Uncle Acid and the Deadbeats – Danforth Music Hall

Uncle Acid and the Deadbeats Bring the Spirit of ’70s Horror to Toronto at Danforth Music Hall

Uncle Acid and the Deadbeats may not be a household name, but they have made a lot of waves and music in their 16-year run as a band with virtually no media support. This is a band that has succeeded primarily on word of mouth and has been able to build and secure a cult following that is loyal and always eager to see what they’re doing. Within the stoner/doom/metal community, these guys are very well respected. I was made aware of them in 2012 and have been a fan since, getting to see them perform at Lee’s Palace in the past.

Historically, the band’s records are all very simpatico in my opinion. They have the “Uncle Acid” sound, which seems to be an amalgamation of droney riffs, witchy harmonies and horror themes. Their old releases, including “Mind Control”, “The Night Creeper”, “Wasteland”, “Volume 1” and my personal favourite, “Blood Lust”,  have a unique sound and flow. But with their new release, they have stepped out of their “business as usual” approach and created something unique and multi-dimensional, showing the diversity of their influences and ability.

Instead of watching the Superbowl, I decided that Uncle Acid down at the Danforth Music Hall was a better time investment, and I’m glad I made that decision. The live performance of “Nell’Ora’ Ora Blu” was something new and featured a movie playing in the background with interactive parts involving the band members answering phone calls in the middle of the set as part of the movie. A good portion of the album is instrumental and features a lot of synths and keyboards, which is something new for Uncle Acid. Their past releases are guitar-driven rock records for the most part, but on this release, they’re throwing back to the “70’s Italian horror” synth vibe with some classic Uncle Acid and Tarrantino vibes thrown in for good measure. All of this came across well live.

Seeing the presentation live with all the extra production aspects made me understand the record a lot better, though at first listen, I fully understood the aim and value of what they were doing because I am familiar with 70s horror. They are great musicians doing something new, and for that, I respected the show and album even more. Part movie, part play, part musical – it’s extremely theatrical. I was sold at the end when they slit the throat of a mannequin and blood came out – my kind of parlour trick horror show indeed. The entire project was an obvious labour of love and I took a chance artistically with a great result.

This is a very different and unique presentation, and it is likely a once-in-a-lifetime performance of this particular album presented in this way, so I’m happy to have been able to see it. If you can, catch them on the road for a little while longer performing this album in North America.