“WV’s hardest working indie.”
– Mike Sizemore for Graffiti Magazine

“Tucker Riggleman (and BBR)…could be the person to lead this revitalization of rock and roll in West Virginia.”
– Justin Hawthorne for The Parthenon 

“[TERMINAL BALLISTICS Volume 1]…it’s free, but the stable of stars held within are so fantastic…it’s easily worth twice the price…I have to say it’s awesome that the tracks on Terminal Ballistics are often demos or songs that have otherwise been wandering out in the wilderness all alone till now. This free download isn’t just a repackage of greatest hits; it’s totally worth the money.”
Rock O’ Clock 

“[TERMINAL BALLISTICS Volume 1] more than adequately succeeds in introducing the listener to the wide variety of musicians which BBR has under their umbrella…download the album, and maybe find a new favorite band from the most exciting and diverse indie record label in the area.”
– Mike Theis for The Shepherdstown Chronicle 

“…This sampler spans many musical styles from the in-your-face rock of The Demon Beat, to gentle folk songs, to hip hop, it’s a pretty eclectic mix.” – A Truer Sound

4 out of 5 stars by Shepherd University Picket


“As if “Bad Man”, the stand-out track from last year’s The Demon Beat EP, weren’t massive enough, the band has taken another stab at it and tacked on an extra minute and a half of screeching, crashing thunder. It stands head and shoulders above most other new music I hear these days, and it totally validates plunking down the cash for Shit, We’re 23.

A-plus material like this makes the Demon Beat a stunning live act. Frenetic but measured, their performances are less shows than they are very loud indoctrination into whatever cult Adam’s snake oil salesman is shilling for. Committed to tape, Shit, We’re 23 captures that spirit, gussies it up a bit, and sky-rockets into the wild blue yonder. If this creative arc is sustained, I don’t foresee the Demon Beat being kept from shouldering into rock & roll stardom.” – Mike Sizemore for Rock O’ Clock

“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 23Shit, We’re 23 is a musical journey. Each song is unique and flows seamlessly. I’d recommend this album to anyone without hesitation.” – Blow Up Your Blog

“Songs like ‘Millionaire’, ‘Memory Ain’t Enough’ and the inappropriately-titled ‘This is No Fun’ crackle with a live-in-the-studio flavor and DIY creativity that recall the more promising bands on What’s Up Matador?. Not that this is strictly indie–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.” – Ben Apatoff for Nokia Theater Times Square Examiner

“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!” – NY Waste

“The Demon Beat came across my radar a few months ago, and when I first heard the song ‘Millionaire’, I was blown the hell away… Then I kept listening to the rest of the album, Shit, We’re 23, and it only got better from there…The song ‘Bad Man’ is on a whole other level. Singer/guitarist Adam Meisterhans slays the shit out of his guitar Jack White style on the track. This Shepherdstown, West Virgina trio is hands down one of the best rock bands out right now. Shit, they’re good.” – Ryan Wood for Tranzmission

“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.” – Jess George for LA Music Blog

“[Shit, We’re 23] 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.” –

“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 bluesy fury of the closing track “Bad Man” is a truly staggering and arresting song that exemplifies the sensational talent that is The Demon Beat.” – John Allinder for On the Record

“The 10 track album is nothing but trademark Demon Beat. Once again, you have the quivering yowling blues vocals of front-man Adam Meisterhans laid over smooth bass-lines provided by Tucker Riggleman, capped off with the enthusiastically infectious percussive rhythms of Jordan Hudkins. Tracks like “You Got It” exemplify the typical Demon Beat sounds, a sweaty-blues-mosh-jam which somehow always finds time to sneak in a freaky breakdown at the most surprising moments…As an ensemble, they produce an excellent, gritty, rust-belted throwback rock sound that’s rare to hear these days.” – Mike Theis for The Shepherdstown Chronicle

“The raw and powerful voice of lead singer Adam Meisterhans is irresistible and relentless. His moaning makes The Demon Beat stand out from the rest of the up-and-coming music scene…Shit, We’re 23 shows 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.” – The Daily Athenaeum

[The Demon Beat] returns with Meisterhans’ jangly guitars, insane solos, distorted noise jams and soulful, soulful, lovelorn crooning turning into painful shrieking and howling. ..The driving “Got You Movin'” and the funky “Millionaire” open Shit, We’re 23 with more of that same vibe, which is why you dug the band in the first place. Meisterhans intones “I’m gonna be a millionaire” psychotically, asserting “I’m a mover,” before building into the gutteral, frenetic choruses. With the harder, fuzzier tones, some of the new Demon Beat songs approach grunge, with Angus Young solos.” – WVRockscene

“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.” – A Truer Sound

“”‘Got You Movin” starts the record with Jordan Hudkins’ syncopated drumming, introducing a fast beat. Adam Meisterhans’ vocals go between a scream and an almost-sexy whisper. And Tucker Riggleman’s bass gives the song its heart. With a calculated guitar, Meisterhans keeps the melody, and the guys start the record with a very solid song. Shit, We’re 23 shows a confident maturity from the Shepherdstown-based band.” – Rachel Allinder for The Shepherd University Picket

“The sound of the group’s new self-titled EP (due out Oct. 25) isn’t so much Blind Melon as it is Stax-throwback, not so much Mr. Bungle as the best garage band ever and while to my ears a little Dinosaur Jr. does indeed creep in, the feel of the new EP and the mood it delivers takes center stage with plenty of nostalgia and now for even the cheap seats…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. I have a feeling when Meisterhans, Hudkins and Riggleman’s contemporaries look back a decade from now on that best party ever … this album will literally be the soundtrack.”
- Jynx Jenkins for The Martinsburg Journal

“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.

Singer Adam Meisterhans’ voice is unbelievable, and has a bit of southern howl to it.  With influences from everything such as the Black Keys to Jimi Hendrix, The Demon Beat manage to combine everything they love and make it there own. Each song just gets better and better.  Be especially sure to check out the track ‘I’ll Be Your Man’, one of the most phenomenal tracks I’ve heard in quite a while. This is one band to look out for.”
- Modern Mystery Blog

“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 be-lieve him (and not just so he’ll quit screaming your eyebrows off). As skilled with bong-clearing ballads (like “You Only Love Me When You’re Stoned”) as they are with punch-drunk CCRisms (“Memory Ain’t Enough”), the Demon Beat clearly love proving that the best blues can be found in a bruise.”
The Boston Phoenix 

“The Demon Beat’s endless energy and speedy riffs felt like a smack in the face…For anyone who is a fan of classic rock and roll, with a new twist, this band is for you.” – Valerie Paulsgrove for The Baltimore Examiner

“I heard the Demon Beat after their first full length album, “Heavy Nasty” and the tracks blew me away with the raw rock and roll simplicity that garage bands made cool in the late 90s. The difference was this band seemed like they may have something to say…The EP is a story album through and through, with a twisted angst-ridden tale of love from behind the thumping amplifier. From the radio friendly “Trainwreck” and “I’ll Be Your Man” to the rest of the tracks on the EP, which are slightly less independent from the album, each tracks rocks with the promise laid out by “Bad Man.”…The band is composed of three rock and roll connoisseurs, Adam Meisterhans manning the guitar and vocals, Tucker Riggleman driving the bass guitar and Jordan Hudkins sits behind the drums with sticks in hand.

The vocals are inflected with a pain and urgency usually reserved for the early black blues masters such as Robert Johnson and Muddy Waters, but with a decisively modern edge. Meisterhans wails and moans on every track. When he does dial down the grunge in his voice, he sounds strained and demanding. It’s the sort of emotional ride you may have thought only came with dating an addiction-addled 20-something.

The guitar work is less frenzied, yet still chaotic. The guitar is all over the spectrum and definitely flies from the handle from time to time, but maintains a beautiful complexity that let’s the listener know Meisterhans could play just about anything he wants. It just so happens what he wants his straight rock and roll with a blistering bite.

Riggleman reminds the world that blues and rock has deep roots in soul music. He lays down some of the very few bass lines that actually stick with you after listening. Not content to simply fall in line with the rest of the band, Riggleman’s use of the bass often substitutes and exceeds points where many bands may have just put in a simple, stereotypical rhythm guitar part.

The drums crash at every beat. They are silent when they are should be. Hudkins holds the band together with alternating sessions of simply keeping the beat and blowing it out of the water. Well before singing along with a Demon Beat track, you are more likely to be drumming on your desk or steering wheel with Hudkins. Good luck keeping up.

Final words? It’s rock and roll that you just may love. Your dad may just love it too. Your mom may even dance a little bit. 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.”
- Taylor Kuykendall for The Huntington Herald-Dispatch

“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…This is the kind of music that will play well to a lot of people.” – WV Gazz Gatecrasher music blog

“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. Chiseled out of portions of great guitar riffs of the past, “Heavy Nasty” sounds like standard rock and roll — something that is good in studio but great live.”
- Graffiti Magazine

“The lights turned low and red, the amps shook with anticipation, and the whole building proceeded to rock. 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 non-stop energy of Jordan Hudkins on the drum set is the driving force of the band, while the steady pacing of Tucker Riggleman on bass completes the picture.”
- Melissa Rogers for The Shepherd University Picket

“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. Seek them out if you find yourself a fan of early Kings of Leon, Wolfmother, or The Fratellis. Hunt them down if you need rock music with a soul…

The name of The Demon Beat comes from the phrase that many used to denounce the virtue of early rock and roll music when it was on its rise, and now it is a symbol of its return. 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.”
-Taylor Kuykendall for Hard Rain Magazine

“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 — with an often pained-cum-passionate vocal delivery that you may expect when reviewing some of their primary influences: The Black Keys, The Who, Weezer, Bob Dylan and Thin Lizzy.

The lyrics, tumbling from Meisterhans’s lips like gravel, are honest but firm. They smooth into the mix and take on even more meaning once they meet the hard pavement of Hudkins and Riggleman’s rhythm.”
- Jynx Jenkins for The Martinsburg Journal

“Straight out of the West Virginia panhandle, The Demon Beat is a three-piece rock band from the quaint college town of Shepherdstown. 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, guitar chops and vocal delivery of frontman Adam Meisterhans and the sophisticated rhythms of bassist Tucker Riggleman and drummer Jordan Hudkins.”
- Jaren Love for College Magazine

“Few singers scream like Meisterhans. From the soulful, lovelorn crooning in the verses to the guttural shrieking in the amped-up choruses, the songs – from “Gates of Hell” and “King of London” on 2007’s “HEAVYNASTY” to “Bad Man” and “Trainwreck” on the new EP- reach out and command attention.”
- Nick Harrah for The Charleston Gazette

“From deep in the basement studio of Big Bullet Records comes a swampy, stomping swagger of sound that belies the humble resources guitarist Adam Meisterhans, bassist Tucker Riggleman, and drummer Jordan Hudkins are working with. BBR’s DIY ethic has crafted a half-hour of thunderous sound that some bands, decades into their career, need million-dollar producers to cook up. 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.”
- Mike Sizemore for Rock O’ Clock

Live show review from Brooklyn by Modern Mystery Blog


“Massachusett’s Greg Loftus and company have zeroed right into the brawling big-heartedness you’d expect to find anywhere up and down the Blue Ridge…Long story short, thank you Splinters & Sparrows for A Bastard, A Brother, A Foe and for reminding me what a great, weirdly nebulous subgenre alt-country is and how, despite everything, it can be surprisingly full of guts and soul.” – Mike Sizemore for Rock O’ Clock

“Watch out for Sagamore Beach singer-songwriter Greg Loftus, who fills the house nearly everywhere from the Cape to Boston. He became part of the growing indie label Big Bullet Records and echoes a young Springsteen.” – Ryan Wood for Wicked Local


“A seamless transition from solo to full band, combined with the poetic lyrics that gave MacDonald his own identity, make for an excellent record. 8.6/10” – Take Me To Your Music review of “We Are Bound”

“The music is pure, without a lot of effects, and it’s like a breath of fresh air…It’s fresh, smart and eloquent…[and] one of the top albums I’ve heard all year.” – IndieShows.Net review of “We Are Bound”

“It’s a brilliant record – the songs are well put together and strangely affecting.” –

“Plymouth, Massachusetts’ Stephen MacDonald recruited a backing band this time around for his follow up to his solo debut. The album is abundant with rich folk influenced melodies and the addition of a backing band allows Stephen to evolve his sound even further, making this album one of the most authentic releases of 2009!” – The Music Box

“‘Could Gamble’ is a great, antsy way to kick off Stephen MacDonald’s We Are Bound…when he decides to try and break the mold, it’ll be good and broken, for sure. I’m looking forward to his next album.” – Rock O’ Clock

“Stephen MacDonald’s debut album, Building Hands, reeks of optimistic honesty that’s as refreshing as it is contagious. Simple lyrics and chords are married together in peaceful harmony that touches the soul and pleases the ear.” – Brooke Brunetto for

“This year, he self-released a completely mind-blowing CD. The lyrics, the music, the voice… all perfect…Stephen MacDonald is the complete singer-songwriter package, thus earning title of Best New Act of 2008.” – Ryan Wood for Wicked Local

“Rock, pop, and hip-hop rule the mainstream, but the turn of the century has brought the birth of a new crop of singer-songwriters — Bright Eyes (Conor Oberst), Iron and Wine (Samuel Beam), and recently Bon Iver (Justin Vernon) and Devendra Banhart. Plymouth singer-songwriter Stephen MacDonald is part of the reemergence.” – Old Colony Memorial

“I missed a couple acts, and all apologies to those I missed, but the singer who closed out the three-hour show first reminded me of Conor Oberst/Bright Eyes. He was Stephen MacDonald…Brilliant work from a rising singer/songwriter.” – Take Me To Your Music blog


“Sincere and idiosyncratic, [It’s Just A Bad Dream] feels like autumn, and I love music that feels like weather…Harvey’s vocals [on “You, In That Hospital Gown”]…are at their most honestly plaintive. It goes a long way, and the song is at times simply disarming. If It’s Just A Bad Dream feels like autumn, then “You, In That Hospital Gown” is the aching numbness that won’t leave till springtime.” – Rock O’ Clock

“Mix Conor Oberst’s vocals with Elliot Smith’s acoustics, and you have Dandelion Snow. Filled with raw emotion, and a surprise solo from keyboardist Morgan Erina, this Brooklyn band brought a beautiful show to Baltimore’s Sidebar tavern.” – Valerie Paulsgrove for The Baltimore Examiner

“Brooklyn’s own Dandelion Snow aka Roger Harvey is certainly a name to lookout for. Dandelion Snow can be described as having brilliant melodies, and haunting tones as Harvey’s voice is perfect in every way.” – Modern Mystery Blog

“The songs cover a huge spectrum of sounds. My favorite music has always been music that sonically and lyrically relays stories, emotion in the music, stories that people can really identify with. Thats the kind of songwriter DS is.” 
– Chris Barker for There Is No War Without Warriors

“The music is thought provoking, warm and a little dark at the same time.” –

“It’s hard to say what the next half of 2009 holds in store for Roger and the collective that has become Dandelion Snow, it’s certain that the sky’s the limit.” 
– Jorge Orsovay for A-F Records

Interview for BreakThru Radio’s “Get Into The Van!”
WVRockscene article on Tucker Riggleman/Dandelion Snow split
Shepherdstown Chronicle article on It’s Just A Bad Dream


“Riggleman represents a new wave in Skull City music which is combining the aggressive performance style of the first wave sound with acoustic instrumentation and deeply personal songwriting.” – Michael Theis for The Shepherdstown Chronicle

Q&A w/ WVRockscene Pt. 1
Q&A w/ WVRockscene Pt. 2
WVRockscene article on Tucker Riggleman/Dandelion Snow split 


“Jude Universer is Jordan Hudkins, Demon Beat drummer and self-evident former art student. Those credits swirl together well as Hudkins takes his formidable musical chops and lends them to a personally stamped series of passing thoughts and fancies. The songs are less revelatory than pleasing; less posturing than celebratory. It takes a special effort to make music that flirts with childish imagination without stooping to self-conscious goofing off, but the tracks on Moon Bamboo thread that needle and don’t look back…Jude Universer’s Moon Bamboo is a triumph of notebook doodles put to music.”
- Mike Sizemore for Rock O’ Clock

“While Moon Bamboo built a daydream raft and sailed across seas of glee, Lingering Blue is a little sturdier and a little more sure of itself. It stands on the shore and reflects a bit before tossing itself against the waves…Songs like “Oh Kay” are playful and sincere, but they move aside for the blocky, sci-fi geek goodness of “Time Travel”. It’s a great balance, and they all reveal Hudkins’s willingness to stretch lyrically. So many small-label acts find a single good hook and cling to it for grim death, but Lingering Blue tears through approaches one after another and shows Mr. Universer zeroing in on something.” – Mike Sizemore for Rock O’ Clock

“So you stick Weezer’s debut and Return of the Rentals into a centrifuge and hit the button, you get Demon Beat drummer Jordan Hudkins’ six-song sophomore CD, released under his stage name, when the spinning stops…The fuzzy guitar tones, walking bass lines and Moog synth, in addition to Hudkins’ obvious nods to the two groups, even though there are only six songs, really do remind us of 1994. “Rocket,” “New Mexico,” the mega-hit “Time Travel” and“Forte” are all reminiscent of those days when we first came across “Undone” and “Friends of P” and constitute, even with just six songs, one of our favorite CDs of the year.” – WVRockscene


“In all seriousness folks this is a bad ass album. It’s a great soundtrack for those late night whiskey and lounge chair sessions when you wonder what the hell you have done with your life. I have never ever had one of those, I swear, but if I ever think I might this is one of the albums going on that random playlist…If they, meaning Prison Book Club, keep this up they could start knocking on the doors of the likes of Lucero for my favourite drinking music…There is a lot of talent here and they bring it together in a way that, obviously, makes a man want a drink. And I can’t think of a higher compliment I could pay these guys.” – 

“Now we get a little more country and a little more rock n roll with Big Bullet Record’s latest artist, Prison Book Club. It’s good ‘ol southern rock. They’ve got the type of songs that make you want to party and the type of songs that you might listen to after you get your heart broken. Basically, they’ve got all you need in life.” –

“Remember back in the early 90’s when punk and twang were being mixed together to create an exciting new sound we didn’t know what to call….that’s what Prison Book Club sounds like. The easiest comparison I can make to Prison Book club however, is early Lucero. More specifically the first self titled Lucero album. Lots of twang, lots of guitar, lots of self reflecting whiskey soaked lyrics that just beg you to sing along…This album is recommended for anyone who likes their twang served with a healthy portion of rock….or vice versa. Either way, this is the album you want to turn up to 11, rip the knob off (as Patterson Hood says), and pour a shot or 5 of the cheap stuff.” – A Truer Sound

“PBC’s debut, Required Reading, is a rollicking eight-song release described by the band as “PBR-mageddon“. Presumably this has something to do with the remnants of the boom of the ’90s, but with earnest lyrics laced over such solid craftsmanship and production, I’m less concerned with where it came from and more entertained by speculating where it’s going. Required Reading is a high-water mark for the label.” 
– Mike Sizemore for Rock O’ Clock

“[Prison Book Club] combines to form a miasmicly coherent countrified rock band with a hard edge, well worth the money to see live…Miller and Riggleman have an established reputation within the Shepherdstown music scene as solid songwriters…the songs have depth, dealing with small town rumor mills, love, and heartbrreak, among a host of other rural-alt-youth topics.” 
– Michael Theis for The Shepherdstown Chronicle

  1. I really like the way that last review was written.

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