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Song Produced By: Branchez
Mixed and Mastered By: Joshua H. Pleeter
Production Company: UNDERHILL
Director: Matt Seger & Dexter Brierley
DOP: Matt Seger & Dexter Brierley
Producer: Tom Van Scoyoc
Assnt. Director: Joshua H. Pleeter
Editor: Tom Van Scoyoc
Gaffer: Jorge Arzac
Key/Dolly Grip: Semir Hot
G&E Swing: Harris Van Alterman
1st AC: Corey Hess
Prod. Designer: Lucca Zeray
Set Dec: Sabrina Teteromano
Uncle Acid & The Deadbeats are the Cambridge, England performers that take the twisted dichotomy of the 70’s slaughterhouse art style and bring it to a musical host. From the vivid colors that the band paints on their newest record, Wasteland; or the almost detrimental use of synthetic and authentic sounds to create a look into England’s seedy underbelly.
From the oil lamps that light the way, Wasteland is an explosive first jump into the murky waters with “I See Through You”. The cover art of Wasteland is almost synonymous with the likes of dystopian novels like 1984 or Brave New World where something once organic is manipulated to represent something that feels overpowering. In this case, the cover almost represents a peep hole on someone’s head over looking a city and it reflects in their musical style strangely enough. The colors are dull here, but Uncle Acid & The Deadbeats shine brightly in this stoned, blurred visionary look.
While the thick overlay on the primary vocal performance does weigh slightly on the listener by the end, throughout the experience; there is not much to complain about. The music is a jam fest of both darkened crypts and sunlight blitzes. Whether the band is moving in with “No Return”, a triumphant and incredibly inspired horror-film that glances eyes at droning rock in a dive-basement-bar. To the very frantic work of “Blood Runner” which holds the piece at a rapid speed through the city before reaching a subway system of different layers and musical pieces.
One of the strongest components is the overall sound of Wasteland as the record is ridden to become an overdriven piece with both high mountainous moments, and low, beneath the Earth works. At either stance, Uncle Acid & The Deadbeats perform well throughout and can manage the balance like expert marksmen. Wasteland becomes a physical embodiment of the modern age, but is spiritually in the 1970’s, trapped inside a Stanley Kubrick film.
As the ship sails on the rising final track, Wasteland becomes a very English rendition that performs in a sequence of storytelling. It is one of the more illustrative albums that comes just in time for the bone-chilling nights of October.
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Video Directed by: Rick Nyce
Video Producer: Spike Jordan for Genius Productions
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Directed by: Marcus Söderlund & Jonatan Leandoer Håstad
Director of Photography: Daniel Takács
Costume: Tony Karlsson
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Label : Awful Records / RCA
Director: Reggie
Starring: Father, @rsewtrr, Meltycanon, Evelyn Claire, Lil Housephone, @baaabygiraffe, Waymond Lee & Archibald Slim
EP : Daniel Kelly
Producer : Iain Gayley
Production Coordinator : Matt Vara
DP : Neema Sadeghi
AD : Jackie Paul Key
PA : Chris Taylor
Production Design : Piper Tompkins & Mex Shepard
AC : Nick Eagleston
Gaffer : Dimitri Cristoforidis
Key Grip : Ryan Haskins
Hair/Makeup : Abigail Smith
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Produced By: Christo
Directed By: Choo Jackson, Forget Brennan, Burky Films,
Colored By: Bradly Atom.
“A tribute video for my long lost brother Mac . I love you bro thank you for everything you did for me while you were here. greatest soul to walk the planet. gave me a blessing when we was starving .ill make sure the world never forgets u. goodbye malcolm.”
The 1980’s were a hair-raising, genre-blending smash of what would become a multi-layered cake of rock music. From the glam and hair rock genres that were starting to capture the mainstream, bands like Jerry’s Kids were taking the fight to the background with Is This My World?; a record that holds more punches than answers.
Somehow, the music is an abrasive smash of 12-total tracks, a 24-minute runtime, and a mosh pit to the core. Jerry’s Kids was one of the more obscure acts to cover the punk scene that did not have the majority hold as a band like Minor Threat or Bad Brains, but was still substantial enough to fill a room of disenfranchised lovers of glorified, audible speed. With a take-no prisoners approach and a devotion to creating some real fireworks, “I Don’t Belong” and “Tear It Up” are tracks that act as campfires in a gasoline factory.
Almost rotten from the very start, “I Don’t Belong” is the epicenter of punk rock freedom as the band consisting of four distinct members. From Brian Betzger on the percussion or both Bob Cenci and Chris Doherty on the guitars. The band is orchestrated as this mad piece of wrecking crew works that has Rick Jones as the lead vocalist and bassist. This four-man assault team worked well as the movers of chaos on the 1983 release, Is This My World? where the fast-paced tracks and even faster playing has the world spinning around Jerry’s Kids.
As the group moves into “Tear It Up” or “Break The Mold”, there is little build up around the openings and the animalistic fury is used like a laser to singe the minds of the listener. Dealing with the nihilistic and anti-establishment styles of punk rock, Jerry’s Kids takes a similar idea and decides to “Break The Mold” as they clap through with quick snare smacks and guitar riffs that blitz and attack. The technical skill behind the playing however is present as the band stays tightly together and showcases a better display of more approachable work on “Raise The Curtain”.
Rather than being a straight arrow of rugged hell, “Raise The Curtain” is still a daunting and furious sounding track; instead taking a sluggish approach and being heavier in the way that the guitars and percussion is toned. A still crunch of the air follows “Raise The Curtain” as the almost broken laws of punk records come into frame. The full frontal destroyer becomes a welcome party for something that feels more as a paper weight to the unrestrained style of previous tracks. Which follows for some motions of the record before jumping back into “Vietnam Syndrome” which holds a quick build up before a chant to tear down “Uncle Sam” and discuss how he is “After you and after me.”
They are violent, but hold a positive message behind their sound that influenced an audacious wave to follow in punk rock forever. With elements of early heavy rock and a focus on challenging the status normality’s, Jerry’s Kids is an obscure diamond in a sea of punk records that are almost lost to obscurity.