Even though they're often referred to as the 21st Century answer to Black Sabbath, Uncle Acid and the Deadbeats are much more than that.

Direct heirs of the twisted side of the hippie dream, Uncle Acid and the Deadbeats' music mixes a disenchanted late-sixties vibe with a fuzz-filled wall of sound - an invisible corpus that seems to delicately choke you whist it emulates that thin line between a good and bad trip.

We caught up with frontman Kevin Ryan "K.R." Starr in Paris for a chat just before the band's show at La Flèche d'Or to talk about their new album The Night Creeper, as well as Charles Manson and the influence film has on their music. You can catch them live at London's Scala on November 26th.

You're kicking off the tour in Paris, was this a choice or more of a convenience?

I guess Paris is a good start! Every time we play here we seem to get a good response from the audience. For whatever reason they have really taken to us and support us, so it's a good place to start.

This is a rather extensive tour, is it usually this long?

No, normally we just do four weeks; this is six weeks, just the EU dates. We did a month in America, and normally we do one tour, then some break, then another tour. This one is Europe right after America, and then we're off to Australia.

What about finding your musical path - was it instinctive to find your voice together or did you have to struggle to achieve it?

It was kind of an instinctive thing, you know. I didn't want to sing, that was the first thing. I didn't want to be a singer so we were looking for one for months, and we couldn't find anybody so I was just like "I'll do it." And then I started singing and it was kind of a weird voice, all high and everything, and it was strange, but it was the natural way of doing it so I just kept singing like that.

What's changed in the line-up throughout the years?

We had two different line-ups for the first two albums, then Yotam [Rubinger, guitar] joined right before Mind Control. I was always looking for another guitar player that could also sing, so it was perfect: he could sing the harmonies, he could play the guitar... so right now we have the definitive line-up, this is the best we've ever had.

You get compared a lot to early Sabbath, with whom you also toured. Does that bother you, or do you consider it a compliment?

It's definitely a compliment, but some people, that's all they hear when they listen to us, and there's way more than that: for example, Black Sabbath never had two singers, singing two and three-part harmonies. It's just people putting things in boxes and I don't like that at all, but it's just the way it is.

Tell me about your new album, The Night Creeper, which just came out. The perception I get is that musically it's sort of similar to the previous one, Mind Control, but very different from Blood Lust.

Yes, and that's the way it happened really. There is stuff in there we had never done before, like an instrumental track. And there's an acoustic track, which is just me and an acoustic guitar, done completely live -- and we had never done that before either. And it's also a long track, 'Slow Death', it's the longest we have ever done and it kind of builds up in a strange way. So there are some differences but that's just the way it worked out really, influences coming in.

New influences? What are you listening to at the moment?

And old, that I always had but never really explored. I've actually been listening to a lot of Judas Priest lately, and Neil Young, stuff like that. Also the Beatles a lot, we're all Beatles fans; and the Kinks, Fleetwood Mac, the Ronettes...

You also have all these Charles Manson references in your music, which kind of connects it to the dark side of the sixties, and also to what we call pop folklore. Do you think all these stories related to the music business actually help, do they create a myth or do they stand in the way of what's really important?

I think you can take inspiration from it, and that's a good thing. I mean, I'm not here to promote Charles Manson or anything - I like his music, I'm really interested when he speaks, because he speaks really well when he's not completely fucked-up, but he's just an interesting character. That whole time was: the end of the sixties, the hippie movement happening, and it was like the establishment didn't want that and decided "let's have a scape goat." And Charles Manson, he's the scape goat. He destroyed the hippie dream, but not really -- again, it's a strange media manipulation because he's portrayed as a serial killer but he actually never killed anybody. It's so strange, how the media can just twist people's views on that.

Does that interest you, the media and the way people are influenced by it?

Yeah, I love that, I love thinking about it because you see it all the time, in the news, every time you see anything it's... people don't actually see it, they just follow whatever they're told.

Your previous album Mind Control was sort of what you call a concept album --

All of them are, really. They have stories in them.

Oh really? Can you tell us more about the story behind Night Creeper?

The idea is that there's a serial killer that's being created by the police and the media to cover up crimes committed by the police themselves. They are saying there's a homeless guy in the streets, and you've got to lock all your doors, and be paranoid, don't talk to people, and they're trying to break community spirit through that, dividing everybody. It follows the story of the Night Creeper going around and killing everybody, and all through it there's somebody who's been watching them. And at the end of the album, this guy comes and kills the police officer; in 'Slow Death' he tortures him and does everything he's done to other people.

But it's still less obvious than Mind Control; Mind Control even if you just look at the title, you can sort of figure out what it is about and where the story takes place.

With Night Creeper a lot of people aren't sure about where it was set; there were people thinking about a Jack The Ripper kind of thing - and I can see it as well -, but for me, when I was writing it, it was the '50s New York, Film Noir -- but it's open to interpretation. I really like Film Noir, I was watching it a lot during this album especially, and a bit of Giallo as well... Every Uncle Acid album has a film reference: Blood Lust was more British Horror Film, like Hammer Horror, while Mind Control was more like 60s B-movies.

Either way your music is very visual, right?

Yeah, I mean, I see everything in imagery rather than sounds. I'd be watching a Film Noir movie and see all the shadows, and try to recreate that in music. So I'll just add some kind of fuzz to crackle it up a little bit, to represent film grain. Just mixing up new things.

You are aware there's this kind of revival of sixties' psych-stoner-doom; what do you make of it, have we got to the point where we can't stop self-referencing ourselves?

I think It's got a bit out of hand, yeah. Bands that were doing something else find themselves changing because there's this big ride we can all jump on and pretend to be psych because it's what's happening. I mean, I never really saw ourselves as a psych band, but people say "ah, that's really psychedelic," and that's not for me to decide it, it's an audience thing. Psychedelia, to me, it's more about how you feel - if somebody's having a psychedelic experience, it's not for me to say "oh, we're not a psych band."

Maybe that's because of this visual side you want to give to your music?

Yeah, but it's up to the listeners to feel that. I don't know what happened really, maybe the press just started boxing everything "this is psychedelic, that is psychedelic" and most of it it's not.

Regarding your dynamics music-wise, the way you feel about your music and the place you are right now: are you where you want to be, or are you looking forward to get to another place musically, career-wise?

Not really, we're just like "what happens, happens"; I mean, if all of a sudden we're playing football stadiums and that's meant to happen it's alright, but it that doesn't happen I don't give a shit. But self-fulfilment, yeah, you have to feel good about it. I feel good as a songwriter and that's the main thing. I always write for myself and I don't care what anyone else thinks about it. You can never know what the public wants anyway; everybody wants different things and you can't please all of them, so you just please yourself.