The Demon Beat / Press

“It’s time someone claimed the name for real, and West Virginia’s The Demon Beat know how to do it, calling tainted, fuzzy memories of rocking out before you could go out in their new single, “Teenage Wasteland.” It’s all there: the classic rock shirts and stiff upper lips, the gum-chewing, shaggy-haired boys with downcast eyes, and the pizza…oh, the pizza. Caught in a teenage dream somewhere between the reality of basement rock in simpler times and the powerful mirage of dirt’s better qualities, The Demon Beat surf their pepperonis in a psychedelically scrumptious, super-fun music video so simple and bright, it’s hard to describe. These boys have already won (or lost) the poker game – they’re stripped of anything but a good time.”

“Members of The Demon Beat are veterans of the West Virginia music scene and are well known in the state for their loose, aggressive garage rock. With songs that often clock in under the three-minute mark, they make visceral music that seeks to “hit you right in the pit of your stomach.””

“The Demon Beat's "Teenage Wasteland" may call back to the Who's "Baba O'Riley" in title, but it doesn't even come close in sound: it's a thrash of melodic garage rock, with a thumping bass line, hoarse vocals, and some terrific guitar playing. It's a three minute shot of teenage lovesickness and rebellion, and it will stick in your head for days musically -- until you watch the video, which is a creeping psychedelic swirl of the band crashing away on their instruments and surfing on slices of pizza...Yes, surfing on pizza. You'll have to watch it to see...The video will stick the song in your head for weeks, which will be just in time for the Demon Beat's upcoming LP, Less Is Less, to drop in September.”

“West Virginia’s the Demon Beat, probably have the coolest, most badass band name I’ve heard in quite some time. Impose premiered the video for the band’s latest single, “Teenage Wasteland,” off their forthcoming effort, Less is Less. (If you’re curious, the album will see a September release from Funny/Not Funny Records.) What I love about this song is it kicks ass and is reminiscent of the Pixies, Nirvana and others.”

“Easy riding party rock straight out of the mountains of West Virginia.”

“What impresses me most today is their musicianship and their blue-collar work ethic. The Demon Beat have not lost any of the swagger they had six years ago, but they’ve matured as musicians and songwriters with each release. They are among the most hard-working musicians I’ve ever known, releasing three full-length LPs, an EP, and three 7” splits since 2008, with another album on the way. They tour and record constantly, showing how much they love making music and how hard they’re willing to work at it.”

“Dirty. big beefy chords, I love to hear the grit flying off the strings. The guitar stops for a second? What? There's the bassline. Pounding drums and distortion yelling, with a lot of soul. These guys are channeling southern sludge rock and coming up with a damn dirty groove while doing it... of course really. Fitting in a slice of solo. Like an energetic Black Keys, without being so self aware or make love to you vocals. Next up, "Change the Subject" has those solid guitars mixed as loud as humanly possibly, echo'd and sort of doubled down. Smashing plate vocals, he's got it, but this guitar completely drowns out the whole thing, a big fuck you to the rest of the track here. Is this intentional? Strong as hell groovy complex finger pick part. A squirt of Natural Child with heavier roots. Just as fun lovin' and sweaty with bubble letters playing in the classic rock sandbox. Big melodic solo based somewhat on the previous rhythms. Mute the whole mess towards the end, and they come away”

“The distortion, the feedback, the raw, desperate energy and almost bootleg feel of the production on the previously unreleased “Teenage Wasteland” and the fuzzy, pummeling charm of the alternate version of “Change The Subject” (heard on the Antler Tapes split) make this a whole ‘nother Demon Beat split worth having, and the hot, live feel of the production is great to hear.””

“The Demon Beat dominate the split with two raucous, ball tearing tracks that take to task every other poseur that claims to be “garage”. Not saying the trio are shitting on everyone else’s parade, just that they threw a cluster bomb underneath the leading float and wallowed in the aftermath. Not saying they are psychopaths either – but they are pretty killer.”

“‘Teenage Wasteland’ is one of two tracks from the Demon Beat on the record, while “Under the Bridge pt 2″ is the lone six-minute suite from Elephant Child. Both tracks look to knock you right on your ass, coming together with heavy, crunchy guitars and a solid, hard rocking attitude. Take “Teenage Wasteland” for example, with it’s big, swallowing guitar hooks that eventually turn into searing guitar solos.”

“The Demon Beat have added a new chapter to the music lover’s dictionary definition of “ballsy” by naming a song on their newest album “Nevermind.” The power trio from West Virginia make aggressive rock and roll that’s two parts Jet, one part strokes, and, yes, a little 1990s grungy.”

“The first up is The Demon Beat split with Elephant Child. The Demon Beat is trio Adam Meisterhans, Jordan Hudkins, Tucker Riggleman from West Virginia, and their sound is full, loud rock with wild, pseudo-screamy vocals.”

“On occasion it’s possible to run into a band that’s got a name that should only belong to them. The Demon Beat is one such band. For you see, lords and ladies, the West Virginians have a certain hellfire to their sound, as though they’ve been runnin’ with the Devil and ridin’ the highway to Hell, swillin’ purest moonshine all the while. It’s an unholy racket that simmers with fire and brimstone, and I all sorts of dig it.”

“Evoking something like The Who + The Stooges equaling some neo-grunge, garage-based power rock three-piece, with echo/reverb-drenched vocals, cavernous, almost 80’s rock band drums, this review, given the guitars in parts, can be filed under feedback and distortion...That The Demon Beat has been self-recording and self-releasing (this time with help from Caustic Eye and art, again by Hudkins) their material only makes them even more punk rock, even more DIY than most bands. That they’ve established themselves, but still have a chip on their shoulder, and haven’t lost that energy and desperation that makes rock and roll great, will only continue to win them more fans, whether they get laid and/or rich and famous, or, not.”

“Bullshit Walks is another in a string of incredible Demon Beat releases, and again, for about the thousandth time, I’m left wondering just why the hell these guys haven’t broken through yet. Audiences up and down the East Coast know what I’m talking about. Still, the way they do what they do by themselves is paying off in creative spades. In a region full of top-shelf talent and great music, the Demon Beat rises to the top, no doubt about it.”

“10 songs doesn’t seem like a lot, but The Demon Beat make every second count in their latest full length album entitled Bullshit Walks. Coming in right around 43 minutes, 10 turns out to be a perfect number for well composed songs that demonstrate the Demon Beat’s expanding range of talents. In the shady casino card game that is the music industry, the Demon Beat have pulled cards from some of rocks greatest periods and have been playing their hand well. Shit, We’re 23 got them into the game, 1956 was the trick hand that surprised everyone, and Bullshit Walks is the ace in the pocket.”

“A Demon Beat show is an experience no one should miss. Not only is the music tight, but the energy is intense. I haven’t been to many shows where the entire audience pushes to the front of the stage to hang on every word and riff. Everyone dances, and I mean, everyone. These boys rock so hard, it hurts. They’re really loud, but in the best way.”

“The Demon Beat lives by one credo: If you play a riff often enough and loud enough, people will like it. And damned if they don’t have a point…What sets the Demon Beat apart is its energy…I’m an adrenalin junkie. And these boys come to play.”

“The album clearly seems to be the group’s tightest, most thought out record. Beginning with a building energy in lead off in “Nevermind,” the band runs through the record with a fury. “Give Me All Your Money” is something begging for radio play with sounds stretching from early ‘60s to contemporary, blues-inspired garage rock and “Bang” evokes The Beatles from Abbey Road. The album’s second to last track, “Totally Blissed Out,” might even perk the ears of Hendrix. “Bullshit Walks,” to put it simply, is no bullshit.”

“To close it all out, a strong and well defined effort from The Demon Beat, who have crafted an organic and no holds barred effort that defines experimental rock in its purest form and aims to break the mold of all the ordinary music that’s out there today. 4 out of 5”

“When a band is this good at the rock “sound” (and by the way, great drum sound on this record, I like that, not overly heavy, but nice and punchy with a good feel), they don’t need to dress it up with a bunch of fancy window dressing. Here are the songs, they seem to be saying, enjoy them without all the hype and flutter. It’s nice to hear a band be confident in their songs, knowing that this is where their strength lies.”

“The Demon Beat are miles beyond just another bar band. Sure, they’ve got the riffs and the chops to fit the description, but backing up Meisterhans is an excellent rhythm section that propels each song from quiet, melodic build-up to full-on rock release. Remember that old “loud-quiet-loud” dynamic that made alternative music what it is today? The Demon Beat was listening...Though The White Stripes broke up and The Strokes might explore electronic avenues these days, The Demon Beat is here to ensure garage rock lives on.””

“1956 is ragged psychedelia at its cathartic best. But the extended passages of squealing, damaging guitar come across as anything but excessive, with a soulful, precise rhythm section keeping the instrumental breaks engaging.”

“Pulling the 50’s into their sphere of influences only makes The Demon Beat that much more appealing to rock fans. While not much longer than a half an hour and recorded in just a few days, 1956, like a lot of The Demon Beat’s songs, seems years in the making.”

“1956 is the conceptual mass heretofore hinted at around the edges of the Demon Beat’s releases. This is the sound of an awesome band studying the past to build the foundation of something incredible in the future.”

“This five-track masterpiece, which spans the course of about 38 minutes, is a hypnotic trip for the ears and the mind that is likely to leave you stranded in an altered state of musical bliss…Guitarist/vocalist Adam Meisterhans, bassist Tucker Riggleman, and drummer Jordan Hudkins have created an album that begs to be played over and over again.”

“These songs flow in to each other seamlessly, often sounding like one big jam session. There’s no way you’ll hear any of these songs on the radio. But from the slow, pounding, drums of the first track to the blazing guitar of the fifth, you have forty minutes of great psychedelic rock that needs to be listened to all together; this is truly a complete album.”

“The band has progressed quite a bit since last year’s Shit, We’re 23 and are almost in full on stoner rock mode with this album. If I had to describe it in one word it would be “epic”.”

“The incorporation of the more mellow side of Meisterhans’ voice with the exasperated (in a good way) sound of the guitar is a unique combination that allows The Demon Beat to blend in well with most current mainstream rockers. ”Movement 3″ proves the band’s got talent, solely based off of instrumentals alone. The track encompasses the variety of instrumental sounds the group has to offer, from punk to soul, zoning in on vocalist Meisterhans’ and bassist Riggleman’s entrancing rhythms.”

“This record is an astounding step forward stylistically for The Demon Beat. While their other albums are solid, the influence of Hendrix or The Black Keys is much apparent in the foreground. This time around however, the band’s own unique sound finally emerges, and instead of being the pillar to these songs, the influences now pepper the music, adding to their depth.”

“Any fan of the Demon Beat should welcome 1956 as a sign of the bands real depth as talented musicians in the genre. 1956 is full of long guitar riffs driven by a single drum kit and minimal vocals; it’s an album that’s full of well thought out substance.”

“And as if we needed any further proof why this three-piece band from Shepherdstown, West Virginia is instantly legendary, they go and drop a new album on New Year’s Eve called 1956…Lyrically insprired by Carl Perkins, it leans on the psychedelic side, and it’s so raw…1956 gets filed into my “pure fucking genius” list of albums.”

“[Shit, We're 23 review]...It stands head and shoulders above most other new music I hear these days...If this creative arc is sustained, I don’t foresee the Demon Beat being kept from shouldering into rock & roll stardom.”

“Very rarely do you see an up and coming band put on one hell of a show, but that’s exactly what The Demon Beat did at the Charleston in Brooklyn. Playing to a packed house, the boys...had jaws dropping...The band may be young in years but they play like old pros.”

“It’s not everyday that a group manages to condense everything great about 60s and 70s rock onto one shiny disc, but The Demon Beat have managed to do just that on their latest effort, "Shit, We’re 23"..."Shit, We’re 23" is a musical journey. Each song is unique and flows seamlessly.”

“...a trio that plays rock and roll the way it’s supposed to be played; loud, raw and deliberate...when it’s rocking it’s dead the fuck on...sometimes you need a soundtrack for the bar fight you’re gonna get into later in the night, and god damned if these boys are ready to fill that slot.”

“This is rock n’ roll with all the required ingredients: dirty southern-tinged riffs, liquor-soaked bluesy vocals, Hendrix-idolising solos, stoner-influenced grooves, and, yes, a shitload of swagger.”

“Oh, fuck all those pretentious bastards - THE DEMON BEAT call the shots with 'Shit, We’re 23' –they’ve opened the garage door and released a sound with an urgency that needs to be satisfied. There’s a raw power and once heard is totally addictive! A must have in your ears!”

“...when I first heard the song "Millionaire," I was blown the hell away...Then I kept listening to the rest of the album...and it only got better from there...This Shepherdstown, WV trio is hands down one of the best rock bands out right now.”

“Straight out of the mountains of West Virginia, The Demon Beat puts on an amazingly energetic show featuring raw musicianship and scathing lyrics...this penchant for unadulterated rock music is causing crowds in the eastern United States to tune out the world and turn up the volume.”

“If The Black Keys had a bass player and played with the energy of The Stooges they would sound something like The Demon Beat. "We’re 23" is a collection of ten exciting and raucous tracks that fulfills the expectations of those who have seen their exhilarating live shows.”

“[the songs] crackle with a live-in-the-studio flavor and DIY creativity...the Demon Beat are also prone to the sweeping intensity of classic rock bands like the Who, characterized by restless hooks and a staunch but unpredictable rhythm section.”

“With 'Shit, We're 23', [The Demon Beat] continue the shock and awe campaign of throwback-style rock power...The Demon Beat capture a hot, live, plug-in-and-go attitude.”

“The Demon Beat are a full steam ahead, damn the torpedos rock band who would not be out of place on a bill with Jon Spencer, The Black Keys, or The White Stripes to name a few...they have a fresh take on traditional rock with a healthy twist or two of punk thrown in.”

“Tracks like "You Got It" exemplify the typical Demon Beat sounds, a sweaty-blues-mosh-jam....As an ensemble, they produce an excellent, gritty, rust-belted throwback rock sound that's rare to hear these days.”

“The raw and powerful voice of lead singer Adam Meisterhans is irresistible and relentless...The Demon Beat has realized its strengths as a group and has focused in on them and evolved to create its best album to date.”

“Again defying comparison and refusing to meld to a single genre, The Demon Beat have made an album that took me straight back to the best party ever - not by lyrical mention or retro-gimmick, but with a mood, a power and unbelievable performance.”

“The Demon Beat's endless energy and speedy riffs felt like a slap in the face...For anyone who is a fan of classic rock and roll, with a twist, this band is for you.”

“The Demon Beat half of the Caustic Eye split has...probably one of the most kickass songs we've heard all year, and one destined for infamy in our Top Songs of 2009...the frenetic, overdriven, killer-solo-having "This Is No Fun," a song we'd compare simply to "Search and Destroy" by The Stooges.”

“Frontman Adam Meisterhans can shred supreme, and he’s also got a fee-rocious set of pipes. When he tells you repeatedly what a bad man he is in the wickedly delightful “Bad Man,” you’re inclined to believe him.”

“If you are a fan of that bygone era of late 60’s rock and miss the power that three very talented musicians can crank out, you need to find The Demon Beat. Imagine that—rock music being reborn here in the hills of West Virginia, by three boys in love with rhythm, soul, and a whole lot of grit.”

“When I say rockers I mean the real deal. This band plays music that is refreshingly straightforward, gritty, and fun at the same time.”

“Every now and then we come across a new band that blows us away completely. Case and point, meet West Virginia’s own The Demon Beat. This three piece band blend rock with a whole lot of soul that will have you out of your seat dancing.”

“It’s as if Morrison joined Led Zeppelin; and not just retro for retro’s sake, just good old school rock. …and like the Weez[er] they wrap up several decades of rock into a nice timeless package that pretty much everybody can like.”

“The Demon Beat’s roots grow wild, jamming an entanglement of pop and blues messy on the surface but secretly effortless and precise. Live or recorded, the band’s Who- and Hendrix-influenced sound sets them apart as fine purveyors of quality rock & roll.”

“Few singers scream like Meisterhans. From the soulful, lovelorn crooning in the verses to the guttural shrieking in the amped-up choruses, the songs reach out and command attention.”

“The band members mix the White Stripes, AC/DC, and The Pixies to put on a live show as powerful as any you’ll ever see, highlighted by the group’s intense stage presence.”

“I forgot what it was like to get a rock album in the office, but this is what it must be like. Adam Meisterhans’ voice is a delicate balance between the Walkmen and The Black Keys and the music follows suit.”

“It's rock and roll that you just may love. If you like blues, soul and rock and roll, or if you just love seeing some young men with passion play like they are desperate not to be dragged away by the devil himself, you're going to have a real good time with these guys.”

“Really rocking mind meld of the best Mudhoney with non-self conscious 60's psychedelia.”

“The influence of the Black Keys can be heard in their overall style, while the vocal crooning and all around swagger of singer Adam Meisterhans is akin to Jack White of the White Stripes.”

“[The Demon Beat] are in the forefront of bringing back aggressive rock and roll to West Virginia.”

“The Demon Beat has a gritty, spontaneous sound — the kind that’s well rehearsed enough for the band to let it flow forth with only their passion behind it.”

“NEW EP REVIEW - [Trainwreck] is how rock and roll should be played. [The Shakes] just builds and builds and vamps and vamps all eight minutes until it explodes. Meisterhans sounds like he means every word... It is amazing and the cd is worth getting if just for that track.”

David Gladfelter - Savage Zine