Release
date: October
12th
2018.
Label: Rise
Above Records.
Format: CD/DD/Vinyl
Wasteland
–
Tracklisting
1.I
See Through You
2.Shockwave
City
3.No
Return
4.Blood
Runner
5.Stranger
Tonight
6.Wasteland
7.Bedouin
8.Exodus
Review
I
tell everyone who will listen that Uncle Acid and the Deadbeats is
the best band out there. With eight years and four albums in the rear
view mirror they should no longer be considered a “new” or
“emerging” band. Molded by Rise Above Records from a shadowy,
almost anonymous entity with no group photos that didn't do live
shows to a touring band who opened for Black Sabbath across the UK,
if there was ever a band that was in it for the music, Uncle Acid and
the Deadbeats is it. If they're new to you, do yourself a favor and
dive into their last three albums. If you have a reverence for
classic rock, stoner rock and evil vibes, there's a better than even
chance you'll be hooked from the first run through the chorus of the
now-iconic “I'll Cut You Down” to the finals strains of “Black
Motorcade”. Uncle Acid is what The Beatles might have sounded like
if Charles Manson and Black Sabbath had come first. And nothing can
prepare you for the vocals. If you're already hooked, well, I've got
this to say about the upcoming album.
One
thing about Uncle Acid is that their albums are cinematic. A full
play through of an Uncle Acid album is a bit like watching a movie
play out, but it's wrong to call them concept albums. The songs are
concise, self-motivated SONGS, never interludes, bridges or filler.
But because there's a narrative thread, and because the band are
masters of establishing and maintaining an overall mood to suit a
theme, every song is important and warrants a focused listen. They
lock onto a groove and ride it out but subtle changes make a major
impact. Their changes and turnarounds are damn near perfect and make
you sit up and take notice, the way your dad's subtle mood changes
and gestures are important to note. This is a band with presence.
The
theme of 'Wasteland' is a very near-future societal collapse and the
struggle for survival, both individual and societal. Thematically,
the story elements of the album are reminiscent of The Road, while
Sonically, the mood reminds me of Umberto Lenzi's Nightmare City.
There's a pretty good reason for that, too. While the sound and mood
of their 2013 album 'Mind Control' was steeped in 1968, evoking an
over-indulged, hopped-up hippie cult on the mother of all summer of
love hangovers, 'Wasteland's sound is very much rooted in 1980, from
the opening strains of synth which sets the tone for the album to the
muscular, almost Judas Priest or Never Say Die-like “Blood Runner”
or “Stranger Tonight” the band never strays far from a vision of
the future as seen from nostalgic eyes, wary but hopeful, braced but
unprepared.
But,
what you really want to know is: is 'Wasteland' better than their
last one? Well, 'Wasteland' displays more of a progression than the
last one. Every Uncle Acid album, indeed every Uncle Acid song is, in
many ways, the same, but different. 'Wasteland' is arguably the most
varied effort of the band's career, and unless I missed my guess, I'd
wager it's because for the first time the band is writing songs with
a live performance in mind. From the opening curtain of “I see
through you” to the final dark turn of “Exodus”, Uncle Acid
runs the listener ragged through the most epic sonic journey they've
offered yet. “No Return” might be the slowest song the band has
ever released (it might also be their heaviest and even possibly,
their best yet). It's immediately followed up with what may be their
fastest ever, “Blood Runner”. There are moments the band allows
the listener to catch their breath before the next fateful turn.
'Wasteland' showcases some of the most masterful songwriting of their
career with some of the most furious, scorching leads they've yet
unleashed. Everything about this album is a step up, a new level of
confidence and power.
You'll
rarely encounter a band with such a strong identity. If every Uncle
Acid song is the same, but different, it's because they're guided by
a strong, confident vision. If you don't know exactly who you are and
where you're going, you'll never be confident in what you do. So, the
question of whether this new album is “better” than their last is
moot. Simply put, this band sneezes and a classic record flies out
and 'Wasteland' is arguably Uncle Acid's most ambitious album to
date. Uncle Acid has found a way to progress everything they do
without sacrificing their greatest strength, which is a their
instantly recognizable sound.
Here's
a track by Track breakdown, if you're one for the spoilers. If not,
then look away, quickly:
I
See Through You – ominous synth notes build atop a public address
announcement that the state has been declared a disaster and gives
way to the best opening riff to an album I've heard in ages. Shades
of pre-disco Kiss in this riff. I didn't think they'd ever top “I'll
Cut You Down” as an album opener, yet here we are. This
automatically becomes an essential Uncle Acid song.
Shockwave
City – Another terrific song, staying in that proto-metal vein, but
still very much in the Uncle Acid style. Possibly the most true to
form the band gets on this album.
No
Return - again, possibly the band's slowest, heaviest and maybe even
best song yet. This thing is sinister, marauding, intimidating even.
A good spot for the doomiest Uncle Acid song yet as it comes with the
revelation that all hope of a return to normalcy is lost in the
album's narrative. Some synth in the background here. I'll point out
that Uncle Acid nails cyberpunk dystopia without having to go over
the top electro.
Blood
Runner – once more, this is the fastest, most metal song in the
band's catalogue. It absolutely sounds like a chase scene through
dripping, crumbling concrete jungle. It comes close to capturing that
early Iron Maiden melodic punk aesthetic.
Stranger
Tonight – a strong follow-up. Frantic, uptempo, another future
classic, staying in that proto-metal vein.
Wasteland
– this mostly acoustic epic is smothered in spaghetti western sauce
and builds up nicely in the middle to a satisfying conclusion. This
song marks a significant change in the album's tone, from the
familiar, if decaying urban world of lean, muscular riffs to a Ennio
Morricone laden western feel of a desert wanderer.
Bedouin
– this song is nearly indescribable. It almost reminds me of some
old Mega Man music and carries over a slight Morricone influence from
the last song. Melancholic, yet energetic. This song is insane. I
can't tell if those sounds are coming from a guitar or synth, they
almost sound like horns. Sabbath vibes of the more experimental
moments of 'Sabbath Bloody Sabbath'/ 'Sabotage' kind.
Exodus
– the big finish, this one's got that last call feel. The whole
second half of the record is Morricone meets Sabbath as married by
Uncle Acid. Just incredible. At first it seems like the album's
narrative ends on a hopeful note until the music darkens before
giving way to a low howling wind right at the end. Because it's Uncle
Acid the story must end on a malevolent note, like the trickster god
was waiting for just the right moment to intervene. A pitch perfect
ending to an incredible album which seems to dot the I and cross the
t of the band's intended hopeless, doomed message.
And
that's it, Uncle Acid's new album, and what an album it is. New fan,
old fan, sceptical and suspicious, there's no way you won't fall in
love with this album, double negatives be damned!
Words
by LK Ultra
Wasteland
will be available to buy on CD/DD/Vinyl from Rise Above Records and all good stockists from
October 12th
2018.
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