HEAVY Music Interviews

Interview by Kris PetersThis week the global rock underground is shifting its focus Down Under as Norwegian stoner rock prodigies Slomosa touch down for their first-ever Australian headline tour. Armed with their critically acclaimed album Tundra Rock, the Bergen-based quartet is prepared to bring a sonic avalanche to local music venues.Dubbed the "New Kings of the Stone Age" by critics, Slomosa has captured global attention by bridging continents with their self-coined genre, Tundra Rock. Their signature sound seamlessly fuses the classic, sun-baked distortion of the California desert rock scene with the icy, atmospheric weight of their Nordic homeland. The result is a monolithic wall of sound packed with Kyuss-style riff worship, grunge-laced hooks, and a relentless punk energy. This devastating live reputation is no mere internet hype; the band has already spent years leveling massive European festival stages and earning public praise from legendary heavy hitters like Helmet, Mastodon, and Alkaline Trio. This lightning-fast, three-night headline run promises to turn local rooms into sweaty, high-octane mosh pits. Joined by Australian heavy-rock mainstays Khan, the tour kicks off on Friday, 22 May at Max Watts in Melbourne, moves to Crowbar Sydney on Saturday, 23 May, and wraps up at Crowbar Brisbane on Sunday, 24 May. With tickets selling fast and Aussie fans eager to witness this sonic collision of desert heat and Arctic frost, this is a landmark debut tour you cannot afford to miss. HEAVY caught up with frontman Benjamin Berdous on his day off to find out more. We spoke about what the band are doing in their down time, their excitement to finally make it to Australia and their determination to leave everything on stage.Benjamin talked about playing smaller, more intimate venues as opposed to larger festival stages, their nightly mission when they hit the stage, mixing songs from the bands two albums into a setlist and more.Tickets www.thephoenix.auBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsMetal legends Andy La Rocque (King Diamond) and Nils K Rue (Pagans Mind) hooked up with HEAVY Mag's Ali Williams to chat about their new project Lex Legion and their new album. Joining La Rocque and Rue are Pete Blakk (King Diamond), Mikkey Dee (King Diamond, Scorpions, Mötorhead) and Hal Patino (King Diamond). Lex Legion's debut album is set for release on June 12, and while the band may be newly announced to the world, the machinery behind it has been grinding away for years. What began as riffs and ideas between Andy and Pete back in 2008 was left sitting in the heavy metal vault for a while, not forgotten so much as waiting for the right moment to come stomping back through the door wearing boots. That moment arrived during the pandemic, when the world had been forcibly unplugged and musicians, like the rest of us, suddenly found themselves staring at time like it was an unfamiliar household appliance. Pete started writing again, played some material for Mikkey Dee, and the wheels began turning. Mikkey heard something worth chasing, Andy was pulled back into the fold, and what had once been a half-shelved idea began growing teeth. From there, the lineup expanded with Hal Patino joining the project, before the search began for the right voice. There were names considered, big ones too, but Andy already had someone in mind. Having worked with Nils K. Rue years earlier, he knew the Pagan's Mind vocalist had the right kind of power, range and character to carry what Lex Legion were building. Mikkey agreed fairly quickly, apparently needing only to hear Nils before deciding that, yes, that was the bloke for the job. Convenient, really, when the singer turns out to be the missing piece instead of another three-month committee discussion.The result is a band that may be fresh on paper but is hardly operating on beginner settings. These are players with serious history behind them, but Lex Legion has no interest in being a nostalgia project or a backdoor continuation of King Diamond. Andy was clear that while the connection between members is obvious, the intention was never to clone the past. King Diamond is its own beast. Lex Legion, he explained, needed to be something separate. That distinction matters. The album carries the spirit of late '70s and early '80s heavy metal, the kind that still had grease under its fingernails and a pulse you could feel through the floor, but it is not trapped in a museum cabinet. Andy described the material as less complex and less progressive than some of the old King Diamond work, with more emphasis on flow, melody and straight-up heavy metal punch. In other words, it knows where it came from, but it is not standing there waving a faded flag and yelling at clouds.Lex Legion does not sound like a file-sharing experiment held together by Wi-Fi and optimism. It sounds like musicians who know each other's instincts, know when to push, and know when not to smother a song under unnecessary cleverness. The first single, Sleep Eternally, has already landed with a response that surpassed Andy's expectations, and with another single due before the album, the early signs are strong. The band is not rushing straight onto the road, though. Mikkey's commitments with Scorpions keep him busy through much of the year, so touring is more likely to become a serious discussion for next year. Importantly, Lex Legion is not being treated as a studio-only side quest. Andy made it clear that live shows are part of the plan when the timing lines up, and there are already ideas forming for a second album. Ambitious, yes. Reckless? Maybe a little. But metal has never exactly thrived on sensible office planning. As for Australia, Andy admitted he has never made it down here with King Diamond, though other members have done the trip with their respective bands. The prospect of Lex Legion eventually making their way Down Under was warmly welcomed, and judging by the appetite here for heavy metal with roots, weight and actual identity, there will be no shortage of people ready to greet them with raised horns and mildly concerning enthusiasm. Lex Legion now stand at the beginning of their own first chapter, albeit with a few veterans at the wheel and absolutely no need for learner plates. The debut album arrives June 12, Sleep Eternally is already out in the wild, and if the early reaction is anything to go by, this is not just a side project shuffling politely into the room. It is old-school heavy metal with fresh intent, built by people who know exactly what they are doing and, mercifully, are not interested in polishing all the bite out of it.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersGargoyle of the Garden State, the highly anticipated debut solo album from Skid Row co-founder and bassist Rachel Bolan, releases on 12 June 2026 via earMUSIC. Stepping into the spotlight under the moniker BOLAN, this record marks a monumental milestone in the musician's four-decade career. Driven by a desire to craft something entirely his own, Bolan handles the vast majority of the recording duties himself, taking over lead vocals, bass, and most of the guitar tracks.Rooted deeply in the grit, attitude, and storytelling traditions of his New Jersey upbringing, the album is a high-octane sonic journey. Musically, it breaks away from standard hair metal conventions, leaning instead into a raw, hook-driven fusion of punk rock energy and melodic sensibilities. Bolan weaves a lifetime of diverse influences into the tracklist, drawing inspiration from Britpop, glam, new wave, and 1980s John Hughes cinema, even incorporating a sitar on the distinctly pop-punk track Memory.Though it is a solo venture, Bolan shares the experience with an impressive, star-studded lineup of close friends and peers. Listeners can expect guest appearances from legendary artists like Corey Taylor (Slipknot), Nuno Bettencourt (Extreme), Steve Conte, and Damon Johnson. Furthermore, Bolan's Skid Row family - including Scotti Hill, Dave "Snake" Sabo, and drummer Rob Hammersmith - lend their talents to various tracks. Ultimately, Gargoyle of the Garden State serves as an uncompromising, honest reflection of Bolan's true musical identity, balancing serious, reflective songwriting with an undeniable, upbeat rock-and-roll party atmosphere.HEAVY sat down with Bolan to find out more, asking him to describe what he was going for musically with the album."I was just going for a raw feel," he explained. "This record sums up me and what's going on in my head, you know, and it was fun to play guitar. I played all the rhythms and the bass, did most of the singing and then had a whole bunch of friends come in and contribute, which meant the world to me."We ask why now, after more than 40 years in music, is the right time to make a solo album."You know, I didn't find the time. The time kind of found me," he smiled. "We had downtime with Skid Row while we were searching for a vocalist and I had a bunch of songs. I kept writing through the whole process and it was more it's not now or never, but now would be a good time (laughs)."In the full interview, Rachel speaks more about Gargoyle of the Garden State and the songs on it, reflecting on the two singles released to date and if they are a good sonic representation of the album as a whole. We talked about lead track Anything But You and why it was chosen as first introduction to his solo work, plus the influence New Jersey and its way of life had on the album.We talked more about the guest artists and why they were chosen, having his Skid Row bandmates on there and why, the title and where it comes from, playing these songs live and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersFor over two decades now, Escape The Fate have been one of the most recognisable names in modern hard rock, building an incredible catalogue packed with stadium-wrecking hooks, ferocious riffs and the kind of jackhammer heaviness that has kept fans coming back since their breakthrough record, 2008's This War Is Ours. The bands latest release, 2025's Redefined, once again showcases a band that comfortably moves between crushing heaviness, soaring choruses and anthemic rock moments like true masters of their craft.Australia has always held Escape The Fate close to their hearts with the bands fanbase being one of the most loyal in the world, patiently waiting three long years for their return. That patience will be rewarded with a live show packed with fan favourites, massive singalongs and the kind of explosive energy that has defined Escape The Fate's reputation as one of the greatest live acts of their era.HEAVY sat down with drummer and founding member Robert Ortiz to find out more, asking him what has changed with the band since their last visit three years ago."I can't believe it's been that long," he almost apologised. "That's insane. Mainly it's just the dynamic that has changed. The vision, the devotion, the hard work, the dedication, as Floyd Mayweather always used to like to say. We're very excited about the new album. We spent the majority of the last two years writing, recording and relaxing a little bit. There's been some stuff where, personally, I had to deal with a couple of things with my family and some loss and things like that, but I spent time with my daughters and all that kind of stuff while working on new music, which we're so incredibly excited for."In the full interview, Robert emphasized Escape The Fate's energetic, authentic live presence and praised guitarist Matty's musicianship, contrasting current purpose-driven touring with earlier, less focused periods. He recounted recent touring with Lacuna Coil and audience engagement varying by market. He also summarized the band's origins in the Las Vegas scene and how regional club touring shaped their development.Robert described their most recent single Deja Vu as lyrically focused on vocalist Craig's sobriety and recurring fears and musically introducing a darker digital element. He said the single signals the album's direction but does not represent the whole record. The album is characterized as the band's most cohesive to date while stylistically diverse, containing a full thrash song featuring blast beats and double bass, some pop-leaning tracks that retain dark tones and plenty more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAustralia's own Rose Carleo Band returns with a bold, soul-stirring new album, 42 Days, out now. A deeply personal and sonically rich collection, this release captures the very essence of resilience, transformation, and raw human emotion.Fronted by acclaimed vocalist, songwriter, and next Queen of Rock Rose Carleo, the band has carved out a reputation for blending blues, rock, and roots with heartfelt storytelling. Joining Rose is a powerhouse line-up featuring guitarist and co-writer Mick Adkins, bassist Bill Kervin, and drummer Mick O'Shea. 42 Days marks a defining chapter, an album born from a period of intense reflection and creative rebirth.Leading the release is the focus track, 42 Days, a powerful centrepiece that encapsulates the spirit of the record. Driven by Carleo's commanding vocal performance and anchored by gritty instrumentation, the track explores endurance, healing, and the emotional weight of time. It's both deeply personal and universally relatable – a song that lingers long after the final note.HEAVY sat down with Rose Carleo to find out more, starting by asking how she is feeling with the album finally out."Over the moon," she enthused. "It's finally here. Yeah, really, really happy. It's a very personal album, as I guess all albums are, but this is especially. And we had to put it off for about six months due to some commitments I had earlier last year and here it is finally."We ask Rose to describe the album musically."It's an honest album," she replied. "It's an album full of emotion and I guess real life experience. And it's a rock and Bitchin' Blues rock album, I reckon that's sort of how we feel about it. We're not just blues, we're not just rock, we're not just heavy rock, we're a bit of everything, so we like to call it Bitchin' Blues rock."In the full interview, Rose described 42 Days as a personal record blending hard rock and blues she calls Bitchin' Blues rock, with the opening track You Ain't Foolin' Me selected for strong impact. The album was delayed about six months because of earlier commitments. Rose said the record lacks a single defining track due to its eclectic mix and that surplus recorded songs allowed careful sequencing.We spoke about Rose's appearance on The Voice and how it influenced the album, her journey through music, upcoming shows and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersRising rock force Bailey Spinn is casting a spell with her hypnotic new single, “Voodoo,” out Friday, May 15. Dark, addictive, and laced with attitude, the track leans into a moody rock soundscape built on pulsing production, gritty guitars, and Bailey's signature bite. Co-written and produced by Jon Lundin (FEVER 333, State Champs, Senses Fail), “voodoo” captures the intoxicating push-and-pull of parasocial relationships. With its haunting atmosphere and cathartic chorus, the track feels tailor-made for late-night drives and scream-at-the-top-of-your-lungs moments alike. “Voodoo” follows Bailey's biting anti-Valentine's Day anthem “Homicide,” along with standout singles “Critical” and “Fear Of Going Out,” which earned praise in the press and showed the artist venturing into heavier sonic territory. Artists such as Bailey Spinn are pivotal in bridging the divide many younger listeners find between pop music and the heavier elements, with their deviations into heavier landscapes lessening the blow felt by some growing musical tastebuds when it comes to rock and metal. Bailey is perhaps at the forefront of the current transition, mixing pop, punk, rock and attitude into an easily digestable sonic experience that acts as an ideal stepping stone between a plethora of genres.HEAVY sat down with Bailey to discuss her new single Voodoo and her shift into heavier territory."I definitely like to do a little bit of metalcore," she smiled. "I like to get as close to a metal song as I can, but I also don't know how to scream so I love to teeter on the line of how far can I go without screaming (laughs). There's a really heavier, breakdown bit - as I love to do - and I really wanted to do something dark and a little bit scary. A lot of my imagery for the song was haunted and a bit scary, kind of based around a voodoo doll."Voodoo continues Bailey's recent flirtation with heavier music, leading HEAVY to ask if it is a conscious shift towards such elements, orif it has been more of a natural progression."I think it definitely was a conscious shift," she nodded. "I had tried to put some heavier songs on the past album and they didn't really feel like a good fit at the time. When I was writing the new stuff, I kept trying to do pop rock and it just wasn't sitting with me as much as it used to. I had been really diving into listening to heavier music and going to a lot of heavier festivals myself, and what I was inspired by was very different from what I started out being inspired by. Avril Lavigne and Paramore moved to (bands like) Bring Me the Horizon and Pierce the Veil and Motionless In White and started veering more heavy than poppy. So I decided I wanted to try heavier and I loved it. The first song, I just felt right when I did it. I was like, I think this is the right step for me."In the full interview Bailey discusses Voodoo in greater detail as well as her gradual shift into heavier music. She describes her influences and how they have impacted her music, including the use of breakdowns in her songs.Bailey addresses the potential for younger, existing fans to be confused at her shifting between genres, as well as the importance of staying true to yourself and inviting listeners to experience such changes with you. She discussed her new album and how the three singles released so far reflect the overall sonic structure of the album, as well as the personal nature of her lyrics and how they connect with her fanbase.Her transition from TikTok personality into cover songs and ultimately original music was discussed, including different demands each platform can create and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Cecilia Pattison-LeviSince launching her solo career, Tarja has consistently charted internationally and built one of the most loyal fanbases in the genre, willing to follow her in every new adventure.Across more than two decades, Tarja has released a highly successful catalogue, reaching the Top 10 of multiple European album charts and establishing herself as an artist of rare consistency and presence. Her live performances have become a defining element of her career: touring worldwide and appearing as a celebrated guest at major metal festivals, Tarja creates a powerful and emotional connection with audiences, turning every show into a memorable experience.Tarja will release her new album Frisson Noir on June 12, an album which reflects her ongoing dialogue between cinematic orchestration, classical heritage, and the power and intensity of contemporary metal. The album moves between intimate piano passages, dramatic orchestral textures, and powerful guitar-driven moments, creating a sonic tapestry that enriches the experience.At the center of the soundscape is Tarja's distinctive voice, moving effortlessly between fragile emotional expression and operatic power. Around it, orchestral arrangements, choirs, and layered instrumentation create a cinematic world that constantly shifts between darkness and light, exploring deeply human themes such as fear, beauty, nostalgia, resilience, defiance, transformation, identity, disappearance, independence, trust, and perseverance.HEAVY sat down with Tarja to discuss the album in greater detail. Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersKnown for redefining genre boundaries, Prompts have built a reputation for masterfully fusing elements of nü-metal, mathcore, djent and deathcore, crafting a sound that is entirely unique to them that feels both experimental and refined. With members hailing from both Japan and South Korea, the band's dual heritage continues to shape their distinctive sound - a melding of contrasting influences and cultures.Continuing to prove themselves as one of metals most exciting up and coming acts, Japan-based metalcore outfit Prompts tread new ground on silky smooth new single "Death of Me", out now via Greyscale Records in partnership with Papercut Records (US).Leaning into a more subdued and atmospheric direction, "Death of Me" sees the band trade thrashing undercurrents for a slow-burning sense of yearning. The track lingers and aches, built around a deeply human contradiction - the kind of love where wanting the best for someone means convincing yourself to walk away. "One part of you swears letting go is the right thing to do, while the most honest part of you is quietly begging for the exact opposite," says the band. Ultimately, "Death of Me" unfolds as a confession confronting vulnerability and embracing softer truths. "It is about finally facing the softer, weaker parts of yourself you were trying to hide, and admitting that all you really wanted was to stay close to the person who never left your heart.”HEAVY sat down with frontman PK while he was in Australia as guest vocalist for Crystal Lake to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Scarlett Myors (12 years old)Music and musical tastes are very much an individual and personal thing, with heavy metal and hard rock being more of an acquired taste for the younger generation rather than a natural progression.Put simply, it's not easy to steer the youth of today down a path to harder edged music, especially when competing with things like K-Pop and the likes. But music can also be a transitional thing, with different gateways and inroads into new genres often coming from within. There are many bands/singers with more pop leanings that dabble in harder music, thus inviting their fans - many of whom are in that younger age demographic - to taste the sonic pleasures inherent in heavier music.One such artist is Bailey Spinn, a singer with a massive global following that also has rock coursing through her veins. Starting with last years track Critical, then Homicide earlier this year, Bailey Spinn has embraced subtle elements of hard rock, progressively showcasing a darker, harder edge to her music without pushing her existing envelope too far.That flirtation continues on Spinn's latest single Voodoo, which is released this Friday, May 15. Another step further into rock territory, Voodoo perfectly encapsulates the growing corrolation between pop and rock music without becoming too dark to alienate her existing fanbase.And what better way to showcase that musical transition than through the thoughts and feelings of one of Bailey Spinn's younger fans? Which is why HEAVY booked some time with Spinn to discuss Voodoo, with one of her fans - 12 year old Scarlett Myors - exploring the new song and more. She started by asking what the inspiration was behind Voodoo."I decided to make Voodoo because I had an old friend who was doing some shady stuff," Bailey smiled, "and I wanted to get my feelings out there. I really like to write songs to get over it and we've all had a bad friend once in a while so I wanted to write it all down and get it off my chest. I love making heavier music, so I wanted it to feel a little spooky and scary with kind of BabyDoll vibes. I made a teddy bear for the visual stuff that's coming out very soon, so I just wanted to talk about my experience with that person and how they were stalking me on lione. It's very easy to stalk people on the internet nowadays (laughs)."In the full interview Bailey talks about what made her want to be a singer, the inspiration for her songs and music, who she would love to collaborate with in the future, words of advice for aspiring musicians, future goals and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsIf there's one thing metal fans adore, it's passion — and talking to Yoth Iria's Nikolas and Jim (the legendary Jim Mutilator, no less) proves the Greeks have it in spades. Despite what might be the most lag-ridden Zoom call in human history, we all the patience of monks and the enthusiasm of headbangers at their first gig. And managed to have a conversation bursting with humour, honesty, and riffs of wisdom about their latest album, the evolution of Hellenic metal, and why live music is the truest form of human connection. Yoth Iria's sound is best described as new wave of Hellenic darkness— unmistakably forged in the fires of the Greek black metal scene — continues its ascent with new album which was unleashed late last week. Jim describes it as “the new wave of Hellenic black metal”, but with experimentation that stretches far beyond borders. The record blends everything from gothic metal and thrash to traditional Greek folk motifs and the odd splash of punk — a sonic gyros with a side of dark melody. Nikolas adds with a grin that the secret to their evolution lies in balance: “You have to keep your identity but explore new worlds. You can't just replicate yourself forever — that's not art, that's photocopying.”There is undeniable chemistry behind the chaos, and artistic chemistry, seems to be their real superpower. Jim and Nikolas compose like siblings who occasionally disagree but always end up laughing about it over beers. “We're different in style,” Jim admits, “but that's our secret to success. It's the difference that makes the music breathe.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Australian filmmaker Chris Sun has spent over 15 years building a reputation in the horror world crafting brutal, unforgettable films like Daddy's Little Girl, Charlie's Farm and BOAR. Now, he's turning that same cinematic intensity toward a new frontier: music videos. With the launch of Sun Entertainment, Chris is stepping into the global music scene with one clear mission — to give artists bold, high-impact visuals that cut through the noise.What started as a small, passionate setup with his son Kyle has rapidly evolved into a full-scale production powerhouse. Today, Sun Entertainment is backed by a team of producers, editors, set builders, and creative artists, many of whom have worked alongside Chris on his feature films. The result? A crew that knows how to bring big-screen energy into the world of music.“We want to be able to shoot incredible music videos at almost any budget level,” Sun explains. “From simple performance shoots to full cinematic story-driven productions it all comes down to the artists' budget and how far they want to push it. We'll meet them there.”That flexibility is a huge part of what sets Sun Entertainment apart from other production companies. While many directors lock into one style or genre, Chris is flipping that idea on its head. Despite his horror roots, he's making it clear this is about all music. All artists. All visions.“I'm not here just to shoot horror-style clips,” he says. “If you've got a song and a vision, I want to bring it to life no matter the genre.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceOne can't overstate the size of the FEAR FACTORY boot print on the neck of heavy metal. Unleashing influential albums with devastating anthems for 35 years now, they are widely recognized as both crucial and innovative in extreme metal circles. FEAR FACTORY manufactured, demanufactured, and remanufactured a sound that reverberates across several subgenres. They perfected an explosive blend of staccato paint-stripping riffs, industrial- tinged drums, electronic flourishes, and a scream/sing dichotomy, all of which became staples in heavy music, ever since the group first emerged in L.A.Celebrating 35 Years Of Fear, FEAR FACTORY are dialing in a Cybernetic Domination of Australia for their first full headlining tour in 10 years and finally for New Zealand, they perform for the first time since 2012!The signature sounds, concepts, and passions remain, as FEAR FACTORY salutes its past, present, and future. HEAVY caught up with guitarist Dino Cazeres to find out more."We've been coming to Australia since 1993," he began. "This is gonna be our 15th time there, and I can't wait to get there. We have a huge catalogue of songs to sift through and create a perfect set for a killer live show in Australia."Fear Factory often deal with subjects of dystopia and control, the rise of the machines being a dominant landscape. Which begs the question, does Dino see the world today as closer to those themes than when the band first started?"100%," he nodded. "And I believe we are at fault, you know what I mean? We're the ones who are allowing this to happen. Sure, there are higher people who are making these kind of executive decisions and developing this technology, but a lot of the stuff that we sang about in the past has definitely come to fruition, and it's just… this technology's gonna keep on evolving."In the full interview, we covered Fear Factory's current creative state, touring plans, and forthcoming releases, with Dino explaining his songwriting and performance perspective. Dino described himself as a rhythmic writer who composes riffs with drum patterns in mind and said he writes whatever he feels, whether melodic or brutal; he noted his performance approach and enjoyment of entertaining fans remain consistent with his work since the 1990s. The conversation addressed touring improvements, and emphasized that studio collaboration keeps the project enjoyable and motivating. Dino confirmed that new singles and a new Fear Factory record will be released soon and directed fans to fearfactory.com for tour dates and VIP packages and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersMagic DOES happen!Weary Wizards Federation are coming back after a brief slumber and have declared a welcome home party for one and all Mo's Desert Clubhouse on May 16. While your attendance stops short of being compulsory, if you're NOT there you will miss out on not only the Wizards' first live performance in over 365 days, but also the debut show from the fresh assortment of Wizards who now call the stage their home as part of Weary Wizards Federation.The Weary Wizards Federation have awoken from hibernation and are ready to once more unleash a thunderous sound rich in sonic beauty. And what would a welcome home party be without a few friends? Pretty boring that's what! So to ensure everybody enjoys themselves Chase the Wolves, Birds are Fake, and Dirty Jox have all sent in their RSVP's with a promise to do justice to this momentous occassion.Even better, you can bring your aspiring Wizards and Enchantresses because the whole celebration will be open to music lovers of all ages. To catch up on all of the spellbinding happenings, HEAVY nailed down the man behind Weary Wizards Federation, Robert Nixon. One topic of discussion is preperations for the comeback show and how Robert is feeling only a week or so out."It's been a really interesting change for me," he measured. "From going from the previous members who were guys that have played in multiple bands and were very much familiar with playing on stage and in a band setting, to now, our new drummer Tom, it will be his first time playing in any kind of band. And the first time getting up on stage in front of a live audience. But he's stoked. He's pumped as. It's great for me - I have been doing this since I was 16 or 17 - so to see a guy doing his first show and to be lucky enough to get to do that at somewhere like Mo's Desert Clubhouse… We've struck it pretty lucky to be honest."In the full interview, Robert talks more about the show and what to expects. He talks us through the three other bands playing - Dirty Jox, Birds Are Fake and Chase The Wolves - and what they bring to the table. We talk about the lunchtime start and the fact it is an all ages gig and the benefits of that to the next generation of music lovers plus the diversity of genres across all four bands.We spoke about the re-recorded version of the band's 2023 debut EP and what to expect from that, including a brief history of Weary Wizards Federation and their plans moving forward plus more.Weary Wizards Federation play at Mo's Desert Clubhouse, Saturday, May 16 with Dirty Jox, Birds Are Fake and Chase The Wolves. Show starts at 12 pm and is an all ages event.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersA band who transcend genre and have transfixed fans across the globe since emerging in 2003, ENTER SHIKARI weave an unforgettable blend of post hardcore rock and electronic wizardry, while also flying the flag for meaningful lyricism that spans politics, climate change and the very gamut of the human experience.During their remarkable and celebrated career, Enter Shikari have received several accolades in the form of gongs from NME, Kerrang!, Rock Sound, Heavy Music Awards and more. They have played a whopping 3000+ live shows around the world including three headline arena tours in the UK, supported the likes of The Prodigy and Linkin Park and played festivals such as Glastonbury, Reading & Leeds, Download and Slam Dunk where they also headlined in 2023.And now it's Australia's turn, as Enter Shikari ready for their first headline tour of this country since 2022 on the back of dropping their most recent album, Lose Your Self, as a well kept secret with no singles, no promotion. Nothing. A band who have never been afraid to shun convention, Enter Shikari remain as fresh and relevant today as when they first burst onto the scene in 2003. HEAVY took the opportunity to chat with frontman Rou Reynolds ahead of the tour, starting by asking if he is packed and ready to fly. "Getting there," he laughed. "We're all very excited to get back to Australia. It's one of our favourite places to play."Australian fans got to see Enter Shikari live earlier last year as part of Knotfest 2025, so we ask Rou what has changed with the band since that tour."Oh, blimey," he countered. "We finished up our record and released that. That was a long, arduous process (smiles). All sorts of life stuff has been going on… It's been all change really. But at the same time it doesn't feel like that long ago we were in Australia but that's an example of how quickly time seems to ebb away at the moment (laughs)."Talk turns to last months unconventional release of Enter Shikari's new album Lose Your Self, which was granted no advance publicity or convential single release schedule and was instead set forth on the world to little fanfare and much surprise. We ask Rou about the thought process behind such a potentially risky move."I think once we finished the album we really saw it as a body of work; as one entity," he replied, choosing his words carefully. "And that was kind of a shock really, because the album was recorded in such a disjointed way over a long period of time. There was a worry that it wouldn't come together as one solid body of work but it did, quite effortlessly. At that point we were trying to think how did we want to release this and we basically just thought it would be a credit to the art of it if we just released it. How do we want people to approach this album? How do we want them to absorb it? And I think the traditional way of releasing three or four singles before a reord just didn't excite us. I think just dropping a record in people's laps forces them to take it in as an album. The focus then becomes not about the hype or trying to make a really successful album. It actually becomes about how do people react to the album? How do people indulge in it and make it their own when they take one body of work and immerse themselves in it. That's really exciting to us."In the full interview Rou talks more about the tour and what we can expect, running us through an Enter Shikari live show and the synergy between the band and the crowd that creates a welcoming and comfortable experience.We spoke more about Lose Your Self and the surprise release, including the changes in approach and pressure the band experienced by not having to meet pre-album obligations and expectations. Rou talked about the darkness inherent in the album material and how it represents Enter Shikari moving forward and much more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersHillbilly Vegas' dynamic sound caught the ears of an independent label in Nashville in 2011, and their first album Ringo Manor was released and sold more than 10,000 copies – driven by the hit single Little Miss Rough and Tumble.The band has gone onto chart five songs on Billboard's Rock charts, including Let It Ride – which remained on the chart for 13 weeks and reached #10, Feels Good, High Time For A Good Time, Hell To Pay, Two GunTown, and fan favorite Shake It Like A Hillbilly. The band has earned a reputation for rousing live shows-bringing a loud, party-like atmosphere that is all-inclusive.They've shown they have a broad appeal across different genres, pleasing crowds while performing shows with rockers Blackberry Smoke, The Kentucky Headhunters, Wolfsbane and Ted Nugent; along with country icons Alabama, Travis Tritt, Blake Shelton, and Wynonna Judd. Hillbilly Vegas has played before huge crowds at NASCA Revents, as well as many major bike rallies, including the legendary annual Sturgis Motorcycle rally.They have a strong UK following, and have played the Maid of Stone and Steelhouse festivals.Now, Hillbilly Vegas are set to raise the stakes even higher with the release of their new album A La Mode, slated for release this Friday, May 8. With everything you love about Hillbilly Vegas and fresh characteristics that expand their sound even further, A La Mode epitomises the rock and roll spirit unlike anything you have heard in recent memory.HEAVY sat down with vocalist and original member Steve Harris to find out more, starting by asking how he is feeling about the release."We feel good about it," he enthused. "We like what we've done. The name A La Mode is a silly name, but it's a fun name. We hope that everybody enjoys it as much as we enjoyed doing it."We ask Steve to dive deeper into the musical side of the album."Well, I wish I could say there's a bunch of deep meaning in it," he smiled, "but we just write songs and when I hear the music that the guys start writing, I just... Sometimes it tells a story, sometimes it paints a picture, and then I start writing from there. I do a lot of observational stuff, and people I know are just things I've seen, and there's a lot of things on there. There's a good story in every song, even the silly ones, and we hope everybody finds their story in our story."In the full interview we covered Hillbilly Vegas' new album A La Mode, its musical character, notable collaborations, and upcoming touring plans. Steve introduced the band lineup and described the record as a mix of ballads, heavy rockers, country, and boogie-woogie, explaining the title reflects the idea that “everything's better with ice cream” rather than any title track. He also highlighted the single Mr. Midnight, noting Paul Rodgers contributed vocals, appears in the song and video, and was praised as a defining rock voice and a generous collaborator.The conversation then reviewed the band's origins and early Nashville experience, with Steve saying the Nashville songwriting-factory environment conflicted with their broader rock-and-roll approach. He recounted how their first radio play led to a Nashville record deal. Steve also announced a U.S. summer tour planned for June–August, the band's first U.S. tour in three years, and noted several of their top streaming cities are in Australia and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThis Friday, May 8, California's legendary iconic band Social Distortion release their eighth studio album, Born To Kill, via Epitaph Records.Born To Kill is more than the conclusion to a 15-year wait between Social Distortion albums, it's a revelation: 11 songs of pure, unadulterated rock 'n' roll fury, joy and catharsis, all imbued with the signature blend of defiance and world-weariness that has made founder Mike Ness a poet and sage to the dispossessed for more than 40 years.The first Social Distortion album since Ness' recovery from a bout with cancer, Born To Kill brims with aggressive optimism. The album wastes no time letting the listener know where its heart is, with its title track and mission statement dropping nods to Lou Reed (Rock 'n' Roll Animal gonna come your way!) and Iggy and the Stooges (“The agenda is yeah to Search and Destroy”) and a homage to David Bowie (“It's a Rock 'n' Roll Suicide”) following a few songs later on Partners In Crime.This is a man, a band and a record that wear their influences proudly while creating timeless anthems and ballads that both chart Social Distortion's path forward and celebrate its storied past: Tonight and The Way Things Were are emotionally charged reminiscences in the vein of classics like Story of My Life from the band's eponymous 1990 breakthrough and I Was Wrong from 1996's White Light, White Heat, White Trash, the latter containing a potent distillation of the Social D ethos: "I wrote a song with a stolen riff / If you ain't got a song you ain't got shit.”HEAVY sat down for an interesting chat with Ness about the new album, the history of Social Distortion and much, much more. One of the early questions was about expectation and if he felt any outside pressure due to the length of time since 2011's Hard Times and Nursery Rhymes?"I mean, a little bit," Ness measured. "I mean, I didn't mean for 15 years to go by, but a lot of things in life came up in the last 15 years. But I did know it was definitely a thought in the forefront of my mind that when it was time to make this record, it couldn't be a sleeper. It needed to be... it needed to get people's attention."We ask Mike to dive deeper into the musicality on Born To Kill and what he was going for this time around."With every record you want to try and reinvent yourself," he replied, pausing to reflect. "But for me it was as simple as just going back to the late 70s and the music I was listening to, just to inspire me. It was a chance to pay homage, if you will, to some of my idols and play around with some different grooves and rhythms. I tried to go back to a little bit more primitive style. Primitive is good (smiles)."Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Wheezing new life and enjoyment into the current Australian heavy music climate, the arthritic riddled retirees known as GOPHER have released their astonishing, must hear debut album Tunnel Buddies.Featuring the forever young looking and current world mahjong champion Ernie Bingo on vocals, and perpetually complimented by the effervescent ladies man Ned Smelly on guitars, they prove without a doubt that you are never too old to hail the horns and bang your head. Even if it is fused to your neck.GOPHER's infectious debut album Tunnel Buddies knits together a cohesive fusion of knee wobbling groovy grind, back breaking death/slam, slinky massaging synths, sedating sing along anthemic choruses, and most importantly FUN! Like a bit of diversity in your heavies and looking for something new to gnash your gums on? GOPHER, unlike Australia Post, delivers!To coincide the album's release is a brand spanking new single and video for their about to be shindig hit Party In The Sky - a tale of guitarist and scrabble shark Ned Smelly's passion for guzzling grog on flights and expertly making the time whizz by. Ned states, ‘When you're up in the air for hours on end and with only shitty modern-day entertainment on offer, what better way to kill the time than drinking the plane dry, charming the hosties and passing the fuck out. We've all got a plane face and my ancient wrinkly noggin is the best of ‘em! This splendid ditty kicks off with a catchy synth intro before launching into an all-out groove riff spread and then cleverly leading into an all-time party sing along anthem. Get your boarding pass and come ‘Party In The Sky' with us."Disturbed by the happenings with Gopher's sudden rise through the ranks, HEAVY tracked Ned down at his tropical hideaway to figure out whether or not to take Gopher's threats seriously. But first we thought we would compliment him on how good he looks today."Look, when you're this old, everything freezes up," he spat back, possibly not believing I was being genuine. "Your muscles are fucked. Everything's just gone to shit. So I'm doing the best I can with what I've got to work with, you know? It's not easy. We do what we do. 250 years old, man."We turn our attention to Gopher's new single, Party In The Sky, with much the same result."Yes. Yes," he nodded. "We like to party. We like to drink every day and smoke dairy and not do much else. We'll play guitars and write some music and do this crazy stuff. But yes, that's what we do. Flying in a plane is really boring, so what better way to pass the time than just to get really pissed, drink the plane dry and just pass the fuck out and voila, you land and you're good to go. Well, not so good, you're shit really, but at least you slept those six hours and then the time's gone."In the full interview, Ned described Party in the Sky as party metal about partying on a plane, explaining the song's themes and the video concept of staged on-the-road misbehavior, and positioned the album as a mix of metal subgenres with heavy riffs, synth elements, and singalong choruses.We talked about the past, present and future of Gopher, digging holes in Indonesia and their fun first ethos and attitude to music. Ned went off track more than a few times, but when he regained his focus we talked more about the musical side of Gopher's music, what they hope to bring to the music scene, playing live and much more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersHZED is a powerhouse riff-driven rock band hailing from Melbourne, Australia, known for their high-octane energy and authentic, rock drenched sound. The band's current lineup features vocalist Tenaye, guitarist Spruce, drummer Sam, and members Hannah and Piddo.Musically, HZED is defined by raw, "in-your-face" rock anthems. Their songwriting process often begins with a riff or track idea from Spruce, which is then passed to Tenaye to develop lyrics and a  vibe. This collaborative approach has resulted in standout tracks like No Colour and the hard-hitting single Heartbreaker.Following the release of Rising Up Above in March, HZED today release their new single Say Whatcha Want. Produced by Rusty Brown (of the legendary Electric Mary), the track is a masterclass in short and punchy rock and roll. To turn the heat up even further, HZED recruited Aussie rock icon Dave Leslie (Baby Animals) to lend his signature searing guitar work to the track, creating a high-octane collaboration that demands to be heard at maximum volume.HEAVY caught up with Spruce ahead of the release to find out more."This one's a bit heavier and faster than what we've done before," he began, "and a bit more in your face. It's a bit more punk rock as well. We had Dave Leslie jump on board and do some guitar work on there for us as well, and Rusty (Electric Mary) produced it as usual so it's pumping."In the full interview we discussed musical and production details for the new song. Spruce described the single as heavier, faster, and more punk-influenced, noting guest guitarist Dave Leslie's contribution, and credited producer Rusty Brown for mentoring and improving their songs since 2021. He confirmed two immediate single-launch shows on May 2 in Collingwood and May 8 in Frankston, with ticket links available via their socials and Linktree. Spruce also outlined plans for an EP and two additional releases around October and the end of the year, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

THE WATERBOYS make their long-awaited return to Australia and New Zealand in May 2026 their first tour in over a decade.Led by the incomparable Mike Scott and critically acclaimed as one of the best live bands on the planet, the 2025 band also features double keyboard players Brother Paul from Memphis and James Hallawell from Cornwall and is grounded by killer Irish rhythm section Aongus Ralston (bass) and Eamon Ferris (drums).THE WATERBOYS will be performing tracks from their audacious new album, Life, Death and Dennis Hopper: a bold, cinematic tribute to the maverick American actor and cultural icon, along with material across their storied catalogue. From the early "big music" of The Whole Of The Moon and classic album This Is The Sea through to the roots-inspired Fisherman's Blues era and music from their ambitious post-2015 output.HEAVY sat down with Mike for a chat ahead of the tour, asking him about The Waterboys reputation as one of the best live bands on the planet and what it is about their performances that makes them so special."Well, they're always different," he shrugged. "We don't repeat the show. We improvise on stage and I like being able to to take a left turn in the music anytime that it occurs to me. I like to do what the music tells me and I get instructions in the moment when we're on stage. I get a little sort of advanced notice in my mind of what the next phrase or the next musical action is going to be and I like to go with those and obey them basically, and it's wonderful to have a band that can deal with that and that likes to improvise themselves.All the band members are able to make up their own parts and to head off into something they've never done before. And I like that. I think that unpredictable quality and the sense of excitement that you get when something unforeseen happens and it's magic... I think that helps bring people back to see us again and again. Also we play with a particular intensity, I know we do. We play with our lives."In the full interview, Mike talks more about what we can expect from the shows and runs us through the changes in the band since they toured here last. We discussed the virtues of having two live keyboard players and how it enhances their sound, as well as most recent album Life, Death and Dennis Hopper and how it was received.We run through the concept and how easily it translated to music, running through two of the albums songs and finding out the story behind them. Mike took us back to the early days of The Waterboys and the musical climate that gave birth to the band, emphasing their musical evolution and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersCrispy Danger isn't just another new band. Formed in Birmingham in 2025 at the Back to the Beginning Festival, and residing in Melbourne, Crispy Danger's soul comes from a heavy metal heritage, yet their music combines riff driven rock with catchy pop sensibilities and hard hitting lyrics, carving out a genre unique to themselves.Fronted by brother/sister duo of David Rex - vocals, guitars and Michelle Maxx - bass, Crispy Danger is completed by Frankie Demuru on drums. With all three sharing a love of different musical genres the resulting sonic impact is confronting, eclectic and... fun.Their debut single Outta Control is a catchy blend of rock, metal, and dark wave, best described as “heavy metal disco”. The single features a killer bass groove, raspy spoken verses and catchy sung choruses all set to disco beats and hip-hop inspired rhythms, with Crispy Danger promising this is only the tip of the iceberg.HEAVY sat down with siblings David and Michelle to find out more."It's it's an interesting track," David measured. "We went for something a little different sounding I think to a lot of bands, going for vocals that are almost spoken, almost rapped, and then the choruses just kick out to a proper heavy metal sung chorus. It's quite catchy."Outta Control is the musical equivelant of just that, with a lot going on within that one song musically. Crispy Danger bounce dip their toes into funk plus there's some pop sensibilities and heavy riffs, guitar solos and a hell of a lot of groove, begging the question of where did it come from and how difficult is it to get the balance right?"I think the most important thing with a song like that is not to go overboard with each part," David replied. "If you actually listen to it there's only a few instruments playing at each time. Then the whole band sort of kicks in. And then when the verse starts, it is just bass, drums, vocals. There is nothing else. It lets the vocals set forward and then it kicks up a notch for the chorus with the whole band kicking back in.""And it kind of builds up," Michelle added.In the full interview, David and Michelle go deeper into Outta Control, describing the track as groove-driven with spoken/rap-style verses and heavy sung choruses, characterizing their sound as "heavy metal disco". They explained why the recording took place in Melbourne and the mix was done in Los Angeles by Chris Lord‑Alge, citing Lord-Alge's track record with established artists such as Green Day, My Chemical Romance and Rise Against.We spoke about why this song was chosen to introduce Crispy Danger to the world and if it is an accurate snapshot of what to expect from future releases. The accompanying music video was mentioned, with the band running us through the old school style and approach to most things they do, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersBLACK FLAG, the American band formed in 1976 in Hermosa Beach, California, has turned a new page and begun a bold new chapter with the addition of three new members: Max Zanelly (vocals), David Rodriguez (bass), and Bryce Weston (drums), joining founding guitarist Greg Ginn.With a fresh lineup - and their first ever female vocalist - and renewed creative energy, BLACK FLAG is gearing up for exciting live shows and new music production. The group has already begun writing and rehearsing together, building on their signature sound while embracing new influences brought in by the latest members.In what is an exciting new era for Black Flag as they enter their 50th year, Max becomes the first female vocalist for the legendary outfit, bringing with her a youthful exhuberance and passion that Ginn says is infectious and vital to the bands sustained career. The fact this is her first time ever fronting a band has not seemed to faze Max - aside from her wanting to return to the venue of her very first show in Bulgeria to do it all over again.Ginn tells this story and more as HEAVY catches up with him weeks out from Black Flag's May Australian tour."Oh, they bring so much," he enthused when we ask him about the three new band members. "First of all, I just love playing with them. I think it's the best the band has ever been and certainly I'm enjoying it more than ever. One thing I wanted to do was get people that live close and David and Bryce live very close. So we can get together and we've been able to work on a lot of songs. And they're just incredible musicians. Max, she's just incredible. It's the first band she's ever ever sang in, but she's just excellent."We bring up the fact that all three are young musicians, not even born when Black Flag were at their peak, and ask if that was a problem when it comes to relating to the band's music and legacy."Yeah, but that doesn't matter," Ginn shook his head. "I think our songs aren't really attached to a particular time in terms of the themes. They're about personal stuff. Real stuff. Real people. Real feelings. Real situations. A lot of our fans are younger. It's amazing how many young people are in our crowd. It doesn't make any difference. If people are involved with the music, I don't see it as being from a period, a particular period of time. But I know people can think that, and some people before they see us play they might think that, but generally not afterwards."The full interview reviewed Black Flag's upcoming Australian tour, with Greg outlining the concert format as two long sets of roughly 50–55 minutes with a short intermission for meeting fans and selling merchandise.Discussion turned to personnel: Ginn introduced the three new members in greater detail and explained the choices were driven by musicianship and availability for heavy touring. Ginn noted Max had limited prior band experience but was selected because she fit best, and that rehearsal and touring have increased her confidence. The group plans to mix songs from across Black Flag's eras rather than segregating material by period for the shows, with Greg expressing excitement to be coming back. We spoke about the early days of Black Flag and the musical climate that gave birth to the band, the genesis of the famous band logo and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersSydney's genre-defying rock titans, HELLIONS, are celebrating the 10th anniversary of their ARIA-nominated, career-defining album, Opera Oblivia, with a massive Australian tour in May 2026. Full details below.Opera Oblivia is the album that smashed expectations, redefined the boundaries of Australian heavy music, and delivered a phenomenal #4 debut on the ARIA Charts. Declared a "genre great" by the wider music community for its sheer theatricality and ambition, Opera Oblivia cemented HELLIONS's reputation for innovation and audacious songwriting. From the explosive, anthemic hooks of 'Quality of Life' and 'Thresher' to the intricate, dramatic beauty of its theatrical movements, this record is a modern classic.HEAVY sat down with frontman Matthew Gravolin to talk more about the album and tour. One of the things we ask is if the band had any difficulties learning the whole album to play live, given that when they wrote it initially chances are there was no plan to ever have to reproduce the entire release."We have done it once before," he measured. "I think it was in 2016 at the Oxford Arts Factory in Sydney, from memory. We did that record front to back. Obviously, it was a very long time ago now, so I can't remember how it went. From a vague memory it felt good, and obviously it has been a very long time now, and there were some things that we hadn't anticipated playing live so there are a couple of little challenges in there. But for the most part what we have rehearsed at the start of the year and at the end of last year felt really good."In the full interview, discussion covered rehearsal timing and technical challenges reproducing older material live: identifying a few passages that present "little challenges" when translated to the live performances. The conversation also addressed Opera Oblivia's career impact on Hellions, with Matt describing how the record's unexpected success expanded opportunities, increased pressure, and contributed to burnout that factored into his 2019 departure. The reunion was characterized as a revitalized era built on long-standing bonds and renewed creative energy, and the band intends to continue writing new material after the tour.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersTHE NARRATOR were founded in 2017 in Essen, Germany and have since established themselves in the German metalcore scene with energetic songwriting and electrifying live performances. After successful tours and festival appearances, THE NARRATOR released their highly anticipated debut album, Lore, in September 2024, which has now accumulated over 11 million streams, and led to a huge EU/UK support tour with Annisokay at the end of 2025.And that was just the beginning: On May 8, 2026, their second studio album Phosphor will be released, once again mastered by Ted Jensen (Sterling Sound – Bring Me the Horizon, Green Day, Korn, and many more). With ten songs that respond to the global crisis with inner exhaustion, Phosphor shows how close hope and self-destruction are to each other.HEAVY sat down with frontman Fabian Jochum to find out more."Absolutely exciting," he smiled when we ask how he is feeling with the release date of May 8 drawing near. "Finally it's close to when the album is going to be released and I couldn't be more excited."We ask Fabian to dive into the musical side of Phosphor and what The Narrator were going for with it."After our first album Lore we wanted to change our sound a little bit," he measured. "What was cool about that album was basically Tom and me wrote it, but on this one another person from Cologne that helped us write the album. Not actually writing songs, but helping us to improve and evolve our sound with more… if I call it electronic influences it maybe gets the wrong point, but there's a lot of noise stuff happening that makes the whole sound of the album more huge. The whole recording process was fun because we structured everything different from the album before because we had way less time than before. We are absolutely happy with the result. We definitely pushed the boundaries of the genre. Of course, we are a metalcore band but for us we created a sound that we like to listen to."In the full interview, Fabian talks more about the musicality of Phosphor, how it differs to their debut Lore, the importance of changing things up despite the success of Lore and how The Narrator are better at what they do now.We spoke about the early days of The Narrator and where they fit in, their decision to tour relentlessly before releasing an album, future plans and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersREXORIA returns with their signature Royal Metal sound on the brand‑new album Fallen Dimension - out May 8 via Black Lodge - delivering towering choruses, vivid storytelling, emotional depth, and raw, commanding vocals.Formed in 2016 in Småland, Sweden, REXORIA quickly evolved into something distinct within the metal landscape, embarking on their first European tour only months after releasing their first EP. Unbound by traditional genre definitions, the band blends heavy metal, power metal, symphonic, cinematic and electronic influences into a unified sound, driven by Frida Ohlin's distinctive voice; powerful, raspy and deeply emotional.Rexoria's fourth studio album, Fallen Dimension is the successor to the acclaimed Imperial Dawn, taking a bold and focused step forward. Fallen Dimension spans a wide emotional and thematic spectrum, from social commentary and war‑driven narratives to heartfelt power ballads and uplifting, hook‑laden anthems. It is an album built on atmosphere, intensity, and the unmistakable REXORIA spirit.HEAVY caught up with vocalist Frida and guitarist Jonas to find out more."This one is a little bit more based on the guitar riffs," Jonas replied when we ask how Fallen Dimension differs to Imperial Dawn musically. "It's a little bit darker. Still, of course, we have the melody in our songs and the catchy choruses and so on, but it's more balanced between the keyboard and the guitars. So it's a little bit more of heavy metal riffs here and there, blended with the keyboard. And I think also the backing vocals are bit more more powerful. Frida has a lot of grit in her voice and she is challenging herself a lot in the studio. I think you can hear that on the album."In the full interview, Frida and Jonas expressed mixed excitement and nerves about the impending release date. They described a shift toward heavier guitar riffs and darker tones while retaining melodic choruses and stronger backing vocals, framing the overall style as “Royal Metal” to convey unity, empowerment, and a blend of power, symphonic, and heavy elements.Discussion moved to writing and sequencing choices, explaining how they get the balance of styles and influences right in the creative process. We spoke about album opener, Metallic Rage, and how tempo and arrangement changes converted a last-written riff into the starting track and an added wartime-style intro. The Fallen Dimension title was explained as reflecting societal themes with a hint of hope, while guest vocal contributions from Johnny Gioeli and Mike Andersson were discussed and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

One of Australia's newest music labels isn't so new any more, with Sydney based label XMusic this year celebrating their fifth year of providing support to Australian bands and musicians, with a venture into the overseas market last year increasing the reach of XMusic to a global scale.Started in 2020 by by former Sony Music executive and current Australian representative for Better Noise Music, Tim McLean-Smith, XMusic was founded with a view dedicated to artist development, offering a traditional A&R development approach combined with modern rollout strategies. The label supports a diverse group of rock acts, including Sisters Doll, Dellacoma, Karly Jewell, Electric State, Frankenbok, Engraved, Stormflower, and Wicked Things and recently signed their first international act, Blvd of Eyes. The rapid growth and exposure generated for emerging talent in this country has been immeasurable, even given the label's relative youth. Through showcase events and detailed release strategies, XMusic has seen their roster grow almost as quickly as their reputation, but now it's time to focus on themselves and give themselves a pat on the back of sorts with a series of celebration events locked in for Melbourne, Newcastle and Brisbane next weekend.HEAVY sat down with Tim to go back over the last five years and the growth of XMusic. One of the topics was the role of XMusic in the music industry and the benefits for bands on the label."XMUSIC is actually a big part of a sports entity business that is due to launch in the next year or so," he replied. "It has been worked on for about five years now. The events that we do will have world-class music and and AAA artists so we are developing local artists to be a part of that as well. And from that we wrote some theme songs and started getting into some music, and then we started looking at bands and signing them, thinking it was going to be three or four bands for a little while and see how we go. But in the last three years, especially, it's growing quite well and growing a great reputation and opening ears to the point we are looking around and trying to help local bands get to a world stage."In the full interview Tim discussed his vision behind XMusic and how it has grown from the early days. He outlined the benefits of having label representation and what bands should have in place themselves before approaching outside help.He discussed some of the strategies XMusic employs in order to gain greater exposure for their bands and the basics and mechanisms of working with the artists on a personable level and establishing a rapport with everyone involved. Talk turned to next weekends series of birthday celebration parties as well as the limited range of XMusic alcohol and where to get it and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris Peters“Each Armored Saint record, to me, is like a new skin for the band, a different chapter. I don't think we've ever repeated ourselves,” stated bassist Joey Vera. “Every album has been pretty different from the previous one, a snapshot in time. In 2026, Emotion Factory Reset is where our heads are at.”Emotion Factory Reset, Armored Saint's ninth full-length studio album since 1984's March of the Saint, bears out his words, the LP a resurrection of sorts, a tearing down and a rebuilding in 11 songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by Vera and mixed by Jay Ruston (Anthrax, Stone Sour), Emotion Factory Reset finds the quintet challenging themselves. Songs like Close to the Bone, Hit a Moonshot and Every Man-Any Man has Saint honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present.As with 2020's Punching the Sky, Armored Saint are always about punching above their weight and succeeding. Emotion Factory Reset reaches further, both inward and outward. “I mean, there's never gonna be another Master of Puppets or Appetite for Destruction,” vocalist John Bush says. “We can all take inspiration from our previous records, but that was a different time. Armored Saint don't want to make another March of the Saint. I want to keep moving forward, but we know who we are, it's not like we're going to dish out the new trip hop, black metal, bluegrass album.”HEAVY sat down with Vera to dig deeper."You know, every time we make a record, I try not to think too much about that," he replied when asked to describe what the band were going for musically with the album. "Like what are we going to do? What kind of a record are we going to make? Or what direction are we going in? All that stuff. I don't like to really talk about it too much. Because for me, it puts on a little bit too much expectation; it puts like a boundary on it and I'd rather the playing field be able to just be wide open.So the only thing that I really was attempting to do this time was to write songs that were a little more concise in their arrangements and the song length. I have a tendency to write long songs; longer songs than normal. So I wanted to challenge myself and challenge the listeners along the way to see if I could write shorter songs, basically, for lack of a better explanation.Our goal is to really just challenge ourselves as songwriters and try not to make the same record twice. We're always trying to push the boundaries a little bit without alienating all our fans, of course. So there's a fine line between brilliance and stupidity (laughs), but there is a fine line between and paying homage to where we come from."In the full interview, Joey described the band's deliberate songwriting approach for this record, noting they intentionally wrote shorter, more concise arrangements while pushing stylistic boundaries and maintaining continuity with their past work. He explained the album balances influences from 1970s classic rock, early 1980s hard rock, and contemporary sounds to produce a fresh yet familiar record for longtime fans.Joey also described the album-title selection process, saying the title came from a line in the song Close to the Bone after the band considered many lyrical options before settling on Emotion Factory Reset. He reflected on the creative challenge of beginning a record, stating that starting the first songs is the hardest part and that inspiration requires sustained effort and patience, the early days of the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Words and interview by: Kyra JadeComing up very soon in May, Frank Turner & The Sleeping Souls will be joining long time buddies Bowling For Soup on their Bowl Your Bones Australian Tour. Frank Turner graciously jumped on to chat with HEAVY MAG before making the long journey to our shores!Luckily this isn't Frank's first time visiting us, he's played some great shows and festivals in Australia over the years. We spoke about playing the iconic Byron Bay Bluesfest in particular taking a moment to reminisce on what it was like and being a part of the artist community. According to Frank the news about Bluesfest collapsing, AKA another tombstone added to Australia's 'festival graveyard', has been shared and felt all around the world. It's nice to hear that our little Byron Bay festival had such a positive impact on international visitors and I hope one day we can fill those shoes again with a new music haven.This particular interview was so much fun to research. When looking up what Frank Turner has been up to, I was hit with some crazy stats. Things like casually travelling to 50 states in 50 days in the US, 15 cities played in 24-hours and 24 shows in 24-hours in London. Along with having his own annual festival Lost Evenings that's a force in itself and massive accomplishment, he's also checked off playing Wembley and Alexandra Palace to an enormous amount of adoring fans.What I was most impressed about was finding out that Frank actively donates his time and fundraise for charities close to his heart like protecting grass root venues, mental and community health support and taking on a massive project to restore housing in Sierra Leone after being destroyed by floods. Yeah I know, I'm wondering what the fuck I've been doing with my life too. Remind me never to play two truths and a lie with this guy! All jokes aside, Frank is an amazing person. It's very rare to see people put their money where their mouth is and I have huge respect for the work he's done.There's plenty of Easter Eggs in the full interview, you'll just have to watch it yourself to find them. Yes, I left my stuttering ass in there because although I'm an embarrassment to myself; I'm only human. I get nervous and sometimes can't get my words out but it's important to be real in a world where people only want you to see them through their ‘curated lens of perfection.' Luckily this time I had Frank Turner sitting there with a kind smile on his face while casually rocking his bath robe. Dress for the job you want, right?! Genius. I took a leaf out of his book, if he's giving off the ‘zero fucks' chill vibe, then I am too.Humans aren't perfect and we should all be a little kinder to ourselves.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsHOKKA are not easing their way into their new release. They are kicking the door off the hinges, draping the room in red capes and dark mythology, then having the nerve to make it all look effortless. Speaking with HEAVY, Joel Hokka comes across as the kind of frontman who has already lived enough band life to know exactly what matters and exactly what doesn't. There is no wide-eyed “we just got lucky” routine here. HOKKA might be new on paper, but this is not a band fumbling around in the dark hoping to strike a chord. This is the sound of seasoned musicians taking the scenic route through chaos and somehow arriving with a debut album, a label, festival slots and a clear creative identity before most bands have even agreed on a decent group photo. The origin story is almost insultingly efficient. After Joel's split from Blind Channel, he linked up with Pauli, formerly from The Rasmus with both men bringing years of Finnish rock pedigree and enough experience to avoid wasting time pretending the business side of music is some mystical accident. What began as informal sessions and song ideas quickly snowballed into a real band, real momentum and a debut release in MiSERIA IV. That sort of rise would be nauseating if it did not also make perfect sense. When two people with history, hunger and unfinished business get in a room together, things tend to move.And that unfinished business matters. One of the more entertaining truths to emerge from the chat is that HOKKA's creative engine is not powered by incense, deep breathing and trust falls. It is powered, at least in part, by revenge. Joel says it plainly, with the kind of grin you can almost hear through the transcript: revenge is a fantastic motivator. It is a wonderfully unpretentious admission, and honestly, a refreshing one. Rock music has always done some of its best work when someone is at least a little bit annoyed. HOKKA are simply organised enough to turn that irritation into riffs, spectacle and a whole new era.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsClawfinger's Bård Torstensen stopped in for a chat with HEAVY Magzine's Ali Williams to fill in the gaps after their long standing hiatus on new releases. After nineteen years between albums, Clawfinger could have returned with something painfully self-important, full of mythology and creative suffering. Instead, Bård talks about it with the kind of dry honesty that makes the whole thing far more endearing. Before We All Die arrives not as some grand rock resurrection, but as the product of a band that simply figured out how to make it work in a world that had changed around them. Back when the CD market collapsed, the practical choice was to get jobs, keep playing the good gigs, and stop pretending the old model still paid the bills. That pause stretched into nearly two decades, which is a long time to leave fans hanging, but Clawfinger have enough self-awareness to see the humour in that too. One of the key points of interest is that the new record was built remotely, with files flying back and forth instead of bodies standing around a studio trying not to annoy each other. Torstensen makes it sound almost civilised. He could sit with an idea, have a coffee, eat dinner, decide a part sounded awful, sleep on it, then come back the next day and fix it without the pressure of a studio clock ticking away in the background. For a band that has been together long enough to know exactly how each other thinks, that distance sounds less like compromise and more like self-preservation with better acoustics. The result is a process that feels modern without being clinical, and flexible without losing the band's bite. The album title itself came from a manager's plea for the band to make another record “before we all die”, which is funny on its face but also lands neatly in Clawfinger territory. This has never been a band interested in dressing things up with delicate metaphors and interpretive dance. Their whole identity has long been built on staring directly at the mess and saying it plainly. Torstensen points to war, political absurdity and environmental collapse as the obvious backdrop, and in that light Before We All Die stops sounding like a throwaway joke and starts sounding like the most Clawfinger title possible. Grim, blunt, slightly hilarious, and uncomfortably on the money. There's a significant element of reassuring unglamorous quality about the way Clawfinger still operate. The band only rehearses together once or twice a year, which sounds reckless until Torstensen shrugs and points out that sometimes they just walk onstage after months apart and it still works. That kind of confidence only comes from years in the trenches, though he does admit a full new album means a little more homework than the occasional stray song. He also jokes about past drummer changes being a bit Spinal Tap, but beyond that the line-up has been largely steady since 2007, which probably helps when you are trying to restart the machine after a nineteen-year recording gap without the whole thing flying off the rails. For now, the action is centred in Europe, where summer festivals and an upcoming club run through Central Europe have the band moving with real momentum again. Torstensen sounds genuinely excited by the prospect of getting back on a bus and doing a proper tour, and even more encouraged by the fact that tickets are moving well enough for venues to be upgraded. Australia, sadly, remains on the wish list rather than the itinerary. Clawfinger have never played here, and Torstensen himself has never even visited, describing the country as “exotic” in a way that will probably make Australian readers laugh into their coffee. Still, between a new album, a receptive European market and a global fanbase that has clearly not forgotten them, there is a sense that Clawfinger are not just returning for nostalgia's sake. They sound like a band that still has something to say and, more importantly, still knows exactly how to say it without wasting everyone's time. New album out now available on all platforms. Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudacePhoto credit Diana SeifertFor George Marios, influence isn't something he carefully maps out, it happens instinctively. Drawing from artists like Alter Bridge and Dream Theater, he describes his sound as a kind of “musical osmosis,” where ideas naturally collide and evolve. Even unexpected touchpoints, like the atmospheric pull of Jeff Buckley, can surface in his work before giving way to massive, anthemic choruses.That same ambition extends visually. His Crash Burn music video embraces a cinematic scale inspired by The Karate Kid and the modern grit of Monkey Man. Taking on multiple roles (director, producer, editor), George pushed through tight timelines and unpredictable challenges to realise a long-held vision. The result is something he considers creatively complete, a rare milestone.Looking ahead, upcoming album Accidental Hero promises a more layered, diverse sound, weaving orchestral elements with organic production choices. Influences stretch as far as Kimbra, while retaining the raw humanity he admires in artists like Adele.George hopes the record inspires listeners to take risks: seize the day, and try anyway.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersWaiting for something you truly desire can be pure agony and loyal fans of Norwegian extreme metal royalty Dimmu Borgir know that feeling better than most. Ever since guitarist Sven “Silenoz” Kopperud and vocalist Stian “Shagrath” Thoresen formed the band amid Norway's shadowed forestlands in 1993 - at the height of second-wave black metal's triumphant aeons - rushing the creative process has never been part of the equation. Especially since Abrahadabra (2010), Dimmu Borgir's latter-day opuses have arrived only when every last detail has been carved into place, never when trends, algorithms, or schedules demanded it. It has proven to be the right path for these northern devotees of the underworld: Dimmu Borgir's records have gone on to become all-time metal classics.Eight years after their previous studio release Eonian, Dimmu Borgir return with thirteen punishing yet remarkably diverse tracks under the banner Grand Serpent Rising on May 22, and even the sheer weight of the album title alone speaks volumes.HEAVY caught up with Silenoz to find out more, asking him to describe Grand Serpent Rising from a musical point of view and what Dimmu Borgir were going for with it."I think we've just approached it like we always approach a new album," he shrugged. "We don't really have a specific recipe in that sense. We get together with stuff that we have collected individually and basically throw it into the pot and stir around and see what brew comes out of it in the end. It's nothing more dramatical than that. But yeah, some songs needs a little bit more time than others. It all it all depends. You don't really have an off and on switch or creative button, so to speak. So you just have to try and go about it while the iron is hot, so to speak."In the full interview, Silenoz described Grand Serpent Rising's background and the band's plans around its release. He revealed the album gathers songs written over several years and that the band achieved its creative aims for this release; explaining Dimmu Borgir's process of assembling individual ideas without a fixed recipe, allowing songs to mature at different rates and intentionally showcasing the band's different eras and dynamics.The conversation covered artistic choices and practical changes. Silenoz explained the opening string-led intro for Tridentium and the decision to keep the album lengthy rather than shorten it for attention-span concerns, and noted that the title serves lyrical depth rather than denoting a title track. He also described a shift in songwriting responsibility toward himself and Shagrath after longtime guitarist Galder's departure, the selective use of Norwegian when English did not convey feelings on some songs, plans for shorter, more frequent touring runs following the May 22 release and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Words and interview by: Kyra JadeEven if you chose the hermit crab life, you've still most likely heard the name Sepultura. They aren't strangers around here and have been showing us how it's done for over 40 years. Their fanbase are notoriously passionate and loyal to the band often stating they are not only pioneers, they are one of the most influential metal bands in history. You'll only need to scratch the surface of Sepultura's lore to see the influence they've had on metal music over the years, never afraid to bend genres and play from the heart.Sadly all good things must come to an end and after years of dedicating themselves to life on the road, it's time for their final curtain call. Long standing Sepultura guitarist Andreas Kisser was kind enough to spend time with HEAVY MAG to reminisce about memories spanning from the start of the band to recent times.Their Celebrating Life Through Death farewell tour has been in motion for two years now and I wanted to know how the whole experience has been so far and if fans are showing up with different emotions being their last soirée. Andreas unpacked their upcoming EP The Cloud of Unknowing by sharing what their goals were for this release to how they went about the writing and recording process. I was curious to hear about Andreas' influences and gain insight about growing up in Brazil with minimal exposure to international bands - yet still manage to find his calling to metal. Once that phone is ringing, it's hard not to pick up!It would be remiss and down right irresponsible of me not asking about the Roadrunner United 25th anniversary showcase, right? On paper it seems impossible to have so many talented musicians coming together to pull off this one of a kind meeting of the gods, but they did. I'll confess, I would have sacrificed my first born child to be at that showcase and hearing these memories spoken about with such love and fondness via Andreas was like Christmas morning for me.After reminding myself that I can't fan girl or geek out right now, we finished the interview off bonding over mutual love for our fallen heroes. I mentioned my Mt. Rushmore would have to be Jimi Hendrix, Ozzy Osbourne, Eddie Van Halen and of course, Lemmy Kilmister. Without hesitation Andreas lit up and uttered a sentence that immediately cemented him as a certified legend in my books,“Motorhead is alive and well in my heart and soul forever, until I die. Lemmy is one of the gods you know? He is going to guide us forever.” I couldn't agree more. In fact, to summon Lemmy; all you need is a well made Jack Daniel's and coke with a side of cigarette smoke and he will appear quicker than saying Beetlejuice three times. Best spirit guide anyone could ask for. I've done what I always do by getting too excited and over sharing… go check out the rest of the interview for yourself. I hope you enjoy it.Until next time, legends!Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAfter triumphantly casting off the shackles of claustrophobic dissonance on 2020's lauded Stare Into Death and Be Still, New Zealand unorthodox death metal legends ULCERATE up the ante even further with mind-bending 7th album Cutting the Throat of God. An acknowledgement that the band's most powerful and affecting material leans to the melodic side, this refined and hook-laden new record is a self-sufficient universe unto itself, a conflagration of inventively visceral death/black metal where dizzying experimentation meets head-nodding abandon - obscenely twisted and addictive, heart-stopping in its depth of feeling.To complete the touring cycle for Cutting…, ULCERATE will undertake seven Australasian headlining dates starting in Christchurch this Saturday, with Australian support from The Amenta - who will be performing their debut album Occasus in full - plus New Zealand black/death metal outfit Vicissitude for the home shows.HEAVY sat down with Ulcerate drummer Jamie Saint Merat to find out more.ULCERATE with guests THE AMENTA and VICISSITUDE performing at:April 18th – Christchurch, Loons + April 25th – Auckland, Double Whammy +May 2nd – Wellington, San Fran +May 7th – Adelaide, Ed Castle* w/ Lumen Ad Mortem May 8th – Melbourne, Max Watts* w/ Munt May 9th – Sydney, Crowbar* w/ Sorathian DawnMay 10th – Brisbane, Crowbar* w/ Hebephrenique +Vicissitude New Zealand only, no local supports*The Amenta Australia onlyBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersWacken Open Air is one of the most recognisable names in heavy music anywhere on the planet. Now in its 35th year, the legendary German festival has become a global meeting point for metal fans, bands and industry alike. A place where the underground and the established stand shoulder to shoulder.On April 18, the spirit of Wacken lands in Sydney.As part of a worldwide celebration marking 35 years of Wacken, 35 official Warm Up shows will take place across the globe on the same day, stretching from Europe and the UK through Asia, the Americas and Australia. Sydney will host one of only a handful of events in the southern hemisphere, bringing a piece of the Wacken experience to local soil while connecting with a truly international metal community.Taking place at Sydney's Crowbar, the night will be co-headlined byOur Last Enemy and Witchgrinderand rounded out byKüntsquäd, Shatterface and Age of EmergenceFor one day, borders disappear. Scenes connect. The underground stands united. HEAVY sat down with Witchgrinder frontman Travis Everett to discuss the show and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFrom Ashes to New are entering a new era with Reflections, a record shaped by honesty, pressure, and a refusal to settle. Speaking on the band's latest single Die For You, frontman Danny Case explained how the track grew from deeply personal experiences, capturing the exhaustion of giving everything in a relationship and finally drawing a line.That emotional weight drove every creative decision. Rather than overbuilding the song, the band chose to cut straight to the core, letting the vulnerability hit immediately. It's a mindset that carried across the album, with the band scrapping large portions of early demos when they realised the material simply “wasn't moving” them.The result is their most detailed and ambitious work yet, both musically and vocally. For Danny, that meant pushing beyond his comfort zone and embracing discomfort as a catalyst for growth.At its heart, Reflections is about perspective, learning to let go of bitterness, appreciate the present, and recognise that even the darkest moments can lead to something meaningful. Check out the full interview above.Pre-order/order Reflections: https://fatn.lnk.to/reflectionsBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAustralia, get set to be bowled over in 2026, with beloved UK folk punk act FRANK TURNER & THE SLEEPING SOULS joining forces with Texan pop punk mainstays BOWLING FOR SOUP for a monumental co-headline Australian tour next month.When a band can make it feel like a summer party anywhere they go, you know you're in for a good time. And with over three decades in their wake as a band, BOWLING FOR SOUP, aka the self-proclaimed "9th greatest pop punk band in history", have left an indelible mark on their genre and pop culture in general, roaring out of Texas in 1994 and never looking back. Eleven studio albums, including two Silver and Gold certified LPs? Yes. Appearances on multiple high-profile soundtracks, including a Disney Channel theme song staple? You bet. Endless amounts of humour, high-octane performances and earworm hits that you'll still know the lyrics to decades after their release? Suffice to say, BOWLING FOR SOUP are here for a good time and a long time, and are definitely not slowing down anytime soon.Recently celebrating the 20th anniversary of their iconic 2004 album A Hangover You Don't Deserve, which also included their biggest UK tour to date, BOWLING FOR SOUP are set to continue their path to world domination. And in 2026, BOWLING FOR SOUP will continue to jubilantly fly the flag for pop punk, including a return to Australian stages this May after their acclaimed appearances at 2024's Good Things Festival and headline sideshows.HEAVY caught up with frontman Jaret Reddick to talk more."After we got back from Good Things I was thinking, why aren't we coming here more?" Jaret began. "So we were talking to Destroy All Lines and trying to think of a good band that we can tour with and we had just watched Frank Carter And The Sleeping Souls and I said why don't we just come over here with Frank Turner? A lot of things have to align for that to happen. Bands are always talking to each other saying hey we should tour together, or we should do this but you've gotta have agents and managers and schedules and so many things come together for it to actually happen so we were really, really lucky that it went down this way. It's gonna be a really fun, early Summer for us."The tour is being billed as a co-headlining event, prompting us to ask if that means both bands will be alternating the late slot each night or more just both playing headline length sets."I'm not really sure how it's worked out yet," Jaret replied. "I know this. I've seen his band and he's seen mine so we both know that the others band is pretty good (laughs), so there is a bit of pressure for both of us to get out there and put on the best show we can. I'm a huge Frank fan, so whether he plays before or after us, I will be side of stage watching every night. And I'm sure he will be doing the same thing."In the full interview Jaret talks more about what we can expect from the shows, what has changed with Bowling For Soup since their last visit and how this run of shows will be different.We also go back to the early days of Bowling For Soup, talking about the musical climate that gave birth to the band and where they fit in. We speak about the first time he heard one of his songs on radio and where he was at the time, how the band has changed over the 30 plus years they have been together, new music and plenty more.Tickets from www.destroyalllines.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersPhoenix Arizona legends BLESSTHEFALL are headed our way with Memphis May Fire later this month, for their first Australian shows in over a decade.Following a hiatus after their 2018 album Hard Feelings, BLESSTHEFALL returned, teasing new music in 2025 and embracing their "mallcore" roots. Formed in the early 2000s, they are considered veterans of the post-hardcore/metalcore scene, having gone through various lineup changes while keeping key members like vocalist Beau Bokan and bassist/vocalist Jared Warth and have hit the ground running since their return.The pairing of Memphis May Fire is a seismic team-up that promises to redefine metalcore, delivering unrelenting riffs, breakdowns, and anthemic screams to ravenous crowds. With over two decades of combined touring dominance, these two bands have shared stages worldwide, from Warped Tour to packed U.S. arenas, and now they're bringing their explosive synergy to Australia!HEAVY sat down for an entertaining chat with Bokan, starting by asking what has changed with Blessthefall since their last visit in 2014."We've gotten a little older," Bokan smiled. "We've gotten a little wiser - maybe not too much wiser (laughs). We took a hiatus for a little bit and came back in in 2023 and it's been so fun to be back and active and seeing metalcore thriving. So many people are rediscovering us or discovering us for the first time so it's really cool. We're just...  we do what we do. We like to have fun on stage, so we like to party. But I think a little bit of the stuff that's changed is trying to just sound better on stage, you know. Obviously, we like to jump and run around and be exciting, but at the same time we don't want to sacrifice our sound too much. I feel like now, more than ever... you play a show and it's on the internet in five minutes so the bar is set really high. So just focusing, and for me, personally, singing better and trying to make sure I'm hitting the notes but also putting on a show. We don't want to sacrifice too much of the excitement and the showmanship, stuff like that."In the full interview, Beau spoke more about the tour and what we can expect from Blessthefall. He told us why themselves and Memphis May Fire compliment each other beautifully in the live arena, highlighting past shows they have played together and their close friendship outside of touring.He spoke about their 'comeback album Gallows and how it was received, admitting there were a few nervous moments before it was released in relation to how much their time off would actually impact the band moving forward. We spoke about Blessthefall moving forward, including playing some of the worlds biggest festivals after they finish in Australia and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceReturning to Australia after a three-year absence, nothing, nowhere. is set to reconnect with a fanbase he clearly holds close. Speaking ahead of the tour, the man behind nothing, nowhere, Joe Mulherin reflects on the long gap between visits, admitting it feels like he “just” played here, only to realise how much time has passed. That distance has only heightened his anticipation, especially when it comes to Australian crowds, which he describes as among the most passionate in the world.There's a genuine affection in the way he talks about the country, not just the shows, but the experience itself. From ferry rides into Sydney to snorkelling and embracing the unfamiliar, his last trip left a lasting impression. With family ties now rooted here, Australia feels less like a stop on the map and more like a second home.This upcoming run isn't just another tour; it's a celebration. Marking a decade of nothing, nowhere.The Return of the Reaper tour will blend old favourites with newer material, offering fans a full-circle moment. Joe's excitement also extends to the lineup, bringing along close friends and collaborators, creating what he describes as a “summer camp” atmosphere on the road.After an intensely isolating period writing in Vermont, this tour arrives at the perfect time—both a creative release and a reminder of connection.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAustralia, prepare to set your fazers to stun this September, with Welsh ragga metal legends SKINDRED primed to return to our shores for their biggest ever Australian headline tour! Opening proceedings on Tuesday 1 September in Perth, SKINDRED will head through Adelaide, Melbourne and Sydney, and close out on Sunday 6 September in Brisbane.Wielding a formidable (and deserved) reputation as one of the best live bands on the planet, SKINDRED have been stupefying audiences with their heart-thumping blend of reggae, punk, hip hop, nu metal, rock and electronica since forming in the late 90s. Hailing from Newport in Wales, SKINDRED's innovation and hybrid agility saw the group explode out of the underground and into enduring infamy, now with eight studio albums to date, multiple award wins, countless performances and millions of fans spanning the globe, all under the ardent gaze of frontman Benji Webbe.Releasing their debut album Babylon in 2002, SKINDRED have consistently unleashed new music throughout their career, and 2026 is no exception with the hotly-anticipated release of their ninth studio album You Got This due out on April 17. Featuring the newly slimmed-down trio of Webbe, Mikey Demus and Arya Goggin working alongside GRAMMY-winning producer Jay Ruston (Diana Ross, Meat Loaf, Mr Bungle), You Got This picks up where the band's acclaimed 2023 album Smile left off, with vibrant dancehall hues fused with hooks, earworms and hard-hitting slammers all lying in wait on album #9; and it's a collection of songs that are also set to inevitably stun in a live setting.On a live front, SKINDRED are certainly not your average band, with their exuberant brand of chaos never skimping on unity as well as pedal-to-the-metal technicality. Whether performing alongside the likes of KISS, Korn, Papa Roach and Rob Zombie, or leaving festival crowds in a sweaty euphoria on some of the biggest global stages, it's not hyperbole to declare that a SKINDRED live show is something you'll be talking about for years, if not decades, to come. Most recently delighting Aussie fans in 2024, performing as part of Knotfest Australia, SKINDRED's previous down under performances have been praised time and time again.HEAVY sat down with Webbe to talk about the album and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

If there's one topic sure to divide opinion in the world of music it's tribute bands and the rapid growth of such bands around the globe. Those who support tribute bands argue points such as providing accessible, affordable entertainment, keeping classical music alive and preserving musical history while those opposed argue tribute bands impact artist authenticity by oversaturating venues and reducing opportunities for original bands who play their own music.That debate has recently spread to social media platforms like Facebook, whose new META algorythm has censored tribute bands and their videos, to the extent of closing down pages dedicated to tribute acts. With two successful international tribute bands in CHOP SUEY and SLIP NOT heading to Australia this May for a run of shows, HEAVY took the opportunity to sit down with the man behind these two bands and one of the world's leading experts on the tribute market, ANDRE JOYZI, to get his perspective on the global tribute band phenomina.  ANDRE JOYZI, to get his perspective on the global tribute band phenomina. "Basically, if you don't think with your ego there's nothing wrong with playing in a covers or tribute band," Joyzi began. "When I was 23 I decided I was going to be a professional metal drummer. There was nothing specific like it's going to have to be death metal or It's going to have to be this or that, because there's nothing I love more than playing metal live and the feeling you get from that. I made the early decision that I was going to do both (covers/tribute and originals), because nothing says that you can't".Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsHot Mulligan's latest chat with HEAVY finds the band exactly where good bands tend to be after years of grinding away: confident, funny, slightly unhinged in the best way, and still refreshingly free of self-important rubbish. Speaking with Ali Williams ahead of their April return to Australia, the group as a band, have earned its growing reputation. These guys roll on in with the kind of dry humour and sideways banter that suggests Hot Mulligan are far more interested in taking the piss out of themselves than posing like tortured visionaries. Just like their music, their attitudes have pulse, and more importantly, it makes them feel like actual people rather than another touring act reciting the usual promo script. The band are heading back to Australia after a warmly received first visit in 2024, this time with bigger rooms, stronger ticket sales, and enough demand to add a second Melbourne show after the first sold out. They speak about that first Australian run with genuine fondness, describing it as a leap into the unknown that paid off far better than expected. There is a clear affection for the smaller, more intimate venues too, with Hot Mulligan admitting they thrive in rooms where the barrier between band and audience is basically nonexistent. That detail says plenty. For all the upward momentum behind them, they still seem most at home when a show feels sweaty, immediate, and a little rough around the edges. Australia, clearly, gave them exactly that, and now they're coming back for six shows as part of a schedule that barely lets them breathe before moving on to Singapore and then their first-ever tour of Japan. They explain the the band's history without wasting time trying to inflate it into some grand rock fairytale. Their beginnings were deeply DIY, gloriously unflashy, and stitched together from local bands, trial and error, and the kind of long-term persistence that most “overnight success” stories quietly leave out. They talk openly about how the band's growth was gradual at first, before a pandemic-era release gave things a serious push and shifted them into a different gear. Even then, there's no victory lap in the way they tell it. Hot Mulligan sound more amused than amazed by their own rise, which somehow makes it more impressive. They have been at this for over a decade, building audience trust the slow way, and the result is a band with real international pull that still behaves like it can't quite believe people in London, Australia, and now Japan are yelling for them to show up. Between the deadpan cracks about their past, the tongue-in-cheek nonsense about genre labels, and the general feeling that any one of them would happily derail a serious moment for a laugh, there is still a strong sense of gratitude running underneath it all. Hot Mulligan sound like a band fully aware of how lucky they are to be hauling their songs across the world, but also one that has worked hard enough to deserve every sold-out room and every passport stamp. That is really the takeaway here: not some neat genre tag or tidy career narrative, but a portrait of a band whose personality has grown right alongside its audience. They are funny without being flippant, sincere without getting sappy, and busy carving out a global path that still feels grounded in the scrappy spirit that got them moving in the first place. Go check them out and show them some lovin. Tickets, tour dates and information are available at www.ticketek.com.au as well as the bands page https://hotmulligan.band/pages/tourBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsH.E.A.T are not exactly sitting around polishing old trophies and talking about the glory days. When HEAVY's Ali Williams caught up with Jimmy Jay, the Swedish melodic rock machine was holed up in rehearsal mode, fresh off the Spanish leg of their Welcome To The Future 2026 run and already gearing up for the next round of work. In classic H.E.A.T fashion, there is no neat little pause between touring and recording. The band is heading into Hamburg to start work on the next album, with more than twenty songs already written and waiting to be narrowed down to the strongest ten or so. Jimmy made it clear this one is being approached with a more live, in-the-room mindset too, leaning back toward the kind of energy that made earlier releases hit so hard. Less stitched together in separate corners, more five blokes in a room pushing air and rattling the walls. That alone should be enough to get fans interested before a single note has even escaped into the wild. There is also something deeply satisfying about hearing a band twenty years in still sound hungry rather than merely organised. H.E.A.T hit their 20-year anniversary next year, which is long enough for most bands to either implode, become a tribute act to themselves, or start releasing albums that sound like they were assembled by committee and a legal team. Jimmy, though, spoke with the kind of grounded pride that only comes from a band that has genuinely worked for its place. He describes H.E.A.T as classic Scandinavian melodic heavy metal and hard rock, and there is no need to dress that up in fancier language than it deserves. They know what they are, they know what they do well, and they have built a loyal following by sticking a boot through the door not by politely knocking. Coming out of the Stockholm suburbs, with the broader Scandinavian legacy of hard rock and metal humming in the background, has clearly helped shape that instinct. Not in a smug, self-congratulatory way, either. More in the sense that if you grow up in a place where this music is woven into the cultural fabric, it is easier to treat it as something lived rather than borrowed. That authenticity carries through to the band's line-up story, which Jimmy recounted without turning it into some dramatic soap opera. H.E.A.T began as a six-piece, later dropped to five, and have only really had one major shake-up at the microphone. After original vocalist Kenny Leckremo left, Erik Grönwall stepped in for a decade-long run before moving on, with Kenny eventually returning and bringing things full circle. The result now is a band that feels about as close to its original DNA as it possibly can. For longtime fans, that matters. For newer ones, it explains why H.E.A.T still feel connected to their roots instead of merely trading on them. Jimmy also touched on the audience the band attracts, and it was one of the more telling parts of the chat. He reckons the crowd seems to stay roughly the same age, which is a very funny way of saying younger fans keep finding them while the old guard refuses to bugger off. That is not a bad place to be. It means the band has managed the rare trick of staying relevant without trying to act twenty years younger than they are. No desperate trend-chasing, no identity crisis, just a solid crowd of people who actually give a damn about music. Of course, for Australian fans, the immediate excitement is the upcoming run of shows in Brisbane, Melbourne and Sydney this April. It will be the band's third trip Down Under, which means they are well past the polite “great to be here” stage and into the territory of knowing what they are in for. Jimmy spoke warmly about returning, even if the small matter of a 25-hour flight sits between Stockholm and Brisbane like a punishment designed by an especially vindictive travel agent. Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceDr. Mike Trubetskov isn't just a metal producer—he's a guide into one of the genre's most misunderstood elements: synths. Based in Melbourne, he works with heavy bands to shape what he calls their “cinematic sound,” and a huge part of that comes from what sits beneath the obvious.For Mike, synths aren't always meant to be heard, they're meant to be felt. Whether it's a subtle, slow-moving pad or an industrial, distorted layer cutting through dense guitars, these sounds define the emotional weight of a track. Remove them, and something vital disappears.What stands out is his balance between creativity and restraint. He approaches each song like a puzzle, filling gaps instinctively while respecting the band's vision. Too much layering? It kills the song. The right touch? It elevates everything.He's also quick to point out that great synth work starts with songwriting, not sound design. A strong melody that fits naturally within the track will always win over something overly complex. From following vocal lines to adding hidden counter-melodies deep in the mix, these small, often unnoticed details are what transform a good track into something immersive and alive.There's also a technical intensity behind it all. In a genre built on distortion, synths need to fight for space—often pushed through layers of saturation to cut through, or buried with reverb to create an eerie, almost subconscious presence. It's this constant push and pull between clarity and atmosphere that defines modern metal production.For anyone looking to learn, Mike's approach is both reassuring and challenging: trust your instincts, focus on the music first, and don't rely on trends to carry your sound. He shares more of this insight on his YouTube channel, Doctor Mike Metal, where he breaks down techniques and encourages artists to experiment, refine, and ultimately find their own voice.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceLos Angeles duo sace6 are carving out a striking space in modern heavy music, blending R&B melodies with emotionally charged metal textures. In conversation with HEAVY, Sace and Noah reveal the deeply personal roots behind their name, with 6 honouring Sace's father as a baseball player and serving as a symbol of inspiration.Their latest project, Brutalist, reflects both sonic intensity and immersive world-building, pairing pop-forward vocals with what the band describes as “brutal” emotional weight. The duo emphasised a unique creative process built on trust, often working separately to fully realise ideas before combining them into something cohesive. That authenticity has helped shape a sound that feels both unpredictable and intentional, with tracks like Ego marking defining moments in their evolution.Celebrating a decade of darkness, nothing, nowhere. returns to Australia this month, bringing The Return Of The Reaper tour with special guests sace6 and Closure. The run begins April 16 in Brisbane before hitting Sydney, Melbourne, Adelaide and concluding in Perth on April 23.For sace6, the tour marks a major milestone and their first chance to connect with Australian audiences face-to-face for the first time ever. Check out the full interview above.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersIn any serious conversation about death metal, Vomitory's name is a must-mention. Formed in 1989, the Swedish band unleashed eight blistering albums between 1996 and 2011, cementing their status as genre titans before parting ways in 2013. However, their retirement was short-lived, as they returned to the stage in 2019 to mark their 30th anniversary. Now, three years after the release of their critically acclaimed comeback album All Heads Are Gonna Roll in 2023, Vomitory are back with their latest beast, In Death Throes, due out on April 10.According to drummer Tobias Gustafsson, while the unmistakable Vomitory sound remains, the new album cranks up the intensity. “In Death Throes picks up where All Heads Are Gonna Roll left off, but we've turned the intensity up a notch. Christian (Fredriksson, new guitarist) quickly found his place and even contributed music to four killer tracks. These additions bring a bit of diversity to our sound without straying too far from the formula.”HEAVY sat down with drummer Gustafsson to get the full rundown, asking him to dive deeper into the musical side of the album and what Vomitory were going for this time around."We continued on the same path as we did on our comeback album All Heads Are Going to Roll," he offered. "So we continued writing in the in the same way. But in hindsight, this new album turned out a bit more intense than the previous one, which is not a bad thing for a death metal band (laughs)."In the full interview, Tobias goes into more detail about how In Death Throes picks up where All Heads Are Gonna Roll left off, the added intensity in the music, and how new guitarist Christian Fredriksson contributed to the overall product.We spoke about the early days of the band and where they fit in, the parting of ways in 2013 and his feelings at the time, the circumstances that brought them back together and how much planning was behind that decision, the importance of their comeback album All Heads Are Going to Roll and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersPatient Sixty-Seven have become one of the most compelling and community‑driven voices in modern metalcore - a band built not on hype or industry shortcuts, but on heart, resilience, and the belief that heavy music can be a lifeline. Emerging from the isolated but fiercely creative city of Perth, Australia, P67 have spent the past decade turning personal struggle into connection, and connection into a movement that now has reached metalcore fans across the globe.From their earliest releases, Patient Sixty-Seven stood out for their emotional honesty - songs that didn't shy away from fear, grief, or self‑doubt, but instead embraced them as part of the human experience. That vulnerability resonated deeply, helping the band build a loyal, engaged, and heartfelt community long before the industry took notice. Fans didn't just listen; they shared stories, found comfort in the lyrics, and formed bonds with each other that extended far beyond the music.Now, Patient Sixty-Seven are stepping into their most significant chapter yet. In May this year, the band will join Of Mice & Men and Crystal Lake on a major Australian tour - a career‑defining moment that places them alongside some of the most influential names in modern heavy music. It's a testament to how far they've come, and a signal of where they're headed next.HEAVY caught up with vocalist Tom Kiely to find out more. One of the topics of discussion is how the band approaches major International supports. Do they go out there to warm the crowd up and play a role, or do they attack it with more vigour and go out there with a view to blowing everyone else off stage?"I think for us, we just want to be ourselves," Tom measured. "I think obviously we want to make sure that we bring a high level of energy and intensity, because we know that ultimately our role on the tour is to get the crowd warmed up; to get the crowd moving; to get the crowd excited for the bands that are coming after us. By doing that it leans nicely into what we like to do anyway, which is play with a lot of energy and get the crowd involved. We try to be interactive and try and bring that spark to the stage and after our set's finished, hopefully people are even more excited for the next few bands.Opening is always tricky because you know the crowd's definitely still getting warmed up and maybe not moving as much, so it's our job to shake off any cobwebs people have if they haven't been to a show in a while. We do what we can to get people banging their heads and maybe getting a mosh pit going. We find that a lot of the times once you start talking to the crowd and interacting with them there's a lot of people who are ready to get moving. If we can get a few mosh pits going, that'll be a highlight for sure (laughs)."In the full interview, Tom talked more about the run of shows with Of Mice & Men and Crystal Lake, where they fit in with the line-up, what to expect from their live show and what three songs concert goers can listen to in order to get to know the band before the shows.He also spoke about curating a set list to appeal to fans of the headliners while also playing their strongest material, how far advanced work is on their new album, what direction it is going to take musically and more.Of Mice & Men 2026 Australian Tour Dates With Crystal LakeTuesday 5th May – PERTH, Magnet HouseThursday 7th May – ADELAIDE, Lion Arts FactoryFriday 8th May – MELBOURNE, 170 RussellSaturday 9th May – SYDNEY, Manning BarSunday 10th May – BRISBANE, The TriffidTickets https://thephoenix.au/of-mice-and-men/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAustralia and New Zealand, big things are coming! In just a matter of days, two musical heavyweights will begin a colossal arena run, with Florida hybrid heavies A DAY TO REMEMBER and California mainstays PAPA ROACH joining forces for the BIG ROCK TOUR, joined by special guests LANDMVRKS.Set to commence on Saturday, April 4 in Perth, A DAY TO REMEMBER and PAPA ROACH will journey the BIG ROCK TOUR through Adelaide, Melbourne, Sydney and Brisbane arenas, before closing out in Auckland on Wednesday 15 April.Two-time GRAMMY-nominated and Platinum-selling rockers PAPA ROACH have perfected evolution and raw power over the course of 30 years. Hailing from Vacaville, California and forming back in the early 90s, PAPA ROACH embody resilience in every sense of the word.Teaming up with The Used in 2023 for a double-header Australian run, PAPA ROACH balanced fan-favourites with plenty of surprises for their Aussie fans. And if the walls could talk at any of the countless venues PAPA ROACH have played throughout their careers across the globe, both as the main event and alongside Red Hot Chili Peppers, Limp Bizkit, Eminem and more, the resounding sentiment would be that PAPA ROACH aren't just revered for their longevity; this is a band who can adapt, survive and thrive, brandishing an underdog spirit with prime-time appeal. And they'll be bringing it with spades alongside A DAY TO REMEMBER.HEAVY sat down with frontman Jacoby Shaddix to chat more."It's gonna be a banger of a tour, man. We're super excited about it," he beamed. "I've been anticipating this one for a minute, so it's great to be here in Australia, and great to be on the Big Rock Tour - I love that name too (laughs)."We ask what has changed with Papa Roach since they were here last with The Used in 2023."Oh man…" he measured. "A bunch of new music. We've been writing new music and we've got something that we're really excited about. We've been releasing new music and we've had some great successes recently worldwide that are just blowing my mind. We've got this song right now, Wake Up Calling, that's in it's third week at number one in the rock charts in America which is awesome. To be stepping into 2026 and kicking it off here in Australia is going to be amazing. We've got a big year planned ahead of us so there's a lot of good things going on in the P Roach world."Down the track we dive deeper into the history of Papa Roach, touching on the success of their second album Infest and what his initial thoughts of the album were."It was special to us," he recalled, smiling "I really feel that we thought we had something special, we just didn't know the world was gonna connect with it in such a way that they did. We thought we were gonna put out an album, tour in a van and maybe sell 150, 200 000 records, and that's not what happened (smiles). We put out an album and it was like a rocket ship ride to the top. I didn't know how to handle fame. I didn't know how to handle success, and it was just a very wild time for us. I'll tell you this, we had a lot of great times in that era and a lot of big wins and a lot of big moments. I look back upon that time of my life with a lot of… there were great moments that I was proud of, and then there were moments that I was like 'man, I regret that'. There's no handbook to becoming famous. There were moments that I handled it gracefully, and moments that I just went at it like an idiot."In the full interview, Jacoby talks more about the tour and what to expect, the three bands on the Big Rock Tour and how they compliment each other, the early days of Papa Roach, the success of Infest, sticking to their own path musically, mental health and more.Tickets from www.destroyalllines.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersPerth based melodic death metal outfit VANTA returned with their debut full length album Perpetual Selection on March 13, a cinematic andconcept driven record that explores humanity's darker instincts through the lens of cosmic horror, mythology and dystopian sci-fi.Perpetual Selection is a sonic and visual journey inspired by Indonesian dark folklore and survival horror games to the brutal sci-fi landscapes of Dune and Warhammer 40K, transforming real world anxieties into symbolic narratives of monsters, collapse and rebirth. At its core, the album honours melodeath roots by fusing the aggression and heaviness of modern american death metal with the folkiness and melodic sway of early euro death metal.The band literally ‘breaks down' trauma, inner collapse and humanity's obsession with forces it barely understands in songs like Stillwater and Sacred Light. VANTA's creativity and experimentation in different extreme sub-genres can be heard throughout this album and is a bold statement that the pack are not afraid to push the boundaries and even make some of you...uncomfortable. As well as their sound, their art, lyrics and their symbolic music videos such as Kuyang, Empty Shells and Alchemy mirror the reality that is currently unfolding before us.HEAVY spoke with drummer Ferdi to find out more, asking him to dive deeper into the musical side of the album."We want to explore the darker side of humanity and just where we're heading in general," he began. "Like you see all the things unfolding before our eyes and just around us. Compared to our Gravemind era, we sort of like touched on that more traditional Euro mellodeath sound. Like the Gothenburg riffs, the kind of early Children Of Bodum sound, and a mix with Dahlia nuance.But with this album - because we wanted to explore more into the whole narrative about collapse and rebirth and just where the society is heading in general, we wanted something more extreme, more aggressive. And the three of us all love black metal very much. We love the early Dimmu Borgir gear, the Belphegor sort of sound, and the early Behemoth riffs. But all in all, the core sound is still MelloDeath and just blending it in more with modern influences, I would say."Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersGothenburg's finest musical expert Evergrey are returning with their fifteenth studio album Architects Of A New Weave, set for release on June 5, 2026 via Napalm Records. Whether it launches EVERGREY's boldest era yet, stands as a fierce standalone declaration, or serves as the pivotal bridge chapter that redefines their path, Architects Of A New Weave is pure cinematic motivation—ready to charge your playlist and propel your momentum forward. It's as though EVERGREY don't merely survive adversity—they rise and expand because of it. Every challenge, every setback, every wound seems to become the very oxygen that fuels their music. The darker the storm that once threatened to break them, the more powerfully each note draws breath from that same pain, transforming what hurt them yesterday into the soaring, living heart of their songs today. Architects Of A New Weave seals it: we are no longer victims of the night, but creators of new skies, new beliefs, and entirely new heavens. Grab it now. Let it arm you. This isn't just an album – it's the sound of you seizing control and building what's next. HEAVY sat down with vocalist Tom Englund to find out more, starting by asking how he feels about the album's impending release."Great. Honestly, really, really good," he smiled. "The first reactions are coming in with a few albums of the month and a bunch of great reviews. The reception from from the fans have been stellar. So far, we have released two different kinds of songs from this album; one we released prior to the album announcement called Oxygen which is an obnoxious, dark, brooding, complex song at six minutes and 20 seconds. And then we released the song called Architects of The New Weave, which is four minutes, straight to the point, sing along heavy metal.So in between those two worlds is where this album lives, which I love. That's the cool thing about being in Evergrey. We we can do pretty much whatever we want and fit everything into the Evergrey package."In the full interview, Tom framed the material as a response to current global events and a perceived loss of compassion, citing the single The World is on Fire as especially timely. He explained production goals: deliver immediate songs that reveal layered, cinematic production over repeated listens, and keep the album concise to avoid the expense of a double-vinyl package. Tom also discussed guest vocalist Michael Stanne, chosen because the melody suited his voice, and acknowledged influence from Gothenburg peers including the late Tomas Lindberg. Tour logistics for late April–early May in Australia were confirmed, with Tom admitting the difficulty of constructing setlists from a 15-album catalogue while balancing fan favourites and new material, what to expect from the shows and more.Pre-Order Architects Of A New Weave: http://lnk.to/Evergrey-ArchitectsOfANewWeaveAustralian Tour April28.04 - The Rosemount, Perth30.04 - The Baso, Canberra01.05 - Crowbar, Sydney02.05 - The Corner, Melbourne03.05 - Crowbar, Brisbanehttps://yourmatebookings.com/tours/evergrey-australia-2026/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersKnown for their fiery fusion of anthemic modern metal and powerful melodic rock, Sweden's SELF DECEPTION have shared stages with the likes of Electric Callboy, Danko Jones, and Adept since their 2009 debut, while racking up millions of streams and video views – including their viral 2022 hit, Fight Fire With Gasoline, with tens of millions of streams. Written on the road during the heaviest touring of SELF DECEPTION's career so far, their upcoming album One Of Us is a cohesive record full of character, made for the stage – and the pit!From massive pit churners to creative storylines and choruses full of hit potential, the energy on One Of Us is unmatched. The band has a busy festival summer following the album's release, so fans will get the first chance to experience these new tracks live at several major European rock and metal festivals. With One Of Us, SELF DECEPTION is ready to push contemporary rock to the next level, but to find out more HEAVY sat down with vocalist Andreas Clark, asking him to describe One Of Us musically."We never have a plan beforehand," he began. "It kind of becomes what it is. When we started on our own feet, we just decided one day that we wanted to try some new stuff. And every new idea that we can throw into the songs, however crazy it sounds, we've got to try it first. Ever since then, it's been a motto for us to do that. And so this album is written a lot on tour.We've been touring extensively and we've realized during touring and during writing this album that's what we wanted to capture. We wanted to capture so it feels like it's live and has actual musicians behind it. We used to think that perfecting everything was the way to go, but now every imperfection can add quality to it so it's a more organic album than we've ever done."In the full interview, Andreas explained that signing with Napalm Records eased the burden the band had carried while crowdfunding and self-managing, providing reduced pressure and additional collaborative support. He described the album as largely written on the road with the aim of capturing a live, organic feel, deliberately accepting imperfections rather than chasing studio polish.He said the band avoided strict pre-planning, experimenting with many ideas during songwriting and that despite that variety and diversity within their music, the record remains cohesive through consistent vocals and signature drum fills. Specific elements discussed included the song title Ketamine Cowboy, which grew from tour conversations, and the monkey-mask album artwork, chosen to symbolize the mosh-pit persona and the communal energy of live metal shows. We spoke about the recently postponed Australian tour and when they might be rescheduled, the genesis of the band name and more.Get your copy of One Of Us: lnk.to/SelfDeception-ONEOFUS/napalmrecordsBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersLast month, Melbourne's elite vintage rock act, Devil Electric came roaring back with Tahlia, the first single from their upcoming third studio album of the same name. It was their first music in half a decade and what a triumphant return it was.The song was taken from Devil Electric's new album of the same name, which is out now.At its core, Tahlia is an album about fracture and survival, pain, frustration, and relationships breaking under pressure. Uncannily, its themes mirror the years that followed its recording, which only strengthen the emotive undertones of Tahlia. Delivered through soaring vocals, unforgettable hooks, and searing riffs.Balancing heavy rock and doom with a contemporary edge, Tahlia is an album that demands to be felt start to finish. Soaring, immersive, and deeply personal, it marks a powerful chapter for Devil Electric and one well worth the wait. HEAVY sat down with Pierina O'Brien (vocals) on the eve of the albums release to find out more, starting by asking how the general feel is in the Devil Electric camp to finally get it out there."Yeah, amazing," she enthused. "It's been too long coming, I'd say. We've had this album for a while and COVID really impacted our ability to release it, essentially. We wanted to release it much earlier, but here we are. We're finally in the day. I'm so excited. I love this album. I love the songs on it. I hope everyone else loves this album too (laughs)."We ask Pierina to dive deeper into the musical side of the album."It's an interesting question," she measured. "I've had to reflect back on this because... there was sort of this tumultuous period of my life in which I was writing both of these albums - Godless and Talia -, and little did I know it was going to get profoundly worse before it got better (laughs). But yeah, but there was this bookcase in my lounge room and I used to sit in the every night and sort of, you know, tinkering around."I was going through this time sitting in my lounge room and looking at this bookcase, so I wrote a lot of the music around the themes of these different books on the shelf. It sounds so cliche, but it actually was kind of a nice stimulant for me to look at when I'm trying to write lyrics. And so thematically they're quite similar, but I'd say all of the most probably painful songs ended up on Talia."In the full interview, Pierina described Tahlia as a six-song, lyrically dark and personal record; she emphasized her strong attachment to the material and relief at finally releasing it. She noted some songs were written alongside the previous album Godless and highlighted the closing track "Hereafter" as a nine-minute, emotionally difficult piece that ultimately ends on a hopeful note.The discussion moved into track-by-track commentary, with Pip summarizing the tone and themes of "Talia," "Jill and Jack Shit," "Weirdos," "When We Talk About Nothing," and the instrumental "Acid Bath," and naming collaborators involved. They covered the music-video creative process, getting the musical balance correct in the writing process and more.Get your copy of Tahlia: devilelectric.bandcamp.com/album/tahliaBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.