The Black Angel Zine
Welcome to The Black Angel Zine, where Black Angel Promotions brings you the latest and greatest in rock, metal, and punk culture. Our zine is your go-to source for concert reviews, movie and documentary critiques, advice for aspiring musicians, retro music reviews, and the freshest news in the industry. Dive into each section and discover the raw, unfiltered content that makes Black Angel Promotions the voice of the underground.
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Stay in the know with the latest happenings in the world of rock, metal, and punk. Our news section is your source for the updates that matter—band announcements, tour plans, album release dates, and the events shaking up the industry. Whether it's a long-awaited reunion, a shocking split, or a game-changing collaboration, we’ve got the info you need.
We don’t just report the news; we deliver it with the edge and attitude you expect from Black Angel Promotions. Our commitment is to keep you connected to the heartbeat of the music you love, cutting through the noise to bring you real stories that resonate. Check back regularly for updates that keep your finger on the pulse.
I always say that 1987 was the most important year for music in my life, but the more I look back, the more I realize 1989 had just as much to say. I was coming of age, past puberty, into rebellion, and already applying for the job of Captain Trouble. Of course, no 13 or 14-year-old could be legit trouble without the right soundtrack, or the right amount of booze and chemical inspiration, but that's a whole different confession. And 1989… it came armed with the soundtrack I needed, delivered with divine timing, especially that summer. May gave us the self-titled debut from Texas hellraisers Dangerous Toys, and June gave us Junkyard, by way of California but carrying Texas grit in their pockets. Two albums. Just two. But those records came to define me, not just as a music fan, but as a drummer, and frankly, as a human being. I’ve lived those lyrics on purpose, some by accident. I drank too much, took too much, laughed too loud, fought too often, and loved the chaos too dearly to see it happening. But from those albums came something deeper. A mantra. A war cry. A piece of soul carved into vinyl. Junkyard’s “Simple Man” wasn’t just a song, it was scripture. It still is. The lyrics spoke in a language I hadn’t heard before but somehow always understood. The groove and approach were what I now call Southern Sleaze, a term I live by. To this day, if someone says, “Hey man, this sounds like Southern Sleaze,” I’ll damn near break my neck to give it a listen. That song, it is me. I’m the guy they sing about, on purpose, with pride. My socials even quote it “Don’t throw your pennies in the wishing well, cause what you get is what you see.” My wife will agree with this sentiment too although it took her several years to come around to accepting it, now she appreciates that about me. That line has followed me since ’89, like a shadow and a shield. I’ve listened to more music than I can count, written my fair share too, but “Simple Man” still stands tall as the one. The gold standard. My personal gospel. Junkyard never stopped. Not really. They were Rock Warriors, scarred and shining, and I followed them through it all, lineup changes, label switches, indie releases, tour rumors, all of it. The internet helped, and later, so did social media. I got to befriend a few of the band members, and more importantly, I found other lifers, fans who loved this band as deeply as I did. Some of those people are now among the most beautiful souls I’ve ever met. As for the band, I only ever really chatted with vocalist, David Roach, and even that was minimal. I didn’t want to fanboy too hard or come off like some kid still begging for an autograph. I’ve always been that way - respectful. These people are human. You don’t treat them like trading cards or living statues. I’d drop into his DMs now and then, check in, ask about new music or tours. Quiet admiration. Still, I've never seen Junkyard live. That’s a damn crime in my book. They were part of the Monsters of Rock Cruise scene for a while, but I never went. Too expensive. Too surreal. Too many fans mistaking proximity for entitlement, hovering around their heroes like flies at a barbecue. That’s not me. I don’t need selfies while they’re eating. They know we love them. You’re on the fucking boat with them, let the man drink his juice in peace. That’s my opinion though, it’s not law, it’s just my 2 pennies. Then came the news that cut deep. A few years ago, maybe not even that long, David announced he was battling cancer. I backed off immediately. That’s the time for space and dignity, not inbox clutter. I gave what I could to the GoFundMes, I sent strength through silence and followed updates from his wife, who posted daily, even when things got rough. Especially then. And now… he’s gone. Yesterday. Maybe the day before. Time doesn’t matter when grief shows up, it just is. A wife lost her husband. A child lost their father. A band lost its frontman. And we, the musical misfits, the lifers, the dirtbags with hearts of gold, lost one of the truest voices to ever rise from the Texas heat. David Roach was a lifer. And he was that Simple Man. There’s not a damn thing more admirable than that. I’m crushed once more. This is another voice of my youth falling silent. Another soul who taught me how to survive, how to feel, and how to keep it real, even when life turns savage. When I can’t find the words, I put on “Simple Man” and let David speak for me. I dive back into Junkyard’s catalog like a lifeboat, looking for comfort, for clarity, for that edge of truth I can’t express alone. He had the pulse. He had the guts. And even when the spotlight dimmed and the hairs turned grey, he never strayed. You don’t live through something like the ‘80s and just walk away from it. Unless, of course, you never really meant it. David meant it. Every damn word. Denim vest, heart on sleeve, middle finger ready. A man’s man. A poetic bruiser. A straight-shooting, no-bullshit saint in Sleaze. And now, gone. But we have the records. We have memories. We have the lines tattooed across our souls. And we’ll carry him with us until the wheels fall off this motherfucker. R.I.P. David Roach Thank you for showing a wild Georgia kid that it’s okay to be simple, to be raw, to be real. And to never, ever, take shit from anyone.
Farewell to the Father of Metal I can’t quite recall the first time I heard Ozzy. Not exactly. But I know it was a Sabbath record, one my mom picked up for me. That was our thing: records for birthdays, Christmas, or just because. She didn’t overthink it, just snagged whatever sat on the endcaps. KISS. Alice Cooper. Sabbath. Then came Ozzy’s solo work, and with it, something seismic shifted inside me. It must’ve been '79, on the cusp of a new decade. Next came Blizzard of Ozz and Diary of a Madman. Amazingly, I still have those same two records today. Not replacements. Not reissues. The real thing. They’ve survived the wreckage, just like I did. Sabbath was a love. But those Ozzy records, They cut deeper. Randy Rhoads’ guitar - A revelation. Ozzy’s voice - A spell. The melodies, they carried me someplace else. I studied those album covers like sacred texts, memorized the lyrics and wrapped myself in every note like armor. Ozzy wasn’t just an artist to me. He was something holy, a constant in a life where constants didn’t exist. When I was a kid, I told people Ozzy was my dad. They knew I was lying. I knew it too. But it felt better than the truth: I was the discarded son of a burnout musician who chose bar tabs and backstage blowjobs over bedtime stories and birthdays. So, Ozzy & my older brother raised me. His voice, his chaos, his pain, they gave me a place to hide, a space to heal, a world where I was wanted. That has never changed. I’ve lost count of how many times I saw him live. Ozzy solo. Sabbath reunited. Ozzfest in its glory. And I’ve had the honor of covering his songs on stage myself, Mr. Crowley still gives me chills when a guitarist nails those leads. I’ve never claimed Ozzy or Sabbath were my favorites. They’re more than that. They’re elemental. If you’re a Metalhead, Ozzy is the oxygen you breathe. We don’t have Metal without him. We never would’ve. Today, I am shattered. He’s gone. Just weeks after I watched his final show. I wept the whole time, even during bands I don’t care for. But it wasn’t about preference. It was about presence. It was about bearing witness. It was about love. You could see it in his face. Hear it in the strain of his voice. He knew it was goodbye. And he still gave us everything he had left. The tempos were slower, sure, but who gives a damn? That man showed up. For us. His tribe. His chosen family. My wife called me at work today. She didn’t want me to find out online. She knows how I carry grief. I drove home in tears, blasting deep cuts from those same solo albums I’ve been clinging to since the farewell show. What a life he lived. What a hole he leaves behind. For his family. For us. For Metal itself. I told my wife during that show, “He won’t see the end of the year.” Not because he looked frail, but because he looked finished. At peace. Like a man who had given everything and wanted to give us a proper farewell. After the PPV ended, I watched the whole thing again. Just because I could. Because it mattered. Because it felt right. A few weeks earlier, I’d had double ear surgery. I’d been struggling to hear anything clearly. But that day, my ears were open. And I heard him. The Universe, or maybe Ozzy himself, was giving me one last gift. One more embrace. One final reminder that I belonged. Long may his spirit thunder across this Earth, in riffs, in howls, in rebellion and in grace. Ozzy Osbourne, the eternal father of misfits and Metal hearts. God bless Ozzy. God bless his family. And God bless every single soul he ever saved with a song. R.I.P. Dad, the sweetest Prince Of Darkness the world has ever known. “You don’t need a ticket to ride with me… I’m free.” "Let me see your fucking cigarette lighters"!
Black Angel Promotions is proud to announce the release of the CD press of The Unforgotten: The Rare and Unreleased from the legendary Hellbilly/Cow Punk Texas band, Ghoultown. This album features several deep cuts, a few live cuts and the long OOP “Killer in Texas” EP. This album has never been offered in physical format until now. This pressing will be limited to 100 pieces only. Each CD will be hand numbered. We won’t be offering a repress, no holds and no preorders will be available. No sales outside of the USA will be offered. The release date is February 25 th @ 5PM (EST) Prepare yourselves to DRINK WITH THE LIVING DEAD once more… https://blackangelpromotions.bigcartel.com/ https://www.youtube.com/watch?v=tiumPFYv058&list=PLKKv22G-G4CKRAmk1RB0KjyQu_xlx34g2
Welcome to Black Angel Promotions Top Ten Releases of 2024! We put a lot of thought into our lists and we wanted to celebrate these releases one more time publicly. TJ's Top Ten Releases of 2024~ 10. BAT - Under the Crooked Claw 9. Aborted - Vault of Horrors 8. The Crown - Crown of Thorns 7. Zombeast - Heart of Darkness 6. The Lurking Corpses - Lurking After Midnight 5. Alkaline Trio - Blood, Hair and Eyeballs 4. Spectral Wound - Songs of Blood and Mire 3. Unto Others - Never, Neverland 2. Tribulation - Sub Rosa In Æternum 1. Pøltergeist - Nachtmusik TJ's Honorable Mentions~ Catbreath - Slice 'em All Cavalera Conspiracy - Schizophrenia Kerry King - From Hell I Rise Wraith - Fueled by Fea r
Babylon A.D. When The World Stops Kivel Records 2025 California’s resident bad boy Glam/Hard Rockers, Babylon A.D. have returned, swagger intact, with a brand-new slab of fire. Hot on the heels of “Rome Wasn’t Built in a Day” (2024, Perris Records), their latest record, “When The World Stops” (via Kivel Records), dropped just days ago. Some might ask why a band would deliver two albums so close together, me? I say life’s too short. If the music’s in your blood and the band is burning hot, why keep the flames in the furnace? Babylon A.D. never faltered. Since 1989, they’ve walked the tightrope between indie spirit and major label polish with grace, leaving behind a catalog without dead weight. Derek Davis and his crew don’t just write songs; they craft lifelines for their loyal fanbase. “When The World Stops” feels like a continuation of the resurrection sparked by “Rome”. But this time, the band sounds more sure-footed, more comfortable in their skin, more dangerous in the studio. The recording is pristine, yet the pulse is raw. The flow is effortless, every song feels like it belongs. From arena-sized scorchers to slow-burn ballads that reach into your chest, this record knows its audience. Take “Love is Cruel”, a song that doesn’t just play, it haunts. Close your eyes, and you’re back in the high school gym, the lights low, the smell of punch, perfume and smoke linger in the air. You and your girl sway slowly, clinging to each other like the world could vanish if you let go. There were nights that I prayed would never end. Thankfully, they never did – a love that started in 1991, still burns as hot and wild as it did back then. That’s the magic, music that resurrects memories, that makes time collapse. Derek’s vocals soar like they did back in the glory days, and the band surrounds him with a wall of sound that feels both modern and timeless. Dare I say this might be their finest moment since their debut album. I felt every lyric and every piece of music deep in my soul. Of course, Babylon A.D. hasn’t forgotten their penchant for anthems. Tracks like “Toxic Baby”, “Power of Music”, and the title cut “When The World Stops” bring the hooks, the fists, and the neon haze of 1989 flooding back. You can almost taste the denim and leather and the fog machine mist. And let’s be clear: I’m a Sleaze rocker to the bone. Call it “Hair Metal” if you must, but I despise that label, it was never about Aqua Net clichés, it was about fire, lust, and melody. Sure, I dabble in Psychobilly and worship at the altar of all things Metal, but Sleaze is my soul. Bands like Babylon A.D. raised me and made me who I am today and when they deliver an album like this, it feels like HOME. So, here’s my advice: grab this album, turn the lights low, pour a strong one and grab your girl and hold her close. Let Babylon A.D. do what they do best, make the world disappear for a while.
The Rods Wild Dogs Unchained Massacre Records 2025 I always get a kick out of writing about the bands I grew up with, especially the veterans who laid the groundwork long before most of us even had our first turntable. Today, the spotlight falls on none other than the legendary American Heavy Metal outfit, The Rods! Now, I’ll be the first to admit I’ve never been their number one disciple, but if you’re a denim wearing Metalhead or vinyl collector, you know The Rods. Back in the day, their ‘80s catalog was among the first full discographies I chased down and let me tell you, there’s nothing like spinning those old slabs of Metal. Decades later, those records still roar with the kind of raw magic that refuses to die. But enough about my nostalgia, let’s sink our teeth into the main course: “Wild Dogs Unchained”. Dropping just a year after 2024’s “Rattle the Cage”, this record serves up seven fresh cuts alongside three re-recorded classics from the band’s back catalog. The album kicks the door wide open with “Eyes of a Dreamer,” a mid-paced statement track that immediately locks you in. The chorus soars, the hooks snap, and David Feinstein proves his pipes and fretboard firepower are still in fighting form. From there, “Rock N’ Roll Fever” slams down like a dragster at full throttle, tight bassline, no gimmicks, just pure, unfiltered Rock fury. “Mirror Mirror” keeps the pedal down, but spices things up with molten solos that teleport you straight back to the denim and leather glory days of the early ‘80s. Then comes the emotional curveball, “Tears for the Innocent.” It begins with a balladic whisper, then surges into a power-charged anthem that’s heartfelt without ever tipping into cheese. There’s a touch of Maiden in its bones, and that’s never a bad thing. As for the re-recordings, they’re exactly what you’d expect, classic Rods anthems with modern production muscle. Do I still favor the originals? Absolutely, but hearing them refreshed doesn’t feel like a betrayal, it’s thrilling. And the choice to close things out with “Hurricane” is a perfect ending to what has been a spectacular album. Here’s the reality: The Rods have been charging since 1980, and every time they release a record, there’s that whisper of “could this be the last one?” If “Wild Dogs Unchained” ends up being their swan song, then it’s a damn proud way to bow out. Personally, I think this is their strongest release since “Heavier Than Thou”, and that’s saying a lot. Bottom line, this isn’t nostalgia bait, this isn’t “good for their age.” This is a no-bullshit Heavy Metal record from a band that helped lay the cornerstone of American Metal itself. Raise a glass, drop the needle, and let The Rods remind you why they’re still a force to be reckoned with.
Green Carnation A Dark Poem Part I: The Shores Of Melancholia Season of Mist Records 2025 I first stumbled into the world of Green Carnation back in 2005, when my pal, TJ dropped his review of “The Quiet Offspring”. We’d just landed on The End Records’ PR list, and that album came spinning in like a gift from the Gods of the void. I remember pressing play and thinking here was a band that felt like a sleeker, more accessible cousin to Paradise Lost. There were also shades of Lake of Tears in there, another group carved into my personal pantheon. And yet, after that album, Green Carnation slipped from my mind, and I forgot about them. Now here we are, a decade or 2 later, standing on cusp of a new release: “A Dark Poem Part I: The Shores of Melancholia”. The title alone feels like a curtain raising on something that lurks only in shadows. This is the opening act of a promised trilogy, and longtime fans have every reason to clamor with excitement. My own history with the band is patchy at best, but listening now, I hear a group that has evolved, sharpened, and arrived at what feels like their full potential. Or at least, that’s what it sounds like to me. The press release throws around the word “Prog”, and yes, the band has graced the ProgPower stage in Atlanta, but that label doesn’t sit right with what I’m hearing. This isn’t polished, formulaic and boring Prog, it’s something more elusive. There’s an Avant-garde heart beating here, draped in Doom and Atmospheric Metal, with ghostly brushstrokes of Black Metal flickering at the edges. Those harsher moments don’t dominate; they’re used more for texture rather than foundation. What makes this album grip so tight is its sheer depth. The songs are not content to simply exist; they pull you in, dragging you through twisting corridors of half-remembered dreams. This isn’t background music at all. This is a record that demands your attention, a labyrinth of sound where sorrow and truth intertwine. Melodies ache, hooks cut deep, and every piece feels deliberate, synchronized, and impossibly cohesive. At six tracks and forty-two minutes, it may look lean on paper, but there’s no shortage of substance. Each song is a world to itself, and to single one out feels almost unfair. Still, if pressed, the title track “The Shores of Melancholia” rises like a monolith, as does the opener “As Silence Took You”, both shimmering with power and fragility in equal measure. I find myself hungry for the next chapter in this trilogy, curious to see what landscapes the band will carve from their dark imaginations. Even without having heard every page of their history, I can say this might just be Green Carnation’s strongest statement yet.
Nailed To Obscurity Generation Of The Void Nuclear Blast Records 2025 There’s a strange beauty in misery and Nailed To Obscurity seems to have carved their entire cathedral inside that truth. Their new album “Generation of the Void” isn’t just a listening experience, it’s a slow bleed, a meditation in shadows with faint glimpses of hope that flicker somewhere in the darkness. From the opening moments, you’re pulled into their haze: riffs that feel like waves of pressure crashing against your chest. The guitars drone and weep in equal measure, while the rhythm section slogs forward with a kind of doomed inevitability. The vocals, those tortured growls and ethereal cleans don’t just sit on top, they drag you further down into deeper waters. There’s despair in every syllable, but it’s a despair you want to hear on repeat. What I love is that Nailed To Obscurity never rushes. They understand the power of patience. Songs stretch and breathe, unfolding like a forbidden ritual performed at midnight mass. The dynamics keep you trapped in their storm: one moment crushing riffs rattle your bones, the next you’re suspended in ghostly atmosphere, staring into the abyss. It’s not about instant gratification, it’s about immersion. And yet, this isn’t just some wallowing exercise in gloom. There’s craft here, a sense of direction in the chaos. The band knows how to write hooks that lurk beneath the melancholy. It’s heavy, it’s progressive, it’s gripped with Doom but above all, it’s human. “Generation of the Void” feels like standing in a thunderstorm with echoes of past lives whispering in your ears, while above you the sky splits open and threatens to fall around you - It’s suffocating, This isn’t an album that wants to cheer you up, it wants to remind that yes, there’s more darkness and that the void is never ending. Standout Tracks – “Glass Bleeding”, “Echo Attempt”, “Misery’s Messenger” and “The Ides of Life”.
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Several weeks ago, Tracy had the opportunity to sit down with Victor Elian, guitarist and vocalist of the Brazilian Death Metal band Escarnium. In their conversation, Elian offered insight into the group’s current projects, the state of the underground metal scene in Brazil, and what lies ahead for the band. Known for their uncompromising sound and relentless energy, Escarnium continues to carve out a place for themselves on the global stage, and Elian’s perspective sheds light on both the challenges and the passion that drive the band forward. Can you give us a brief history of how and when Escarnium came to be? Escarnium started taking shape in 2008/2009. I already had a handful of song ideas and finally began giving them real life after I left Impetuous Rage in late 2007—not the friendliest split, let’s say. From there we pulled friends in, rehearsed anywhere we could, and by 2010 we were playing shows and putting out demos. You guys are from Salvador, Brazil. What’s the metal scene like there? Salvador’s scene is often overlooked—even by locals—but it’s vibrant. Classic names like Headhunter DC, Mystifier and Malefactor paved the way, and killer new bands such as Devouring keep popping up. We have committed promoters, zinesters and distros; everything a healthy scene needs. Sure, we’re outside the Rio/São Paulo/Belo Horizonte axis, so the city sometimes gets forgotten, but to us Salvador (and Bahia as a whole) is still the best place in the world to play. For the new album, did you have many of the songs prepared before you recorded? If so, was there a lot of collaboration and adding ideas to them once you were in the studio? Yeah—drafts of several tracks were around as far back as 2019. COVID and an old-label mess delayed things, but that also gave us freedom to refine every riff. In 2022 we proudly released the EP Dysthymia ; many riffs on the new record were written in that same creative burst, so the EP now feels like a clear harbinger rather than a stopgap. Pre-production opened the floodgates, and once we hit Walzwerk Studio, Sergej (who runs it) kept pushing fresh ideas. His talent and instinct really elevated the final songs. This is your fourth full-length overall. How has the band’s sound evolved since you formed, and what’s the biggest evolution you notice on this album specifically? The core is still dark, straightforward death metal, but we’ve let our influences roam more freely—crust, punk, grind, black metal, even jazz or soul. Experience in the studio taught us that sometimes a two-note riff can crush harder than a thousand-note sweep. To me the new album is a natural step beyond Interitus : same raw violence, sharper dynamics, deeper atmosphere. Nothing reinventing the wheel—just 100 % Escarnium, honed. Being signed to Everlasting Spew Records, what is your relationship like with them? Fantastic. They’re transparent, supportive and genuinely care about underground extreme music—no shady moves (we’ve had enough of those elsewhere). We’d wanted to work with them for a while; once our deal with Testimony finally ended, Thomas Haywood at Redefining Darkness (our U.S. partner) connected the dots and Everlasting Spew welcomed us instantly. Grazie to both labels.
A few days ago, it was announced that Jason McMaster, Paul Lidel, Jack Pyers, David Beeson, and Mark McLain would be releasing a new EP under the banner of HOT SHOT. If you're a little long in the tooth or just have an insatiable appetite for Rock N' Roll, you already know these guys are straight-up Rock royalty, having played major roles in bands like Dangerous Toys, Dirty Looks, Broken Teeth, and Sacred Reich. Naturally, The Rev. and I were all over it. We immediately reached out to cover the EP and lined up an interview with Jason himself. We wanted to keep the spotlight squarely on HOT SHOT so we and the rest of the world could get the full scoop. The Rev. took the reins on the interview. His questions were spot-on, so I didn’t mess with a thing. Sometimes you just let greatness speak for itself. So, grab yourself a strong drink and dig in, this is one you won’t want to miss.
I can’t lie, I swiped “Halfway to Halloween” idea from the Horror Music label, HorrorShock Records. The label was promoting their upcoming show of the same name, and I thought what a genius idea. It also didn’t hurt that the label had sent us a few of their releases to review for the site. So, I put it all together and turned it into a special little celebration for us, the label and all the fans of Horror! In doing so, I wanted to reach out and do an all-inclusive interview with the label owner, Rev. Chad Wells. The Rev. has been in the Horror scene for several years now and he’s responsible for one of my favorite Horror bands – The Jackalopes! Not only that, but Chad’s also the vocalist of a newer Horror band, The Creepy Crawlers. Wells is a staunch supporter of his scene and a real family man at heart. I have a great deal more respect after conducting this interview and from trading barbs back and forth. You’ll be hard-pressed to find a kinder gentleman in the Horror scene. Since you’re in charge of a Horror Label/Media group, can you share with us what first attracted you to the genre of Horror no matter whether it be music, movies or media? What planted the seed of Horror first that lead you to start this business up? That one’s kinda tricky. I was born to teen parents in the early 70’s and horror was sort of ever present in our world back then. Every TV show had a spooky Halloween episode. Scooby Doo was on every day and that’s definitely horror adjacent. The Universal Monsters were sort of everything at that point in time. My uncles had these floppy rubber action toys that were non-posable, sticky, ridiculous things, but they were Frankenstein’s Monster, Wolfman, Dracula and The Creature. But it was really the limited, non-cable TV we had back then. Lugosi’s Dracula was on TV one Sunday afternoon when I was probably 5 years old and seeing that imagery made me want more. Also, our local TV network had its own very cool and fun late night horror host, Dr. Creep. Dr. Creep was the host of “Shock Theater” and had white face paint with his orbitals blacked out with greasepaint. He had a jawline beard and semi long hair. He was a big heavy man in black - like an alternate universe Santa Claus. He was the biggest gateway drug. I think that KISS, Alice Cooper, The Misfits, King Diamond and Dark Throne all owe my fandom for them to this awesome old horror movie host. He used to MC the openings of businesses and stuff. You could go out to the new Burger King on Main Street and Dr. Creep would sign autographs there. I attended many events in my childhood just to shake his hand and have him sign a photocopied promo shot. Will you please share with us what all Horrorshock Media does, are you all just a music label or can we expect something else? We call it HorrorShock Media because we don’t want to limit ourselves. We’re all interested in music, video, movies, art, books, and events. Expect the unexpected. We get really bored with things fast. When the whole scene seems to be doing one thing, I’d rather go back the other way and maybe even take the long way around to discover something new that strikes my curiosity and then we’ll do what we want to do for the sake of pleasing ourselves and the people like us. We’ll work with certain acts forever and other acts get one shot, and it feels wrong, and they’re gone. We’re not here to make a bunch of fake friends or collect followers. We’re here to build platforms for our own art and the art of people we want to boost. So far, what obstacles have you faced as a label owner, aside from sales – those are always tricky, specifically today given that most folks have went digital. Sales are weird. If you want the business to pay its bills and grow, you need to see some way to accrue some financial gains. That’s not an easy game nowadays for all the reasons you mentioned and more. I think the hardest obstacle for me is the “peopling”. Every scene has busybodies who are friends with everybody just so they can float around and talk shit about everyone. I don’t do a lot of the interpersonal “friendly” stuff for that very reason. The bad news is that we’ve worked really hard to make a cool thing and certain people make it their business to try to tear it down. The good news is that those people have only been successful in looking foolish and being turd stirrers. Comparison is the thief of joy, so we don’t look at what anybody else is doing. We have our blinders on and are burning our own trail and that’s where we want to be. If you compare what we’re doing with what other labels or bands or scenes are doing, we look terrific from one angle and we look like we have no idea what we’re doing from another angle. I like not knowing what I’m doing. It’s always a surprise that way! Are you a physical media guy or have you moved over to digital, personally? I still have a ton of physical media, and I love creating and holding new media. I’ve got thousands of records, tapes and CD’s, VHS, DVD, Blu Ray’s, stuff on hard drives… I’ve even got old floppy discs. But for discovering new music I just really love the digital realm. Youtube especially, but I do use that evil corporate tyrant Spotify as well. I can find something, go down a rabbit hole, find more, playlist it, burn it out by overplaying it and see if I still like it in a month or three and then, maybe I’ll buy that insanely expensive $30 to $40 vinyl release or a couple T-Shirts at the show. I love the ease of digital. I wish that vinyl and CDs were as inexpensive as they once were. Some labels and distros that have huge rosters do it right and have $10 vinyl if you buy 5 or more. I think that’s a great way to go.
Tell us a little bit about the band. How did you come together and when did you start recording music and taking it on the road?
The path for this band has been a long and complicated one, going back as far as the first single. The history prior to the name change begins with the band officially forming in 2020. During that time, we released two full EPs—Something Dark and Eerie and Sinner’s Heart—before abruptly dissolving in 2022. While I would say the band plays primarily horror rock, there are definitely a plethora of other influences the band has, such as psychobilly (“Psychobilly (Gotta Die)”) and heavy metal (the guitar solo on “Hell Hounds”). How would you best describe the band’s sound? Who are some of your biggest influences?
T he group, especially with its current lineup, comes from a diverse collection of influences. So the sound you're hearing is really a blend of those. Everyone primarily writes their own parts and has full creative control over them, resulting in a fusion of many different styles. We're rooted in horror punk, and that will never change, but we’re adding elements from metal, pop-punk, and theater to both the music and the live show. The band was previously known as Casket Culture. What led to the name change, and will this have any effect on the band moving forward?
W e disbanded in 2022 due to some internal creative issues and returned to our other projects. Last year, discussions began about bringing the project back. Not all founding members returned—including the primary songwriter. After that reunion, it was decided that it would be unfair and inappropriate to continue using the same name. Since the writing process is now different, there will be a change in sound, but our goal remains to stay true to our roots while creating music that challenges us both technically and creatively. W ill the name change have any impact on the availability of Casket Culture merchandise such as CDs, t-shirts, etc.?
I t will. We're crafting new merch to go along with the name change, alongside a fresh aesthetic and branding. The music will begin to incorporate themes not just from contemporary horror, but also from fringe and classic sources—including Lovecraftian, psychological, and of course, cryptid-inspired horror. I’ve seen the band perform with the likes of Blitzkid and Cancerslug. Are there any other legendary horror rock bands you’ve performed with, or any you’d like to? What would your ideal show look like? So far, those have been the pinnacle—and if asked, we’d absolutely do it again. Right now, we’re aiming to appeal to a broader audience by bringing horror punk and its themes into the mainstream. If we could pick a dream opportunity, it would probably be to perform at larger festivals or conventions. W hat does your current tour schedule look like? Do you have any plans for the rest of 2025?
W e just wrapped up a long run of smaller, yet significant shows. The goal was to introduce the new lineup and sound—essentially an announcement that we’re not dead, but very much undead and evolved. The last time I saw the band, you played some new material. Are there any plans for a forthcoming album?
Y es! We’re currently working on it. The plan is to release a several-song EP with interconnected themes and storytelling. We’re beginning the groundwork this month, and it will include the three new songs we played on the last run: OnlyFangs, Attack! The Night the World Ended, and Cult. W hen the band isn’t recording or performing, what are you up to? What are some of your favorite hobbies outside of music? Josh does theater and has been in several productions, including Sweeney Todd. Billy is a gamer—mostly into open-world RPGs and anything where he can swing a sword. Reilley runs a promotions company called Not Your Mother’s Music Scene and is deeply connected to the local music scene. Matt’s a gamer too, but more into tabletop—D&D, World of Darkness, and other dice-rolling adventures. W ith a name like Cryptid Culture, I have to ask: What are some of your favorite cryptids and/or which do you find most fascinating? We all seem to have a soft spot for Mothman. In fact, there will be a song on the new album about him and how he terrorizes West Virginia. We’re also really into eldritch monsters—Cthulhu being a major one, naturally—as well as stories involving the Yellow King. D o you have any final parting words, or is there anything you’d like people to know about the band that we haven’t covered?
A ll we can say is that some projects come and go—but you cherish the time you get to work on them and the growth they bring. As far as the Cryptid guys go, we’re not done yet. We still have so much more to express, create, and share with all of you. https://www.facebook.com/profile.php?id=61572514403477
Believe the hype. This isn't just a great horror movie, it's a great movie, period. The film takes its time getting to the horror, but it holds your interest as it introduces the main characters: twin gangsters "Smoke" and "Stack" (Michael B. Jordan), their guitar prodigy cousin "Preacher Boy" (Miles Caton), Stack's ex Mary (Hailee Stanfield), and Smoke's wife Annie (Wummi Mosaku). It also establishes the premise that the twins have bought an old building to run as a juke joint. Opening night seems to be going well, but then the vampires show up and the film kicks into high gear. Every aspect of this movie is perfect. Writer/director Ryan Coogler manages to deliver an awful lot of background about his characters and setting without it ever feeling like dull exposition, and he's just as adept at crafting impactful action sequences. The film also just looks great courtesy of cinematographer Autumn Cheyenne Durald Arkapaw. And the blues influenced score by Ludwig Göransson sets just the right tone. Jordan has the showier performance in a dual role, and he's excellent. But it's newcomer Caton who is the heart and soul of the film. And Jack O'Connell as Remick, leader of the vampires, manages to be frightening while at the same time making a compelling case that the protagonists would be better off as bloodsuckers themselves. The film is undeniably entertaining, but it also has thematic heft in the way it deals with issues of race. Coogler handles this deftly, but no doubt some folks will complain that the movie is too "woke". Whatever. It's still early in the year but given my preference for films that balance entertainment with substance and how well 'Sinners' does just that, I expect this to at least make my top 10 for the year, and it won't surprise me if it's at the very top of my list.
I think we're at a point now where expecting something entirely new or groundbreaking from a horror movie is a bit unrealistic. The genre has been mined so thoroughly that even the most original concepts often end up entangled in familiar tropes or fall flat due to weak character development. Often, these attempts at innovation spiral into self-parody, losing the edge that might have made them stand out. That said, Feast is a wildly entertaining ride. While it's not exactly bursting with originality, it compensates with sheer audacity and a relentless pace. The film embraces its B-movie roots with gory enthusiasm, throwing buckets of blood, grotesquely horny monsters, and a cast of quirky characters into a single-location siege scenario. One of the standout elements is undoubtedly Henry Rollins—sporting pink sweatpants and a dead-serious attitude—bringing a layer of absurd charm that perfectly complements the film's tone. The genius of Feast lies in its willingness to subvert expectations. Characters introduced with grandiose backstories are unceremoniously dispatched, and the film constantly plays with genre conventions, keeping the audience guessing. The blend of horror and comedy is sharp, and despite the chaotic energy, the movie manages to stay on track and delivers a satisfyingly grotesque and hilarious experience. If you're in the mood for something that's self-aware, fast paced, and unapologetically over-the-top, Feast is absolutely worth your time.
This is one of those horror movies that gives the genre a bad name. Within the first five minutes, I knew exactly what kind of ride I was in for: our heroine bolts from home, lights up a joint, and dives headfirst into some clichéd, consequence-bound fornication. It's a checklist of tired tropes. The film is so painfully predictable that it becomes a test of patience rather than suspense. Just when I thought it couldn't be more obvious—bam, it hits every beat like it's following a script titled "Horror Movie 101." Maybe I've just seen too many of these films, or maybe this one is just that creatively bankrupt. Likely both. And if the lazy storytelling doesn't kill it for you, the acting will. The lead actress barely manages to emote beyond a vague sense of confusion, and let's be honest—Joey Lawrence has never exactly been the thespian of our time. When your big third-act twist is the arrival of Mr. "Whoa!" as the would-be savior, you're not just out of luck, you're out of hope. At that point, you're better off grabbing the nearest stick and fending off the crazed redneck yourself. This film doesn’t honor the horror genre; it desecrates it. It’s the cinematic equivalent of what you do at a rest stop—and yes, it’s that bad.
My first exposure to 80’s hard rock was Motörhead’s “Killed by Death” in 1984. Other tunes that followed were “I’ll Wait” by Van Halen, Iron Maiden’s “The Trooper,” Ozzy’s “Crazy Train,” and Quiet Riot’s cover of Slade’s “Cum on Feel the Noize.” I went from being a strait-laced, tie-wearing preppie, A-student, and quickly evolved into a full-fledged, tee shirt wearing sass-mouthed, metal head. But my grades remained up for the time being. After reading the book and viewing the Paramount+ adaptation Nöthin' But a Good Time: The Uncensored History of the '80s Hard Rock Explosion, I honestly believe I know the exact moment the cultural center of the music industry shifted from L.A. to Seattle. It was, predictably, MTV’s fault. Rikki Rachtman described it in the Tom Beaujour and Richard Bienstock penned book, claiming the powers that be at the network selected Alice in Chain’s “Man in the Box” for the Buzz Bin, over Thunder’s “Dirty Love.” I think that’s the tipping point. That, coupled with the third and fourth generation glam bands that flooded the airwaves, it ignited an onslaught of industry bloat that created a downward spiral. Too many bands, doing the same thing, cliché after cliché. Don’t tell the metal heads, they still blame Nirvana. But the book and three-part Paramount+ documentary that resulted from said book, however, is more concerned with the rise and popularity of the genre than its eventual downfall. From the rise of Quiet Riot, Mötley Crüe, W.A.S.P., Dokken and Ratt, to the second wave of bands such as Great White, and Poison, on through the successive generations, including the likes of White Lion, Jetboy, Trixter, and Tuff, most major bands are featured, at least in a cursory fashion, with very few exceptions. I noted specifically Cinderella, Europe and Slaughter’s absence from the Paramount+ documentary, but they are represented in the book. A surprising omission from the show was a discussion of Whitesnake’s defining “Here I Go Again,” what red-blooded American boy could resist drooling over Tawny Kitaen draped all over the hoods of a couple Jaguars in the music video? The video, however, makes a couple cameos without much real discussion. Starting with a look back at the late 70s when Van Halen was the final big rock act to be signed to a major label before New Wave broke, the first episode of the series focuses initially upon Quiet Riot and Randy Rhoads, then slips into a look at the birth of Mötley Crüe, W.A.S.P., and Dokken. Some of the most revealing comments from the series came from producer/manger/song writer Alan Niven, who worked with the likes of Guns N’ Roses and Great White, to name a few. He emphasized the title of the piece, Nöthin' But a Good Time, stating that wasn’t his experience. It was life and death on the road, who lives, who dies, but Niven proudly states his biggest accomplishment was not losing anybody on his watch. Other sobering scenes from the series come a bit later in the form of a look back at Penelope Spheeris’ Decline of Western Civilization part II: the Metal Years documentary. The tale of the Gazzarri’s house band fixture Odin comes to the forefront. In Spheeris’ film the lead singer confidently states he’d kill himself if he didn’t make it, well, aside from a small independent release of the seven-song e.p. The Gods Must Be Crazy (1987), the band and singer Randy “O” went nowhere. Fortunately, he had a change of heart and Randy “O” has not taken his own life, to date. Slipknot’s Corey Taylor penned the foreword to the book and appears frequently in the series, singing the praises of bands such as White Lion, Poison, Vain, and Life, Sex & Death. Taylor was first drawn into the genre upon catching the video for “Looks That Kill” on MTV, and he was hooked. Taylor is steeped and very knowledgeable about the 80s metal scene. Looking back from 40 years down the line at the 80s hard rock scene, I abhor the derogatory term hair metal, and have little love for the term glam metal, it was a different time, fueled by sex, drugs, strong drink and rock n roll. The misogyny is a little in your face from a 2025 perspective, but Spheeris interestingly notes, the women of the time were okay with it. She stood back as a documentarian and tried to objectively look at the scene, and found the ladies were complicit in their behavior. Deedee Keel, a booking agent for the Whiskey, stated in the show that working in a candy store, you were going to taste the sweets, and alludes to a hookup with Ratt’s Robin Crosby. Several key albums are examined in depth, including Shout at the Devil, Look What the Cat Dragged In, and Appetite for Destruction. Videos and live performances abound from the likes of Faster Pussycat, and there’s even shots of the infamous meat-throwing days of W.A.S.P. The PMRC is briefly mentioned, but oddly the song “Shelter Me” was not referenced, as we all know, “Tipper led the war against the record industry / she said she saw the Devil on her MTV.” All the key sites on the Sunset Strip make an appearance, The Troubadour, Cathouse, The Whiskey, The Rainbow, Gazzarri’s, and the rest. The series is more of a synopsis, a companion piece, to the Beaujour, Bienstock book. If you want to see how the times were from the perspective of artists, producers, groupies, roadies, hangers-on, etc., this is most certainly a series for you. And if you have a desire to dig deeper than the show goes, I highly recommend giving the book a read. A document that depicts the heyday of L.A.’s hard rock scene, Nöthin' But a Good Time is just that, a good time, a good read, a good binge worthy series.
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There’s no better omen than a Friday the 13th to hit the road in search of noise, danger, and sweaty communion, and that’s exactly what my comrade-in-debauchery and I did. Destination, Boggs Social & Supply, Atlanta, Georgia. A venue I’d never set foot in before but now consider hallowed ground. Boggs is a dive bar reimagined, not some sticky-floored hellhole, but a joint that lures you in with killer food, cheap drinks, and a staff that actually gives a damn. The place gets it. It breathes in neon, exhales soul. I’ll be back, over and over again like a sinner to the confessional. This night kicked off the Savage Master and NITE tour, and from the jump, there was that unshakable buzz in the air, the kind that says you’re about to be baptized in riffs and fury. For NITE, it was their first taste of the East Coast, a long-overdue collision between coasts. And for me, it was my first time finally seeing Savage Master live after years of near misses. Chariots Overdrive, a local Atlanta act I’d never heard of, opened the gates and didn’t just warm up the stage they lit that Sombitch on fire. Their sound is a snarling cocktail of early ‘80s Speed Metal and NWOBHM sweat and swagger. Like Angel Witch and Exciter had a nasty little one-night stand. The real kicker, a Heavy Load cover, thrown down like a gauntlet, raw and righteous. I didn’t see any merch at the show, but I hunted them down online and bought their downloads which is something I hardly ever do. If you’ve got blood in your veins and denim on your back, go find them. Now.
April 3, 2025 I’ve been a major Cancerslug fan for over 20 years and I was always disappointed that I never got to see them live. Now, I’ve seen them live twice in the past couple of years. I wouldn’t be upset if this trend continues. Please keep coming to this cesspool that is Florida!
This lineup could rival any other three death or thrash metal bands anyone could put together. Admittedly, I am not the biggest Possessed fan, but respect the hell out of them for their contributions to the genre and was really interested in seeing them perform. I had my earplugs in, but took those mother fuckers out when they took the stage to take in all the blasphemous hymns! Their set was short and sweet (about seven or eight songs) and when they played "Tribulation" I was amped because that's one of my favorite tracks from 'Beyond the Gates' and they killed it! My biggest issue with their performance is that while Jeff gave everything in his vocal performance, it came across as a little subdued. The instruments drowned his efforts a bit which is rather unfortunate. And I know this is super trivial, but their bassist did not move from his position on stage at all. It was almost like his feet were glued to the floor and it was a bit distracting. The fact that your lead singer moves around more and he's in a wheelchair speaks volumes.
This past Friday, (August 9 th) I took my girl to see L.A. Guns & Tom Keifer (Cinderella) in Peachtree City at The Fred Amphitheater. Unfortunately, I didn’t know about the show until a few days before. To be blunt, the PR for the show was trash, otherwise I would’ve had front row seats or a “table” as that was the thing at this venue. Nevertheless, we were able to land great seats and the way the Amphitheater is set up I knew we were going to be able to see the bands well. I was still a bit pissed about the lack of PR though, if I’d missed another chance to see L.A. Guns, I would’ve been MAD AS HELL!! The ride to the venue was highly amusing, we took the backroads and had an adventure, it also helped that my girl was half in the bag and feeling a strong wine buzz – she’s always hilarious, but when she’s on the “drank” and we’re traveling she’s even more fun! We got to see several old farmhouses, ranches and so forth. About 30 minutes outside of Peachtree City we rode through some small town where they had what I believe to be a hunting store with two large statues of Bigfoot standing outside which turned my girl’s tickle box on full tilt and she laughed herself into a stupor. Right then and there she decided we were going to ride back down that way on Vacation to see what's up with the Sasquatches. I’m sure that’s really going to happen, although we have no business in a Hunting Store whatsoever. After an hour or so of my wife loud talking, dranking and giggling we pulled into The Fred and were greeted with FREE PARKING – HELL YES! I’m not sure of the age of the venue but it’s the newer style of Amphitheaters that are starting to sprout up all over the place that tends to cater to the local folks who have plenty of money and are just looking to have a good time and drink themselves blind with their golfing buddies. It’s a bit on the high falutin’ side, if you will. The Amphitheater is nestled deep back in the woods a few miles off a main highway, but you don’t realize it, it feels like you’re a million miles from nowhere. Aside from the normies in khaki shorts and collared Polo shirts, it was a brilliant vibe and there was enough of our tattooed brothers and sisters around to make us feel at home or at least me – my girl was buzzed, she didn't care, she was just happy to be there with me and I with her... L.A. Guns hit the stage at 7:35PM it was still light outside, but that didn’t sway the band or the crowd. Those ole Hollywood Vamps came out guns a'blazing. (If you haven’t seen LAG, this is a standard, they don’t fuck around, they dig in and deliver the goods). We were treated with ten-mile-wide smiles, laughter and cheers from the band too, they were as happy to be there as we were. LAG, stuck to the standards - “Sex Action”, “Electric Gypsy”, “Over the Edge”, “I Wanna Be Your Man” were a few of the notables. The band also sprinkled in some of their newer tunes – the much loved “Speed” from The Missing Peace record. They also opened the show with one of my personal favorites “Cannonball” off the “Checkered Past” album, which I thought was a nice touch. Sadly, they only played one track off their new album, “Black Diamonds” and that was “Like A Drug”. Naturally, the band played their biggest hit “Ballad of Jayne” and while I still adore it, I’m cool if I never hear it or see them play it live again. I’ve been a fan since the debut album in 1988, so it’s a bit old hat to me, but I know all the cool kids in collared shirts had probably never seen the band play it live. Plus, my girl had never seen LAG live, so that was a moment for her too. The band was highly interactive with the crowd, but this is the LAG way, they’re all about the fans and being in the moment. There were a few of the ladies down front who were a bit too excited to see Phil Lewis & Tracii Guns so we were all treated to a little “Breast Wishes”, but it’s all in fun and hey it’s an L.A. Guns show, if you can’t be sleazy there where in the hell can you be sleazy?! If you’ve never seen L.A. Guns live, don’t miss the chance when they come to your town, the band is still as good as they were in 1988!!! I’d go see them again tomorrow if they were playing near me. To be fair, I try not to miss L.A. Guns when they come to town, they’re one of my all-time favorite bands. I’d be lying if I didn’t say that I still miss and love Steve Riley (R.I.P.) on drums, but the new guy held it down well enough to get the job done. Now we come to the hard part of the night - Tom Keifer’s set. I haven’t seen or heard Tom live outside of his time in Cinderella and that was years ago when we were both still young and wild. It’s well documented that Tom has fought a long hard battle with vocal cord paralysis. Over the years several surgeries have been performed and he’s basically had to teach himself to sing again over and over. From the first note I knew something was wrong, someone was singing off-key, or something was happening somewhere. Much to my dismay, I soon realized it was Tom. I was hoping it was just the on-stage volume and they’d get it figured out after the first song, however when Keifer spoke I could hear that his voice was gone, it cracked instantly as he welcomed the crowd. I’m not slagging Keifer at all, just calling it down the middle. Honestly, I didn’t think this was an issue anymore, I’ve got a few friends who’ve seen Tom several times, they go out of their way to travel miles and miles to see him and not a word has been said. My mind immediately went to this thought - I could leave, be disappointed and turn my back on one of my childhood heroes. Or either I could stay, scream my ass off and raise my hands in the air and cheer the man on as he sang and played his heart out for us. You all know I stayed and screamed, looking for that sacred “Shot of Gasoline”!!! Tom got me in my feelings several times when I was least expecting it too. The 3 rd track of the set was “Heartbreak Station”, and the intro was so heartfelt I was tearing up before he sang the first line. I stood their awe struck and dumbfounded with tears in my eyes remembering how much the song has meant to me through the years and how much of a pleasure it was to hear it live for what could be my very last time. It also stung me deep that Jeff LaBar (R.I.P.) wasn’t up on-stage playing guitar. These feelings hit me even harder on “Coming Home”. Of all the songs Cinderella released, this track has always been my favorite, it’s a bio of my life, warts and all. All I’ve ever wanted was to be loved and to “come home”, it felt like forever to be able to achieve that feeling. A million thanks to my girl for giving me that home that I yearned for my entire life. “I took a ride in a world I'll be spinnin’ for the rest of my life” … Keifer went on to play all the hits, he hit us with “Hot and Bothered”, “The Last Mile”, “Nobody’s Fool” and I thought the crowd was going to full on riot when they played “Somebody Save Me” and “Nightsongs”. It was a fantastic scene. There were several other classics played throughout the evening. I’m sincerely glad I stayed for Keifer’s set, the young man that still haunts the halls in my memory needed it. Now my cup runneth over with love for all the things that I’ve experienced and all the places I’ve been. It’s not just Tom who’s gotten older, I’ve done fucked around and gotten old too. Thankfully, us old dogs can still get up there and fucking get it when it's time. If either of these bands roll through your town, get off your ass and go! While Tom isn’t the young man he once was, know this, the voice he had in the in the late 80’s was wrecked for us and all in the name of Rock N’ Roll. Keifer deserves to hear the crowds roar and every one reading this “NEEDS A SHOT OF GASOLINE”! And if you can’t get down with Keifer, them Hollywood Vampires, L.A. Guns still got that 100-dollar bill and a bottle of lotion – S.E.X. Who’s next?! ~Black Angel