Reformed Floridian rocker-badasses Devil Gone Public have partnered with Ghost Cult today to premiere their new video for the single ‘Blood Debt’. The track comes from their forthcoming debut album, Smokehound, due later in 2016. You can watch the video at this link or below:


Commenting on the album, frontman Garrett Moore said “This album comes from a culmination of our various musical backgrounds and influences, having grown up on Classic Rock, our roots are deep in Rock N’ Roll and that has a lot to do with our style and sound. When we set out to create this album with Rob Caldwell, we knew we wanted to write a heavy, groovy, sludgy metal record and spent a lot of time trying different tones and worked hard to make it something we’re all proud of.”



Produced by Rob Caldwell (Iron Reagan, Goatwhore), Smokehound saw Devil Gone Public also tapped Jake Duncan (Maylene and the Sons of Disaster) to lay down guest guitar parts on the album. The band plays a frenetic mix that calls to mind Every Time I Die meets Lamb Of God meets The Chariot. Before reforming the bands star was rising under the watchful eye of mentors like Brian Johnson (AC/DC) Scotti Hill (Skid Row), and Donald ‘Duck’ Dunn (Booker T, The Blues Brothers).

Devil Gone Public is:

Garrett Moore – Lead Vocals

Red – Guitar

James Hyde – Bass/ Vocals

Brandon Thrift – Drums

Austin Bowman – Guitar

Megadeth, by OJC Photography

Megadeth premiered the video for its new single, ‘Post American World’ . The video can be seen at this link or below:

Megadeth has revealed complete details for the fall dates for the North American leg of their “Dystopia” world tour. The journey commences in Casper, Wyoming on September 20 and will take them across the U.S., visiting 16 states with special guest Amon Amarth, Suicidal Tendencies, Metal Church and Havok.


Megadeth ‘Dystopia’ tour, with Amon Amarth, Suicidal Tendencies, Metal Church and Havok

Sep 20: Casper Events Center – Casper, WY+
Sep 22: The Joint – Las Vegas, NV
Sep 24: “Ozzfest” San Manuel Amphitheater – Devore, CA * +
Sep 27: WaMu Theater – Seattle, WA
Sep 28: Matthew Knight Arena – Eugene, OR
Sep 29: City National Civic – San Jose, CA
Oct 01: 1st Bank Center – Bloomfield, CO
Oct 03: Mid America Recreation & Conv. Complex – Council Bluffs, IA
Oct 04: Roy Wilkins Auditorium – St. Paul, MN
Oct 05: Sears Centre – Chicago, IL
Oct 07: iWireless Center – Moline, IL
Oct 08: UWM Panther Arena – Milwaukee, WI
Oct 09: Joe Louis Arena – Detroit, MI
Oct 11: Sands Event Center – Bethlehem, PA
Oct 12: DCU Center – Worcester, MA
Oct 13: Mohegan Sun Arena – Uncasville, CT
Oct 14: Prudential Center – Newark, NJ
Oct 16: BB&T Pavilion – Camden, NJ

* Festival date
+ Non-Suicidal Tendencies date

Metal For Nepal Official Flyer By Artist Lisa Schuchmann

Metal For Nepal Official Flyer By Artist Lisa Schuchmanny

New England metal bands Caricature, Sonic Pulse, Epicenter, plus New Jersey’s Thrashole, and special guests MEGADERP come together for Metal For Nepal II, a Benefit Concert For Nepal Earthquake Relief today, July 23rd at Once Ballroom in Somerville, MA. Tickets are $11 in advance and $13 the day of the show and can be purchased at this link. Presented by Metal For Nepal Boston and Grayskull Booking and sponsored by Ghost Cult Magazine, Metal For Nepal II is the follow-up to the original concert from June 20th 2015 that raised donations and awareness of the plight of Nepal and its people following the devastating 7.8 earthquake of April 25th, 2015, and subsequent earthquakes that have devastated their nation. This year’s event supports The American Nepal Medical Foundation, a 503.c non-profit organization. In addition to the show there will be exclusive charity merch for sale, a PokeMon Go event tie-in, prizes, food and drink specials and more. You can watch the trailer to this years’ event at this link or below:



Blood Red Throne – Union of Flesh and Machine cover ghostcultmg

The criminally overlooked Blood Red Throne has been going for 18 years and 7 albums. Initially formed in 1998 by DØD (Satyricon) and Tchort (Satyricon, Emperor, Green Carnation) they are now releasing their 8th studio album Union of flesh and Machine on Spinefarm/Candlelight.

Blood Red Throne’s brand of Norwegian death metal has always been a particularly rewarding listen and Union of Flesh and Machine might just be their best album to date: Whilst tightly following their eponymous 2013 release they do raise the bar both in terms of song writing and crisper production. Right from the outset this beast of an album just hammers it home, within a few seconds of putting this on in my car I was struck with an over whelming urge to start a mosh pit, much to the annoyance of my insurance company.

Fast ultra-precise riffs, pummeling drums barking bellowing interspersed with shrill shrieks to create a dense brutal soundscape which means that even if they were content to just stick to the formula this would be a satisfying listen: they fortunately do so much more than deliver the basics.

Whilst there are most notably token similarities with the guttural stylings of perennial death metal benchmarks Cannibal Corpse, there are a lot more nuances to their sound and enough inventiveness within their rounded death metal sound to keep the listener interested through every single track, and there really isn’t a single weak track on this monster of an album.

Indeed unlike too many bands within the death metal sub-genre they don’t tie their flag to any one mast. This album much like The King is Blind’s Our Father earlier in the year this is a showcase of how great death metal can be when done properly. It encompasses much of the variants of the Floridian, Gothenburg and UK styles of death metal. It’s a celebration of Death Metal brutality with an inventiveness which prevents it from going stale which has been an issue in recent years with death metal.

From the Guttural growling groove of ‘Homicidal ecstasy’, through the proto Slayer feel of the title track, and most notably for me with the head scratching brilliance of the cover of Judas Priest’s ‘Leather Rebel’ sounding in equal parts Amon Amarth and Bolt Thrower this album just keeps delivering in a way which will keep the listener enthralled for many a listen.





Witherscape-The-Northern-Santuary-cover ghostcultmag

Witherscape is a Swedish progressive/melodic death metal band formed by Dan Swanö who has quite the pedigree in the metal genre, previously being part of the band Edge of Sanity who alongside Opeth helped pave the way for the blending of progressive rock elements with extreme metal as well as many other projects such as death metal supergroup Bloodbath and progressive rock band Nightingale, as well as fellow multi-instrumentalist Ragnar Widerburg, who is relatively unknown by comparison. Together they have produced one of the finest metal albums of 2016 in The Northern Sanctuary (Century Media Records), which serves as the follow-up to their 2014 EP The New Tomorrow and 2013 debut album The Inheritance.

Witherscape are a band who doesn’t just release albums for the music alone, they are creating a narrative that expands with each release. This is far from a new concept, with bands like Rhapsody on Fire, Coheed and Cambria, and King Diamond being well-known for their ongoing concept albums. This doesn’t make Witherscape any less intriguing though. From what I can tell, the story-line revolves around a haunted house of sorts, with The Northern Sanctuary taking place 50 years after The New Tomorrow EP, with a new person taking over the house. The underlying story is ultimately a bonus for the dedicated fans who will dig into the lyrics and embrace the narrative, but for the average music fan, this album gives more than enough to satisfy musically.

If you aren’t familiar with the work of Dan Swanö, you might be caught off guard with just how talented he is. On this album he handles all vocals as well as drums and keyboards. His ability to shift from melodic progressive rock style vocals to incredibly vicious death growls is truly impressive and keeps the album extremely dynamic. The keyboards add that timeless progressive feel to the album, and the drumming keeps the pace of the album in check. Widerburg handled the guitars and bass work on this album, and the incredibly riffs and solos alone make this an album worth checking out. He might not be as known as Swanö, but he proved to be equal in skill on this release. Tying everything together is a very clean production style that helps make everything sound very crisp and impactful.

Overall, there really isn’t much to not love about The Northern Sanctuary, as it’s simply a progressive metal masterpiece. Being a narrative focused album does make some of the lyrics a bit cheesy at times, and some songs are a can get a bit long-winded, no time feels wasted on this album. It’s another excellent release for the discography of Dan Swanö, and one of the best metal albums of 2016.



Black Crown Initiate- Selves We Cannot Forgive cover ghostcultmag

Over the course of an EP and a full length release, progressive death metallers Black Crown Inititate have been building a heady reputation. Unlike many of their prog/death hybrid peers who focus on over the top technical prowess and guitar noodling over the sheer heaviness of death metal; BCI have never been afraid to venture into bleaker realms of more extreme bands and have as a result proven a very exciting prospect, threatening to create something truly wonderful. On latest release Selves We Cannot Forgive (eOne/SPV), they may have just done it.

Many progressive/death bands cite the likes of Meshuggah, Opeth and Mastodon as influences and claim to have forged anything that actually shares ground with them, but on Selves…BCI actually show these varied sides clearly and masterfully. From the ultra heavy to clean and delicate dynamic shifts of Opeth to the metallic and other world like feel that both Mastodon and Meshuggah can generate, BCI throw a lot in to their mix but create their own identity and fluid sound rather than just a mere mix of inspirations.

In addition to this is a greater sense of a dark and unforgiven atmosphere which at times is reminiscent of Architect’s All Our God’s Have Abandoned Us(Epitaph) in its feel of ultimate despair and ruin. Certainly it proves much somber than their previous output and helps it to build its own identity in an ever-crowded genre, which rarely hits such melancholic territories. There is a still a great sense of diversity however, from the bleaker and heavier elements of death metal and even at times doom to some of the genre’s trademark technicality; but with a sense of balance which exemplifies each side. This is matched with the vocal trade-off between harsh vocalist James Dorton and clean singer Andy Thomas who also eschew the sometimes copybook nature of their peers and actually sound unique and standout.

It is very rare for progressive death metal bands to really strike the balance between prog virtuosity and dynamism with the crunch and pummel of death metal, but on Selves… Black Crown Initiate have managed the tall task of fine tuning both sides and pairing both with aplomb. Always threatening to offer something special, Selves…could prove a defining moment for the genre with one of its most complete works to date.



Lord Mantis - Nice Teeth Whore album cover ghostcultmag

So, to recap: evil Chicago entity Lord Mantis spawns from three-quarters of Blackened Sludge quartet Indian. In 2014 the band split spectacularly with troubled yet horrifically effective vocalist Charlie Fell: upon which the parent band folds and becomes the new incarnation of the progeny, Indian vocalist Dylan O’Toole assuming the role of the heinous rasp. Moreover, since the recording of new EP Nice Teeth Whore (New Density), guitarist Scott Shellhamer and bassist Will Lindsay have also departed, with Alletta Ergun moving in.

Got all that? The debris from the Fell departure has finally settled and it’s now time to see if the Mantis can silence those who doubt the credibility of the band without him. Initially Nice Teeth Whore seems something of a return to the excellent days of sophomore album Pervertor (Candlelight Records): the slurring, quickened Black boom of ‘SIG Safer’ swelling to a final crescendo and highlighting O’Toole’s hostile bark, spearing the mind yet missing that sense of ‘serial killer’ depravity Fell exudes so effortlessly.

The title track runs at a more familiar and ominous, Doom-laden pace: the sheer violent malevolence of O’Toole’s delivery complementing Bill Bumgardner’s colossal drums; the switch between rumbling riffs, shimmering Blackened passages and some wonderfully emotive yet spiked leadwork utterly compelling. It’s this reined-in brutality, desperately attempting to break free yet unable to escape from the choke-hold, that is the essence of both bands and leaves the listener fraught, nerve-shredded and exhausted in a blissful fashion

Bumgardner’s drums are again to the fore in ‘Semblances’, pummeling their way through a savage, sawing chorus from which screams resonate and slice the skin. It’s the languid, funereal hostility of ‘Final Division’, however, where the heady days of this terrifying outfit truly return: vocals so oppressive as to clog up the throat; a hateful, slow-burning intensity crawling lazily through the gut, leaving hungry leeches in its wake.

The warm, beefy production and undercurrents of howling leads may steal a little menace, but make no mistake: Lord Mantis are back to their punishing best. Let’s now hope that some stability can allow this febrile ferocity to fester…