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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Black Angel news


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.

By Andy Burke February 18, 2025
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
By Black Angel December 13, 2024
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
By Black Angel August 28, 2024
Today, we’re humbled to announce that our first release will be the 20th Anniversary Edition of “Scourge of The South” from the Rockabilly band, The Tremors. Originally released in 2004, this is the band’s debut release, and it set the tone for what the band would go on to become – a hell raisin’ band of backwoods hillbilly boppers that dish out tons of Rockabilly Boogie that hearken back to the early days of Sun Records when the sounds of the 50’s were thought of as dangerous and profane. The Tremors also rip, romp and snort much like The Cramps did when they first burst onto the scene in the 70’s! One half hillbilly, one half punk, with a heaping helping of the King, Elvis Presley tossed in for good measure. To borrow a line from an old Cramps ad – they’ll ooze, you’ll throb, and nothing will ever be the same again! The Scourge of The South disc has been long out of print and unavailable outside of digital platforms. With this reissue, we’ve not only remastered the album, but we’ve gotten the fellas to unearth a RARE long-lost radio performance, also from 2004. Outside of the band and the lucky radio listeners who tuned in on that fateful evening, this performance has never been heard. If you haven’t had the pleasure of seeing the band live, you’re in for one hell of a treat. The radio performance has also been remastered for maximum playback enjoyment and let me tell you, the band jumps and shouts like a Baptist preacher who’s got a bad case of the runnin’ fits! With the addition of the Radio Performance, the album comes in at a whoppin’ 31 tracks! The press will be limited to 100 pieces, and they will be individually numbered. Aside from the band’s live shows, the only place you’ll be able to get the album will be from our bigcartel store. The CD will be available for purchase on October 11, 2024 . We will not be offering pre-orders, nor will we be offering holds or selling downloads. We here at Black Angel Promotions have had a long and wonderful relationship with the band that started years ago when we first reviewed their sophomore release “Invasion of The Saucermen”. Since then, we’ve reviewed all their releases and have taken every opportunity we could to lift them up and spread the band’s good name. The band still has four other releases currently available to be purchased from their website and we can’t recommend them enough – life without the music of The Tremors just isn’t living! Please join us in welcoming The Tremors to the B.A.P. family, we are sincerely grateful to offer the reissue of the band’s debut album “Scourge of The South”! https://thetremors1.bandcamp.com/merch https://blackangelpromotions.bandcamp.com/album/the-tremors-scourge-of-the-south-20th-anniversary-remastered-edition https://blackangelpromotions.bigcartel.com/
By Black Angel August 20, 2024
R.I.P. Jack Russell, the original and one true voice of the band, Great White. Captain Jack was more than just a voice on the radio, he was one of my favorite vocalists, period. I got into the band when I was a kid due to compilations and so forth, so Jack has been a part of my life for well over half of it & I’m not exactly a young buck anymore. I’ve had some tough moments in life with nothing to soothe me aside from a few choice albums – Great White was at the top of that heap. Hard Rock bands are a dime a dozen and often we don’t stop to think or appreciate the talent that it takes to perform this kind of music – we take it for granted. Those with a true penchant for music know after one listen to Great White/Jack Russell that the band WAS heaped with talent, but the most amazing part of the band was Jack Russell’s voice. His ability to perform at a high level was unmatched and even after years of substance abuse, he was able to stand and deliver a jaw dropping performance, be it live or in the studio.
By Andy Burke April 27, 2025
Today, I'd like to kick off our Halfway To Halloween extravaganza by talking about one of my favorite Indy Horrorpunk bands - the pride of Dayton, Ohio, The Jackalopes! While the band isn’t known the world over, they’ve carved out their own niche and presence in the Horror scene through legendary live shows, compilation appearances and a few releases. Granted, those releases are few and far considering how long the band has been around – personally, I’d like to have more but in the words of Jagger and the boys “you can’t always get what you want”! I first became aware of the band back in 2000 with the double 7” release of a Samhain Tribute entitled “The Rebirthing” via Spasthmatic Records – I still proudly own this release! It’s been a while since I’ve listened to it, but the one thing I remember the most about it is being so turned on by The Jackalopes cover of Samhain’s “Initium/Horror Biz”. That one appearance still stands out to me, and I just knew I had to find out more about this band and get more of their music, sadly there wasn’t much around at that time, but ultimately the band would release their debut full length “Jacksploitation” in ’03, which I reviewed for the original version of Black Angel Promotions. Sadly, the review is long gone, but the CD is still on my shelf today – I made damned sure to hold onto it, it’s still a favorite release of mine from that time frame. The genius of that CD was that the music wasn’t all Horror related, it had a touch of Glam, Glitter, Punk and a few comical moments that still make me smile today. Over the years I’ve always wondered what happened to the Lopes and I’ve always wanted to be closer and know more about the band, but I’m in Podunk Ga and the Lopes aren’t a cross-country touring act. Sadly, I didn’t follow the band as much as I should’ve on the internet through the years, I just kind of lost touch with what had been happening with them – it happens to everyone these days. In 2024 The Jackalopes saw fit to release another album concentrating solely on the band’s more Horror oriented tunes. The title of this release is “All the Horror” and it’s exactly just that, all their studio recordings based on and out of Horror. This release comes to us courtesy of The Jackalopes lead singer, band leader and knower/doer of all things, Rev. Chad Wells, and his label HorrorShock Records. There’s a strong chance that fans won’t have all the tracks this release as several of them are from compilation appearances from long defunct labels such as Spasthmatic Records, Blacklight Records and Horror High. Long story short, those releases are hard to track down if you weren’t around when they were current. I only have a few of them myself. I won’t lie, I have all of them in my want list based on the Jackalopes presence and I’m always on the hunt! It's hard to nail down a favorite track on this release, they’re all favorites as they all have so many special memories attached to them. “Frankenstein Girl” was an incredible tune off the “Jacksplotation” album, it’s still as fresh and fun as it was back in ’03. And I never miss the chance to scream the lyrics “When she went down on me, she turned into a FUCK MACHINE”! The perv in me always loved that line. HA! And then there’s the first tune I ever heard from the band, Samhain’s “Initium/Horror Biz”. That Samhain Tribute was one of the first pieces to be sent in for review and The Jackalopes is the first track on the release, it was a killer way to open the compilation up, the band were fiery and just ripped through the cover with the same intensity and machismo that Samhain did, and I was hooked. Another big stand out for me is “The Night You Died”, I can’t recall exactly where I first heard it at, I don’t think it was the Horror High comp, but it could be – I’m no spring chicken these days. This tune never fails to hit me in my feelings, the subject matter gets me every time and all I can think of are the good times and the tattered/torn memories I have of friends and loved ones that have long passed on. It’s some shit that a Horropunk tune could make me feel this way, but “The Night You Died” is a moment, it’s not just a song, it’s a moment to me, it’s something to stand on and to feel proud of. It hits me directly in my cold black heart every time and I love every fucking second of it. And then there’s “Redneck Zombies” that was only available on the “White Trash Monsters 7” forever. This is a raging trip through the hazy halls of a Troma museum or at least it kind of puts me in that mindset. “Love is a Drug from Hell” is a one of those swingin’ tunes where the Rev’s crooning vocals really shine through. This one was only available on the Complete Monsterworks CD and that’s another one that’s been long gone for several years now. One of the biggest surprises to me is a cover of Social Distortion’s “The Creeps”. I didn’t know the band had covered it, so it was a genuine surprise and highlight to me. You can never go wrong when you’re dealing with anything Social D. related. It’s a great cover and the band does a fantastic job keeping the original spirit of the tune alive. Of course, no Jackalopes Horror release would be complete without “Burning Down the World”, it’s another favorite of mine from long ago. “And the churches are burning”… If you’re a fan of Horrorpunk or Punk Rock in general, this is a great release. If you’re a fanboy of the band like me, this will knock your dick in the dirt! There’s not enough love for The Jackalopes in the world today, this band should’ve been way bigger and more talked about during the glory days of Horrorpunk. I mean they were doing their own thing; they weren’t trying to ride the Misfits coat tails whatsoever; they really were original and unique in their own special way. “All The Horror” is a living testament to just how special this band was, is and always will be. I’m calling it now – we need reissues of their discography, we need vinyl, we need new tunes, we need it all and we need it now! Until then, this album is readily available on CD courtesy of HorrorShock Records, grab one today and let’s burn this motherfucker down!  https://horrorshock.bigcartel.com/?fbclid=IwZXh0bgNhZW0CMTAAAR79k9GYFjlKZYgKXjijy2w-8iq5xDQW0b2x7lRRbbnU6gUQwKqe6p0JosNlrA_aem_JzWRKPDyrUwEN104NOglaQ
By Andy Burke April 27, 2025
It’s been some years since I’ve been able to review a Horror Compilation. The labels and the compilations have been drying up unless you know where to look. I’m a bit slow when it comes to the looking… Today we’re going to talk about the latest comp. from Horrorshock Records – Shockwaves Vol. 2. To my knowledge and from what I can gather, Horrorshock is conglomerate of all things Horror related, they’ve been rounding up all the fiends they can to celebrate the spooky, the dark and the macabre. This is a lost art form; it was all the rage back in the early millennia but somewhere along the way, the movement stalled and got lost in translation. I think a lot of the kids who were into it grew up or quite honestly, the scene just changed. Nothing good lasts forever, however, there’s reason to pick up the flag and continue to wave it maniacally and that’s exactly what Horrorshock has been doing for a few years now. They have a large presence online and participate in podcasts and a ton of other stuff – it makes an old ghoul feel good knowing that I can still find a place where I fit in and a welcoming community of like-minded people. Getting to this Shockwaves 2 compilation – it’s packed with 16 tracks of some of today’s up and coming Horror Punk/Rock bands. There’s a bit of everything here and the sounds vary, it just depends on what you prefer. I’m from the 80’s so there’s a few moments where I’m fetching some 80’s Metal vibes – Hideous Monster’s “October Mourning” has an oldschool 80’s feel. I’m softly reminded of Hallows Eve; that’s not a bad thing at all. I want to feel some more of what these guys are cooking up! Spellgrinder’s “Get Out (Shock City)” all but stands up and says we’re Glam Punkers, what are you gonna do about it! Great guitar playing and melody lines! I reckon for the younger generation, the name Wednesday 13 might fit well here as a comparison, but I’d like to say this is a far better effort than anything he’s done for a while now. Slaughter Party’s “Red on You” has a low down and dirty Punkabilly swagger to it with a bit of the old croon slap and tickle in the vocals for good measure. Rise From Your Grave’s “Hell House Redux 2024” has a Misfits vibe and I fucking love it, It’s catchy and punchy as hell! I want to hear more from these guys and FAST! The Creepy Crawlers are another band that stands out with their tune “Bring the Blood”. It’s a mean Punk tune with great female background vocals that really stand out. It’s a raging tune made for some PIT ACTION! TCC is the Reverend Chad Wells newest band – his daughter Presley is also the bassist. Who’s the Rev? He’s the guy responsible for the legendary Jackalopes band and of course this label – Horrorshock Records! He’s a legend and diehard in the scene, you can’t mess with anything he’s been a part of, because he doesn’t half-ass anything. “Trash Panda” by Zipperguts is a tune that I had to back into liking – it’s a bit noisy to start with, but after a few listens it really started to sink in, it’s creepy and has its place here. Another ear worm is the tune “Mr. Hyde” from the band Bat Thorn. This track has a fantastic Pop Punk vibe with a great riff that runs the length of the song. “Crawl Past the Grave” from the band 84 Tapes is a lo-fi analog tip toe through the cemetery. Sonically, it’s not the most pleasing but the vibe is certainly there, and I can dig it. The Lollipop Kids show up with a track called “Glitter Stomp” it’s a good time too, kind of reminds me of 45 Grave with a bit of the Runaways/Jane County tossed in, which I appreciate. I’m not sure how long they’ve been doing their thing, but I’d certainly be interested in hearing more from the band, they’re onto something. There are several more tunes on this album that are well worth a listen! Pretty With the Lights Out, Graveyard Boys and Wake the Dead, notably. If this is where the Horror scene is currently at, count me in. This has a been a great listen and a wonderful introduction into the world of Horrorshock Records. I’m going to need to dial it back and check out Shockwaves Volume 1. I strongly urge you to take a moment and check out a few of these artists or hell just grab the CD, hop in the Hearse and go for a ride!  https://horrorshock.bigcartel.com/?fbclid=IwZXh0bgNhZW0CMTAAAR79k9GYFjlKZYgKXjijy2w-8iq5xDQW0b2x7lRRbbnU6gUQwKqe6p0JosNlrA_aem_JzWRKPDyrUwEN104NOglaQ
By TJ April 27, 2025
This is a really interesting release. ‘84 Piece Puzzle’ is a psychedelic horror punk album with a touch of thrash and hardcore that paints a bloody tapestry of death and dismemberment told through the eyes of a killer. The killer’s psychopathic tendencies are revealed through 84 VHS tapes that are left as clues and used to…piece together this menacing and macabre puzzle. I’m picking up a lot of Order of the Fly influences, particularly in the bass and even some industrial sounding bits and pieces strewn around like the spray of blood dripping down the wall after a savage killing. The opening track “Buried” and closer “Forgotten” are both spoken word tracks that explain to and warn the listener about these tapes and how they should not watch nor duplicate them due to their extreme and disturbing content. “Sirens” and “Clippings In the Paper” are the standouts here, especially the latter with its raw and gritty energy. As this was my first experience with 84 Tapes, I was incredibly impressed and am excited to see what the future holds. This is a unique experience that is different from a lot of horror punk out today, so if you’re looking for something a bit different, stop here.
By TJ April 27, 2025
2023 saw the 40th anniversary of the seminal horror punk album ‘Earth A.D./Wolfs Blood’. Although I prefer ‘Walk Among Us’ and ‘Static Age’, the Misfits really dialed up the hardcore punk element with ‘Earth A.D.’ which lent itself well to Glenn’s future endeavor with Samhain, which makes sense as he has previously stated that “Death Comes Ripping” and “Bloodfeast” were originally meant to be released under that moniker. Over the decades, there have been copious amounts of covers from this album, some of my favorites being Cradle of Filth’s version of “Death Comes Ripping” and AFI’s rendition on “Demonomania”. F ortunately, courtesy of HorrorShock Records, we find ourselves with ‘We Bite: A 40th Anniversary Tribute to Earth A.D.’ which introduced me to a number of bands and versions of these songs that I was unfamiliar with. Some of the featured bands I found pretty interesting and felt warranted additional time and attention. But that’s the cool thing about comps., right? Finding a new band and digging into their discography and if you’re fortunate, finding a new band you like. This is the case with Los Morts’ cover of “Die, Die My Darling” with its addition of electronics and “Bloodfeast” by Die Ghost. I can’t really get over comparing the latter to Calabrese, especially when it comes to the vocal harmonies and overall aesthetics of the song. It’s so damn good and is easily my favorite track here. Other standouts include: Rise From Your Grave’s “Devilock”, Ripsnorter’s “Death Comes Ripping”, American Werewolves’ “Wolf’s Blood” and “Hellhound” by Tomb of Nick Cage. I’m a big fan of Ripsnorter and American Werewolves, so it was a pleasant surprise to see them here. Ripsnorter put out an entire album of Misfits covers as the Ripfits, so if their effort here does anything for you, I suggest checking out ‘13 Hits From Hell’ . https://horrorshock.bigcartel.com/?fbclid=IwZXh0bgNhZW0CMTAAAR79k9GYFjlKZYgKXjijy2w-8iq5xDQW0b2x7lRRbbnU6gUQwKqe6p0JosNlrA_aem_JzWRKPDyrUwEN104NOglaQ
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By Andy Burke April 27, 2025
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.
By TJ April 27, 2025
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
By Black Angel December 3, 2024
A few days ago, the opportunity was presented to me to interview the founder and CEO of Cleopatra Records, Brian Perera. Naturally, I jumped at the chance to speak with Brian as Cleopatra Records has released several albums that I’m a big fan of through the years. I also appreciate the label becoming a home for wayward bands of the 80’s that have been cast aside. Most notably Jack Russell’s Great White, those last few albums are absolutely killer, and we might not have them if not for Cleopatra Records. Enough of my fandom, let’s get on with it! Hi Brian, it’s a pleasure to catch up with you today. I know you’ve done tons of interviews through the years, so we’ll try to avoid too many repeat offenders if possible. Cleopatra Records means a lot of different things to people – some people associate you with Goth, some people associate you with tributes and then there are folks like me who look at the label as a home to disregarded 80’s bands from the Hollywood scene & of course old school Punk Rock!
By Black Angel October 6, 2024
When I started back toying around with the idea of starting my own label again there was one band specifically that I really wanted to work with – The Tremors! I met them eons ago when I was combing the net looking for cool bands to review. I’ll never forget Jimmy Tremor’s reply – sure we’d love to get a review but from the looks of your site I’m not sure you’d like what we’re doing. I quickly replied that I was into Rockabilly, but I just couldn’t drum up any interest from other Rockabilly bands to get anything in for review. A few days later the band’s Sophomore effort “Invasion of the Saucermen” hit my box and nothing has been the same since. I’ve followed the band’s every move and I’ve reviewed every release they’ve put out since this fateful encounter. By the time I met the band their debut release Scourge of The South had already sold out, so I wasn’t able to get it and that never sat well with me, I looked everywhere for it with no luck! Thanks to the genius of eBay and the advent of the search/save/email notifications I was able to land the CD a few years back – for 40$! A small price to pay for a band that I’ve admired for years. And now here we are a few weeks from the 20 th Anniversary Remastered Reissue that I couldn’t be more excited and prouder of! It just goes to show you that sometimes those high prices you pay for things you love can turn into so much more. So, in honor of this reissue, we wanted to catch up with Jimmy and talk some smack about gear, the band and the upcoming reissue! Good to have you here with us Jimmy, let’s start with some of the oldest questions in the book. What made you want to pick up the guitar and learn to play? How old were you? Did you take lessons/study, or did you pick it up and just start twangin’?! I started playing at 13. My older sister had a Yamaha classical guitar and that's what I started on. When I heard the Rolling Stones, I knew I wanted to play electric guitar in a Rock 'n' Roll band. I took enough lessons to get off the ground from a brilliant guitarist named Jim Ryan, but soon learned that playing by ear was the way to really learn the kind of music that I wanted to play. Did you start singing when you started playing guitar or was that something that came with time? I sang in chorus in grade school, mainly to get out of class, so I’d already been singing some. As soon as I could sing and play at the same time, I was doing it. When did you start playing live/doing shows? Any recordings floating around from that era that our readers go out searching for? I played some talent shows and battle of the bands in high school but didn't start playing clubs until 1989 with a band called Rocket 99. Other than some demos that I have somewhere around the house, there's no recordings or videos from that time. Vocally, who are your biggest influences? I hear a lot of Lux Interior influence, but I’m probably looking hard for it since they’re a favorite band of mine. Hard to be a Rockabilly musician in the 21st century and not be influenced by the Cramps. I definitely love Lux's over the top stylized Rockabilly vocals. I guess the biggest influences on vocals would be Jerry Lee Lewis, Little Richard and Elvis. Guitar-wise and musically who would you say are your biggest influences? Musically, Jerry Lee Lewis is a huge influence even though he plays a different instrument. My first memories of music is my mom's 45 of "Great Balls of Fire". A few of the guitarists I've really been influenced by are Scotty Moore, Carl Perkins, Chuck Berry, Grady Martin, Keith Richards, Marc Bolan, Johnny Thunders and Johnny Ramone. So many great guitarists, it's hard to narrow it down. Are there any other genres of music outside of Rockabilly that you spent a lot of time chasing and playing in the early days? Any Jimmy Tremor stories that involve big hair, aqua net and lip stick?! Rocket 99 and Ubangi Stomp were pre-Tremors bands that had a touch of sleazy glam. It was my take on what I thought modern Rock 'n Roll should be about.
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By TJ April 27, 2025
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.
By TJ April 27, 2025
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.
By Mike February 16, 2025
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.
By Bob Noxious December 8, 2024
This was funny, but also not too off from how punks were viewed by the older generation at the time. Weird hair color or piercings were definitely looked at ascance in 1987, when this aired as an ABC Afterschool Special. The "punk" music in this is more like mainstream new wave, so no lost gems like in the Quincy punk episode. The punks are all presented sympathetically, so we also don't get the sensationalized violence and drug use you might expect from 80s punksploitation. The kids are all depicted as just needing a little attention and probably just going through a phase. As silly as it is, it does at least send a message to uptight parents that their kids may look weird, but they're still good kids. In the context of the times, that's actually not too bad. We do at least get a great cast of 80s character actors including the guy who played the Governor on Benson, Roxie Roker from The Jeffersons, and the ship's doctor from The Love Boat. And star Jay Underwood would go on to play Bug in Uncle Buck, The Human Torch in Roger Corman's (technically) unreleased Fantastic Four, and Sonny Bono in The Sonny and Cher Story. At the end of the day, this is neither particularly good taken at face value, nor is it super campy fun. It is, however, a decent little time capsule, and at just 45 minutes it's over right about when you're ready for it to be.
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movie and documentary reviews


Explore the intersection of music and film with our in-depth movie and documentary reviews. We critique the latest releases that delve into the world of rock, metal, and punk, offering insights and opinions that cut through the noise.



From gritty documentaries about underground scenes to blockbuster films that capture the spirit of rock and roll, our reviews are as edgy and uncompromising as the subjects they cover. Discover which films hit the right notes and which ones fall flat.

unfiltered Concert reviews


Get the lowdown on the most electrifying shows around the country. Our concert reviews offer an uncensored look at live performances from your favorite bands and emerging artists. We cover every detail, from the setlist to the crowd's energy, ensuring you feel like you were right there in the pit.



Whether it's a dive bar show or a massive festival, our reviews capture the raw power and intensity of live music. We don't just tell you about the concert—we take you there. Read on for brutally honest assessments and photos that bring the experience to life.

By TJ April 13, 2025
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!
By TJ October 20, 2024
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.
By Black Angel August 19, 2024
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