HEAVY Music Interviews

Interview by Kris PetersAussie rockers The Wrath recently released their third studio album, Into The Arms Of Oblivion, in the process affirming their position as one of this country's finest musical offerings.With over twenty years spent honing their craft, The Wrath have a self-imposed motto of tapping into differing sides of their musical psyche with each release, combining a plethora of musical riches together to dish out a sonic palate that traverses the spectrums of rock, punk, metal, industrial and gothic metal.The Wrath are not a band who are designed to be packaged neatly into one genre-specific box, nor are they a band that throws everything against the wall and hope something sticks. They are a band who love playing and creating music, with a strike rate of three albums in 22 years showcasing the band's insistence on getting things right.HEAVY spoke with frontman Tommy Creeper to find out more."With all the previous albums, if you have listened to all our stuff, they're all very different," he measured. "So when I want to write a new album, I really put effort into doing something different. For this one, we wanted to keep it simple and challenge ourselves to write it around melody; write it around being catchy and keeping it simple.""Simple is probably not the right word," Creeper corrected himself. "It's still pretty hard to write something that's, maybe technically, not so crazy, but still have all the parts and still have it sound like us. So that's where we leaned into in this one. The backup, the melodies and keeping it catchy and simple. That was the aim."In the full interview, Tommy emphasized that the singles released showcase only a portion of the album's variety and mentioned their unique performance experiences, such as a Halloween residency at Movie World, which allowed for creative freedom. He elaborated on the band's evolution, noting a shift from an emphasis on riffs to a focus on songwriting and melody, reflecting their growth as musicians and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAfter playing together in high school, guitarist Luke Bentham and drummer Kyle Fisher decided to take on the world by forming The Dirty Nil in 2006. The following year, they won the Juno Award for Breakthrough Group of the Year, kickstarting a career that would see the Canadian band rise to prominence over four albums and setting the band on a collision course with destiny.That meeting of superpowers seems set to transpire with the release of The Dirty Nil's fifth studio album, The Lash, on July 25. Recorded in just over two weeks, The Lash sees The Dirty Nil tap into an urgency of evolution that has been simmering quietly below the surface but has finally set itself free.Thematically, The Lash trades the band's usual romantic optimism for a cathartic scream, tackling everything from music industry burnout to heartbreak in a body of work that has been described as Luke's therapy record by Fisher. Stripping back the glitz and glam, The Dirty Nil go full-throttle on what matters most: no frills, just ferocity and good times in abundance.Bentham recently sat down with HEAVY to tell us more."We are gearing up to release our fifth studio album, The Lash, which unequivocally, in my opinion, is our best album," he began. "And I really do mean that sincerely. I know you probably get a lot of people on here saying that through perhaps gritted teeth, but this one, we do feel very strongly about it, and so we're extremely proud to present it to the world."We mention the more stripped back, raw sound promised on the album."The recording process was much faster and more stripped back than what we've pretty much ever done before," Bentham nodded. "We did it in two weeks with our friend down the street. Traditionally, we've worked with a producer from Seattle, who's an incredible producer with a huge resume of incredible albums, but this time we just did it with our friend down the street. So it was a very different process that way. During the album cycle for the last album, there wasn't a huge break or anything, and I think (with this one) we were just really feeling confident as a band, and the material came together very naturally and easily. I think that's part of the reason why I have such positive feelings about it, is because it wasn't a struggle."In the full interview, Luke highlighted the emotional depth of the album, expressing a connection to the darker aspects of human experience through music, and noted the introduction of strings as a new element in their sound. He shared an anecdote about a visit to the Vatican that inspired his songwriting, particularly a bronze relief that influenced the album's themes, although their attempt to use the artwork for the cover was halted by a cease and desist from the Vatican. He also reflected on the band's growth since their debut, emphasizing their increased musical competence and willingness to experiment, while remaining optimistic about future creative endeavours and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersEven after more than 30 years, KATATONIA continues to redefine the emotional spectrum of their genre, effortlessly shifting between haunting vulnerability and commanding artistry.With sonic landscapes that evoke dystopia, inner demons, purity, and beauty alike, the band's upcoming album Nightmares as Extensions Of The Waking State - out June 6 - stands as a testament to their enduring brilliance. It is another slab of melodic heaviness from the Swedish metal outfit, a journey into sonic bleakness that still manages to offer light and hope amid the chaos.HEAVY had a chat with bass player Niklas Sandin to find out more.Besides general album questions, we also ask Sandin if, after five albums now with Katatonia, he is starting to feel more comfortable with his role in the band."I think I'm that kind of person that, of course, I'm comfortable with the people in the band and everything and finding my place," he measured. "But as a musician, I don't think I will ever be totally comfortable. I think there's always something new to learn, and I'm always hard on myself, you know, keeping a high standard - hopefully a high standard (laughs). And so I'm always feeling that I want to push myself to be even better on the new album or make things more professional or improve on my live presence and stuff. I like to keep myself on my toes and not be too comfortable or put myself in the armchair and not evolve. That would be very, very boring and not good or fair for anyone. It's been over 15 years since I did the first live gig with Katatonia, so it would have been awkward if I didn't feel somewhat comfortable being in the band (laughs). It would have been 15 very long years."In the full interview, Niklas dove deeper into Nightmares as Extensions Of The Waking State musically, discussing the singles and how they reflect the overall dynamics of the album. We talked about how the album represents Katatonia moving forward, the awesome cover and what it depicts, the album title, and its significance, bringing in two new guitarists for the album cycle, the overall theme of the album and if it's a body of hope or despair and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersFormed in early 2007 by high school friends Alex Hofmann, Scott Carstairs, Tommy Logan, Dan Wissinger, and Suliman Arghandiwal, US technical death metal outfit Fallujah is a vastly different beast in 2025. Guitarist Scott Carstairs is the only original member remaining, but over the years, he has quietly continued his search for the ultimate line-up, which may well have finally arrived for Fallujah's upcoming sixth album, Xenotaph.A sci-fi conceptual offering influenced by Frank Herbert's Children of Dune novel, as well as other Dune stories and theatricals, Xenotaph also welcomes new members guitarist Sam Mooradian (INHALE EXISTENCE, SAM MOORADIAN) and drummer Kevin Alexander (DISEMBODIED TYRANT, BROUGHT BY PAIN) who join Carstairs and vocalist Kyle Schaefer on a sonic journey into oblivion as only Fallujah can navigate.HEAVY spoke with Mooradian earlier this week to dive deeper into Xenotaph."It's super dense with riffs and hooks and melodies and guitar solos," he offered when asked about the album. "We couldn't be prouder of it, and I cannot wait for everybody to hear it."We ask him to describe Xenotaph musically and what the band was going for this time around."We wanted to pay homage to all these albums that have eight songs on them, like these eight-track death metal records that we all love so much in the band," he explained. "So one record that comes to mind right off the bat is Epitaph from Necrophagist - and Akeldama from The Faceless is another. Man, those records just have a certain kind of vibe to them. They're fast, and there's no time to breathe. They come in, and they say what they need to say, and then they're out of there. I think we wanted to do our version of that, and we definitely wanted eight songs on this record, so that's what we did. And we also wanted it to feel dense like those other records that we loved. So there's a lot of riffs and a lot of twists and changes. It's just a very dense and diverse record that we're very happy with. We really enjoy that kind of music and stuff that keeps you interested and really honed in."In the full interview, Sam discusses the singles released so far and how they represent the album, the slightly new direction and how he thinks fans will respond, the creative process for himself and Kevin as the new members and how easy the transition was for them, having a number of writers in the band and the process of utilizing them all effectively, the science fiction concept and what it centres around, playing the songs live and slotting them into a set list and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersBilled as an Indian folk metal outfit, Bloodywood are a band much more than that. They are an amalgamation of hard rock and metal, mixed with traditional Indian elements, who create a sound comfortingly similar but also fresh, new and exciting.While the folk metal element is there, labelling them as such is doing the band a disservice musically.Bloodywood first landed on the world's sonic radar with the single Ari Ari in 2018, a Punjabi folk song made famous in the early 2000s remix boom in India by hip-hop act Bombay Rockers. The band pushed it further with help from the gritty New Delhi-based conscious hip-hop artist/rapper Raoul Kerr, offering a cultural musical alternative to the mainstream acts that were dominating the charts.Since then, Bloodywood have taken the world by storm, with their debut album Rakshak solidifying the band's growing reputation.Bloodywood have been on the road pretty much ever since, performing to packed crowds and at major global festivals, including Lollapalooza India, Download Festival, Bloodstock (UK), Hellfest (France), Summer Breeze (Germany), Brutal Assault (Czechia), Fuji Rock (Japan) and American mainstays like Louder Than Life and Aftershock.Their sophomore album Nu Delhi came out on March 21 this year, marking a new landmark in the band's short history and proving emphatically that Bloodywood are more than just a metal band from India. They are now a world-class band in their own right.HEAVY spoke with vocalist Jayant Bhadula to get the rundown."Very, very well," he smiled when we asked how the album has been received. "In terms of numbers, it's doing very good, but in terms of people showing up for the shows and singing our lyrics back from the new album, it's a great thing to see. Honestly, as an artis,t the greatest level of validation I can see is when people are singing your lyrics for you, especially the ones that are not in the language as well."We ask what Bloodywood were going for musically on Nu Delhi."In terms of music, we tried to represent the sense of New Delhi where we come from," he mused. "It is a very realistic and metal city where we come from. If you give it love you will get love 100 times back but just like we say in the album, if you fuck around you won't be found and that is what we were trying to capture. That is why this album is more in your face rather than being as subtle as the last one."In the full interview we talked more about Nu Delhi, Bloodywood's collaboration with Babymetal and how it came about, the cultural dynamics present in their music, blending Eastern and Western cultures together musically and how difficult that is to do, how Nu Delhi differs musically from Rakshak, being labelled as a folk metal band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersPrivate Function are possibly Australia's best kept musical secret. Their infectious and highly contagious brand of punk metal is a step back into the days when music was fun and, while being abrasive, is also delivered with enough tongue firmly planted in cheek to keep them at bay from those who wish to sanitise the music scene.With album titles such as St. Anger, Whose Line Is It Anyway and 370HSSV 0773H already under their belt, the punk outfit recently unleashed ¯_(ツ)_/¯, an album that, despite being impossible to pronounce, is also impossible to resist. It is a typical slab of excellence from the band, complete with red herrings and the world's first microscopic album cover, and one which sees them embark on a national tour of Australia before heading overseas for a 35-date European tour.Never having had the pleasure of spending time with the band before, HEAVY was a little unsure of what to expect, but within 30 seconds of chatting with vocalist Chris Penney and guitarist Anthony Biancofiore we knew we were in familiar territory. We start by talking about the new album and its early reception."Great," Biancofiore smiled before Penney cut in."Everyone's loving it. It's good stuff.""I've been getting heaps of messages from people I don't even know saying they heard the album, and it's great," Biancofiore continued. "They like specific songs, so it's interesting."HEAVY asks if anyone has been able to pronounce the title yet, which was greeted by fiendish laughter from the pair."I don't care," Penney laughed. "It's not our problem.""That's for you to figure out," Biancofiore laughed over the top.We ask about the album musically and what Private Function were going for."It's kind of a different one," Penney measured, "because we wrote most of the songs in the studio. All of our previous albums, we've had the songs 100 % finished, and we'd knock them out in a weekend, but this one was a far more collaborative effort between all of us. We've all got pretty different styles of music we come from.""For sure," Biancofiore nodded in agreement. "There's room for all of it on this album. Even the songs that aren't your natural genre, there's a path for you to follow and have a moment in as well. There's a six-minute electronica song that's not really any of our forte's, but you listen to it, and you can hear everyone on it.""We've got sea shanties, we've got a sick 80s… It's like a KISS type thing…" Penney added."Like a glam rock song, it's all over the shop."In the full interview we talk more about the new album and the songs on it, the title and where and why they came up with it, starting the album with the heaviest song Animal, Chris' obsession with vegemite, their live show and what to expect, the microscopic cover and the thought process behind it, meat raffles, their cheeky sense of humour and pushing the envelope, the national tour including the final show at Thrashville, touring overseas and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersMusic and video games are no strange bedfellows, with bands such as Motorhead, Judas Priest, Dragonforce and Iron Maiden, plus a stack of others having their music forever immortalised in the popular platform.But more often than not, the songs are written first, with executives from gaming companies sensing the potential for more money by adding the songs in at a later date or as a soundtrack. But what if there was a band that actually wrote and performed music that was an amalgamation of the two? A band that combined electronic rock with gaming culture and internet anthems?Such a thing exists in the form of The Living Tombstone, an LA electronic rock outfit with both feet firmly planted across all three, making them possibly one of the most powerful and influential bands in the world.The two founding members - Yoav Landau and Sam Haft are in the unique position of being both recording artists and influencers in gaming, and as such have their fingers on the metaphorical pulse of both realms, which can only translate to something special in the right hands. And if the last decade of success is anything to go by, then The Living Tombstone have certainly cracked that elusive crossover market.With their first album in six years, Rust, coming out this Friday, May 30 and an Australian tour looming in July, HEAVY sat down for an interesting chat with both gentlemen to see if we could pinch some pointers."The name itself is inherently inspired by bands that in and of itself are things you feel for, like as a concept," Landau explained, "Like Gorillaz, for example, is a great idea. The name comes up, and you don't just think about the music; you think about the entire visual. It is almost like a snapshot or an obsession over other bands that had this sort of name and idea and big opaque."We ask about the live show and bringing all of their musical elements to life during a performance."The band is very much in and of itself, with characters that are really big and out of this world," Landau answered first. "Gaming and media culture are very much about how much you feel for them and the things you're into, so we translate and try to connect it within our own world.""We try to have characters people can connect to that are visual and exciting to look at," Sam added. "Beyond just the experience of going and seeing a band play live, you're getting to see these characters perform live."In the full interview, we had a chat about shoey's and Australian fans' insatiable appetite for the homemade craze. Sam and Yoav discussed their creative process, highlighting the collaborative nature of their work and the integration of gaming into their music, which has become increasingly relevant in pop culture. They expressed excitement for their new album, Rust, and their commitment to delivering a mix of familiar and innovative elements to connect with fans emotionally.We spoke more about their live show We spoke more about their live show and what to expect, the song they had on the movie Five Nights At Freddy's, the early days of the band and how their vision has changed, integrating gaming with music and finding the balance in the creative stage and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThe global musical landscape shifted forever in 2001, with the release of Ill Nino's debut album, Revolution Revolución. It introduced the world to a fusion of metal and Latino-influenced brutality that gave birth to a new movement of metal that still exists in some form today.It was an experimental and daring album from a group of musicians from New Jersey who decided to combine their culture with their music and introduced the world to a band who give no quarter and have remained steadfast despite well publicized internal battles.It says much for the scope and vision of founding vocalist Dave Chavarrí, who has reassembled his dream numerous times over in search of the perfect formula. To showcase the new-look line up - and reportedly the best yet - the band are paying their first visit Down Under in eight years this September, intent on pummelling their Australian fans into musical submission.Chavarri joined HEAVY earlier this week to fill us in on the blanks."Wait until you see the new band and the new line-up," he declared straight off the bat. "We're going to fucking crush Australia, man. People ain't going to be ready for this shit right now."We ask Chavarri what has changed with Ill Nino in the eight years between visits."We have a new singer now," he replied. "We are going to release a new track and a new video and song next month, and it's from the new album that we're starting to record next week. The new album is fucking insane. It's the best thing that we've done since Revolution Revolución, I feel. And yeah, wait till you see the band live. We're in the best shape of our lives physically - the entire band - mentally and spiritually. We're firing all cylinders right now, and we just can't wait to come and fuck shit up."In the full interview, Dave spoke more about the new line-up and new song, Ill Nino's live show and what makes it so brutal, bringing Adema as touring partners, and his love for Australian crowds.He reflected on the band's evolution, influenced by his Latin music upbringing, and shared his commitment to Ill Nino despite past challenges, including member changes and conflicts. He noted recent reconciliations with former members Christian and Marcos, emphasizing a newfound positivity and supportive environment within the band. We spoke about what keeps driving him despite the setbacks, and his need to have the band and music in his life.We touched on the new material and what direction it will take, when it might come out and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAfter playing what the band describes themselves as the worst gig they have ever done in late 1998, popular Melbourne outfit Beanflipper decided to call it a day, leaving a massive hole in the Australian music scene.Since 1993, the five-piece had been terrorizing the local music scene, with their underbelly of punk, grindcore, noise, and death metal dragging the band kicking and screaming into the hearts and ears of those who stood in their path. They released three albums in that time, touring relentlessly and fearlessly, anchoring themselves in the blood-soaked altar of Australian grind and hardcore. They weren't just part of the scene — they were the cursed heartbeat beneath it.After a brief flirtation with a second lease on life, Beanflipper faded into obscurity, but now, two decades since that last echo faded, the beast stirs once more. In 2025, to mark 30 years since Total Dysfunctional Collapse first howled into the void, Beanflipper returns — resurrected by the mad generosity of Kent Bartley and his invitation to play Necrosonic Festival 2025. It's not just a reunion. It's a reckoning.HEAVY spent some time with drummer Matti Harrod to fill in the blanks."It's actually been a lot easier than I thought, getting to know the songs, considering it's been 20 years," he smiled. "Now it's down to what I call the footy training side of it, where every week you've got to go into the rehearsal room and smash out two sets to get the fitness up. I mean, it's a bit like an endurance game, really."We ask if the approaching resurrection show is more nerve inducing or exciting, given it has been so long between drinks."Is it nervous? Is it relief? I know we're all really excited," he replied. "I've been quite humbled by the response that we've received. People are just so chuffed that we're back together again. When I first sort of sneakily announced it on my own Facebook, there were heaps of people going, what, are you bullshitting us?"In the full interview, Matti talks more about the upcoming show and how the band are going to approach it. We ask him what to expect from their live show and what surprises they have in store, as well as naming a couple of songs festival goers can listen to in order to know what to expect.The discussion also covered the band's history, including its origins in 1993 and the various line-up changes that shaped their sound. Matti reflected on the band's tumultuous past, particularly a disappointing final show in 1998, and noted the excitement surrounding their reunion, which coincides with the 30th anniversary of their first CD plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersToday we're going to do something a little bit different. Instead of just talking normally about an album, as people normally do, HEAVY reviewed the upcoming release from Buckcherry - Roar Like Thunder - and went through it with vocalist Josh Todd song by song and he let us know if we were on the right track before giving us a bit more of a detailed version of what the song is about.We started with the review intro. "I've long been a fan of Buckcherry and their music. It has always held an infectious air of defiance and a rebellious swagger that has defied much of the music that has punctuated the last 25 years, with the band making an immediate statement with the classic song Lit Up from their self-titled 1999 debut album. They have always been a band that skirts in the shadowy side of the rock realm, defying trends and expectations while still managing to have somewhat of a crossover appeal that evades many others.After losing track of the band for a few years, I caught up again with Buckcherry for their sensational Fuck EP in 2014 and have kept up with every release since. The band seemed to find a fresh air of rock-drenched goodness on their 2021 release Hellbound, which they carried through to Volume 10 two years later. So it is with a great deal of excitement I sit to listen to their upcoming album, Roar Like Thunder, which is scheduled for release on June 13th.""That's great. Love it," Todd smiled. "Yeah, we're very excited. You know, we've already dropped three songs off the record, Roar Like Thunder, the title track, Come On and Set It Free, and everybody's loving it. It's a great record, you know, and it rocks from beginning to end. We're really excited for it to hit the streets."The full interview features a track-by-track analysis of Roar Like Thunder, where Josh highlighted themes of focus and ambition in the title track and expressed enthusiasm for the positive reception of three already released songs. He shared insights into the songwriting process, mentioning the evolution of tracks like Talking Bout Sex, inspired by Cardi B and George Michael, and Blackout, which reflects his personal struggles with alcohol.The conversation also covered the blues influences in songs like I Go Boom, which explores sociopathic themes, and the motivational nature of Set It Free. Other tracks discussed included Hello Goodbye, which contemplates bittersweet relationships, and Machine Gun, showcasing the band's storytelling ability. The dialogue concluded with praise for Let It Burn, seen as a powerful finale, reinforcing Buckcherry's strong presence in rock music.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersTwo of the most essential things in life would have to be heavy metal and food. Hands down. No argument.But what is actually better than metal or eating? Combining the two together, which is exactly what Brett Hoag and James Pulli have done with their revolutionary, entertaining and informative show, Metal Mastication. Since 2023, Hoag and Pulli have been producing quality content, interviewing bands and artists while cooking up a storm with a personally selected favourite dish from the guest of the day.It is a novel and unique concept, and also the first of its kind, so it is no wonder the show has developed a cult following in America that promises to break through to the rest of the world at any time. Over the years, Metal Mastication has hosted David Ellefson, Jeff Young, Tony Macalpine and Steve Unger, with Unger's heat sensitive Breasts Of Fire recipe marking itself down in history as one of the most intense dishes ever created for television.The recipe was so good, in fact, that when HEAVY spoke with Metal Mastication earlier today, Unger made a special trip from his home base to Los Angeles just to run it through with us on this side of the world."Hell, Masticators and Metalheads in Australia, it's so good to be here with you guys," Hoag began the conversation, introducing the show as well as himself. "My name is Brett, and I host Metal Mastication. We are the only heavy metal interview show set in the kitchen. Where do the best conversations happen in your house, Kris?""The toilet?" HEAVY replied, before changing our answer to the kitchen."The kitchen, yeah, you're correct," Hoag laughed. "And so that's where the idea came from, and we've done 19 episodes. We have eight on our YouTube channel, and right now we are in the quarter-finals of the Colossus Favourite Chef 2025 competition. It benefits the James Beard Society, which brings equity and sustainability to professional kitchens. If we win this competition, it will allow us to buy a food truck and go to metal festivals as well. Now, say you're at a metal festival, and you're there to see Metal Church, for example. I know they're really huge in Australia, they're huge all over the world. So you see our food truck there, and you go, wow, that's fun. That's a cool logo, that's a cool purple truck. You walk up to get something, and behind the counter in the food truck is none other than Steve Unger, the bass player, the Metal Hall of Fame bass player from Metal Church."The session focused on the unique concept of blending heavy metal music with cooking, featuring discussions about the show's premise and a cooking demonstration. Brett highlighted the show's innovative format, which combines interviews with heavy metal musicians in a kitchen setting. Steve Unger discussed his signature dish, Breasts of Fire, and expressed enthusiasm for connecting with Australian fans. The conversation included humorous anecdotes about cooking and the challenges of using spicy ingredients, with Brett noting that all necessary ingredients are provided for guests to enhance their cooking experience.HEAVY inquired about the origins of the show, prompting Brett to recount how it began two years ago after discussions with Billy Sheehan about cooking on social media. He emphasized that while cooking is a component, the primary focus remains on interviews and conversations with guests, while Steve provided an update on Metal Church's hiatus while also discussing his involvement in other projects and more.Don't forget to vote for Brett and Metal Mastication here: https://favchef.com/2025/brett-Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceSwedish rock collective The Night Flight Orchestra have always fused nostalgia and ambition, but their latest release, Give Us the Moon, dives deeper than ever before—both emotionally and sonically. Frontman Björn Strid opened up about the band's journey through loss, growth, and creative expansion following the passing of co-founder and guitarist David Andersson.Strid describes the album as “cinematic” and “dreamy,” a result of the emotional weight carried during its creation. “We had to grieve as a band,” he says, reflecting on the impact of losing Andersson. “But we also wanted to find joy again and create something uplifting—something he would be proud of.” The result is a multilayered, genre-fluid soundscape that defies classification, staying true to the band's commitment to musical freedom and sincerity.Themes of space and existential reflection permeate Give Us the Moon, inspired in part by a letter Andersson left behind, wishing to be remembered as “an astronaut floating in space.” This poetic image gave shape to the album's narrative arc and title. Despite their retro influences—pulling heavily from late '70s and early '80s AOR and classic rock—Strid emphasises that their music is not just a throwback. “It's a tradition we want to carry on, but it needs to make sense today.”The band's recent signing with Napalm Records also marked a turning point, opening up new promotional avenues and international exposure, including a surprise interview with CNN. With their growing global footprint, The Night Flight Orchestra is preparing for a return to Australia—a country that left a profound mark on Strid during their last visit, inspiring the emotionally charged track “Melbourne, May I.”Balancing his heavy metal roots (as the frontman of Soilwork) with the melodic, theatrical nature of TNFO, Strid finds fulfilment in the contrast. “I switch between genres easily,” he says, noting that each project brings out a different side of his artistry.As Give Us the Moon soars, The Night Flight Orchestra continues to celebrate both the cosmic and the deeply personal—honouring a lost friend, embracing new creative horizons, and inviting listeners on an unforgettable voyage through sound and soul.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFor Burning Witches bassist Jay Grob, the path to heavy metal thunder began with a red guitar—and a little persuasion. “Romana (Burning Witches' guitarist) gave it to me and said, ‘It fits your hair,'” Jay laughs. “But I thought, every idiot plays guitar! Then she handed me a bass, and I was like—yeah, that's more me.”Now a cornerstone of the Swiss all-female metal powerhouse, Jay's bass playing has become a defining force behind their sound. Guided by Romana Kalkuhl and her husband, she's never stopped learning. “You have to play continuously, even in your free time,” she says. “It never ends.”With their first-ever Australian tour about to ignite, Jay is buzzing with anticipation. “I'm so curious about the fans there,” she says. “Every country's different. We'll meet fans at VIP events, and I hope I can explore the food and culture too—maybe see a kangaroo!”Despite their fierce stage presence, the band's bond is grounded in friendship. “Off stage, we're like family,” Jay shares. “We BBQ in Switzerland, go shopping together on tour days off—it's real.”When it comes to songwriting, Jay jumps in after the drums are locked in. “Romana and Lala (drummer) get the riffs down first. Then vocals. Then I come in with the bass.”Live, it's the fans that fuel her fire. “Whether it's Wacken or a tiny club, when fans sing every lyric, that's the most beautiful thing.” But the real challenge? “Finding a washing machine on tour,” she jokes.As Burning Witches' fan base grows globally, Jay stays grounded. “We're just five crazy chicks spreading our love for metal. I hope Aussie fans feel the magic when they see us live. Real heavy metal. Real energy.”Australia, get ready—Burning Witches are about to set the stage ablaze.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CraudaceSleep Theory is shaking up the rock world with a bold blend of anthemic choruses, polished production, and emotionally charged lyrics. Lead singer Cullen Moore opened up about the band's journey, their creative vision, and how they're building a powerful connection with fans both on and off-stage.From the start, Sleep Theory has stood out by combining elements of rock, pop, and metal in a way that resonates with a wide audience. The band's breakout single Another Way catapulted them into the spotlight, and they haven't looked back since. With millions of streams and a dedicated fan base growing by the day, their rise has been nothing short of meteoric.Moore emphasises authenticity and emotion in their songwriting. “Everything we write comes from a real place,” he says. “We want people to hear our songs and feel understood.” This genuine connection is reflected in the energy of their live shows, where fans sing every word back to them with raw emotion.Looking ahead, Sleep Theory is focused on pushing boundaries with upcoming releases. “We're experimenting more,” Moore reveals. “We're not afraid to step outside the box.” Yes, we also probed Cullen on the chances of an Australian tour; we can proudly announce that an Aussie tour is being discussed!With undeniable talent, fearless creativity, and a message that resonates, Sleep Theory is fast becoming a defining voice in the next era of rock.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceNick Thomas, frontman of The Spill Canvas, is bringing something special to Australian fans this year — a long-awaited celebration of their beloved 2005 album One Fell Swoop. Speaking ahead of their debut tour Down Under, Thomas shared his excitement and gratitude for being able to continue making music nearly two decades on.“To get to do this for even a year, let alone over 20, is a marvel in and of itself,” he said. “We've never been to Australia, so to come over now and play this album in full feels really special.”The tour, a co-headlining run with fellow emo pioneers The Juliana Theory, marks a major milestone for both bands. Thomas credits Emotion Is Dead as a formative influence in his own musical journey, and says he's thrilled to share the stage with artists he once idolised. “I grew up listening to them — now we're friends. It's wild.”The Spill Canvas will perform One Fell Swoop front to back, staying true to its original sequencing. “We spent a lot of time curating the track list as a journey,” Thomas explained. “It just feels right to honour it that way.” After the final track, Self-Conclusion, Thomas plans to segue into a few more fan favourites to round out the night.Despite never visiting Australia before, Thomas is embracing the adventure with enthusiasm. “I'd love to see the Opera House, meet people, maybe spot a kangaroo. I'm also — embarrassingly — a big fan of Below Deck Down Under. Captain Jason is my hero!”Reflecting on the recording of One Fell Swoop, Thomas recalled humble beginnings at Black Lodge Studios in Kansas with producer Ed Rose. “It was our first real studio experience. I remember Ryan Pope from The Get Up Kids giving me a shoulder rub while I was recording guitar. I tried to play it cool, but I was freaking out.”Over the years, The Spill Canvas has toured with major acts like the Goo Goo Dolls and OneRepublic. Thomas fondly recalled an evening where Ryan Tedder listened to his demos and gave thoughtful feedback. “Moments like that are unforgettable. It's what makes this lifestyle feel like a shared journey.”After all these years, Thomas remains a passionate music fan, recently inspired by artists like Medium Build and Bilmuri (not the actor). “Always be a fan,” he said. “That's what keeps it exciting.”Check out the full interview for more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersNothing More are a band on the rise. And rapidly.Since the release of their seventh studio album, Carnal, last year, Nothing More have become the darlings of the hard rock scene, with three songs from that album already taking out top position on Rock Radio. And what does a band worth their promotional dollar do when they strike gold on a release? Yep, you guessed it, re-release the album as a deluxe special and draw in a whole new bunch of fans while placating existing lovers of their music.While more often than not such a move reeks of cashing on for the sake of it, with Carnal Deluxe, Nothing More have expanded on the quality provided the first time around, plus added a new song to keep diehard fans happy.HEAVY spent some time with frontman Jonny Hawkins earlier this week to go over Carnal Deluxe and why it is superior to the original version. We start by asking if Carnal was received as well as the band hoped."We knew this was going to be a strong album," he affirmed. "We felt a lot of confidence in our bones about this one. It just had good songs, and when we put it out, it performed as good as we had hoped, if not better. We have three number ones in a row, and now we have the song Freefall that will be climbing the charts, and we're - knock on wood - but we're hoping for a fourth number one."We ask if the anticipation and excitement levels are the same for a Deluxe release as opposed to the initial album."I'd say typically not," he smiled honestly. "Deluxes are fun little ways to kind of boost the album and push it back up to the top of people's streaming platforms. But that's the main goal, I think, is just reminding people and getting them to stream it again. I mean, for us, we did have a feature on a song called Freefall with Chris Daughtry. So that was kind of cool, because we hadn't released that version of the song yet.And then we had some cool remixes and stuff that were like good workout tracks or things to drive fast to that we didn't have on it before."In the full interview, Jonny spoke more about Carnal Deluxe and the value of being able to release upgraded versions of an album. We ran through each of the five bonus tracks individually, and Johnny told us more about each song and the new versions available. We spoke about K9s For Warriors and the organisations success in dealing with mental health and why Nothing More chose to help them, working with David Draimen from Disturbed, the band's pleasure at having Chris Daughtry on one song, the new song We're All Gonna Die and how it came to be on the album, touring plans and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersQueensland punk upstarts Fake News are having a stellar 2025. Starting the year with a national opening slot for Pennywise and Millencolin, the lovable punksters have just released their new album Dead Set, abody of work which sees Fake News showcase a different, yet still familiar, side to their musical psyche.The band are ready to take the next step forward with Dead Set. Whilst staying true to their 90s Skate punk sound, Fake News have evolved and raised the bar on the album. Boasting a high-energy and action packed live show, the release of Dead Set is a staunch reminder that Fake News are here to stay and create a legacy that stretches beyond their own backyard.HEAVY sat down earlier today for a chat with guitarist Darren Crowe to find out more, starting by asking how the early reception to the album has been."It's been good," he smiled. "It's moving at a steady pace in the streamage. It seems to be doing all the right things and moving in the right direction. There are a few different songs in there, which might have lost a few listeners, but there's a few different songs in there that might have gained a few listeners as well. We've stayed true to who we are, and we've evolved, and we feel like we've got a very now sound with what we've done on this album. A lot of these songs were written seven years ago when the band started, and we just knew that we wanted to get them right. We didn't have the right people for the job so we kind of went back and redid them, and there are riffs there I've had lying around for like 15 plus years, so it's nice to finally get them released. People don't understand how much work goes into a riff in a song sometimes. When you hear it on release day, itwas probably recorded two or three years prior, and then by the time it comes out and stuff… there's just a lot of work that goes on behind the scenes. But it's nice to have it out."In the full interview, Darren discussed Fake News' evolution and the challenges faced during production, emphasizing the importance of their punk roots while incorporating new elements. He highlighted the album's diverse tracks and encouraged fans to engage deeply with the music. We also discussed the unique approach to covering songs, noting the significance of drums in creating a fresh sound. We spoke about Fake News signing with Thousand Island Records, enabling international distribution and vinyl production. Darren expressed excitement for their upcoming launch show at Sol Bar and mentioned plans for more, as yet unannounced, touring this year plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThe Dead Daisies have always had an underlying stream of blues coursing through their music. It is an age-old style of music that has influenced pretty much every conceivable genre over the years, although rock music has benefited the most.With vocalist John Corabi coming back on deck for last year's album Light 'em Up, The Dead Daisies embraced their blues side even more, culminating in late night jam sessions while recording that album at the legendary FAME studios progressing into recording sessions which led to their new album Nothin' But Trouble, which is due out on May 30.The album pays homage to the work of blues legends such as BB King, Muddy Waters, John Lee Hooker and Howlin Wolf, with The Dead Daisies reworking their classic songs and sprinkling enough of their own DNA through the tracks to make them their own. It is an outstanding body of work from a band with an impressively high back catalogue, and showcases some of the influences that have seen the members hone their craft.HEAVY caught up with Corabi to find out more."You know what I'm excited about so far is that the first two songs that we released have been getting great feedback from everybody," he began. "And as I was saying earlier, this was it was what we call a happy accident. This whole thing came about in such a weird, random way. We went to this legendary studio in America called Fame Studios in Muscle Shoals, and it was kind of a bucket list thing for all of us, including Marti Frederiksen (producer).So we went down there with the thought in mind that we would just maybe write and maybe do a little bit of recording down in this legendary studio. It's a legendary place, but also it's a functioning studio, and they do museum tours through this place and each night around dinner time, they bring in 20, 30 people.So we'd take a break. And then we kind of sat and thought about it. We're like, well, okay, the tour was over. We were done eating, and we'd crack open either a bottle of whiskey or some wine. And we thought we could go back to the hotel and sit and watch TV all night, or, we're here, let's just jam. Let's see. Let's just have some fun. So we kind of started jamming some blues that everybody was familiar with, obviously, like Crossroads, Going Down, and Born Under a Bad Sign. And then it was weird, we just kind of sat, and Marti kept the session rolling. We listened and thought, okay, this is really cool. This is really cool, so what we did is during the day we worked on what became the Light 'em Up record, and we just continued working at night and putting together 10 of our favourite blues songs and so far man, everybody's been raving about it."In the full interview, John spoke more about the band's intention to honour their musical roots through a collection of blues tracks. He explained the challenges of reinterpreting classic songs, emphasizing the need to make them their own while maintaining their integrity, using When the Levee Breaks as a reference for transformation. He shared insights on the evolution of specific tracks, such as Terror Plane Blues into Take My Soul, and acknowledged the blues' influence across various genres.We talked about the process behind reworking other people's music, which songs were the easiest to do and which ones more difficult and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It was the turn of the century, and everything was meant to be crumbling.The Y2K bug had been and gone, but people were still unsure of their future - or the future of the planet for that matter - but amid all the gloom and chaos emerged a beacon of light, headed by a brother/sister combination, both still in their teens.That band was called Killing Heidi and the release that changed it all, coming out in 2000, was Reflector.Propelled by hit singles Weir, Mascara and Superman/Supergirl, Killing Heidi, and particular teenage frontwoman Ella Hooper, became the voice for disenfranchised youth everywhere. Their songs, filled with hope and belonging, gave people a view to a brighter future, which, coupled with the rags-to-riches story that accompanied the Hooper siblings, resonated with a much wider audience than the band's teenage demographic would suggest.The band would go on to release another two albums over the next 25 years, plus took a ten-year break, but will forever be known and loved for that debut album.Now, a quarter of a century on, Killing Heidi are celebrating Reflector by re-releasing the album as well as heading out on tour to take their music to the nation.Jesse and Ella both joined HEAVY to discuss 25 years of Killing Heidi."We're pretty stoked," Jesse enthused. "We're getting the band back together for the 25-year anniversary of our debut album Reflector, and doesn't that make you feel young and old (laughs). We tend to mainly do festivals with Killing Heidi over the last eight years, so we're stepping back into our own headline shows, which is really exciting for us. We're going to play Reflector in full - which we've never done before - and it's gonna be a party.""This is a big deal for us," Ella added. "We're putting on our big girl pants and doing our own headline tour with some amazing support acts as well."In the full interview, Jesse and Ella discussed the tour in greater detail, reflected on their debut album and the success it brought them, ask what the album actually means to them, their thought process going into the album and their initial hopes, which of the songs are most personal to them, their youth at the time Reflector came out and if the success of the album forced them to grow up quickly, how those songs helped shape the people they are today, playing the album in full and how difficult it was to learn all of the songs and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersFormed in Stockholm in 2015, Viagra Boys - as their name suggests - are a band here to have fun. And have fun they have, with debut album Street Worms introducing the world to their absurdist humour, with their follow-ups Welfare Jazz and Cave World only serving to solidify their reputation as a band set to conquer the world.Or at least win over a few fans.Viagra Boys have not once shown any signs of slowing down or conforming to a changing musical landscape, and have instead raised the bar even higher with the recent release of their fourth album, Viagr Aboys. In keeping with the group's token absurdist humour, Viagr Aboys is a further step into a foray into sharp observational humour, dismantling everything and nothing at the same time. They take shots at the cultural institutions that hold people down while also turning the lens inward, never shying away from their beliefs and viewpoints in the name of acceptance.HEAVY spoke with bass player Henrik Hockert earlier this week from Viagra Boys' tour bus to find out more about their fourth release."It got a really good reaction," he enthused of the early response to the new album, "people seem to like it a lot. Good reviews and people seem to like it."We ask him to explain the album more musically."I think when we started, we were just trying to make a Viagra Boys record," he shrugged. "We have kept on doing music that we like. We often start out with a bass line and go from there, and then Sebastian makes some vocals. It's a lot of different elements in there, with some slower songs as well."In the full interview, Henrik talks more about Viagr Aboys, the singles released and how they represent the album as a whole, the Australian references in the song Uno II, the burp in the opening song Man Made Of Meat and how it came to be there, the final song River King, which is a piano led softer song, next year's tour of Australia and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThe world lost a true legend earlier this year, when vocalist/guitarist John Sykes - Whitesnake, Thin Lizzy, Tygers Of Pan Tang - lost his battle with cancer. While his legacy endures thanks to the music he created, the world has still lost a musical innovator and pioneer with a gift for writing timeless music.Around eight years ago, Sykes entered into a contract with then-fledgling music label Golden Robot Records, agreeing to terms for a new album to be released through the company. But over the ensuing few years and as life and circumstances got in the way, all that was honoured by Sykes in that contract was four songs, written by him with a view to completing a full album down the track, that have until now remained locked away from the world in their original demo state.Since Sykes' passing, the label has gone to the vault and dusted off the cobwebs and had them professionally remixed and remastered by Aussie legendary producer Paul Gommersall (Paul Weller, George Michael, GNR).Paying respect to the music and legacy of John Sykes, Golden Robot decided to allow the music world at least six months to grieve the loss of Sykes before announcing their intentions to release the four songs - the first new music from Sykes in a quarter of a century - as a four-track EP.It was a decision taken with much respect to the situation, the man, and his music, but ultimately one which Golden Robot Records believes serves the best interests of fans and enables them to release material which was to form the nucleus of a full body of work.Golden Robot Global Entertainment's Mark Alexander-Erber sat down with HEAVY to talk us through the release and the history behind four tracks, which could well be the final recording the world hears from a man who has shaped so much of its history."John was introduced to me during the formative days of Golden Robot Records' journey in Los Angeles," Mark explained. "The label officially launched around 2015, and by 2017 we had entered into an agreement with John for a full-length studio album. The original contract was straightforward — John was to deliver a minimum of ten tracks for a complete album.""As per the terms of the agreement, we made an initial payment to John, and everything was progressing well. John preferred to work at his own creative pace, which we respected. The understanding was that upon delivery of additional material, a second tranche of payment would be made. However, as time went on, it became clear that what we had originally paid for and what was ultimately being delivered were two very different things.""That said, we approached the situation the way we always have at Golden Robot — through open communication and a commitment to the relationship. Like many bands we worked with in those early years, it was never just about rigid contractual enforcement; it was about navigating challenges together in good faith.""In the end, what we received were four absolutely outstanding demos — powerful, compelling tracks that truly reflect John's immense talent and artistic voice. While it wasn't the full album we initially set out to produce, those recordings have tremendous value, and we're proud to be the ones bringing them to the world."In the full interview, Mark provided detailed insights into his professional relationship with John Sykes, which commenced in 2017. He acknowledged that while not all contractual obligations were fulfilled to the letter, all parties involved reached mutual compromises in good faith. Mark expressed sincere appreciation for their personal and professional relationship, noting the importance of approaching sensitive matters with discretion and respect.The discussion also included specifics regarding the forthcoming 4-track EP, which will feature two previously unreleased songs along with remastered versions of two existing tracks. Mark confirmed that the estate of the late artist will receive the royalties as stipulated under the terms of the agreement.He conveyed confidence in the artistic and technical quality of the recordings, stating that the work pays a respectful and authentic tribute to John's legacy. The release strategy includes the rollout of two singles ahead of the EP, with the first single scheduled for release in late June through Golden Robot Records on a global basis.We discussed Mark's personal relationship with John and the decision to delay releasing the songs after John's death, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Words by Angela CroudaceUK death metal giants Ingested are returning to Australian shores, and drummer Lyn Jeffs gave HEAVY the inside scoop on what fans can expect. After their tour in 2023 alongside Archspire, the band was blown away by the warm reception and immediately knew they had to come back — this time for a headlining run.“We always wanted to come over and do a headliner,” Lyn shared. “The Aussie crowds were amazing — really good energy, and we made solid connections with bands like Melancholia and Werewolves. It just felt right.”Ingested's recent shift back to a five-piece line up has brought fresh energy and creativity to both the stage and studio. With the addition of guitarist Andrew and bassist Tom, the band embraces a more collaborative approach to writing and performance. “It's way more dynamic now,” said Lyn. “We've got new perspectives, and it's even influencing the sound. There's a section in the new track ‘Ultra Flesh' that's just bass — something we've never done before.”Their physical and mental preparation for tours has evolved over the years, too. Gone are the hard-partying days of trying to live out Pantera-style tour videos.Now, Lyn sticks to yoga, running, and a gym routine to stay stage-ready. “Playing the kind of music we do is like a sport,” he said. “It's not normal to play these tempos — it's f***ing stupid really — but if you prepare well, you can still perform at your best.”The band is embracing this tour as a way to connect their evolving sound with their roots. Expect older tracks to return to the set list, now that they've got longer headline slots.Despite their brutal sound, Lyn reminds us not to judge a book by its cover. “People expect us to be scary or into horror 24/7,” he laughs. “But most of us are just regular people who like football, cycling, or different kinds of music.”With their grounded approach and renewed energy, Ingested's return to Australia promises to be a tour that fans — and the band — won't soon forget.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersSince bursting onto the sonic landscape in 2010, Melbourne metal machine Ocean Grove have pushed every conceivable musical boundary known to man, and, more importantly, made a successful transition on each occasion. Blending elements of nu metal, hardcore and alternative rock to create a sound that is uniquely their own - dubbed Oddworld Music - Ocean Grove have consistently challenged themselves and their fans in search for their ultimate sound, but one gets the feeling the band are only now just scratching the surfaces of what they can ultimately achieve.Ticking off their first headline tour in Australia since the release of their 2024 album ODDWORLD next month, Ocean Grove will pay homage to their past and present via their Odd Label Tour, with 2025 marking the 10 year anniversary of the band's iconic second EP Black Label, and the upcoming headline shows also set to feature founding OG members Luke Holmes and Matthew Kopp (Running Touch) performing each night.Ocean Grove frontman Dale Tanner joined HEAVY from a baseball game while on tour in the US to discuss the tour and the growth of Ocean Grove."We've been playing some of the old stuff at soundcheck, and it's really exciting," he enthused. "The boys go up on stage, and I get to stand on the floor and be a participant in it and witness what it's going to be like. And I'm hearing these songs that we haven't played live in a very long time once again being performed with this new life and this new energy that we have now as a current live band. These songs are going to get performed in a way they have never been played before."In the full interview, Dale talks more about the run of shows and what we can expect, the challenge of playing two albums live, learning old material with newer songs and if that makes Ocean Grove reflect on their musical journey, selling out shows a month in advance and what that does for the band's confidence levels, the decision to have Luke Holmes and Matthew Kopp join the tour and what it will bring to the sound, future plans and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersChasing Ghosts have traversed a multitude of styles and genres over the course of their career, ranging from solo material to punk fuelled anthems to their current blending of indie rock and punk, but the one thing that has remained consistent with all of their work is the bands unflinching search for understanding and resolution, particularly in matters pertaining to Indigenous people and their culture.Frontman Jimmy Kyle - a Thungutti man who has emerged as one of Australia's most important voices in recent years - openly wears his heart through his lyrics, verbalizing topics and situations that are generally shied away from or pushed aside by most bands and musicians. Since the release of Chasing Ghosts' debut album Confessions From A Phone Booth in 2011, Kyle has successfully and poignantly married introspection with boldness as his stories confront, deconstruct and illuminate the challenging realities of being an Indigenous Australian; while also championing human persistence, the ability to overcome, and the recognition of beauty in even the most flawed.The bands new album, Therapy, which is released on May 16, further highlights the thoughts and feelings of Chasing Ghosts, tackling issues from domestic abuse to the mental health crisis in a confronting yet sensible way which only accentuates the strength of character and conviction that has strengthened the band and their music over the years.HEAVY sat down with Kyle to discuss Therapy in greater detail."I think it's definitely a lot more upbeat," he replied when asked to describe Therapy musically. "As you know, the Chasing Ghosts story is, I guess, acoustic punk troubadour leaves hardcore music and goes solo (laughs). It has come full circle where this is a heavier record. It's sonically a lot more polished than and bigger than anything we've done before. And the songs felt like the next progression coming out of Homeland; the next progression was kind of like, where can this go?""We had done a real lo-fi, very Melbourne sounding mix for Homelands, and then Therapy is a very produced - very shiny is the word that I tend to use - kind of polished record. And it was a real pleasure to do something different because I'd always had a history in recording the earlier records in the analogue way. So now have we not only moved into the digital realm, finally, but we've moved into it sort of with no rules, just leaning right into a modern process, and so we could give some contrast and personality difference between the other releases."In the full interview, Jimmy provided an overview of Therapy, describing it as a significant evolution in their sound. He discussed the themes of the album, which stem from his personal journey through therapy, addressing issues such as insomnia and domestic violence, and aimed at fostering understanding among listeners. The conversation also included details about the Therapy Australia tour, scheduled from June 6 to June 14, featuring a mix of classic songs and new tracks.We also discussed the meanings behind some of the songs and their significance to modern society, whether he feels people are starting to accept his messages, how Therapy represents the next chapter for Chasing Ghosts and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For too long now, parents have had trouble convincing their children that rock and metal are the way to go, not pop and the likes. It is a never ending battle of guidance, but one that is generally destined to failure from the outset. Parents the world over have agonised on how to introduce decent music to their children's lives, and now, thanks to a new band emerging from the US, their prayers may have been answered.By converting Disney classic tunes to the dark side, Metal Mouse are using already known and loved songs for children to their advantage by adding a touch of metal madness to songs from family films such as The Little Mermaid, Frozen and The Lion King. It is an ingenious idea that is sure to at least appeal to the next generation of music lovers.Fronted by American Idol alum James Durbin, Metal Mouse taps into Disney nostalgia with the flair and theatrics of glam rock. What began as a “what-if” idea has struck a chord, especially with millennial women who grew up on Disney - and men who never gave up on hair metal.Durbin and band creator/manager Alex Pels sat down with HEAVY to discuss this exciting new creation and how Metal Mouse plans to convert as many youngsters as possible to real music."We're trying to make the connection between heavy and Disney," Pels explained. "James and I both love metal. We're both involved with tons of other metal kinds of music, but we realised that the Disney songs - in addition to being excellently written by great songwriters - the themes and the chord progressions and everything else lend themselves to a heavy architecture."It's such a simple idea, but one which has never been tried on this scale before."I've been doing a lot of heavy metal in the last five or six… even longer than that, eight years," Durbin relayed. "I was with Quiet Riot for a couple of years and have put out a couple of heavy metal albums over the last few years with different projects. So, metal has been seeping through my system. It's difficult, because sometimes there can be such a thing as too much metal - a metal overload - and metal isn't widely accepted by everybody, but here's a perfect way to make it accessible to people. With songs that are already known mixed with the classic 80s music and hair of the day, mixed with this beautifully arranged music… it's a blessing."In the full interview we discuss the genesis of Metal Mouse, how easy Disney songs convert to metal, the selection process for songs, the live show and what it looks and sounds like, future plans for Metal Mouse and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Jack HarlenMelbourne Metal Mates, an online community for metalheads to go to shows together as gig buddies, comes together for its one-year anniversary as they host a (free) gig on May 4 at The Bendigo Hotel. The line up includes Melbourne metal staples, including performances from Hybrid Nightmares, Vault Hill, The Incantus and All Monsters Are Human. HEAVY spoke with creator and founder Kat Wartooth about the creation and rapid ascension of the Melbourne Metal Community and what this unexpected success means for both herself, the fans and the bands of Melbourne's heavy music scene. In the interview we explore how the gig came to be and the connection to each band as well as the possibility of creating a tradition well after their first anniversary celebration. Kat also touches on the hardships and initial anxieties of starting a gig group before experiencing the influx of like-minded, heavy music enjoyers who latched on to the group's values and sense of community and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersBrisbane groove metal outfit Awaken The Hate are a band in transition. Transition within themselves, their membership, their direction and their sound.But one thing they are not, at least internally, is a band in conflict. Far from it.As a band, their vision for the future is clearer than ever, their goals resolute. For Awaken The Hate, the future is now, and is coming off the back of a trilogy of singles dubbed Death. War. Fire that was recently completed with the release of the third and final single, Planet Death.Each of the three songs, started by Reign Of Fire before Contradiction Of War seconded the trilogy and Planet Death rounded things out, portrays a subtle changing of musical landscape for Awaken The Hate and casts an ominous eye into what the future holds for those who dare to follow.Concluding this ambitious new movement for the band, Awaken The Hate next week take the new tracks on the road for their first full national tour, starting in Perth on May 8 before hitting Adelaide, Melbourne and Sydney over consecutive days. Welcome to Awaken The Hate, and board the train if you have the mettle.HEAVY was joined earlier today by frontman Benno and drummer Ryan to dive deeper into the Death. War. Fire trilogy and what it means for Awaken The Hate moving forward."Steve, who started Awaken The Hate, made the decision at the end of last year to step away," Benno began. "That was all for his personal reasons. These were the last of the three songs that he wrote with the band, and we thought this would be a fitting way to say goodbye. He actually came back to record them with us. He's still a very good friend of the band, and the door's always open if he ever wants to come back.""Planet Death is environmental, Contradiction of War is very political, and then Reign of Fire is a bit more spiritual about the whole thing," he continued, focusing on the three songs. "So that's what the concept about it was, and then releasing them as a trilogy was to say thanks to Steve and also finally get a bit more than two tracks out there for people (laughs)."In the full interview, we focused more on their recent single releases, particularly Planet Death, which received positive feedback from band members. We discussed the trilogy of singles honouring former member Steve, with each song addressing different themes. Reign of Fire was highlighted for its unique inspiration and straightforward approach, while Contradiction of War, released on Anzac Day, aimed to honour veterans and provoke thought about military service. We talked about recording thir latest tracks live, enhancing the emotional resonance, and are eager to test new material during their upcoming national tour. We also chat about balancing their music careers with personal responsibilities while engaging audiences and supporting local acts, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThe Murdering roared back to life in June last year, releasing the track Finality and breaking an eight-year drought that saw the band release nothing since their 2016 EP From Hell. While many bands had come and gone over that period, if you were a fan of the heavier side of metal, then you still remembered The Murdering.After establishing a loyal, rabid fan base due largely to From Hell and the ferocity of their live shows, The Murdering fell off the proverbial radar for the best part of ten years. Not broken up. Not disbanded. Just simply not playing or actively recording.While to many of us they are all the same thing, not so for the members of The Murdering knew their day in the flames would come once more, if not when exactly, but the seeds of melancholy had been planted far too deep for there not to be a continuation of some sort.Finality reignited the hunger and set The Murdering on a collision path with a collection of songs based around the crimes and passion of a serial killer under the guise of Death Process, a five-part tale of death and decay to be released sometime this year.Having already released the devastatingly brutal Daemon Eater, The Murdering have decided to brush off the remaining cobwebs and set this year's Necrosonic Festival on August 23 at Brisbane's Mansfield Tavern as the day the music world once more bows down to the masters of death.HEAVY sat down with vocalist Joel for a chat about the re-emergence of The Murdering and their first live show in nine years at Necrosonic Festival."It's a killer lineup so far," he smiled. "Obviously, there's a second wave to come out for it as well, and I think people are going to be pretty psyched when they see who's on that second announcement."With a handful of bands playing at Necrosonic - including Beanflipper, DaysEnd and Brace - being metaphorically brought back from the dead, we ask Joel if The Murdering fall into the category of one of the undead after so long away from the scene."I wouldn't say we're back from the dead," he laughed. "It was more just a very long continuation of what we were doing before we stopped doing it, I guess. I haven't even really thought of it that way, to be honest with you (laughs). We're just happy to be on the bill. Like I say, we haven't played a live show in a very long time, and we've got some really good material coming out at the moment. We've not got any expectations on anything. It's just going to be a day to have a good time and just knock the dust off."In the full interview, Joel emphasized the importance of music loving promoters like Kent Bartley (organizer of Necrosonic) in fostering connections within the music community, highlighting the flow on benefits for heavy metal bands and music in this country. He expressed enthusiasm for the festival and shared insights about their upcoming EP, Death Process, which features a narrative centred on a fictional serial killer and aims to create a cohesive audio-visual experience.We spoke about The Murdering's recent collaboration with The Amenta, what fans can expect from their live show, future plans for the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceShane Told, the unmistakable voice behind Canadian post-hardcore giants Silverstein, is still riding high as the band marks a staggering 25 years together. In a recent chat with HEAVY, Told opened up about the surreal nature of hitting that milestone—and the unexpected road that brought them there.“It's pretty surreal,” he said. “We've never taken a break—no hiatus, no time off. We've either been writing, recording, or touring the entire time. It's my entire adult life.”Despite the passage of time, Told says he feels better than ever—both mentally and physically. “With age comes confidence. I think I've hit my 10,000 hours of emo,” he joked, referencing the theory that mastery comes with time and repetition. “Every show feels better, my voice feels stronger—it's wild.”Silverstein's resilience and chemistry as a band has a lot to do with their approach to relationships. “We're not best friends who hang out every second, but we're close and we respect each other. We give each other space when we need it,” Told explained. Weekly Zoom calls keep the band in sync, personally and professionally.When asked about a defining moment in Silverstein's journey, Told's answer was rooted in an unforgettable first trip to Australia in 2005. “We thought nobody would know who we were. Then we played two sold-out shows in Brisbane. That was the moment I put the schoolbooks away for good.”That trip also cemented Told's deep affection for Australia. From feeding kangaroos to being hosted by Parkway Drive's Winston McCall's parents—complete with his first-ever avocado toast—Told recalls each visit fondly. “Australia has always shown us so much love. It's my favourite place to tour.”Looking ahead, Silverstein's dual-album release—Antibloom and Pink Mist—is already making waves. Told revealed that the decision to split the music into two records came from a desire to give each song the attention it deserved. “We're perfectionists. Every detail matters to us, and I think fans can hear that.”As Silverstein enters their next chapter, the band's drive remains relentless. “We're still here, and we still give a shit,” Told said. “And we're just getting started.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersForty years is a long time, no matter what it refers to, but when it relates to a band that is still going strong after four decades in the music industry, it takes on even greater significance.Known for their lunatic personas and stage antics backed by solid musical skills and songwriting chops, D-A-D made their international breakthrough in 1989 with the album No Fuel Left For The Pilgrims which spawned the hits Girl Nation, Jihad, Point Of View and the MTV favourite and global smash single Sleeping My Day Away.Songs such as Laugh ‘n' a 1/2, Bad Craziness, Grow and Pay, Everything Glows and many more are a part of some people's lives just as important as their own children, and Australian fans get the chance to allow their children to hear them live when D.A.D return to Australia in May.Get ready for an unapologetic, hard-hitting rock ‘n' roll show from Denmark when D-A-D return for their Greatest Hits Tour, treating fans, old and new, to a sonic journey through the band's illustrious career. Every time the band steps on stage, another party starts, with vocalist Jacob Binzer joining HEAVY to warn us what we might expect."I'm packed and ready to go," he laughed. "I wish I could spend more time down there, but it's the start of the festival season in Europe, so unfortunately, we have to head back straight after. I think I can spend a couple of days in Melbourne after the last show, which I will enjoy, but then we are back to Europe. But Australia, you know what? The first time back in the early nineties, when we went to promote and play for the album back then I went up North to Cairns and I went on a motorcycle safari with a local guide, and I want to do that again. So please join in if anyone down there can help. A motorcycle safari in Cairns. How about that?"In the full interview, Jacob provided insights into the band's upcoming Australian tour, set to begin on May 20 in Perth, with additional performances in Brisbane, Sydney, and Melbourne. He discussed the challenges of curating a greatest hits set list from their extensive catalogue, emphasizing the importance of selecting songs that resonate with Australian audiences, such as God Praise to Man, 1900, and Sleeping My Day Away. He explains how different songs seem to go better in different parts of the world and why.The conversation also touched on the band's loyal fan base and the vibrant atmosphere of their live shows, particularly in Australia, where they aim to create an energetic experience. Jacob reflected on the success of their breakthrough album, No Fuel Left For The Pilgrims, and the significance of celebrating 40 years as a band, their achievements and musical legacy after 40 years and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThe incomparable CHELSEA WOLFE has announced her return to Australia and New Zealand in May 2025. Three years after her sold-out tour of Oceania, the Queen of Darkness will bring her visceral, vivid live performance back to Perth, Adelaide, Brisbane, Sydney, Melbourne, Auckland and Wellington. She will tour with her four-piece band, as well as bringing along experimental Australian producer APHIR, performing as support for all shows.Wolfe will perform a career-spanning set on this tour, including songs from her new album She Reaches Out To She Reaches Out To She, which was released in February. Her latest album is a rebirth in process. It is a powerfully cathartic statement about cutting ties, as well as an important reminder that healing is cyclical and circular, and not a simple linear process. Featuring elements of electronica, trip hop, industrial music and goth rock, the album has been hailed as one of her finest works. The record has been followed by two EPs containing reimaginings of the songs. Wolfe last performed in Australia in 2022 for Tasmania's Dark Mofo, along with a full national tour, her first in a decade.Her return in 2025 will mark 15 years since her debut The Grime and The Glow was released, sparking a career that has influenced and inspired a dedicated cult following worldwide to appreciate life in both its darkness and light.HEAVY spent some time with Chelsea ahead of the tour. We start by asking what has changed in her world since she was last out here in 2022."I feel like I've grown and changed as a person," she offered. "I've toured so much with these songs, I've learned so much from them. I learned so much from writing them, and I'm learning so much from playing them. They're very personal and also very universal. So it's like each night I notice a different lyric or something and kind of, you know, get present with that for a moment."In the full interview, Chelsea expressed excitement for her upcoming tour in Australia and New Zealand, where she will perform a mix of new songs and older favourites, while also discussing her growth as an artist and the connection she feels with her fan base. She reflected on her previous solo tour experience, the evolution of her music style from overproduced to lo-fi, and the integration of atmospheric elements in her live performances.Chelsea also highlighted her latest album, and the two remix EPs with acoustic versions, showcasing her artistic journey and the creative thought behind her stage setup and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceHeavy metal legend Ross The Boss is set to electrify Australia next week, and he couldn't be more excited. Reflecting on his previous visit, Ross recalls the overwhelming love he received from Aussie fans. "The reaction nerfed me," he laughed. "The intensity, especially in Melbourne, was unbelievable."Ross, a founding member of Manowar, spoke passionately about the creation of Sign of the Hammer, revealing that the band often recorded more tracks than needed, seizing every opportunity in the studio. A highlight was recording at Richard Branson's famed Manor Studio — a surreal experience that included sleeping in rooms once occupied by historical figures like William the Conqueror.This upcoming tour features what Ross calls the best version of the RTB band yet, boasting powerhouse musicians like Dirk Schlächter (Gamma Ray) and drummer Sean Elg. “We're coming to melt faces,” Ross promises, highlighting the group's precision and raw power.When asked about his time in Manowar, Ross candidly shared that he wished he'd been firmer with his bandmate Joey DeMaio. "Sometimes I should've put my foot down more," he admitted. Despite past challenges, he now channels his passion purely through his guitar, still rooted in the soulful blues influences of B.B. King and Albert King.Ross also touched on the emotional impact his music has had. "People tell me it saved their lives," he said, visibly moved. "It's an honour I don't take lightly."As Ross prepares to unleash a storm of classic anthems down under, he leaves fans with one promise: “We'll give you 150%. When the final note rings out, we want you to feel it in your soul — and want us back.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersSince their inception, OK Go has been something more than a band and something different from an art project.With a career that includes award-winning videos, New York Times op-eds, collaborations with pioneering dance companies, tech giants, NASA, animators and Muppets, and an experiment that encoded their music on actual strands of DNA, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Timothy Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation and continue to add to a curriculum vitae filled with experimentation in a variety of mediums. Their work is in the permanent collection of MoMA, and their achievements have been recognized with twenty-one Cannes Lions, twelve CLIOs, three VMAS, two Webbys, The Smithsonian Ingenuity Award, and a Grammy. The band has also partnered with the Playful Learning Lab at the University of St. Thomas to create OK Go Sandbox, an educational non-profit that provides free resources to teachers that use OK Go's videos as starting points to teach STEAM concepts.The band last week released their first album in over a decade, And The Adjacent Possible, with Kulash stopping by HEAVY HQ for a chat."It's been fantastic," he smiled when we ask how the early reception has been for And The Adjacent Possible. "It's wonderful to get the music into people's brains. It's swimming around there in the ether somewhere, and when you pull it out… you don't write the songs. You find them. You define them from the world, then work so hard to get them into shape. You can share them with people, but then there's this arduous period where you do the business stuff, and I'm just so happy that it's finally out and people can listen to it and feel the emotion. The only point of music is that sense of human connection, and it's so wonderful to be getting real reactions from real humans now."We ask Damian to dive deeper into the album musically."It feels like this is the first time that we weren't going for anything," he measured. "We actually felt comfortable enough with what and who we are that we were able to say these are the things we like. Since the last album our guitarist had kids, I had kids, then there was the pandemic, then I directed a film and that put several years between the records, and before we knew it even though we had never officially shut down the band or gone on a hiatus, we'd taken enough of a step back that instead of feeling like our foot had to be on the pedals with 'what do we do next' we could just come back to and recognize who we are and that our flag was planted a long time ago, and we don't have to plant a flag."In the full interview, Damian discussed And The Adjacent Possible in greater detail, including the singles released and how they summarise the album as a whole. We talked about the music video for A Stone Only Rolls Downhill, which was shot on 64 phones with 64 different videos placed over a moving mosaic, which led to discussion about their elaborate music videos and the process behind them.We spoke about musical ideas and converting them to reality, any extra pressures coming back from a ten-year lay off, the meaning behind the album title and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersBrisbane rock outfit Sound Affliction are the latest signing to Australia's fastest growing rock label XMusic, and they have made an immediate impact with their powerful, emotionally charged new single, Sober. Blending huge riffs and driving rhythms with deeply emotive lyrics, Sound Affliction will soon be your new favourite rock n roll band.The band's latest single and first for XMusic, Sober, is a haunting reflection on loss and resilience, exploring the pain of losing someone dear and the challenge of moving forward alone. With its universal themes and raw emotion, the track is the perfect introduction to Sound Affliction and with plenty more singles in the pipeline, the bands' versatility will soon be on display.Though Sound Affliction might be unfamiliar, the band's line-up is stacked with seasoned talent. Frontman Matt, previously of Scandal Tree and Don't Come Monday, commands your attention with a vocal range that shifts effortlessly from raw intensity to soaring majesty. Guitarists Dan (Black Whiskey) and Wayne (Scandal Tree, Cactus Dill Dos) are a dual-edged harmonious sword, weaving shredding riffage with melodic beauty to create songs that sound instantly familiar but also completely new while drummer Travis, also from Don't Come Monday, drives the band's engine and can take it from zero to a hundred in an instant. On bass Kev Brown (Pyre & Ice), brings a massive low-end anchor to the band's massive sound.HEAVY spent some time recently with Dan and Wayne to find out more."We came up with a bit of a demo track a while ago on it," Dan began when asked about Sober, "and we all thought, you know, it's not a complicated song, but it's nice and simple, and it's got that real catchy drive to it. It was one of those that knocked together quite quickly so we flicked it over to Matty, who does all the lyrics, and he was going through a bit of a rough patch at the time and sort of poured his heart on the vocals, which gives it its own sort of haunting melody. It's one of those songs we thought could be good for us because it's got a good feel to it."In the full interview, Dan and Wayne spoke more about the sonic impact of Sober, the personal feelings of sorrow at its core and the relatability of the subject matter. They revealed the song is the first taken from a future album, but doesn't necessarily provide a complete representation of what to expect.We discussed Sound Affliction signing to XMusic and what it means for the band moving forward, upcoming shows and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersWednesday 13 is arguably one of the hardest-working musicians out there. From his solo project to celebration tours featuring Murderdolls songs, Wednesday not only lives the excesses of rock and roll debauchery; he sets the bar as well.Each of his musical undertakings, including Frankenstein Drag Queens From Planet 13 as well as Murderdolls and Wednesday 13, have the same menacing undertones of gore, horror and theatrics, but despite the obvious similarities, Wednesday 13 is much more than a one-trick pony.Blending the above elements with punk, humour and a ghostly sense of the macabre, Wednesday 13 has his roots deeply embedded in hard rock but transcends the barriers of a plethora of styles and genres that combine to make his music a necessary evil in a world growing increasingly sterile.2022's Horrifier was met with widespread media and public adulation, but these two things have never mattered when it comes to Wednesday's musical output. It is more about the sense of ambivalence and the irresistible thread that binds everything together that keeps the fire in Wednesday's cauldron burning.Such is his contribution to music that Wednesday could easily be forgiven for playing it safe with each new album cycle, but in true Wednesday 13 style, safe was the furthest thing on his mind with his new album Mid Death Crisis, which will be unleashed on April 25.More a step back into the things and a time that gave birth to Wednesday's musical psyche, Mid Death Crisis benefits from production by Alex Kane (Life, Sex & Death, Enuff Z'Nuff, Antiproduct) and a mix courtesy of Steve Evetts (The Dillinger Escape Plan, Prong, DevilDriver) that devilishly encapsulates the musical strengths of both while remaining quintessentially the afterbirth of Wednesday 13.Wednesday spent some time with HEAVY to discuss the album in greater detail. We started by asking if he is confident heading into the album release date."Very confident," he replied without hesitation. "With my last few albums I put out, I didn't know if the audience was going to like it as much as I did. And when I was experimenting from albums like  Condolences and Necrophaze and all those records, I look back now and those are the experimental records because I did some different things with them. And those were ones I took some chances with, and I wasn't sure if the audience would like them. But they did. This is the one record where I feel pretty confident that they're going to like it. I know it's hit all the bases with what I was trying to go for."The album is widely touted as a return to Wednesday 13's musical roots, an opinion we put to the man himself."I think so," he measured. "After COVID and everything, I had a little time to look back on my career and 20 years of doing Wednesday 13. And I just kind of looked at the whole career and went, well, what do you like best of all this? I started looking at it all, and I went, well, where I started was the most honest and real place for me. And that seemed natural. And I kind of went back to that look, and I went back to that sound, and it was easy to do. It just felt right, and this is more of a hard rock record than it is a metal record, but it's not just like I tried to imitate my first record or anything. It's just in the same spirit, and I feel good about it, like I did on that first record."In the full interview, Wednesday 13 described Mid Death Crisis as an energetic experience, carefully structured to reflect a live performance, and emphasized that sonically it encapsulates his career and aligns with fan expectations.He highlighted the song When the Devil Commands as the lead single, crafted to appeal to both existing fans and new listeners, with lyrics inspired by his childhood experiences during the Satanic Panic. He discussed his songwriting philosophy, focusing on natural inspiration from classic horror and pop culture. Additionally, he spoke about his collaboration with Taime Downe, noting its significance due to his admiration for Faster Pussycat. We spoke about his song titles and where they come from, coming up with fresh sounding material the more you write, future and current tours and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceRivers of Nihil's self-titled album marks more than just another release in their discography—it signals a rebirth. Bassist and vocalist Adam Biggs, one of the band's founding members, sat down to talk about the evolution of the group, the challenges of stepping into a new vocal role, and crafting an album that captures both urgency and introspection.Following their conceptual four-album seasonal cycle, the band viewed Rivers of Nihil as a way to define who they are now. “It almost feels like our first record again,” Biggs explains. “We looked back at all the eras of the band and pulled what worked best. This is Rivers of Nihil as it stands now.”A major shift came with Biggs taking on full-time vocal duties after the departure of their previous frontman. It's been a challenging transition. “It took a lot of practice and trial and error with my voice,” he admits. Balancing demanding vocals with intricate bass lines required intense focus and routine—but now, he says, “it's starting to feel more natural.”New blood also brought fresh energy. Guitarist and vocalist Andy Thomas officially joined the line up, contributing not just riffs, but his distinct voice. “I wanted to rise to the challenge,” Biggs says. “I wanted him to do awesome work with us.”The new album is both heavy and hauntingly relevant. “The theme is sort of this macro danger of modern life,” Biggs explains. “Fear of war, pandemics, political unrest. But we try to approach it from a human perspective—there's paranoia, yes, but also a thread of hope.”Instrumentation expands too, with banjo, cello, and a new saxophonist adding depth. But unlike previous records, the band prioritised how the songs would hit live. “We wanted this to go over in a room full of excited, sweaty people,” Biggs laughs.At its heart, Rivers of Nihil is an album born of evolution, resilience, and reflection—a fitting fresh start for a band that refuses to stand still.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersIn case their band name wasn't enough of a hint for you, listening to their music will ram the point home that Newcastle, UK outfit Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs are a musical force unto themselves and their care factor should you disagree is a resounding zero.Since bursting onto the scene in 2014, Pigs have almost gone out of their way to ensure they drank from no-ones well of musicality other than their own, uniting normally opposing forces of music with flawless inhibition for maximum results.Essentially a rock band but with enough alter egos and personalities to conquer the world, Pigs have always quietly gone about their business, in the process drawing fans and their peers increasingly into their own sonic paradise and sweeping all before them in eclectic waves of passion.In setting their fifth musical child out into the wilderness earlier this month, Pigs also unleashed a powerhouse of musical disparity that highlighted their growing stature while simultaneously sending purists reaching for their notepads to scribble down notable forms of blasphemous intent. That album is titled Death Hilarious, an album name that says pretty much everything you need to hear about Pigs without lowering the needle to the record and setting off down another magical and whimsical adventure, destination unknown but satisfaction guaranteed.Openly touted as a body of work infinitely more hostile than previous release Land Of Sleeper, Death Hilarious evokes the same type of reaction as a person would feel standing in the mosh pit at one of Pigs notoriously frenetic live shows.It was a deliberate hardening of the arteries by Pigs, once more showing their disdain for familiarity as their journey into the abyss grows darker and more dangerous along the way.Vocalist Matt Baty kindly gave up some of his time to chat with HEAVY in what turned out to be an engaging, informative view of the music industry as a whole and Pigs place in it."We're a weird band," he shrugged when we ask what Pigs were going for musically with Death Hilarious. "In the sense that we don't all get together before we start writing an album and discuss what direction we'd like to take it in, which I think is pretty odd and probably not very efficient (laughs). We just get together in a room and everyone will have worked on different things or have different fragments of ideas for songs. And we just get together in one room and present those with each other. Some things kind of click amongst all of us, and some things don't. And those things we'll just park for a rainy day and see if it works at a later date. But we'll kind of focus on everything that people bring that all of us as a five-piece unit are all in on. From that point, once we start developing the skeletons of what the songs are, Sam - he also records and produces our albums - takes them further.""I think with this one, the songs were presenting themselves as being a bit more… maybe a bit more assertive and a little bit more aggressive," he continued. "A little bit more immediate. So that's where Sam took the production as well and maybe just pushing things a little bit harder and slamming it against the wall a little bit more than they were on Land of Sleeper."In the full interview, Matt shared insights into the positive reception of the album and the tour, describing it as their best experience yet due to enthusiastic fan engagement. He emphasized the challenges of measuring success in the current music landscape, where streaming metrics often overshadow live performance feedback. Matt elaborated on the band's collaborative songwriting process, which allows for organic song development without a predetermined direction. He noted that their latest album aims for a more straightforward sound compared to previous works, with production enhancing the music's immediacy. The title Death Hilarious, inspired by Cormac McCarthy's Blood Meridian, was chosen for its representation of the band's identity and humour.Matt highlighted the band's journey in defining their sound, showcasing a variety of styles across albums, and mentioned specific tracks that exemplify their creative exploration before admitting he still doesn't know exactly what Pigs definitive sound is, but is also happy to keep exploring the realms of musical possibility.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceNe Obliviscaris' clean vocalist and violinist Tim Charles sat down with HEAVY to reflect on the band's journey, the legacy of their landmark album Citadel, and what it's like bringing classical violin into extreme metal.Formed in 2003, the Melbourne-based band didn't reach the international stage until their second album, Citadel, released in 2014. “It was our first proper record deal,” Charles explains, “and that made all the difference. Suddenly we were in stores worldwide and able to secure booking agents and festival slots overseas.” The band's debut, Portal of I, was self-released, and though praised by fans, lacked the reach Citadel was able to achieve with the support of Season of Mist.Celebrating its 10th anniversary, Citadel was recently remastered by Mike Lewis, who also helmed the band's latest release, Exul. “We wanted to bring a bit of the Exul touch to Citadel,” Charles said. “It's slightly more open, a bit heavier, and filled with little details that bring new life to the mix.”Tim also shared his excitement about returning to the stage with the epic 23-minute track Painters of the Tempest in its entirety — a feat not attempted in nearly a decade. “It's still one of our best songs. Performing it live again was incredibly satisfying.”Known for weaving violin into every corner of Ne Obliviscaris' sound, Charles discussed how his classical training shaped the band's musical direction. “I was always inspired by guitarists like Jeff Loomis and John Petrucci,” he said, “and I'd think — how can I do that on violin?” With few metal violinists to look up to, Charles essentially invented his own approach, blending classical, jazz, and metal into a seamless force.The band's recent collaboration with Swedish act Imminence, whose own frontman plays violin, shows that the path Charles helped forge is inspiring a new generation. “It's been amazing to see more non-traditional instruments in metal,” he says. “Hopefully, there's more to come.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceGhostseeker may have emerged from the chaos of Melbourne's COVID lockdowns, but their momentum is anything but confined. With their debut full-length album Divergence set to drop on April 25, the band has already made waves—especially overseas.“Honestly, it's resonated more internationally than at home,” says Daniel Breen (aka Breenie), one half of Ghostseeker's dynamic vocal duo. YouTube and a partnership with Germany's Reigning Phoenix Music catapulted the band beyond borders. “They gave us the reach we never could've had,” Daniel says, adding that a suspicious-sounding email from the label almost went ignored—until a follow-up video message proved the offer was real.Divergence takes a bold conceptual turn. “We wrote it from the perspective of conspiracy theorists,” Breenie explains. “Like, if AI really is the end of the world—what does that look like?” Seven of the ten tracks lean into that dark, fictional narrative, while the remaining three stay rooted in the raw relatability that launched Ghostseeker's debut EP.When it comes to AI in music, Breenie is refreshingly open-minded. “One of my favourite artists right now is this guy who makes metalcore using Plankton's voice from SpongeBob. I just like good music.”Collaboration fuels the band—especially between Daniel and co-vocalist Celeste Bojczuk. “We clicked right away. We bounce ideas off each other, pick our parts, and craft lyrics together. It's a laid-back, fun process.”The chemistry extends to the entire band, both in the studio and on the road. “We're best friends. No egos. Everyone contributes.” Touring isn't always glamorous—Daniel jokes about 10-hour drives between one-night-only gigs—but he's hungry for a full European run. “Thirty shows in thirty days? That's the dream.”Whether he's skateboarding, playing with his dog, or chasing the next song idea, Daniel Breen embodies Ghostseeker's grounded-yet-forward-thinking energy. If Divergence is any sign, this is only the beginning of their global takeover.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersGuitarist/songwriter/vocalist Samantha Fish is rightfully recognized as one of the premiere guitarists of her generation. With a blending of emotion, finesse, and raw aggression, Fish encapsulates the essence of musicianship while also allowing herself creative room from which to grow and flourish.Her sonic output features, and draws from, multiple genres including rock, country, funk and bluegrass, but it is her ability to integrate genres and manipulate musical styles that has seen her forge a successful career which includes a Grammy nomination for Death Wish Blues (her 2023 collaboration with rocker Jesse Dayton) and opening for The Rolling Stones on their final 2024 U.S. tour date.Fish's upcoming album Paper Doll is the culmination of years of commitment to the music scene, delivering nine tracks with enough scope and musical disparity to appeal to lovers of many forms of music. But it's not the amount of strings to Fish's metaphorical bow. It is the way she unites each delicate moment, drifting between lashings of hard rock staunchness to softer, more intimate confines with a Delta Blues spine.It is a coming together of genres that in many hands would sound forced, or contrived, but Fish manages to find not only the balance at the core of her music but also pushes the parameters of experimentalisation over convention. Put simply, Paper Doll is Samantha Fish's most accomplished body of work to date, and something that brought her music to the attention of HEAVY on the other side of the world.We sat down with Fish recently to go over the album, starting by asking if the pressures of an album release cycle are something that affects her as the release date approaches."There's this weird feeling when you finish a record, at least for me," she smiled. "I know every artist feels this way. You walk out of the studio and this giant weight has been lifted off your shoulders. It's almost euphoric when you're done with the record and thank God, because it's always fun. But for me, it's always like this mountain that I have to climb to get through it. It feels great. But then It feels like you have this secret that you have to keep for 6-9 months to a year that you can't share with anybody. So I finally feel like I'm able to let people in on the little secret."We asked what her focus was on going into the musical side of Paper Doll."With this record, I wanted to lean into my strengths," she replied. "What are my superpowers? What makes me different? What makes me unique, leaning into my voice, my guitar, my songwriting? I wanted to make something that felt urgent, felt like rock and roll, but was still rooted in the music that I love and inspires me, which is blues music. North Hill Country blues specifically. It's a deep well of inspiration for me. I just wanted to write great songs and write and record with an urgency that people would hear and want to listen to again and again and again. Timeless records, that's my goal."In the full interview, Samantha described the completion of the album as a euphoric experience, emphasizing her aim to create timeless music that highlights her vocal and guitar skills while incorporating a hard-edged rock and roll style. She noted that this album is more aggressive than her previous works, with the opening track, I'm Done Runnin', serving as a strong introduction. Samantha also highlighted the importance of track sequencing in engaging listeners, aiming to encourage them to experience the album as a cohesive journey rather than just individual songs.She shared insights into her writing process, revealing that much of the album was created while on tour, where she draws inspiration from her experiences. This album is particularly significant as it is the first she recorded with her touring band, capturing the energy and chemistry developed on the road. The conversation also touched on her rumoured plans to visit Australia in 2026 and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceAustralian metalcore powerhouse Make Them Suffer are riding high in 2025 with a prestigious APRA Music Award nomination—an accolade that has vocalist and keyboardist Alex Reade feeling a well-earned sense of pride.“When we found out about the nomination, we weren't sure what it meant at first,” Reade admits. “But once we did our research, we realized—this is something we've worked so hard for. After everything we've put into the last three years, the grind of touring, this kind of recognition really matters.”The category for Most Performed Heard Rock/Heavy Metal Work was taken out in 2024's inaugural year by Parkway Drive and is something that Reade sees as a major step forward for the genre and its diverse artists. “It's so good to see not only heavy music being acknowledged, but also the visibility of women within it,” she says. “We're reaching a point where it's just normal. It's respected.”Reade joined Make Them Suffer ahead of their 2023 self-titled album, which she calls a “dipping of toes” into the band's true potential. “This album showed what the band is capable of, but I don't think people have seen anything yet,” she says. “The next chapter is going to be something really special.”The band's evolution—from COVID-era uncertainty to global tours and packed venues—has forged a new, galvanized identity. “There was a time when no one knew if we'd keep going,” Reade reflects. “But the response to Doomswitch and this new chapter has been massive. We're solid now. We're a team.”With an 18-date regional Australian tour lined up, including stops in less-frequented towns like Narre Warren and Forster, the band is embracing their roots. “This tour feels like a celebration of Australia,” Reade says. “We're bringing the full heavy energy but in a way that's more intimate, more connected.”With Justice for the Damned and The Gloom in the Corner joining the run, Reade promises one thing: “It's gonna be heavy. And it's gonna be fun.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersBrazilian thrash metal outfit Nervosa have been trailblazers for heavy metal for 15 years, playing at most of the major festivals and countries on the global touring circuit except one.Australia.But that blight has been rectified, with Nervosa currently in the country and playing the first of three shows in Sydney as we speak.Setting the world ablaze with their latest blistering full-length Jailbreak, Nervosa embark on a new chapter in the band's history as it's their first record featuring founding member Prika Amaral as permanent vocalist. Plus, the band enacted more exciting changes on the album, with the addition of the immensely talented and well experienced Helena Kotina as second guitarist, Hel Pyre on bass and Michaela Naydenova on drums.Kotina was nice enough to take time out to talk with HEAVY about an hour out from the first show."I really don't know why it took so long for Nervosa to come here," she almost apologised, "but it's really a huge pleasure. We have three shows, and also we celebrate the 15 years of Nervosa. So it's the first time in Australia, and it's a special time also to be in Australia with this anniversary tour. So it might have taken a bit long, but it's a really special occasion for us."In the full interview, Helena told us how long they have been here preparing, ran through what we can expect, what they are expecting from us, three songs to listen in order to know the band better, her joining the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersSydney based death metal outfit Anoxia are one of the rare breed of bands who are prepared to live and die by the sword they carry.By bringing a new sound to a bygone era of heavy metal, Anoxia embraces the legacy of death metal bands that have come before them such as Morbid Angel, Suffocation and Death, but sprinkle enough of their own - more modernized - DNA through the menu to make a fresh and tasty new main course where brutality is the King.After announcing their arrival with their 2020 Demo Torturous Degradation, Anoxia hit the stage sprinting, dropping their debut EP Languish In Suffering in 2023 which has seen the band amongst the first port of call for international touring acts such as Skeletal Remains and homegrown machines Psycroptic and King Parrot.But it is with the impending arrival of their debut full-length Revel In Sin on April 17 that Anoxia looks set to launch a global assault on the metal scene. Building on the crushing devastation promised with Languish In Suffering, Revel In Sin ramps up the intent, delivering more hooks, more pace, and more intensity.HEAVY caught up with guitarist Elias and bass player James to dig deeper."We released our EP in February 2023," Elias began. "So, it's been a little while now. We've just been touring a lot, playing a lot of shows, then took some time off to write and came up with Revel in Sin, so we're very excited. We feel like it's the next level in our progression as a band and as musicians, writing and just growing by fusing our old-school death metal style with some thrash metal elements as well. James came on board last August just to in the finalization of the writing stage as well, so he'll be on deck for the album launch as well."We press them both about the musical direction on Revel In Sin."We are all about the old school, early 90s US death metal," Elias affirmed. "So we're just building on that. The EP was four songs which we're proud of, but the album is just us levelling it up a bit in terms of speed, diversity and dynamics. It's very much in the vein of the EP, but just a few notches up from where we left off. There's different dynamics - fast in some places then slow - so we're just changing it up, but focussing on those hooks and keeping it intense."In the full interview, Elias and James talk more about Revel in Sin, highlighting the band's evolution in musical complexity by merging old-school death metal with thrash elements. Elias emphasized the single Rule by Cold Steel as a key representation of their sound, while James noted the album's progression from their previous EP, incorporating classic death metal elements with new dynamics. The band is promoting the album through a series of shows in Melbourne, Canberra, and Sydney, as well as a nationwide tour with Atheist, aiming to broaden their audience. We also discussed the advantages of being managed by Your Mate Bookings for securing larger tours and enhancing the band's professional image, alongside insights into their live performances and fan interactions.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersRising Australian rock outfit Vermantics are a band with a purpose.But although they might still be finding out the intricate details of just what that is as they make their way through the trappings of the music industry, one thing they are already sure of, even in their formative year,s is the need for independence. The need to forge, then follow your own path.Vermantics are at that tender stage of any band's career where they are currently hot property, and as such, people from all walks of life and expertise have an opinion on their lives, their sound, and their musical output.But they are also confident enough in their own ability and vision that, while taking any and all advice on board, stick to their own musical needs, throwing caution to the wind but doing so on their terms.This is clearly evident on the band's latest single Come Alive - with the music video premiering today, April 17 via HEAVY - a song that retains the raw elements from its birth and is delivered from the heart, complete with imperfections. It is raw, live-sounding, and infinitely better for the touches added - or left out more accurately - in the studio.HEAVY sat down with vocalist Stefan Fedele to find out more."The previous stuff we put out was a lot more produced and had a lot more effects," he affirmed. "It was just a bigger production, whereas this one is definitely more on the raw avenue, and things are played in real time. The vocals haven't been tuned anymore and the drums are played with no cutting. So yeah, all those things make a big difference, and it's heading in the way that we want it to. This is where we're at right now."In the full interview, Stefan spoke about the accompanying music video for Come Alive, which is designed to reflect the energy of the band's live performances. He explained the strategy of releasing the audio of the single ahead of the video to build anticipation and allow listeners to engage with the music directly. He also mentioned that Come Alive is the first track from their upcoming EP, The Pictures You Paint, which aims to showcase the band's artistic vision.We spoke about Vermantics' upcoming Melbourne show as well as their first international tour in May, discussing how to approach your first tour of another country and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThe 2025 APRA MUSIC AWARDS are almost upon us, and after the overwhelming success of last year's debut category Most Performed Hard Rock/Heavy Metal Work, anticipation is once again high amongst Australia's fastest-growing music genre as five more Aussie acts are in the running to be recognized globally for their achievements.Not that winning awards are the be-all, end-all for band's, but a bit of reward for effort is never a bad thing!This year sees Make Them Suffer, Northlane, Polaris, Windwaker and Speed nominated for the gong, with Windwaker's frontman Liam Guinane joining HEAVY earlier today to talk all things APRA and beyond."Honestly, it was quite unexpected given the calibre of bands that we're up against," Guinane said of Windwaker's nomination. "So I'm quite honoured to be considered next to some of these pillars of heavy music currently in Australia. It feels terrific to be put amongst those names and to be a part of it. I'm really looking forward to the night. It seems like it's going to be a fantastic evening and, yeah, very much uncharted territory for us being recognised like this (laughs)."In the full interview, Liam discussed the band's recent nomination for the APRA Music Awards, expressing both surprise and honour at being recognized alongside established Australian bands. The conversation included thoughts on the competitive landscape among Australian bands, with Liam emphasizing Windwaker's distinct sound and broader appeal. He also considered whether to prepare a speech, leaning towards improvisation but recognizing the need for some preparation.We spoke about some of the lighter sides of the awards, including the chance of a heavier band performing on the night, last year's winners Parkway Drive and getting fashion tips from Winston McCall, Windwaker's latest tour and how the new songs were received live and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris Peters For more than three decades, the name Chocolate Starfish has been synonymous with Australian rock music, with singer Adam Thompson one of the most engaging and enigmatic frontmen to ever grace the stage in this country. Despite the success of Chocolate Starfish and the constant touring that comes with it, Thompson has also found time to branch into other areas of the artistic world, most notably the Chocolate Starfish Bat Out Of Hell Show, where, obviously, the band performs the classic Meatloaf hits from that album and beyond. While not exactly a new project for Thompson, it is one that is close to his heart, and he has embraced the role as if it were his own - and God help anyone who tries to say it's not… This year Bat Out Of Hell - Return will see Chocolate Starfish traversing the country once more, but this time there's going to be strings attached. Literally. The electrifying show that continues to thrill audiences everywhere will be augmented by the stirring swells of a six-piece string section, escalating the rich production to mesmerizing heights. Featuring the classic album in its entirety, Bat Out of Hell - The Return promises everything audiences have come to know and love about a Starfish show – it's an entertainment experience not to be missed. As a prelude to the main event, the band will be supported by a specially curated trio performing Chocolate Starfish favourites, starring Kate Daley and her dazzling vocals, Peter Mitchell on saxophone and Les Gyori on violin. The star of the show, Adam Thompson, sat down with HEAVY to talk about Bat Out of Hell - The Return and more. "We had a lot of success a couple of years ago with the Bat Out Of Hell show, and we just thought, look, if we're going to do it again, let's take it to another level," he began. "About a year and a half ago I did a George Michael show at the Myer Music Bowl with David Campbell and a few others, and it was with an orchestra and I just loved it. I said to the boys, why don't we up the ante and see if we can use a string section because it's so made for those sorts of shows. I know Meatloaf back in the day did several of them, and that album is just made for strings. "It's an eight-piece string section," he continued, "and the dynamics of the performance will change because previously we only had synth for something like For Crying Out Loud or Heaven Can Wait. For some of those slower songs you'll have that lush tone that the string section brings. So just to feel that groan of the cello on (sings) 'now the chilly Californian wind, is blowing down our bodies again…' oh man, it's just going to be goosebumps, right?" In the full interview, Adam spoke more about the Bat Out of Hell show along with works by Jim Steinman, enhanced by the inclusion of a string section. Adam shared his excitement about the tour, reflecting on the success of previous orchestral performances and the necessary mental and physical preparation for the run of shows, which will travel from Melbourne to Perth. He emphasized the importance of pacing and structure in performances, particularly with the addition of string players, while maintaining his unique style. The conversation also highlighted the growing audience for Chocolate Starfish, especially among families, and the positive ticket sales, with some shows nearly sold out. We discussed fans reactions to Adam's personality shining through during his Meatloaf performance, the importance of sprinkling his own DNA through the show, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Jack HarlenSydney rock outfit Brooklyn Comic have built a steady name for themselves based on honest songwriting and powerful live performances.The band's music blends emo, hardcore, indie and alternative rock, tackling themes such as loss, self-doubt, heartache and personal growth. As proud allies of the LGBTQIA+ community, Brooklyn Comic is also committed to fostering inclusivity and acceptance, both in the music industry and in the wider world.After giving fans a taste of what they have to offer through previous singles, Brooklyn Comic are now preparing to launch their debut full-length album Define Happiness, which is set for a slow waterfall release in 2025. But first the band are planning to drip feed content, with the recently released single Plot Heavy a tasty morsel of what is to come.HEAVY's newest member, intern Jack Harlen, spent some time with vocalist Jayme Weston and guitarist Declan Rivers from Brooklyn Comic to get the rundown.We start by asking about the early reception for the single."Pretty amazing," Jayme beamed. "I think it's done better than anything else we've released thus far. We put a lot of work and a lot of effort into these songs that are coming out this year, so it's good to see that reception come back."In the full interview, the boys spoke about the story behind Plot Heavy, the music video and what it is about, where the song sits in the overall scheme of the album, what themes run through Define Happiness, upcoming shows and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersMarketing plays a massive part in the world today, with the music industry no exception. A band can have all the chops in existence and originality dripping from their brow, but still reach next to no one without a clever marketing campaign or just plain luck.But when a band gets it right…As is the case with Australian hardcore outfit Lost Souls, who found the winning formula with brilliant use of animation through not only their music videos but also their daily existence. The band release their debut album Lore on April 18, but in the necessary pre-album campaign their debut single Childhood Died - a Star Wars themed epic - went viral and had everyone asking ‘who are Lost Souls?'. The single racked up millions of streams, garnered the attention of reaction channels around the globe, and was nominated for Best Blegh at the Nik Nocturnal Awards. They backed it up with the sequel The Return, followed by the Attack on Titan tribute My Soldiers Rage, which took social media by storm courtesy of a ping-pong ball breakdown viewed around the world 20 million times before the single was even released. Next came the ADHD masterpiece Dopamine, with a killer riff inspired by microwave popcorn, and their latest single MOSHLORD features their new bestie Jonathan Vigil of The Ghost Inside. And all of this without even releasing their first album!It is indeed a success story to marvel at, but to see for ourselves what all the fuss is about, HEAVY sat down for a unique one-on-one chat with frontman Kev that has to be seen to be believed and/or appreciated.We start by asking how he is feeling this close to the release date."Oh, dude, I'm just absolutely so stoked," he beamed. "We worked really hard on this album. I guess every band loves their own album (laughs), but it just feels like we haven't got any fillers on there. I'm just really pumped for everybody to hear the different kind of lyrical content we're covering and hear all those fat breakdowns and killer riffs."With such a massive global response already, HEAVY mentions that the band has to be feeling a touch of extra pressure to deliver."Just having the album out is a success in itself," Kev measured. "We've always just made music for ourselves and when we write these songs, we put our everything into it. And when people hear it and resonate with it, it's fucking awesome, dude, but it's not the reason we go out there and do it. So even having the album out there… Childhood Died sat on YouTube for about a year with maybe 900 to a thousand views, and not that I don't appreciate everything that's happened, but when it was sitting there clocking up one to 10 views per week it was weird. It felt like you could put an identity to each one of those people. So you'd see it go up a little bit, and you're like, oh fuck. I hope that that specific person, wherever they are, enjoyed it. So there is a point where the numbers get so big, you can't even fathom it. It just becomes like a big number. So for us, just having this album recorded is a success and anything that comes after it, dude, that's a bonus. Do you know what I mean?"In the full interview, the discussion centred on Lost Souls' upcoming debut album, Lore, set for release on April 18. Kev expressed pride in the album, emphasizing its lack of fillers and diverse lyrical content. HEAVY noted the album's metalcore roots and its emotional intensity, which aims to resonate physically with listeners.Kev highlighted that the released singles only hint at the album's depth, which includes experimental tracks and profound lyrics. They also reflected on their recent viral success, attributing it to factors like social media dynamics while maintaining that their primary motivation is creating music for themselves. The conversation also touched on the pressures of releasing their debut album, with Kev sharing insights into the bands creative process, including a unique opening track inspired by the Library of Alexandria. We discussed Lost Souls' marketing strategy, particularly the effectiveness of animated music videos, while acknowledging the need for a balance between music production and social media management. Plans for touring were confirmed, with the band intending to wait until after the album release to schedule shows.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAcclaimed musical innovator and six-time Grammy nominee, Steven Wilson, will bring his highly anticipated The Overview Tour to Australia this November. His arrival will follow a massive run of UK, European and American dates and celebrates the release of his eighth solo album, The Overview, out now via Fiction Records.Australian fans can expect a captivating live experience from one of contemporary music's most boundary-pushing, genre bending artists. Accompanied by accomplished and seasoned veterans including Nick Beggs on bass (Mute Gods, Steve Hackett), legendary jazz keyboardist, Adam Holzman (Miles Davis, Ray Manzarek), Craig Blundell on drums (Steve Hackett, Frost) and Randy McStine on guitars (Marco Minnemann, The Fringe) this world-class line up will bring the expansive, progressive soundscapes to life in a way that can only be experienced in a live setting.The Overview is a 42-minute conceptual journey inspired by the “overview effect” of astronauts viewing Earth from space, and marks a return to the long-form progressive style Steven Wilson redefined with the iconic Porcupine Tree and his earlier solo work. Featuring two ambitious tracks and immersive spatial audio production, The Overview blends progressive sprawl with cinematic electronics and lush, immersive vibes all wrapped in spatial audio wizardry.It's a bold addition to his repertoire which also includes six Grammy nominations, three consecutive UK Top 5 albums and a string of iconic remixes for artists including, Pink Floyd, The Who, King Crimson and Tears For Fears. The Australian tour promises to be a thrilling and dynamic experience. Expect a set packed with The Overview's mind-bending sprawl, alongside cuts from his acclaimed and peerless career.HEAVY had the pleasure of chatting with Wilson, in an enlightening chat that proves why the man is so highly regarded in the music industry. One of the questions we asked focused on the length of his songs and whether the global shortening of attention spans comes into his thinking when writing."The simple answer is I try not to think about the listener when I mark art," he answered honestly. "That sounds very selfish and self-indulgent, and it is, but I've always believed that artists - if I can pretentiously call myself that - should never be thinking about their audience when they create the art, I think by definition it is a selfish act, and you just hope that people want to go with you on that journey. You hope that people will give you the benefit of the doubt. I have a fairly loyal fan base that listen to everything I do. Even if they moan about it, and they complain it's not what they want they still go with me on that journey (smiles), which I think is something that I've built up over the years, that kind of loyalty. Also, I think there's a sense of providing the alternative. There's always been this notion in pop and rock of alternative music. Providing the alternative to whatever is the mainstream at the moment. The mainstream at the moment, as you suggested, is very immediate, short, synthesized pop music. Usually sung by female solo artists. That seems to be very much the prevalent, mainstream, pop formula. So here I am kind of providing the alternative to that. There are people that want that. There are people who want to engage on a deeper level and are prepared to sit and listen to a longer piece of music. So in that sense I see myself as the alternative to the mainstream, and there's always an audience for that."In the full interview, Steve runs us through his busy schedule, tells us what has changed since his last visit, his backing band and what they bring to the live show, The Overview and how fans responded, the conceptual story it is based on and how it transpired to verse, the balance of writing long compositions in the face of people's shortening attention spans, the musical atmosphere generated in his music and the process of bringing it to life, constructing set lists when so many of his songs are lengthy and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersIt's been almost ten years since Finnish melodic death masters Insomnium last graced Australian shores, but that means nothing now with the band is set to bring their signature blend of haunting melodies and crushing riffs to fans Down Under this May.Founded in 1997 in the Karelian city of Joensuu, Insomnium first gained recognition in 2002 with their wintry debut In the Halls of Awakening. Quickly building on this with fierce death/doom juggernaut Above the Weeping World (2006) or melancholic masterpiece One for Sorrow (2012), the band surprised everyone with their sublimely beautiful, achingly forlorn Argent Moon EP in 2021, only to shed their skin once more with Anno 296 in 2023, proving emphatically that Father time has no grip on pure metal.HEAVY recently spent some time with bass player/unclean vocalist Niilo Sevanen to get the rundown on what we can expect. We start by asking what has changed with Insomnium in the eight years since we last saw them."Well, our guitarists keep changing," he laughed. "Jani Liimatainen left the band last year, or the previous year actually, and now we have a touring member guitarist, Tomy Laisto, touring with us, and he's an excellent friend of ours. Excellent player, very good singer, super nice guy. And he's kind of a permanent live member at the moment. Let's see what happens with our guitarist situation in the future. But at least at the moment, we're touring with Tommy and Australian's are going to get to witness his vocals and his playing. I can promise he's an excellent guy."For the benefit of those who may not have witnessed Insomnium live before, we ask Sevanen to run us through a typical performance."On the albums we are very serious and sad and melancholic and dramatic," he began, "but I think the live show is more about having fun. So we are having a good time there. We hope people are enjoying too. It's a lot of headbanging and good times, and we try to deliver a very energetic show every time, no matter how jet-lagged or tired we would happen to be. But once you go on stage, you forget everything, and you get your energy up and for that hour or hour and a half, you'll be on and after that, it's time to rest again. But for the shows, we give everything we've got."In the full interview, Niilo provided more details about their current tour, expressing confidence in the live performance of the new material, noting positive crowd reactions and describing the shows as energetic and fun. Additionally, he mentioned their collaboration with fellow Finnish band Omnium Gatherum, enhancing the concert experience for fans.Reflecting on the band's origins, Niilo recounted how he and Markus started Insomnium in 1997 in Joensuu, Finland, inspired by melodic death metal bands. He highlighted the vibrant 90s music scene in Joensuu, and the challenges faced by aspiring musicians today. Niilo explained the band's evolution from imitating their influences to developing a unique sound that blends progressive metal, black metal, folk metal, and doom metal.He emphasized the organic nature of their creative process, where all members contribute to songwriting and arrangements, ensuring the music aligns with their identity, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersDepressive black metal outfit GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, set to be released on May 9 via Nuclear Blast Records. The band, in their 12th year of existence, are not in the business of softening the edges. Rather, the frontman (Nameless aka Dennis Mikula) is leaning more toward his antisocial traits, serrated like a rusty knife yet beautifully honed over years of toil.HEAVY caught up with Nameless this week to get the rundown on what to expect, and start by asking how he is feeling with the release date approaching."You know, I don't really like releasing just singles," he measured. "I just want the whole album out for people to check out. But it's coming up, so I am excited to get it out there and start touring on it."He raises a good point with the release of singles, because although snippets of an album work for the most part, for band's like Ghost Bath who create a more immersive musical experience, the effects can be just the opposite."I mean, I get why it's done," he answered, "it builds hype and people will hear the single then say oh, I want to hear the whole album now, so it makes sense, but personally, I don't like to listen to just one song by a band."We ask Nameless what he was going for musically with Rose Thorn Necklace, to which he replied."Musically, I was going for my own take on depressive black metal, but more in a vein where it's like… I don't know… a little bit dancy in parts but still dark. I always try to do a contrast between beauty but with the heaviness, and that usually comes from the more melodic, pretty guitar parts contrasted with the vocals either being high-pitched shrieks or low growls. I like to play with contrast a lot, and that's kind of what I was going for."In the full interview, Nameless further discussed Rose Thorn Necklace, emphasizing its representation of his personal interpretation of depressive black metal through a blend of melodic and heavy elements. He expressed a preference for listeners to engage with the entire album rather than individual singles, as each track plays a vital role in the overall emotional experience. Nameless also shared insights into his evolving songwriting process, noting a transition from collaborative efforts with the band to independent creation for this album and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.