed an overwhelming load of good vibes following our first band announcements, and we expect no less from this next fresh batch. There’s something here for everyone. You want a crowd pleaser? How’s UNCLE ACID & THE DEADBEATS pleasing ya! You want crazy and original? COOGANS BLUFF will have you covered. You want the potential surprise exploding live hit of this year’s festival? We’re putting our bets on VODUN’s blend of metal and wailing soul vocals. And since we’re Belgian after all (and proud of it, dammit!), we’ve added heavy droners WOLVENNEST and singular metalheads BLACK SWARM to the line-up.

Are you hungry for more? You better be, because the next update’s only a few weeks away!

UNCLE ACID & THE DEADBEATS

Ever since their debut album hit the scene in a cloud of menacing mystery, Uncle Acid & the Deadbeats have been pulling an evergrowing fanbase of metal and rock fans alike into their own self-created world. Their heavy psychedelia has been likened to The Beatles, had they followed their own helter skelter down into the darkest recesses of the 1970s.
Call them the Bong Lennon or the Crack Sabbath – in essence they’re a pop band, singing of death and murder in alluring vocal harmonies.

COOGANS BLUFF

They have been called “Retro”, but can you name any other band that combines krautrock, prog, psychedelic, stoner and bluesrock in such an unusual way? Coogans Bluff is a band that knows how to combine the best of all these genres, while still showing fresh and daring ideas. The band shows a very personal sense of humor in their image. However, their highly original brand of music is played with pure dedication. All hail the tinfoil hats!

VODUN

This one’s going to blow your mind… Vodun hails from London, a power trio that delivers crushing metal riffs as a backbone for some high-energy soulful wailing. MOJO magazine describes them as “Aretha Franklin fronting Royal Blood after imbibing ayahuasca”, but even that won’t prepare you for the onslaught of dark ritual madness these three bring to the stage. Amidst the rushing screams of Mother Earth, the pounding drums of Ouidah, the markets of Lomé and the open heart of Erzulie, there exists VODUN!

WOLVENNEST

Wolvennest (that’s Dutch for “Wolf’s nest”) is a musical joint venture between Kirby Michel (La Muerte), Corvus von Burtle (Cult Of Erinyes) and Marc De Backer (Mongolito), a distinctive blend of guitar loops, repetitive beats, synthesizers keys mixed with darkened hypnotic ambient vocal sounds. The resulting glorious mess is a highly original mix of seventies Krautrock and nineties Norwegian Black Metal.

BLACK SWARM

Black Swarm entered the Belgian underground metal scene in 2011. With only 6 songs they took to the stage, and immediately started to rally a fanbase consisting in- and outside the metalhead community. Watch out for their flamboyant singer Sam De Roeck though… he’s known to give the crowd just “a little more” than they bargained for when he gets in the mood!

https://www.facebook.com/desertfestbelgium/
https://twitter.com/desertfestBE
https://www.facebook.com/events/488174281372335/
http://www.desertfest.be/tickets

Uncle Acid, “Melody Lane” official video

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Lake on Fire 2016: Causa Sui, Gomer Pyle and Savanah Added to Lineup

Posted in Whathaveyou on February 10th, 2016 by JJ Koczan

Austria’s Lake on Fire festival marks its fifth anniversary with Lake on Fire 2016 this Aug. 5-6. Held at a gorgeous lakeside campground in Waldhausen, it looks to be a pretty amazing setting for some dead-on heavy. With the proceeds from each year donated to charity, this year began its lineup announcements with Uncle Acid and the Deadbeats and The Flying Eyes and continues this week with Causa Sui, a Gomer Pyle reunion and Savanah. Last year’s bill had 14 acts, so it seems fair to expect Lake on Fire 2016 isn’t quite halfway there in terms of its final roster of bands, but as you can see, they’re doing just fine as it is.

There’s a video of clips from last year’s fest, and if you look at some of the photos from their website as well, it seems like a stunning way to enjoy some rock and roll:

lake on fire 2016 burning

Lake on Fire Festival returns for its 5th anniversary on 05-06.08 2016

LINE UP:
Uncle Acid and the deadbeats (UK)
Causa Sui (DK)
Gomer Pyle (NL)
The Flying Eyes (US)
Savanah (AT)

As promised we start the week with the latest killer additions to the LOF line up!

Get psyched for CAUSA SUI / GOMER PYLE / SAVANAH!

Causa Sui – band page (DK/Heavy Psych)
During the last years this band only played a very few shows, therefore we are beyond stoked that we can offer you this rare occasion at LOF2016. In our opinion this band shares the European throne with the almighty Colour Haze when it comes to Psychedelic Rock! A new record will be released as well!

Gomer Pyle (NL/Stoner Psychedelic)
A very special one for us, as Gomer Pyle was one of the first bands which introduced us to the mesmerizing world of Stoner & Psych Rock back in the days. Unfortunately, they disbanded five years ago, however, the guys will start their engine again for a high anticipated reunion show at LOF2016.

Savanah(AUT/Stoner Rock)
One of the most promising Austrian acts of the last years. Their recent EP “Deep Shades” gained very good reviews all over Europe and the band’s aggressive style of Stoner/Psych and Doom will be perfect enough to shake the floating stage to the ground.

https://www.facebook.com/LOF.festival/
https://www.facebook.com/events/528023717362620/
http://www.lakeonfirefestival.com/

Lake on Fire 2015, Impressions from the Festival

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