Warthur On The Night Creeper, Uncle Acid and his fearless Deadbeats dial back the poppier influences that had emerged on Mind Control, but in doing so retain some of the lessons learned from that diversion and therefore keep their mingling of heavy psych and doom metal fresh. Band mastermind K.R. Starrs brings to the fore the best riffs we've heard on an Uncle Acid album since Blood Lust, as well as vocals tortured and processed until they sound like the gurglings of the damned. Once again, music, lyrics, artwork all work together to form a distinct aesthetic; you can almost close your eyes and imagine you're watching the Night Creeper movie, even though Hammer/Amicus never made such a film.

UMUR "Mind Control" is the 3rd full-length studio album by UK doom metal act Uncle Acid and the Deadbeats. The album was released through Rise Above Records in April 2013. Uncle Acid and the Deadbeats was formed in 2009 in Cambridge, with the intention to play doom metal with 60s horror movie themes.

...and they´ve succeeded very well in doing just that on their first two albums and they continue to play that music style on "Mind Control". So the music on this album is basically strongly Black Sabbath influenced doom metal (their early releases) with a psychadelic twist and featuring horror themes. Other influences count artists like Pentragram and Witchfinder General. The compositions are for the most part well written and fairly memorable even though the band sometimes play their riffs too many times during a song. The worst example of that are the closing minutes to album opener "Mt. Abraxas", which seriously overstays it´s welcome. Other than that the band are pretty well versed in writing catchy traditional doom metal tunes.

The musicianship are strong. Everything is delivered with the right organic touch. Lead vocalist/guitarist K.R. Starrs has a pleasant but relatively anonymous voice and it´s especially because of his vocal delivery that the music features a psychadelic and at times almost mellow edge, despite the heavy distorted riffing and the pounding rhythm section. The many well played guitar solos also deserve a mention. The whole thing is packed in a suiting organic sound production, which provides the music with the right authentic and raw edge, so all in all "Mind Control" should be a treat to fans of early 70s doom metal. A 3.5 star (70%) rating is warranted.

Warthur The third album by Uncle Acid and the Deadbeats finds them continuing their experiments in injecting a heavy 1960s vibe into traditional doom metal. This time around, they've dropped the old pseudonyms to herald the beginning of a new approach, and the new dual-guitar lineup and the emphasis on Beatles-like vocal harmonies adds an interesting twist to proceedings, and whilst on the whole I don't think the album holds up as well as the band's two preceding releases, the heavy psych direction is at least a novel development in their sound. I remain interested to see where they take things next, but I'm not likely to revisit this one that much.

Warthur The glorious Uncle Acid and the Deadbeats add vocals filtered through the same sort of bizarre filter applied to Ozzy Osbourne's vocals on the Sabbath classic Planet Caravan with grotesque and sinister traditional doom metal compositions which sound like the sort of thing which might conceivably have been produced in 1970 by a band too demented and out-there to get released back in the day. Heavy psych is a major influence, but strictly negative vibes and bad trips ensue when you stare into Uncle Acid's 13 Candles. (They're also insanely catchy - I'll Cut You Down, for instance, could almost have been worth releasing as a single.)

Warthur With a cover that could have sat equally happily on a classic-era Vertigo label release - or perhaps a 1970s horror novel cover or a Hammer movie poster - Uncle Acid and the Deadbeats nail their colours to the nostalgia mast on this debut album. Presenting a sound which is several notches heavier, trippier, and more extreme than anything in wide circulation during the late 1960s/early 1970s era their aesthetic is meant to evoke but at the same time sounding like it *might* have emerged from there - say, perhaps from the basement at the Manson ranch - it's a confident heavy psych workout which answers the question "What if Deep Purple were as heavy as Black Sabbath and occult-obsessed as Black Widow?"