Based in Berkeley, The Ghost Next Door emerged from a desire to marry the dark melancholy of ’80s and ’90s alternative with the aggression and drive of Bay Area metal. With Wendt (also known for founding ’80s crossover legends Sacrilege BC and alt-metal champions Release), Aaron Asghari on guitar and Noah Whitfield on bass, solid songwriting and musical diversity are at the core of The Ghost Next Door’s sound. Each member brings his unique influences from across the modern music spectrum: From punk to jazz, progressive metal to sadcore, modern rock to thrash. Their influences and playing styles combine into meter-bending, riff-driven rock ’n’ roll breaking out from under the bare skin of abrasively honest lyrics. On stage, they come together to show what manifests from an undeniable compulsion to create and perform their expressive take on modern metal.
The Ghost Next Door released their self-titled debut album on Mausoleum Records to widespread critical acclaim in 2015. After the passing of that label’s founder and president Alfie Falckenbach, the band, who was already hard at work on their second offering, had to find a new label. Luckily, they partnered up with Ripple Music for 2019’s, A Feast For The Sixth Sense, and started expanding their audience with another round of positive reviews and some touring, including an appearance at SXSW.
Although they recently parted ways with drummer Sebastien Castelain, the guitar duo and interim bassist Naiya Cominos recorded their new album Classic Songs Of Death And Dismemberment for Ripple Music. “I feel this album is a bit more progressive and varied. Somewhat adventurous, yet more cohesive. Lyrically, I explore themes of death, destruction and human villainy as always. Man’s scorched earth policy, if you will. ‘Who gives a fuck as long as we can make some money!’ Well, I do. I give a fuck,” says Wendt.
The album was recorded, produced and mixed by Wendt and Steve “Snake” Green at Green Dot Studios, mastered by Tony Lindgren at Fascination Street Studios. The cover art is by Aldo Katayanagi.”
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