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Throughout the past two decades, Huntington, WV musician John Lancaster put in a fair share of hours fronting and playing guitar in local bands such as Guru Lovechild, Earth to Eros, and Cincinnati's Semi-Automatic. But perhaps his most recognized project was with one time Century Media recording artists Chum, who successfully merged crushingly heavy riffs with hook laden yet soulful melodies cour

tesy of Lancaster's vocals. Chum had a well received yet relatively short run but still managed to capture the attention of a few name folks in the music industry as well as some of their respected musical peers. As time rolled on through the post-Chum era and projects came and went, all became gradually quiet on Lancaster's musical front as he devoted more time and energy towards his budding family. In July of 2010 after a couple year hiatus with music (and three kids later), John returned to the fold with his first solo album titled "Phantom Moon". Approximately 3 years in the making, "Phantom Moon" features guest appearances by Josh Adkins (Abdullah, Erase the Grey), Dave Angstrom (Asylum on the Hill, Hermano, Supafuzz), Jude Blevins (Satchell, Hyatari, Skinfork), Bud Carroll (Bud Carroll and the Southern Souls, American Minor), Elwood Francis (Prunella Scales, Abusement Park, Control Freak), Aaron Grubbs (Science for Children), Daniel Johnson (Let the Guilty Hang), Rusty Knight (In Stereo, Earth to Eros), dUg Pinnick (King's X), Barry Smith (Earth to Eros, Hybrid Zero), and Matt Wolfe (Scrap Iron Pickers, Byzantine). The heavy and melodic sound that Lancaster has been known for is still evident throughout the 14 tracks of "Phantom Moon", yet dynamically speaking he pushes the envelope a bit further and flirts with a more textured approach - an approach that was taken on out of necessity according to Lancaster. "In a band or collaborative environment, in order to be diplomatic and to have everyone somewhat on the same page, it is easy to eventually paint yourself into a corner with a specific sound, overall vibe, or songwriting formula," said Lancaster. "What was exciting about finally getting around to this solo project was that there were no boundaries or pre-conceived notions of how this thing should sound, which was a refreshing change of pace. It was a satisfying outlet for me and I look forward to doing this again in the near future."

For many people the era in which rock and roll was considered dangerous in and of itself is little more than a cultural memory. There was a time when it was the pure energy that frightened the masses, the idea that loud, raucous music was one of the surest ways to invite the devil’s influence into one’s mind and behavior. The music endured these criticisms, even embraced them, but with its eventual acceptance into mainstream society much of what made it so enticing in the first place began to crumble. In the wrong hands it isn’t as forceful, not as imaginative, not as raw. The people have forgotten the risk. The Demon Beat is here to remind them. 

The tongue-in-cheek handle the band goes by is nothing if not poignant. The three West Virginia boys, well-versed in everything from the Rolling Stones to Mudhoney, Percy Sledge to MC5 and beyond, seem to be on a mission to spread their gospel to anyone who will hear it. This is the way rock was meant to be heard, too. It’s no bullshit – loud, loose, dirty, and direct. At times ethereal, at times gut-wrenching, their live performance is soaked in a visceral intensity and raw, frenetic power, each song a series of explosive moments which cultivate the overall experience. Adam Meisterhans’ well-accomplished & wild guitar style reflects the reverence he holds for his vast influences as well as a desperate recklessness and ingenuity all his own. Tucker Riggleman and Jordan Hudkins, bass and drums respectively, comprise the unstoppable spine of the band, throwing down the gauntlet of driving rhythm and tenacity for which the band has become known to their fans. The result is an intoxicating blend of classic and punk rock, with a reasonable dose of soul for good measure. The Demon Beat aren’t here to shock or alienate anyone. They’re here to make you believe in what they believe, something long-forgotten, a kind of spirit so many of the cookie cutter indie rock bands and prima donna radio rock pussies of today can’t seem to grasp. It should hit you right in the pit of your stomach, should take risks, should be more about the music than following some kind of aesthetic. More about creating than pretending.

Above all, rock and roll should be fucking dangerous. - John R. Miller