GRAVEYARD / UNCLE ACID & THE DEADBEATS

Psyko Steve & Stateside Present

GRAVEYARD / UNCLE ACID & THE DEADBEATS

TWIN TEMPLE

Thu, March 14, 2019

Doors: 7:00 pm / Show: 8:00 pm

The Van Buren

Phoenix, AZ

$25.00 - $30.00

This event is 13 and over

GRAVEYARD
GRAVEYARD
With their fifth album, »Peace«, GRAVEYARD guides the listener through an ever-changing musical landscape filled with their trademark take on classic rock. From the opening track’s blistering declaration that ‘It Ain’t Over Yet’ to the final note of heart beating bass on the epic and moody rocker ‘Low (I Wouldn’t Mind)’ the band manage to squeeze out every last creative drop of what there is to know, hear and love about GRAVEYARD in 2018.

To anyone who has followed GRAVEYARD throughout their career it comes as no surprise that »Peace« offers yet another passionate display from band that utilises a wide variety of styles and moods. But, if you were to pin-point the one thing that really sets »Peace« aside from the band’s previous albums, it would be that the production on »Peace« is the band’s heaviest and most solid to date.

“I wanted to capture the power and energy of the band that I’ve witnessed at their live shows. So we recorded the album the way that all the old classics were made; with no click tracks, triggered drums, autotune or "studio trickery". The plan was to keep it simple and pure, with just the band and their music. Everything we added to a song had to be there for a reason and not just because we had empty tracks.” – Chips Kiesbye, producer

Following on from previous album »Innocence & Decadence«, you could be forgiven for assuming that GRAVEYARD would be taking a softer, more laid back approach to the songwriting for the follow-up. However, with »Peace«, GRAVEYARD have gone back to their roots, whilst also evolving and finding creative outlets to showcase the band’s softer side and influences.

On ‘It Ain’t Over Yet’ and ‘The Fox’, we hear Joakim Nilsson sing his heart out whilst Truls Mörck takes the reigns offering soothing contrast on ‘See The Day’ and the anthemic Neil Young-esque ‘Bird Of Paradise’. Throughout the album, GRAVEYARD continue to show their heavier side with hard-hitters ‘Please Don’t’, ‘Cold Love’ and ‘A Sign Of Peace’. The band offer a refreshing blend of BLACK SABBATH and THE STOOGES on ‘Walk On’, concluding with the epic jam of ‘Low (I Wouldn’t Mind)’. All of these elements combined create a record that showcases the experimental and heavier side of GRAVEYARD without forsaking the true essence of the band.

This revitalized sound is, in part, due to the introduction of new drummer Oskar Bergenheim, who joins GRAVEYARD following the band’s brief hiatus and departure of drummer Axel Sjöberg. Oskar comments: "When I first got the call to try out the vacant spot in GRAVEYARD I was honored. I´ve known Truls and played with him for many years and knew it could work out, but it wasn’t without feeling that I had to step up my game! Joining the band and recording »Peace« has been pure joy for me personally, from the first demo sessions to the final master.”

What ‘bout »Peace«? The album title could actually be considered to be the band’s first positive album title to date. For the cover art, the band called upon designer Ulf Lundén to create something that combined his and the band’s thoughts and views on the world around them. For ‘peace’ is not just any word – what you can say is, that no matter if you’re looking at the word ‘peace’ from the context of the current state of the world, the current state of the individual mind or the current state of a rock band – there should be no doubt that there sure is room and need for the use of PEACE in 2018.

“The world's in a tangle. Maybe more so than ever before, and to be honest we have no idea what to do about it. What can a rock ‘n’ roll band do to improve the state of things? Maybe not much but maybe something. While we figure that out we are just gonna keep on doing what we do best. Play music, put those good vibrations out there and to all you people who listen to us. We just wanna say PEACE!” - GRAVEYARD
UNCLE ACID & THE DEADBEATS
UNCLE ACID & THE DEADBEATS
Contained within are ten tracks of the type of sonic psyche-frazzling heaviness and blood-drenched pop that have made Uncle Acid & the Deadbeats one of Britain's great cult bands.
Recorded at Toe Rag studios in early 2015 with engineer Liam Watson (White Stripes, Tame Impala, Electric Wizard), their fourth opus The Night Creeper finds the quartet in full-on death-tripping, third eye-widening mode. Here songs ooze louche evil over flesh-melting riffs that creep like hot magma bubbling up through the earth's crust at their own malevolent pace. This album is in no hurry to destroy you. But it will. It will.

As with previous creations, The Night Creeper has a distinct concept as a starting point. "The idea is that this album could have started life as an old cheap, grime-covered 25 cent pulp paperback like the type sold at news-stands outside subway stations," says enigmatic frontman Kevin Starrs. "But then perhaps it is adapted into a film noir, which itself is then re-made twenty years later as an ultraviolent, slasher Italian Giallo film. The album follows this aesthetic lineage as it descends from to trash to noir to something discernibly darker."

Lyrically, it concerns a street-creeping homeless figure, whose story unravels over the course of the album. Things happen. Murders. But where the narrative is concerned Starrs is keen "to let listeners do the detective work themselves." On songs like 'Waiting For Blood' and the album's title track, Uncle Acid & the Deadbeats wail like end times are finally upon us. By the close of the ethereal and utterly sparse hidden track 'Black Motorcade' egos and ids have been thoroughly shattered. Indeed the world itself sounds like it has been reduced to smoking ruins. May we ever recover?

In an age when the word is over-used, Uncle Acid are indeed a true cult. Everything they do is covert, their movements crepuscular, the loyalty they inspire fervent. Every sneering melody and every piece of artwork is loaded with meaning, designed to be pored over. Their press coverage is deliberately limited but doesn't prevent them selling out US tours or joining Black Sabbath at their personal request. They only reveal what they want to reveal: chiefly that Uncle Acid & the Deadbeats began as a studio project circa 2009 in Cambridge, the wild concept of Kevin Starrs. The rest is academic.

Because Uncle Acid & the Deadbeats exist in their own self-created world, hoovering up trash/pop culture and spitting it back out in hot chunks of finely-hewn riffola and righteous rock 'n roll noise. Make no mistake though they are a pop band too: a pop band of the most fuzzed-up, subversive kind. One with three part harmonies that sing of death and murder. But a pop band all the same.

"This album goes back to my original vision for the band, which was to take our love of girl groups – The Ronettes, The Shangri-La's, Phil Spector – and making it ultra-dark, lyrically," says Starrs. "It's about balancing those sugar melodies with evil, insidious intent."

Following Volume 1 (2010), a debut born out of frustration and unemployment, their follow-up Blood Lust(2011) was a homage to British Hammer and folk horror films of the 1970s, a whirling head-trip of candle-lit mayhem; a world of withered hands, ritual knives and gallows ropes. Their heavy psychedelia was likened to The Beatles, had they followed their own helter skelter down into the darkest recesses of the 1970s. One review dubbed the band "the Bong Lennon, the Crack Sabbath, the Hex Pistols the world has been waiting for". Meanwhile further information trickled down: joining Kevin Starrs, the band's line-up coalesced to include Yotam Rubinger (guitars), Dean Millar (bass) and Itamar Rubinger (drums)

Mind Control(2013) looked further afield, to the post-Charles Manson US for inspiration. Think murders at Altamont, Jim Jones dosing the Kool-Aid. Think MC5 and Blue Cheer, Blue Oyster Cult and B-movie biker movies. Think war, Watergate, pornography, serial killers dressed as Ronald McDonald, suicidal TV evangelists and self-elected messiahs at every turn. Mind Control was the soundtrack to a culture of consumption hurtling headfirst into a neon-hued moral abyss.

And now comes The Night Creeper, Uncle Acid & the Deadbeats' darkest journey yet.
TWIN TEMPLE
TWIN TEMPLE
Alexandra and Zachary James are the high priests of Twin Temple, the Satanic Doo-Wop band hailing from the City of Angels.

The band was started on Halloween (a Witch’s Sabbath) in 2016 when a destruction ritual was performed, and Alexandra and Zachary stepped into their power as Twin Temple, energetically killing all their previous incarnations up until that point.

Although you may expect heavy guitar riffs and a thumping bass to accompany cries of “Hail Satan,” instead you’ll hear old-school, classic riffs and Alexandra’s crooning voice that sounds straight out of the ‘60s. While many confine Satan to the likes of black metal, the duo is breaking the notion that Satan has a type. After all, who says Satan wouldn’t get down to some classic Americana? Inspired by the golden era of Rock ‘n’ Roll, Twin Temple rejects conformity of any kind, whether it’s through their magick, performance, or sound.

And while a lot of “Satanic” metal bands begin and end their worship of Satan on stage, the same can’t be said for Twin Temple. Both their music and their practice of Satanism, on and off the stage, are rooted in the ideals of free will and giving space to those who are often not allowed any.

So no, Twin Temple doesn’t drink the blood of virgins or kill babies to sacrifice on the full moon. They are challenging notions about what it means to free the oppressed, fight back against dated and binary ways of thinking, and doing it all while hailing the dark lord himself.

If there’s anything to expect with Twin Temple, it’s the unexpected.
Venue Information:
The Van Buren
401 W. Van Buren St.
Phoenix, AZ, 85003
http://thevanburenphx.com/