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You may have never heard of Uncle Acid & the Deadbeats or their second full-length release, Blood Lust. They keep a low profile, so you can be forgiven for that. Uncle Acid & the Deadbeats are a three-piece hailing from Cambridgeshire, UK that plays horror-movie inspired doom with a very distinct retro 70's feel. Uncle Acid handles the vocal/guitar/organ work, Kat plays bass, and Red bangs drums. Hopefully you don't need more in the way of an introduction, as that's about all the information on this band you'll find.
First off, this is not your typical doom album. If you're looking for the second coming of Sleep or Electric Wizard, you'll be sadly disappointed - this is not Dopesmoker or Come My Fanatics. The songs found here are not slow, monolithic behemoths come to crush you under mountains of fuzz tone and plodding beats.
Blood Lust is very much a powerful throwback to the glory days of early Black Sabbath. In fact, if you didn't know better you could swear that this was a lost Sabbath demo with a different singer. This isn't the usual mindless Sabbath-worship though - this isn't another bunch of stoners trying to sound like the immortal Black Sabbath and failing miserably. This is the classic Sabbath style played effortlessly and uniquely, with a grimier production, electrifying vocal harmonies, and a superbly menacing evil atmosphere. This out-Sabbaths Sabbath.
This album conjures up a feeling of digging up graves at midnight beneath a full moon, black masses in the church basement, witches being put to the stake, and drug fiends licking bloodied knives over their victims bodies.
Uncle Acid's eerie falsetto vocals will send shivers up and down your spine. It's like King Diamond and Ronnie James Dio stole someone's child, raised it on drugs and blood, and taught it to sing. The guitar work is tremendous as well, ranging from the slower, doomy hooks on 'Death's Door' to the up-tempo riff madness of the album opener 'I'll Cut You Down'. Uncle Acid must have dug up the stumps of Tony Iommi's missing fingers and preformed some unholy voodoo magic to make riffs like these. The drums and bass are bang on too, getting the job done without stealing the spotlight from the guitars and vocals. The production gets it grit and authentic 70's feel from being recorded on ancient equipment and instruments - no studio fakery here.
If this album had been released side-by-side with say Paranoid, not only would the devil himself have taken notice, but we may all be looking back at this today and wondering who the hell these guys from Birmingham were.