(CD/LP, Rise Above Records, 2024)
UNCLE ACID AND THE DEADBEATS may surprise you paying homage to '70s Italian Horror / Giallo cinema with their sixth full length album, but if you’ve been really paying attention to their studio doings, you should have seen the signs; 2011’s “Blood Lust” and 2015’s semi-conceptual album “The Night Creeper” were looking at that direction, showcasing that the seed had been planted inside Kevin Starrs’ mind, but it had not sprouted until the ambitious “Nell’ Ora Blu” broke the soil.
You should know beforehand that these songs do not constitute a soundtrack meant for an Italian Horror movie. The album features nineteen chapters, presented in a cinematic format. The haunting atmosphere we’ve learned to love through UNCLE ACID’s eerie keyboards and the band’s ‘70s approach are present, but in between there are actual dialogues in Italian recorded by actors, and this makes this effort more interesting and intriguing. I won’t spill the beans talking about the “Nell’ Ora Blu” story, but I’ll stick to its musical aspect and how it serves the overall atmosphere.
After all, the UNCLE ACID world is all about creating atmosphere through rolling waves of synths, Space Rock psychedelia or occult Proto-Doom heaviness. “Il Sole Sorge Sempre” (The Sun Always Rises) lifts the curtain with that PINK FLOYD-ladden tone buzzing in your ears filtered through the UNCLE ACID distorted lens, before touching the GOBLIN-esque finger-licking score universe. There’s some naivety in this 5-minute intro (as if this is an actual movie’s opening credits), but this was done on purpose to serve the movie’s needs. In the middle of “Giustizia Di Strada – Lavora Fino Alla Morte” (Street Justice – Work Until You Die) and right after the first dialogue, there’s this synth-based melody to take you back in time to late ‘60s as Uncle himself sings the first line with that distinct timbre. This may feel very DIY, but in reality it feeds the old-school soundtrack needs, and please note how the “can we kill tonight” lyric line passes the baton to the “La Vipera” (The Viper) interlude, creating the feeling that the scene has just changed.
“Vendetta (Tema)” (Revenge) breathes some GOBLIN air, with Starrs having captured the mood of films like “Deep Red” or “Suspiria”. This track’s headbanging-worthy groove is highly addictive and showcases the composer’s innovation, especially when all bets are off and he is free to roam wherever his artistic compass is pointing. The way “Vendetta” bleeds into the dreamy “La Bara Resterà Chiusa” (The Coffin Will Stay Close) will make you feel like you’re well-immersed inside the movie, even though you will have difficulties following the plot - unless you speak Italian. In “Il Tesoro Di Sardegna” (Sardinia’s Treasure), the saxophone expands the color palette used to develop the plot (perfectly serving the ambience). The same happens to a lesser extent with the saxophone phrases in the album’s title track, enhancing the dreamy elements Kevin likes to use on record, and this often sounds like a Badalamenti soundtrack. Indeed, Starrs pulled out all the stops when creating this record.
There are a couple of instances I felt a bit stressed, like in “Tortura Al Telefono” (Phone Torture) with a phone non-stop ringing, the distorted voices and instruments; a combination that is really disturbing for the ears. The same applies to “L’Omicidio” (The Murder) with an eerie sound mixed with the effect of rain falling and lots of shouting. Add the creepy sound of knife piercing flesh, and you have the perfect storm. On the other hand, it is enjoyable listening to the opening riff in “Solo La Morte Ti Ammanetta” (Only Death Handcuffs You), which sounds like the continuation of “Devil’s Work” (the closing track of “Mind Control”). This is one of the two actual songs on “Nell’ Ora Blu” (and yes, there are more crazy telephone ringing sounds towards the end…), with the other one being “Resti Umani” (Human Remains). The latter is a synth-based, GOBLIN-like song that builds little by little a “Phenomena”-inspired atmosphere with some Proto-Doom drumming paving the way for the Ennio Morricone-loaded ending, all beautifully graced by Starrs’ ‘ooooooh - aaaaaah’ hazy vocalisms.
According to the press release, Starrs would like to do a few shows performing the album in its entirety and not a full-blown tour. This means that very few people will be lucky to witness “Nell’ Ora Blu” in concert. No matter the case, this is an album that requires the listener’s attention – not so much to understand the plot, but to comprehend how the sounds and voices placed here serve Starrs’ vision. I like the overall flow as one theme fades into the next one, and how creepy and tense it can feel at times. No matter if you’re a fan of such an experimental venture, this is an impressive project. Now, I cannot stop thinking the possibility of “Nell’ Ora Blu” blooming into a printed novel, because it can be a real page-turner.
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Links:
www.UncleAcidBand.Com
www.FaceBook.Com/UncleAcid
www.Instagram.Com/UncleAcidBand
Tracklist:
01. Il Sole Sorge Sempre
02. Giustizia Di Strada – Lavora Fino Alla Morte
03. La Vipera
04. Vendetta (Tema)
05. La Bara Resterà Chiusa
06. Cocktail Party
07. Il Tesoro Di Sardegna
08. Nell’ Ora Blu
09. Il Chiamante Silenzioso
10. Tortura Al Telefono
11. Pomeriggio Di Novembre Nel Parco – Occhi Che Osservano
12. Il Retorno Del Chiamante Silenzioso
13. Solo La Morte To Ammanetta
14. Il Gatto Morto
15. Guidando Veloce Verso La Campagna
16. L’Omicidio
17. Resti Umani
18. Sorge Anche Il Sole
19. Ritorno All’ Oscurità
Lineup:
Kevin R. Starrs - Vocals, All Instruments