In acid chemistry, an acid is a substance with a pH level below 7 and a high hydrogen concentration. When rye malt is synthesized into its structure, it acts as a kind of narcotic. To obtain this substance, you need to reach 80°C—perhaps this is the fire of Heavy Metal itself. From the ’70s into the ’80s, one of the most widely used drugs was acid (in fact, the most hardcore acid users are called Motörhead), and our marshal god Lemmy is known to have taken handfuls of acid in his youth without hesitation. Some people got tired of the flower children scene and started doing different things, and Acid was among the first representatives of this shift.
Acid is a band that is almost impossible to describe. Their music delivers every kind of madness and pleasure: an unparalleled fusion of Hard’n’Heavy, Punk, Speed Metal, and Rock’n’Roll flavors into one body, which then transforms into a toxic pollution that fries your brain cells. Should I talk about the savage riffs, the wild explosive guitars, the insanely charismatic solos, the double bass drums, or Kate’s unbelievably powerful voice that makes you wish your mother was there?
This underrated Hard’n’Heavy band, whose connection with daylight is as faint as their recognition, has a lineup equivalent to the current Manchester United squad. On lead guitar is “Demon” Donald, on drums “Anvil” Geert, on bass “T-Bone” Pete, on second guitar “Dizzy Lizzy” Peter, and up front a powerhouse female vocalist named Kate—who defines what a woman vocalist should be. Yes, they are like the Red Devils of metal. The band was also influenced by Anton LaVey’s Satanism movement, and their lyrics reflect it all—dark and dedicated directly to hell, devils, and demons.
In those years, Motörhead was the first band to use double bass drums, and these kids followed in their footsteps, practically worshipping Motörhead on every track. Listening to Acid, you can even sense the earliest examples of Thrash Metal, the fast guitar and drum rhythms of Speed Metal, Kate’s aggressive punk vocals, and, of course, a strong influence from the peak of the NWOBHM era. In short, the full-throttle Rock’n’Roll and Speed Metal of Motörhead and the satanic vocals of Venom were blended together like this, beautifully. Kate harmonizes perfectly with the rhythm of the music in every second of the album; no one should hope for another female vocalist like her. Lightning-fast drums, thunderous bass, and fluid guitars compete with each other while Kate’s sudden, eruptive screams take over everything.
Released in 1980, the Acid album by Acid is a rare but equally overlooked masterpiece. Perhaps the band’s Belgian origins played a big role in this, but for Hard’n’Heavy, they boldly challenged the island from the continent. Analyzing the tracks, the band makes its statement right away with the opening song: “The so-called acid is a heavy metal game.” The track opens with heavy guitars, speeds up with Kate’s enticing vocals turning into ferocious screams, and features a perfectly crafted wide solo in the middle section. Pure Speed Metal.
Following that is the wild Ghostriders, a track that makes you question if an album can even start with songs this good. With classic guitars, it shoots out of nowhere; here they confront the ghost riders, riding iron horses and spreading fear and death. The catchy choruses make it very engaging, and the middle solo sharpens your ears like a file. Kate must have given one of her best performances here—how does she deliver both heavy metal and punk aggression in that addictive voice? Incredible.
Next is Hell On Wheels, which resembles the early works of the famous American band W.A.S.P. as they summon the hell wagons. Meanwhile, my aunt wonders what kind of war this is. Although the track maintains a steady tempo, it never bores, filled with classic Hard’n’Heavy riffs and adorned with the band’s usual successful solo. The next track, Anvil, is like the first track Acid; similar to the opener, it prominently features primitive thrash drumming. Kate’s vocals take on a more angry, rebellious character in some parts of this song.
When it comes to Demon, the devil itself, the entrance grinds your ear with an enticing guitar. Then the double bass drums build the tempo like a tank roar. In the choruses, Kate screams at the devil, and with every shout comes a ripping solo that raises the tension even more. Demon can be described as a track where the thrash metal template takes shape.
In short, the album shows its rebellious noise on every track until the end. Even the closing song Satan proves that the album ends as it began: with scraping guitars and Motörhead-like rhythms. Especially in the bridge sections, Kate’s extended screams of the word “Satan” sound incredibly seductive. Who knows what this lady, who shouted “Satan” in 1983, is doing today?
Nowadays, while many ridiculous bands with disrespectful female vocalists exist, it is truly a sad situation that such a magnificent band is not properly appreciated. The mood of this album should at least be seen and understood by those silly bands and their listeners. This record is a masterpiece containing every element you could ask for in Heavy Metal, Speed Metal, Rock’n’Roll, and Punk.