Well, I’ve been waiting for this one for a while now.  It’s been a good long time since a band has made me as excited about rock and roll as Uncle Acid have.  Yes, that’s right, they have officially lost the “and the Deadbeats” on their moniker, and that’s just fine with me.  Most of the folks I know have been calling them by the abbreviated name for a good while now anyway.

What I have always loved about this band is the mix of a few of my favorite sounds; the glorious riffage of the classic Black Sabbath era and the iconic voice of the weirder side of the White Album era John Lennon.  Once you hear the Lennon in K.R Stars’ voice, you can’t not hear it.  There’s a whole lot of old Alice Cooper going on in there too, but I hear Lennon; Lennon when he was singing about killing.

For The Night Creeper, their 4th long player, they take where they left off with Mind Control and boil it down to a thicker, more well-refined stew of post Altamont 60s biker rock.  The themes that ravaged the Manson-era 60s are rampant throughout this record.  Songs like Murder Night come correct with Ester Segarralyrics like “You’re sleeping in the piggy pen”, and the epic closer of this double LP set, Slow Death, serves up words like, “So when the rain falls down in silence, I hear no terror in the breeze.”  One song after another, the sad story of a lost killer killing to feel alive brings the fuzz soundtrack and terror-filled vocals to life like nothing I’ve heard in a long, long while.  The track Yellow Moon is reminiscent of a soundtrack from a terrifying 70s horror movie; you know the kind that has you walking around a creepy old house in October, while the leaves are blowing around. This track also a very cool Pink Floyd: Animals feel to it as well.  It’s not the heaviest record, but the playing is stellar, the tones are fat, the chops are undeniable, and the story being told is creepy-as-fuck.  Those things right there; that’s what I want in a rock record. And, if a wee toke helps you find the place, this album goes quite nicely with a haze on.

Production wise, this record sounds amazing.  The mix is incredible, and the album was recorded at Toe Rag Studios, London, as well as The Overlook, Elstree.  The amazing mixing job comes courtesy of Liam Watson and Luke

©2012 Ester Segarra.
©2012 Ester Segarra.

Oldfield, with some additional engineering done by K.R. Starrs himself.  As per usual, I do come rolled and ready to review records, as the best sound I get from a record comes in my lodge, and the lodge must be filled with the sweet scent as often as possible.  Whilst comfortable sat back, the beautiful purple vinyl of this double LP set made its mesmerizing spin while the fuzztastic bounce of the riffage danced in my earholes, creating a perfect space to be dusted.  It took two or three good hauls to feel the final effects of the cheeb, as the special breed in the pipe this week was a bit of a, wait for it… creeper, itself.  If you love your late 60s riff rock that crept into the 70s and changed the world of music as we know, Uncle Acid are paying true hommage to that sound, yet bring their own breed of ugliness to the table.  I don’t think The Night Creeper was a real killer, but his story is told so well on this album he might as well be.  Do yourself a favor, pull out the liner notes and read the lyrics along with your first listen; it makes this fantastic record as creepy as the Uncle intended. – FATS