HEAVY Music Interviews

This November, two U.S. heavyweights in BLVD Of Eyes and The Midnight Devils combine to bring their music to Australia for a run up the East Coast that promises to be a blast. Bands from opposing ends of the rock spectrum - with BLVD Of Eyes being on the lighter side of rock and The Midnight Devils leaning more to the extroverted side of glam rock - both have international touring experience, but never on the same line-up.While BLVD Of Eyes are just getting into the daily grind of a successful music career, The Midnight Devils celebrate 10 years of good times and partying in 2026. BLVD have just released the single Razor Eyes, which is taken from their upcoming EP We Are Humans. Fronted by Chloe Trujillo, BLVD Of Eyes also features Aussie bass player Mark Dalbeth (Bellusera), guitarist Kevin Hicklin and Chloe's daughter, Lullah Trujillo on drums. With a long list of live shows under their belt since forming, Blvd Of Eyes have proven their ability to captivate audiences with their raw energy and are steadily building momentum.The Midnight Devils are no strangers to these shores, having completed two successful tours previously, the most recent of which was a national run with Bon But Not Forgotten last year. The boys - featuring Sam Spade (bass, vocals), Sniper (guitar) and Jimmy Mess (drums) released their third album So Hard It Hurts late in 2025 and are well known and loved everywhere they have ever taken to the stage.Together with Brisbane groove metal outfit Awaken The Hate, both bands hit the road in November, with The Midnight Devils starting at Melbourne's Cherry Bar on November 20 and BLVD Of Eyes kicking off at the same venue the following night. Once they hit Sydney, the two shows combine for what can only be described as a travelling rock and roll party.HEAVY sat down with Chloe and Sam for a chat ahead of the tour, introducing the two singers for the very first time."We're super excited to be supporting BLVD of Eyes with our brothers Awaken the Hate in Australia," Sam beamed. "It's our third tour of Australia in three years, and we can't wait! This is gonna be the party of all parties. Ten days of fun in the sun, and we're all signed up for it!"Seeing The Midnight Devils have been here twice before, and this will be the first for BLVD Of Eyes, we ask Sam if he has any tips or advice for Chloe."The best advice I can give you is the Australian people are maybe the craziest!" he laughed. "They're like a certain level of crazy. It's not American by any means; it's another level altogether. I tell myself every morning, make sure you eat your Wheaties because we're hanging out with crazy Australians and partying every night. Like, it's all day, all night, every single day. 24-7."In the full interview Chloe and Sam introduce us further to their respective bands, run us through what to expect from them live, which three songs to listen to in order to get a feel for what to expect, their upcoming releases and what direction they will take and, best of all, we find out their first impressions of each other and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It is refreshing to hear old school metal bands still pushing their limits and exploring fresh sonic realms, even with a sound that is known and loved and has been for more than 40 years. It is understandable when some bands mutter the words 'if it ain't broke, don't fix it', but that still shouldn't stop the creative juices from flowing, if only to challenge yourself.Which is exactly what happened with thrash metal legends Testament and their upcoming album, Para Bellum. While not detouring too far from the music for which they are universally loved and respected, Testament have found ways to reinvigorate their tried and true sound without risking the alienation of staunch, loyal fans.On this album, Testament have leaned more into the black metal side of their musical psyche, a side embraced by guitarist Eric Peterson, who tapped into the more modern aspects of metal with drummer Chris Dovas, who was working on his first album with the band. Noticeably younger than his bandmates, Dovas brought the taste of the present into Testament's creativity, with the results only solidifying the band's sound.Such is the all-encompassing sound Testament were going for with Para Bellum, the opening notes feature an old bridge thought lost from The Legacy era of the band, coming full circle in a way while still embracing change. Para Bellum is triumphant on so many levels, maybe none more so than the addition of the song Meant To Be, which is Testament's first album ballad for many years. It is exciting times for a band just about to release their 14th studio album, with frontman Chuck Billy joining HEAVY to bring us up to speed.We ask about the album title, Para Bellum - which is Latin for If You Want Peace, Prepare For War, and how it fits in with the content."First of all, it fit in with the artwork," Billy explained. "Originally we were gonna call it Infanticide AI, but that didn't really match the direction. We thought, AI, let's not go there, because maybe fans might start thinking, 'is that album cover AI? Did they use AI to write lyrics in all this?'So we said, you know what? Let's not open that door. And once me and Alex wrote Parra Bellum, and I told him what it meant, it made more sense with what he was working on with the artwork, because we knew we wanted a mushroom cloud there in the background. And I didn't know about the angel and the missile wings, but once they came up with it, it just made sense. It's subliminally war-driven a little bit, talking about silent weapons and things that are going on in our world."In the full interview, Chuck spoke more about the musical nature of Para Bellum and what they were going for this time around, the elements of black metal through most of the music and how it enhances the band's sound, the contributions of new drummer Chris Dovas in the writing and recording process and what ideas he brought to the table.We spoke about bringing a slightly modern edge to their existing sound of the importance of always trying to come up with fresh ideas, the album ballad and why now is the right time to write another one after so many years, the use of cello for that sound and how difficult it was to integrate it into their music, the meaning behind the album artwork and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

In the modern age of seriousness, it is refreshing to see a band doing the rounds that still values fun and a good time over politics and bickering. A band who performs with a smile on their face without deferring to any one side of whatever fence is currently being built or in the process of being torn down. And, of course, said band is British, the place where the love of a laugh and the desire to get on with it are part of the staple diet.Indie rock outfit The Lathums have been doing that now for the better part of seven years, plying their trade the world over and being invited to enjoy the facilities at festivals such as SXSW, Glastonbury, Leeds/Reading, Neighbourhood Weekender and plenty more.But if there's one thing you can strike a negative for with The Lathums, it's the fact they have not once brought their infectious band of music to Australian shores, a blight which is soon to be remedied with the four-piece touch down for a run of four shows starting in Fremantle on October 8. Having never heard of The Lathums before, HEAVY had to do a bit more research than usual before sitting down for a chat with frontman Alex Moore, and what we discovered looked like so much fun that we had already made up our mind to go to one of the shows before even speaking with him.After asking Moore how and why The Lathums have neglected Australia until now, we ask him what he is expecting from our audiences, pointing out that we have been known to get rowdy on occasions."Yeah, I was expecting that," he smiled. "I feel like we'd get a good crack out of a crowd in Australia (laughs). Sometimes the crowd feels like they shouldn't say or do anything and just let the band do whatever. But I feel like in Australia it'll be a bit more like engaging, so we'll see."We follow up by asking what we can expect from The Lathums live."We engage with the crowd, we make sure everybody's had a good time and a safe time as well," he promised. "But the makeup around it and the thrill is always different because you never really know what's gonna happen. I'm a bit mad and I can switch quite quickly, so you never know what to expect (laughs)."In the full interview, Alex highlighted the unique energy of The Lathums' live shows, recommending three songs for newcomers to prepare for the tour. He reflected on the musical climate in Wigan at the band's formation in 2018, noting a lack of local activity and their role in revitalising the area's music culture.He shared the band's journey, mentioning the success of their first two albums and emphasising that true success is measured by fan loyalty rather than chart positions. He also expressed eagerness to connect with Australian fans, what they are expecting and more.Tickets and tour info via: frontiertouring.com/thelathumsBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

British metal outfit Conjurer have continued to defy expectations since the release of their debut album, Mire, in 2018. Essentially an experimental metal band, Conjurer has drawn on elements of sludge, death, doom and post metal, never once allowing themselves to be defined by any one sound or genre.While award nominations and accolades accumulated with each piece of new music, Conjurer retained their one simple mission: to make heavy music and have fun while doing so. Preferring to use their spotlight to showcase technicality and musicality rather than concentrating on politics or opinions, Conjurer have always lived in the moment and embraced everything that came their way.Their upcoming third album Unself (October 24, Nuclear Blast Records) sees Conjurer once more expanding their sonic palate, but this time the whole album is grounded by a common theme or thread that sees the band producing their most personal album to date. Unself is a more intense, more personal voyage of discovery unfurling for vocalist/guitarist Dani Nightingale, who was diagnosed with autism at age 31. With that prognosis, Conjurer's long-held view of self and perception of their place in the world began to unravel. Unself documents much of the piecing back together around the diagnosis, alongside the realisation that they were non-binary.With the release date looming large, HEAVY took the time to chat with guitarist/vocalist Brady Deeprose to dive deeper. We start by asking if the band are feeling confident about the reaction for the new album."I think it's funny because with all of our previous releases, we've not really cared about the reception," he smiled. "It has been a very specific point that we make this music for the four of us. We put it out there, and if people like it, that is wonderful. And if they don't, then that's also fine. We can't control that. However, on this album, I feel like we've put so much more of ourselves into it than ever before. It feels so much more personal and so much more emotionally vulnerable, that while, yes, if people don't like it, that's not something I can control, but I do really hope that people connect with it in the way that I have. I love this album, it really means a lot to me, and I hope that it kind of scratches that itch for at least some of the people that listen to it."In the full interview, Brady talks more about Unself, highlighting its departure from previous works and a focus on emotional vulnerability and personal investment. He described the recording process as collaborative and low-pressure, contrasting it with the challenges faced during their last album, Pathos. Brady explained how the band aims for a more organic sound on Unself, with tracks that defy traditional genre boundaries, reflecting their artistic evolution.We spoke about the opening tune, Unself, and why it was chosen as first cab off the rank, as well as the closing track, The World Is Not My Home, which is an adaptation of a century-old gospel song, and the thought process behind both. Last year's Australian tour was brought up, along with whispers about a return visit next year and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

When Australian extreme metal outfit Werewolves proclaimed to the world that they intended to release 10 albums in 10 years, the collective sighs of here we go again hung loudly in the air. Bands have promised such things or similar immeasurable times in the past, with few managing to reach the lofty heights for which they had set themselves. Not to mention the discontent from fans who then started to doubt the honesty or integrity of anything that came out of their mouths from that moment forth.But with a pedigree of members from well-respected Australian bands such as Psycroptic, The Berzerker, and The Antichrist Imperium, more than a few people backed Werewolves in.That promise was made six years ago now, and lo and behold Werewolves have just released album number six, The Ugliest Of All. Described as a "devastating album with little let up or mercy", The Ugliest Of All is pure, face-melting extreme metal of the highest calibre, proving that even just over halfway through their quest, Werewolves are yet to start scraping the bottom of the creativity well.With the recent listen to the album still infecting our ears, HEAVY sat down to chat with guitarist Matt Wilcock to find out more. We start by asking how the early reception for the album has been."It's been good," he enthused. "It's album six. We've been around for six years or seven years, and we're up to album six. And to be honest, it's funny because for us, it's just another album, but we're happy with it and people seem to dig it. We're always excited to release another ridiculously brutal and stupid album."With such a regular release cycle, we wonder aloud if Matt even gives thought to what people think of their albums and if negative feedback could ever derail the process."Oh, there'll be another one," he grinned defiantly. "I mean, it's a bit of both. We do it because we love it, and it's kind of cool to see what people think. But if no one likes this one, then fuck them. We're going to do another one next year. And it's going to be even worse (laughs)."In the full interview, Matt provided an overview of The Ugliest Of All, highlighting its relentless intensity and the absence of slow songs, with the first half featuring catchier tracks and the second half increasing in aggression. He noted the band's growth in songwriting and the fact that their music is made for themselves first and foremost.We discussed the now compulsory dis song on each album, along with the cover art by Mitchell Nolte, which reflects the album's themes. We spoke about the back and forth when creating artwork for each album cover and how they develop from a simple sketch to a graphic piece. The 10 albums in 10 years promise came up, with HEAVY asking if it was becoming difficult to come up with quality material given the short amount of time between albums, as did their run of shows early next year with Abbath Doom Occulta and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Melbourne old school death metal machine Monoliyth have been steadily going about their craft for just over 25 years, grinding away on the circuit with a mission to do no more than offer a sonic distraction to the world around them.It is an often thankless task - faced by all bands - but Monoliyth have found their niche, originally starting life as more of a thrash metal band before finding their home in the nastier side of metal.Their recent release, He Who Kills, is a typical blast of aggression for Monoliyth, but this time there is a storyline to go with the carnage. A storyline that could very well be the visual accompaniment to Monoliyth's musical psyche. Each song on the album tells a tale of death and destruction through the eyes of a serial killer, with each tune showcasing a different protagonist and the evil that lurks within. It is a different, engaging, and highly confronting deviation from the norm, and one HEAVY wants to explore further when we speak to guitarist and founding member Mick Barr."Well, it wasn't anything serious," Barr replied when we asked where the idea came from. "Everything on YouTube or the old horror movies and stuff is always based on serial killers. And we thought maybe we can do something, looking through the eyes of the actual serial killers themselves and how they might perceive their surroundings or their ideology on why they do what they do. It's to do with the whole concept of how they might operate collectively. Am I a fan of serial killers? Absolutely not. I've seen plenty of docos on these people, and you can't make it up. You can't believe half the stuff they talk about."In the full interview, Mick discussed the album's musical direction, blending old school death metal with modern techniques, and highlighted the singles The Killing Floor, He Who Kills, and Excised Unborn as representations of their diverse sound. The album's concept, influenced by horror movies and online content, explores the perspective of a serial killer with a tongue-in-cheek tone, although Mick emphasised that the graphic material is not meant to be taken seriously.He reflected on the challenges of standing out in the competitive Australian music scene, while expressing satisfaction with the band's international reception, particularly in Europe. Upcoming performances include an album launch and participation in Brute Fest, with the album available for streaming and on vinyl, alongside plans for new material and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Since their formation in 2019, Melbourne rock/punk outfit Anabella And The Heist have steadily gone about building their profile, mostly via word of mouth on the back of their entertaining live shows that are said to often "teeter on the edge of madness".As the band ramps things up for a brighter future, they have delivered two previous singles - both launched to sold-out venues - in Electric and 1769, songs that have showcased differing sides to Anabella And The Heist's musical psyche.On September 12 the band released a third single, Maraschino, via sonic release only, hoping to initially draw people in to the band with their unique sound before pummelling them into submission with a follow-up music video, which was released this Friday just gone. HEAVY caught up with frontwoman Holly Arabella and guitarist Joe Humphries to find out more.“The music video, like the song, came from a place of wanting to play with the idea of tension and release,” Holly shared. “We chose an unconventionally claustrophobic space to set it within, set up a camera and filmed it ourselves. This allowed us the ability to play with the space in a way that portrays the pressure of the song.”We ask how the initial reaction has been to the audio release of Maraschino."It's been really great, actually," Holly smiled. "I've been really excited to see other people have been excited about it too, because it's one thing to be in the studio and be like oh we're making this fusion punk dance thing, and you're really excited about it, and then when it actually comes out and other people are excited about it, it's like, okay we went in some weird cryptic manic episode that worked (laughs)."We ask how Maraschino differs musically from Electric and 1769."I would think that we leaned into it," Holly mused, "especially with the samples and the synths and everything. I think we've found our niche in that kind of dance thing, and I think that's just come from playing songs like Electric and 1769 live and seeing the energy and emotion in the dance floor. We've been wanting to just harness that more, and I think with those two previous songs we went into it, going how are we going to play these songs live, so they're very much just guitars, bass, drum, and vocal, whereas this newer stuff we're more going that doesn't matter, we can figure that out."In the full interview, Joe and Holly described Maraschino's chaotic, dance punk style, achieved by merging electronic sounds with traditional instruments. They emphasised their aim to move beyond generic punk rock and explore innovative musical directions.The discussion included details about their upcoming single launch at The Old Bar in Fitzroy and their aspirations for future music and performances. Without confirming anything, Joe and Holly insinuated an album is in the works, with potential shifts in musical direction discussed and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Canada's greatest export ever, Danko Jones, have been flying the flag for rock and roll music ever since they combined to wreak havoc on the world in 1996. The band have almost single-handedly revived rock and roll from the untimely death many have predicted or wished upon the genre, churning out hit after hit with consummate ease. Armed with a swag of rock gospel albums, including We Sweat Blood [2003], Sleep Is The Enemy [2006], A Rock Supreme [2019], Power Trio [2021] and Electric Sounds [2023] and a relentless touring schedule, Danko Jones not only live and breathes rock and roll. They OWN it.A band that very much lets their music do the talking, Danko Jones are set to release their latest album, Leo Rising, on November 21, further solidifying their place in the annals of rock history. HEAVY caught up with Danko Jones himself to find out more. One of the things we discuss is the relative simplicity inherent in Danko Jones' music, with the band allowing the songs to dictate terms rather than try to change things up just for the sake of it."I don't really think there's a need to reinvent the wheel of rock in 2025," he offered. "But at the same time, there's still room for making it sound fresh. So that's kind of our goal. We're not trying to create a new genre of rock music, but we're just trying to make it sound fresh."We ask Jones to dive deeper into the musical side of Leo Rising."It doesn't change," he shrugged. "Every album is the same, as the next one will be the same, which is just try to write a whole bunch of tunes that I like - or that we like. I write to please myself first and foremost. If I don't like it, I can't back it. That's not to say that there were songs on our previous albums that I don't really like, but you're striving for perfection."In the full interview, Danko emphasised the importance of creating songs that resonate with him rather than conforming to current trends. We discussed the collaboration with guitarist Marty Friedman on the song Diamond in the Rough, highlighting the significance of timing and ensuring the song suited Friedman's style, which resulted in a standout guitar solo.The conversation delved into the complexities of naming the album, with Danko noting the challenge of selecting from nearly 200 song titles. The title Leo Rising was chosen to connect with their first album, Born a Lion, symbolizing thematic continuity as they look ahead to their 13th album.Danko also discussed the challenge of maintaining musical integrity amidst industry changes, asserting his commitment to their sound and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The turn of the century was an interesting time to be alive. You had the doomsdayers who were convinced some bug called Y2K was going to wipe out the planet via technological genocide, and others who were convinced the world was going to come to a screeching halt at the stroke of midnight. For every theory was a counter theory, to the point where people were being driven to drink just to maintain some semblance of sanity.Into the world was born an anthemic tune that was just good enough to divert people's attention away from all of the fear and uncertainty in the world and allow us to refocus on the one thing that will never let us down.Music.So when three young upstarts from Adelaide started a sonic movement that bucked the growing tide of uncertainty, its wings spanned the entire world, with people as far away as Transylvania heard running through the streets and yelling four simple words that, when put together, became the voice of a generation. The voice your mother warned you about. The voice of change. I can still picture myself screaming above the live band in those times, shouting those same four words that have now become as much a part of music folklore as Iron Maiden and those that came before or after them. Those words?Turn That Shit Up. And the band responsible?Adelaide's Testeagles, that's who. After putting out just the one sensational metal/indie rock album laced with electronic beats and samples called Non Comprehendus, Testeagles vanished into the abyss. Job done. Order restored.Over the years, there have been many calls for Testeagles to return and finish what they had started, most of which fell on deaf ears until the band was coaxed out of retirement and onto the stage of last year's Froth & Fury Festival. The response was so overwhelmingly powerful and positive, it was only a matter of time before that one-off comeback became a fully fledged reunion, and the band did not disappoint, recently bowing to public demand by announcing a national tour in celebration of 25 years since the world collectively turned their shit up.Returning to our early days of musical indulgence, HEAVY sat down for an entertaining chat with Testeagles drummer "Ady" Matt to fill in the many blanks. We start by asking how rehearsals are going with the first show only weeks away."We played a show last year for the first time in like 20 years or something ridiculous, and that was a nightmare trying to get ready for," Ady laughed. "We had our doubts because we hadn't played properly for a really long time, but this time around we've kept it together ever since we did that one-off show. And we've been jamming. We built this really cool rehearsal space so we get to do this all day, every day, and it's got us really firing."With Testeagles having large electronic components to their music, we ask Ady how their live show has had to change in order to keep up with advances in the music industry."We weren't sure if we should just do exactly the same as what we used to, or if we should spice it up a little," he admitted. "We've ended up making a few changes - mainly due to all the different technology available - and it gives you all these ideas. We sat down and had a chat about it together, and thought about back in the day, and how it would sound now if we never stopped. We were always looking for the latest type of equipment and the latest tricks and things to do. I guess that's how we justify changing now, or thinking if we never got out of it, we would be completely different now to what we were then. So we've embraced some new technology, which is letting us do some extra things. I think it's a way better show now than we ever could have done back in the day, and it makes it probably more entertaining and interesting."In the full interview, Ady conveyed confidence in the band's preparations for the tour after a long hiatus, despite the challenges of relearning older songs and accommodating the health needs of their bass player, Dave. He reflected on the band's musical journey since their formation in 1994, noting their eclectic influences ranging from rock to electronic music.He recounted the unexpected success of their track Turn That Shit Up, which propelled Testeagles into the spotlight, while also revealing some initial doubts about their music's reception before it was released.As the tour approaches, Ady expressed a mix of excitement and anxiety about performing as the main act, emphasising the importance of nostalgia for fans by prioritising classic songs in the set list. The conversation also touched on the eclectic blending of genres at Testeagles disposal and how they get the balance right in the creative process, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

I Prevail swept into town like a rampaging force of nature with their debut album Lifelines in 2016. It was an album that screamed defiance from every note, emphatically heralding the arrival of I Prevail onto a musical landscape that was destined to be changed forever.While bands had previously flirted with fusions of post hardcore, metalcore, pop punk, hard rock, nu metal, electronics and hip hop, none had managed to find a completely happy medium, choosing more fleeting moments of amalgamation rather than combining all of the genres under one banner. But here was a band who seemingly found the perfect balance on their first offering.Prior to this, I Prevail had endeared themselves to the crossover metal community with a heavy take on Taylor Swift's Blank Space, but that proved to be merely an appetiser for the sonic feast that was to come.Despite attaining gold status over their first two albums as well as Grammy nominations previously unheard of for music of their preference, I Prevail refused to stick to what was already a winning formula, pushing themselves and their boundaries more and more with each release. Where many would find comfort, I Prevail found challenges, all of which have come together to form the nucleus of the band's fourth album, Violent Nature, which was released worldwide last week. It is an album of triumph over adversity, light where there should have been dark, and a defiant enthusiasm and hunger for personal musical fulfilment, which a betting man would say is still a long way from being satiated for this ever-evolving band.HEAVY caught up with frontman Eric Vanlerberghe recently to discuss Violent Nature and how it represents I Prevail at this current point of their career. We start by asking how the early reception has been for the album."It's been incredible," he replied. "Just seeing the love on it and playing some of these new songs live. We played one of the songs before the record came out, and people were just jumping. It felt great. It's good to finally have it out."We mention a quote from the press release that says I Prevail have taken things to the next level with Violent Nature and ask if he agrees."Yeah," he measured after a brief pause. "I think that's a fair assessment (laughs). Just like every record in the past, we always look back and go Okay, what can we do better? What can we improve, and how can we cut the fat? With the heavier stuff, I feel like we've gotten and created different ways to get heavier, and when it comes back to writing the hooks and choruses, we spent a lot of time to make sure we loved every single one of them. Each one felt like a 10 out of 10 before it went out the door. After 11 years of writing, I think we're just starting to get it (laughs)."In the full interview, Eric dives deeper into Violent Nature from a musical point of view, highlighting the opening track Synthetic Soul and how it came together. We discuss the recording process that was split in two parts and how that impacted the finished result, as well as this being the first time that I Prevail have actually recorded an album in a proper studio as opposed to more DIY methods.We talk about Eric taking on clean vocals for the album to go with his usual harsh singing, and how difficult the transition into the dual roles was. He told us about the variations writing for clean vocals had during the creative process, and how the band ironed out any bumps as they occurred. Talk also turned to the eclectic blending of genres and how I Prevail find their balance in the creative process, plus Eric discussed last year's Australian tour with Parkway Drive, and just when I Prevail might be planning their own run of shows and plenty more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Suicidal Tendencies have a love affair with Australia, touring regularly and bringing their infectious brand of skate punk metal to our tender ears with the same intensity and conviction time and time again.It has been two years now since their last visit, but this time they come bearing gifts. Musical gifts, that is, in the form of Metallica and Evanescence as part of Metallica's massive global M72 Tour. But this will be Suicidal Tendencies' first tour with drummer Jay Weinberg on deck, rounding the band out now to include Mike Muir alongside guitarists Ben Weinman (The Dillinger Escape Plan) and Dean Pleasants and bassist Tye Trujillo (son of Metallica's Robert Trujillo).HEAVY recently had the pleasure of speaking with Muir and, knowing his genuine love of chatting in interviews, got straight down to business as Mike walked through the sunny streets of California. One of the topics of discussion was the enduring legacy of Suicidal Tendencies, even after five decades in the music industry."It's great because even when we go to Australia…," he began. "I lived out there for a bit and there's so many people that I met over the years from when we first went there in 93 when we were opening up for All This Change and no one knew who we were, to 99 when we did the Warped Tour and on and on where you meet people, and then they start to have kids, and you see their little kid, and you got pictures of the little kid, and you come back and now they're six foot four, and you're looking up to them (laughs). I'm glad I was nice to them. But you see that generational thing and how quickly time does fly, but how much it means to people."In the full interview, Mike reflects more on Suicidal Tendencies and their upcoming tour with Metallica, emphasizing the band's deep personal connections and legacy. Muir highlighted the significance of family within the band, mentioning Ty, the son of a former member, and shared his enthusiasm for creating new music that resonates with both long-time fans and the next generation. He also expressed excitement about performing new songs live, praising drummer Jay Weinberg for his adaptability in large venues, noting the positive impact on their performances.We spoke about the band's new song Adrenaline Addict, marking their first release in seven years. Muir described the collaborative process behind the song and its themes of personal expression and self-reflection. He discussed the dynamics of music collaboration, including the challenges of being recognized as a contributor, and emphasized the importance of authenticity in relationships and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

When The Living End burst onto the Australian musical landscape with their self-titled debut album in 1994, the blurred lines between rock, punk and metal were suddenly more accessible, introducing a wide network of music lovers to genres they might otherwise have avoided.Their rebellious spirit, emphasised through songs like Prisoner Of Society and Second Solution, suddenly made punk cool, with adolescents everywhere jumping on board The Living End freight train. It was the turning point for Australian music, seamlessly blending rockabilly and punk with metal stylings to create a musical force rarely seen on these shores.Fast-forward 25 years and The Living End are still pumping out the same infectious brand of punk n roll, albeit with a maturer edge and slightly different viewpoint on the world around them.The Living End are set to release their ninth studio album, I Only Trust Rock N Roll, this Friday, September 26, with frontman/guitarist Chris Cheney proclaiming, "This one had to sound like a slick machine. Trim the fat." And that is exactly what The Living End have done with this new album. It is truly an album of all killer, no filler across its 11 tracks, each one with a lifeblood of its own that shows just how far, but also so little The Living End have come in the last quarter of a century.HEAVY sat down recently with bass player Scott Owen to dig deeper."Yeah, it's been a slow process," he sighed, alluding to the fact that this is the band's first album in eight years, "but it's given us the chance to give it everything we possibly can. Every idea we have, every thought we have, has gone into it. We didn't want to rush it. We wanted to make sure we got it right, and I think we did. I think it's ready to be born and to get out there."We ask if he is feeling confident going into the release date."Yes, I do," he affirmed. "I speak for the three of us. Yes, there is confidence, and it's because we definitely feel like we should be feeling, put it that way. We really did concentrate on keeping it simple and keeping the message simple; keeping the music simple, staying in our own lane and knowing what we do good and not trying to reach beyond that. Just doing our thing. Doing the thing that we really like. We've worked on all these songs with the thought that we're going to go out and play them on stage, so we need to make sure that they're just lean, and they're built for a three-piece band on stage. Not too many overdubs and not too many… Not too many studio things, you know, just good rock music. So yeah, to answer your question, very, very confident and very, very proud."In the full interview, Scott shared insights into the album's creative process, emphasising a cohesive vision that prioritises a simple, energetic rock sound suitable for live performances, while aiming to capture a raw, live feel through minimal overdubs. They also talked about upcoming Q&A sessions in Melbourne, Brisbane, and Sydney, inspired by a successful art installation related to their single Strange Place, designed to create an immersive experience for fans.Additionally, Scott highlighted the unique tour format featuring two different sets each night, showcasing both new tracks and songs from their first album, and mentioned their performance at the Wanderer Festival in New South Wales on October 4 and 5. We talked more about keeping it simple with fans and maintaining a connection with your fan base and music to appease the cross-section of listeners over the years and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Starting life in 2005 more influenced by deathcore sensibilities than their current, more accessible mixture of styles, Glasgow metal outfit Bleed From Within have gradually morphed into a style of their own over seven studio albums, the most recent of which being last month's irresistible offering, Zenith.Representing the past, present and future of Bleed From Within, Zenith captured the band at the peak of their prowess to date, solidifying their reputation for thinking outside of the metaphorical box and confirming their place amongst metal's elite. From incorporating bagpipes into their beautiful brutality through to commanding stages alongside Slipknot, Bullet For My Valentine and Trivium, Bleed From Within also stormed the main stage at the UK's Download festival in 2024, further cementing their stake as a must-see act for the ages.Now, it's Australia's turn as Bleed From Within join forces with The Ghost Inside for October's Going Down Under Tour, which got even bigger last week when Bleed From Within announced a one-off headlining show in Melbourne.HEAVY sat down with frontman Scott Kennedy to dive deeper."We're doing a headline tour of Europe at the moment," he began, "and we get back from this tour five days before we leave to come to Australia. We're proper excited about it. Australia has been on the cards for our 21 years as a band. It's one of those places we've been desperate to get to."We point out that Australian fans love the band, with Sydney featuring at #2 on Bleed From Within's Spotify Playlist and Brisbane at #4."I didn't know that, but that's amazing," he smiled. "We sort of did the same thing in America. We waited so long to go, and for no other reason than the fact we just didn't get the opportunity. We didn't get the right tour offer, but when it came, and we finally went there, it was just… it felt like people were hungry for it. It's almost like we starved the market for so long that when we went there, it was nuts, so I'm hoping that the same thing happens when we get to Australia."In the full interview, Scott talks more about the tour and what we can expect, touring with The Ghost Inside, their one-off side show and why there isn't more, plus their latest album Zenith and how it was received.We spoke about the band's comments at the time of Zenith's release that it represented Bleed From Within at the peak of their career and where they will go from here, the direction future music may take, how much musical growth is left in the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Australia's own BE'LAKOR finally return for a powerhouse run of home shows this October, bringing their signature blend of melodic death metal and progressive depth to stages across the East Coast to celebrate 20 YEARS OF LIVE BE'LAKOR. Renowned for their immersive soundscapes and acclaimed releases such as their most recent and much lauded effort, Coherence, the Melbourne five-piece continues to push themselves and captivate audiences worldwide.Joining them on this monumental run are progressive metal masters PERSEFONE, for their very first time on Australian soil. Hailing from the picturesque lands of Andorra, they have been a formidable presence in the progressive death metal scene since their inception in 2001. Renowned for their intricate compositions and thematic depth, the band masterfully blends technical prowess with melodic sensibility.Complimenting an already stellar lineup is ORPHEUS OMEGA, who will be celebrating the 10-year anniversary of their landmark album Partum Vita Mortem. A cornerstone of Australia's melodic death metal scene, they are well known for their dynamic blend of aggressive riffs, atmospheric keyboards, introspective lyrics and have consistently pushed the boundaries of the genre.With the tour set to start in just a few short weeks, HEAVY caught up with keyboard player Steve Merry to find out more. One of the topics of discussion was Be'Lakor's live show and what we can expect."Well, to be honest, it's just going to be a lot of riffs, a lot of melodies, a lot of harmonies, and not much else," Steve replied. "Not much chit-chat. We get up there, and we play our songs, and that's the way we like to do it. We're there for the music. What drives us is writing the music and then playing it so it'll be good fun."The term "immersive" is often used to describe Be'Lakor's sonic output, so we ask Steve just what that means."I think what that whole bit is talking about is a combination that the songs are long, and they go in all directions, and they often don't return to riffs," he measured. "So there's sort of a journey feeling to the music. We use a lot of atmospherics and a lot of spacious sounds around the actual guitars and drums and the core of the song. We'll chuck a lot of atmospheric stuff in as well. And I guess the lyrics, we do tell a story with the lyrics. So I think those three things together would be maybe what makes people say it's a bit immersive."In the full interview, Steve shared more details about their upcoming tour, 20 Years of Live Be'Lakor, highlighting the band's extensive rehearsal efforts and the inclusion of supporting acts Persefone and Orpheus Omega. He described the live performances as immersive experiences focused on music rather than audience interaction.We further discussed the evolution of BE'LAKOR's sound from their debut album, The Frail Tide, to their latest release, Coherence, noting a shift towards longer songs and a more mature style. Despite the success of Coherence, the band is dedicated to writing new material that resonates personally, currently being 60% through the writing process for their next album, while opting not to perform new songs on the tour to allow for further refinement, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

If you look at their musical journey, it might appear that SoCal pop/punk/rapcore outfit Zebrahead have led somewhat of a charmed life. From their very inception through meeting at a practice room to playing to a handful of people, where 12 of them were scouting from record labels, a sceptical person could claim things have fallen into place for the band. But if you know the band and know their music, you would know that while luck - in any incarnation - is always welcome, there is one core ingredient of Zebrahead's collective musical psyche that has had more influence on their trajectory than anything else.Fun with a sense of humour. Listening to co-founding member and vocalist Ali Tabatabaee run through Zebrahead's history, the one common thread is their ability to laugh in the face of potential adversity and brush any setbacks off with a shrug of the shoulders and the knowledge of what to do better next time.Their musical style is offbeat and eclectic, mixing a fusion of pop/punk with hip hop and punk sensibilities to create an ever-evolving and expansive sonic universe that is as endless as it is unique. But there is one factor that has been essential to the continued growth of Zebrahead, and that is their live performances. Known and loved for their energetic output and on-stage banter, Zebrahead bridge the gap between intensity and frivolity with boundless energy, approaching each gig like a party with new best friends that just haven't been met yet.This October, after seven long years, Australian fans get to witness this first hand when Zebrahead make their triumphant return for five shows starting in Perth on October 7. Having heard the hype but never speaking with the band, HEAVY jumped at the chance to spend some quality time with Ali, and we're glad we did! We started by asking what has changed with Zebrahead in the seven years since their last visit."Man, I feel like the main thing is Adrian (Estrella) is in the band now," he replied. "He's the other vocalist. We haven't been back since before the pandemic, dude, so it's been a minute. We have released three EPs since then - III, II, I - with Adrian, and we're going to be playing some of those songs when we come over. But also when we're not touring, we've been working on new music. So we're excited to get back home after Australia and get into the studio and record the songs that we've been working on. So that's mainly it, man. And then once that's done, hopefully next summer, start touring again."Talk later turns to the early days of Zebrahead and the musical climate that spawned the band."Man, at that time, Orange County was kind of popping off," he recalled. "You know, we had bands like Offspring. We had bands like No Doubt that were doing really well, so the record labels were really focused on Orange County. We actually got very lucky because of that. Our first show we played this Christmas show, and it was just our girlfriends and the guy who ran the club who gave us the show. He'd never heard of us. He came in to get the money from the cash register or something, and he heard a song. Then after we were done, nobody was there. It was empty. And he goes, 'Hey, I have a friend who's a manager, and you guys are interesting because you have hip hop and punk and stuff. I kind of want him to come and watch you play. Is that something you'd be into?' And we're like, sure, of course, who's gonna say no?"In the full interview, Ali talks more about the Australian tour and what to expect, their energetic live shows and how they will translate to our crowds, having Thomas Nicolas Band as national support, plus the early days of Zebrahead and where they fit in.We talked about Zebrahead getting signed and how their career grew from there, the blending of genres in their music and how they came about, musical experimentalisation and how they regulate it, future music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The story of Spiderbait is an unlikely but heart-warming one – three friends from a small Australian country town taking on the music scene, and emerging triumphantly thirty years later, friendship intact, and now one of the biggest and best rock bands on the national landscape.The trio's popularity spans three decades and shows no signs of abating. They've released seven acclaimed albums, all of which have racked up Gold, Platinum or Double Platinum status, and have combined Australian sales of over a million units. Spiderbait have also chalked up almost every Australian accolade possible, taking home multiple ARIA Awards, topping charts and becoming the first Australian band to take the crown in triple j's prestigious Hottest 100 of 1996 with Buy Me A Pony.Australian rock ‘n roll royalty, and with a catalogue of music that's distinctive and uncompromising, Spiderbait will be a part of The Croxton Block Party, a huge two-day festival celebrating 10 years of the venue, to be held in the carpark across from The Croxton Bandroom on November 1 and 2. The stacked line-up includes Tropical Fuck Storm, Cash Savage and the Last Drinks, Spiderbait, Ratcat, Floodlights, Party Dozen, Grace Cummings, and more.To celebrate the occasion, HEAVY sat down with Spiderbait's Kram to find out how more about the show."It's going to be great," he enthused "I think we've played at Croxton… I can't remember when we played it last. I know King Gizzard played there, and I remember getting up with Wolfmother as well. And yeah, it's just gonna be great for us to actually play there and be part of this great show. And there's a great line-up of acts over the two days."We ask if Spiderbait have any special plans to mark the occasion, to which Kram offered. "Well, we're just about to release the reissue of The Unfinished Spanish Galleon of Finley Lake, and we've pressed it on vinyl because I think it's the anniversary of that record's release. So we might try and do a fair few songs off that record for this show. It's gonna be sick. The Croxton Bandroom has been a great live music venue for the last 10 years, and it's such an iconic room. I'm happy that they're doing the show outdoors to make it like a block party, which obviously is what it's called. It's also celebrating that part of Melbourne, the North side. So many bands have come from there, including us."In the full interview, Kram further highlighted the significance of community support for live music venues and suggested that government incentives could help preserve these cultural spaces. He reflected on the transition of music from underground to mainstream, noting the enduring popularity of bands from his era and the challenges of replacing iconic venues. He announced the release of the 30th anniversary vinyl edition of The Unfinished Spanish Galleon of Finley Lake, highlighting its importance in marking Spiderbait's evolution and confirming that pre-sales will start on September 25 plus more.Tickets for The Croxton Block Party HEREBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsTeenage Joans members Tahlia Borg and Cahli Blakers took time out to chat with HEAVY about their new track, My Hearts Dead, and their current tour with Slowly Slowly.Hailing from Radelaide, Teenage Joans were winners of JJJs Unearthed High back in 2020, and since then they have flooded the air waves with a string of melanchol,y pretty punk rock hits. In their short time on stages, they have racked up some impressive achievements from playing the same stage with Foo Fighters to rocking it on the festival runs at Laneway, Good Things, Groovin the Moo, Unify and more.The girls are excited to be touring with fellow Aussies Slowly Slowly, being huge fans of the band themselves, and are looking forward to warming up the crowds for the shows. Their music resonates with fans as they aim to give their punters the full homegrown experience, being very hands-on with all they produce from their music to videos and even their merch. Not only do Teenage Joans enjoy the DIY aspect, they also feel that part is integral to their image and what they want to pass on to their audience to feel connected. Their most recent track was filmed and produced themselves, mainly due to a lack of funds after returning from a US tour, but that aside, they feel it matched well with the essence of the track and conveys synchronicity.Tahlia plays drums and vocals, and Cahli does vocals and guitar and plays bass in the studio, keeping true to their theme of being hands-on and independent artists. They've described their sound as being as if Blink-182 played Kesha, which is fairly accurate on all levels. The girls have also done a session of JJJs Like a Version where they wanted to cover a Kesha track that didn't make the cut, but was the drive and inspiration behind their latest song, My Hearts Dead, which is a compilation of who they are musically and personally.Being just schoolgirls when they started out, they talk about doing gigs on school nights, having their parents as roadies and manning the merch stands for them, saying it has helped them navigate growing up in the spotlight as young females in the music industry. They also discussed playing with their idols, new music, future direction and their hometown gig on October 31 plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersSince the Australian Women in Music Awards (AWMA) inception in 2018 almost 2000 individuals have been recognised with a nomination, with 1946 nominations from 2018 to 2024. Designed to provide an outlet to celebrate and reward women in the Australian music industry, AWMA has become a vital platform for recognising the vast contributions of First Nations and culturally diverse artists, musicians, technicians, photographers, journalists, leaders, artists with a disability and music practitioners from every corner of the sector.To be held on October 9 at Fortitude Music Hall in Brisbane, this year's ceremony features a spectacular line-up, including KATIE MILLER HEIDKE, MISSY HIGGINS, BABYSHAKES DILLON, and recently appointed AWM Chair SARAH MCLEOD.Founding Executive Producer and Program Director Vicki Gordon explains: "Our inaugural AWMA in 2018 paved the way for some of the most important change the industry has ever seen, igniting collaboration and support nationally for female and gender-diverse artists and music practitioners, First Nations and Multicultural artists and artists living in remote and regional areas. As we head into our sixth year, we are proud of the change and the shift AWMA has enabled - but there is so much more work to be done.”With the AWMA's drawing near, HEAVY sat down with Vicki to discuss the Awards, covering everything from the past, present and future of this wonderful initiative."Things are pretty intense at the moment," she smiled when we asked how preparations were going. "We're just under four weeks out from delivering the conference and the awards ceremony, and there are a lot of moving parts. It's become massive; a really, really big event. There's a lot going on with organising the artists and the programming for the awards ceremony. (Things like) the finalists, the conference programme, the speakers and the facilitators."We ask Vicki to go into more detail about the AMWAs, including what motivated her to establish the awards in 2018."I've worked in the music industry for a long time," she measured. "I've been a label manager, an artist manager. I've had the extraordinary opportunities to work with First Nations artists for the last three decades, right across this entire country, and I've been a video producer. I've worked in lots of areas, and in my time in the industry, it was always so obvious to me that women were really absent, particularly in a lot of the technical and production areas. I have been observing that for a long, long time. In the early 90s I established the Australian Women's Rock Institute, and that was way before Australian Women in Music Awards. I set that up primarily to address the status of women in the music industry, which was pretty appalling at that time."In the full interview, Vicki outlined the extensive preparations for the event, involving a large team focused on artist programming and conference logistics. As a not-for-profit charity, the event relies heavily on ongoing fundraising efforts and collaboration between a number of sectors, which she explained in greater detail.Vicki also mentioned her proactive approach to planning for the 2026 awards, highlighting the cyclical nature of organising such events. She shared her long-standing commitment to addressing the underrepresentation of women in technical and production roles within the music industry, which led her to establish the Australian Women's Rock Institute and the awards themselves.The conversation also touched on the importance of gender equality in the music sector, with Vicki emphasising the need for continued advocacy and research. She introduced the Women in Tech forum, featuring Brittany Long as a speaker, and addressed concerns about inclusivity for male attendees, affirming that their participation is welcome. The inclusion of heavy metal and associated genres in AWMA was discussed as well as Vicki's vision for the future of the awards. The discussion included details about ticketing for the awards and conference, as well as highlights of the event, such as the unique black carpet event and the awards ceremony featuring notable performers and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

As with every other year, anticipation surrounding the first line-up announcement for Good Things 2025 was almost at a fever pitch. Social media experts and promoter wannabe's all shared their projected line-ups, but most were well off the mark.Good Things is possibly one of the hardest festival line ups armchair critics get to sink their teeth into, with the diversity and seemingly flippant mashing of genres meaning pretty much any band from any genre could make the final cut. And this year was no exception.When TOOL were announced as headliners, a large number of punters were already scrambling for tickets, but a quick scan through the rest of the line up proves the eclectic tastes of organisers and the variety of live music on show for fans of most persuasions.Rock? Tick. Weezer, Garbage.Pop Punk? Tick. All Time Low, New Found Glory.Punk? Tick. Refused.Metal? Big tick. Machine Head. Knocked Loose, Lorna Shore.But one of the best things about festivals like Good Things is the chance to come across bands you might never have otherwise heard of, and for many people, one of those bands this year will be American rock outfit Dead Poet Society, who are well known in most other parts of the world. HEAVY caught up with Jack and Dylan from the band to talk about their debut visit to Australia.The name Dead Poet Society may not mean all that much to Australian audiences just yet, but you can bet by the time Good Things 2025 has swept through the country, that equation will have changed drastically.Since forming after meeting while attending Berklee School of Music in Boston, Massachusetts in 2013, Dead Poet Society have elected to drive their journey on the hard road, starting off as an indie group before steadily making their way through the musical maze. Their hard work and dedication proved fruitful when, in 2018, Spotify editorial staff added the single American Blood to their playlists, after the band had built a strong organic following on social media and the streaming platforms. Josh Katz of the band Badflower, was one of their early fans, notably of their song CoDA, which he championed to his label Big Machine and others, resulting in interest from several labels, including Spinefarm, where they later signed and released their debut album -!- in 2021.Fast-forward four years and Dead Poet Society are currently touring North America alongside Chevelle and Asking Alexandria, with their flights already booked for Australia this December.HEAVY sat down with Jack and Dylan from the band to find out more about the band and their debut trip Down Under. As such, we ask what they are expecting from Australian crowds, warning them that we can get pretty rowdy."That's what I'm hoping for," Jack smiled. "I've heard you guys are wild, and we love a wild audience."On the flipside of that, we don't know what to expect from a Dead Poet Society live show, so we ask what a typical show from the band looks like."It's pretty high energy," Jack promised, "and sweaty. We try to redline ourself the entire set."In the full interview, Jack and Dylan talk more about Good Things Festival and who they are most looking forward to playing with, their first trip to this country and how they are approaching it, their thoughts on the diversity of this year's line-up and what it means to them to be a part of it.We talk about their formation at school and how it came about, planning their future and then working towards it, new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Punk rock has seen many bands proudly fly the flag for its roots, ideologies and defiant attitude, but few would argue that one of the best and most influential punk bands ever is the Dead Kennedys.Since 1978, the band have flown in the face of almost anything with even a slight breeze, along the way releasing a multitude of songs that have shaped a generation, including Holiday in Cambodia, California Über Alles, and Kill the Poor. Their flippant attitude, coupled with brutally honest content, has seen the Dead Kennedys not only reach the summit of all that is music but remain there, virtually unchallenged for the better part of five decades.After a seven-year absence, the punk rock upstarts are finally returning to Australia and New Zealand to regal fans with a dose of unbridled anarchy when they start their Give Me Dystopia Or Give Me Death tour in Auckland on September 16 and wind things up in Sydney on September 27. With three shows already sold out and the rest close enough to, HEAVY sat down for a chat with guitarist East Bay Ray to shoot the breeze. One of the things we ask is what fans can expect from the Dead Kennedys live."Well, the fact that we're still alive and moving is a good thing," he laughed. "Back in the day, there was a lot of political bands and stuff - and we're still political - but the reason we're still around is the music. And if I do say so myself, this is something I shouldn't be saying it, but we really rock out. We're a good rock and roll band, and we have a very unique sound."In the full interview, East Bay Ray further noted that the Dead Kennedys music remains true to their identity, with the tour titled Give Me Dystopia or Give Me Death reflecting both their past and the current political climate in the U.S. The discussion also covered the band's origins in San Francisco's punk scene, their musical influences, and their commitment to blending political commentary with humour.He recounted a notable incident in 1982 when they were arrested in Brisbane, illustrating the repressive political environment of the time. When asked about new music, Ray confirmed they have written new material over the years, though audience reactions have been mixed, as fans prefer classic songs. He remarked on the current vitality of the hardcore punk scene and humorously addressed the topic of the band's eventual retirement and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

When Melbourne noise machine and champion for the underdog Blood Duster called time in early December 2017, the Australian music scene lost one of the greats. Not just in terms of music, but, more importantly, in terms of old school ethos. The punk mentality of fuck you and whatever you rode in on that had by then thankfully settled into the heavier side of music.The band were an enigma. They cursed, they bled, they had an opinion, and they had an agenda. Which was purely based on fun and enjoyment of their music. The fact that every year since has seen some form of (false) whisper about an unlikely reunion has only helped strengthen the myth surrounding the music. Hell, HEAVY would not have even heard of the band were it not for their infamous CUNT shirts, which is another thing about the band that has remained intriguing.But this year was different. 2025 became the year when Blood Duster said yes to returning to Australian stages and said fuck it to any previous trepidation. And the lucky festival to secure that much sought-after signature?Blacken Open Air.As bass player Jason Fuller tells us during our chat, Blacken have come knocking every year since 2017, urging - sometimes pleading - with the band to make a resurgence at the hallowed grounds of the outback metal festival, but each request fell on deaf ears. Until now.Blood Duster will play their first gig on Australian soil in almost a decade as one of the headliners of Blacken Open Air 2025 (September 19 - 22), and HEAVY jumped at the chance to speak with the man behind the myth and behind the legend, Jason Fuller. We start by asking why now is the right time for a return outing."When we finished the band, we really kind of…" Fuller measured… "We felt like once you're releasing records; once you're destroying records before they can even be released, you've kind of reached peak annoyability for everyone (laughs). We did everything we had to do, and we were starting to do shows just for money, and it felt totally dishonest considering what Blood Duster is. It's supposed to be a party. We were at this point where we reached the peak of what we were gonna do and were getting annoyed with having to do it. So we just killed it. It's been eight years or whatever, and we just want to hang out with each other and have a party. All the heavy lifting is done. We don't have to fucking write anything. We don't have to go into a fucking release cycle. We don't have to worry about any of those things. We can just turn up, play some songs and have a ball. So that's where our heads at with all that."In the full interview, Jason talked more about why Blood Duster chose Blacken as their first gig back on home soil, the temptations and offers over the years, what to expect from Blood Duster live, what other bands he is looking forward to catching up with and the value of friendship within the metal community.We spoke about the diversity in Blacken's roster, the early days of Blood Duster and the musical climate that created them, their blending of genres before it was cool to do so and the future of the band after this show. And, of course, we talked about THAT shirt, with Jason recalling some funny moments because of that piece of merchandise and the album it spawned from.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Rock stars at the age of 16, Finnish warriors The Rasmus have weathered the inevitable trappings of early success to morph into one of the world's leading rock outfits.Known for their musically dark atmospheres, The Rasmus have also managed to connect on a deeper level with a plethora of music lovers who can relate to the band's genuine feelings of despair. Once labelled as outcasts, or 'weirdos' if you will, The Rasmus have always embraced their perceived differences and championed the cause of the underdog; the downtrodden. The 'weirdos'.Which is why the title of The Rasmus' new album - out on September 12 - is both confronting and comforting. Weirdo, the 11th album from The Rasmus, deals with feelings of inadequacy and discontent, reinforcing the fact that it is okay to be different. Okay to walk your own path. And okay to be on the outside.Weirdo comes after an extensive promotional lead-in, which started with the album's lead single Rest In Pieces, which debuted last October. More singles followed with Creatures Of Chaos, Break These Chains, and Love Is A Bitch, each track further exploring what is no longer a sensitive subject for vocalist Lauri Ylönen. With the album out tomorrow, HEAVY caught up with Ylönen to dive deeper into Weirdo."I'm feeling excited," he smiled. "A little bit nervous, still, after all these years. We've been putting a lot of emotion and a lot of time into this album for the last two or three years, and it's finally going to be released. It's a bit nerve-racking to let it go. But so far it's been a really good response, and the fans have been liking the new, little heavier sound. It's a strong album."We read back an earlier quote from Ylönen, which said, "I find it comforting that our 11th album is pretty much the same message as our first album released in 1996" and ask him to elaborate."It is maybe the main message of the band," he measured. "Just be yourself, no matter what. I think that's always been a struggle for me, but as I've grown up, I've been able to find my soulmates; people like me have come to me because it was almost like an invitation. To dress up like that, to put makeup on like that, do my hair like that, especially back in the days when there was no social media and that kind of easy access to people. You had to send messages out there, like, please find me."In the full interview, Lauri shared insights into the personal nature of the lyrics on Weirdo, including a ballad dedicated to his son, and discussed the album's overarching message of authenticity. Lauri also reflected on the band's musical evolution, comparing their discography to a diary of life experiences, and highlighted a collaboration with Lee Jennings on the title track of the new album.We spoke more about the importance placed on fitting in with society, finding your own path and surrounding yourself with positivity. Talk also turned to next year's debut tour of Australia and what to expect, and more.Order your copy of Weirdo here: https://therasmus.lnk.to/weirdoalbumBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

By Angela CroudaceGerman melodic death-doom outfit Nailed to Obscurity have just released their highly anticipated new album, Generation of the Void. For frontman Raimund Ennenga, the record represents the band's boldest and most diverse work yet.Following the critical success of Black Frost, the group set out to explore wider sonic territory. “We wanted the next one to be more diverse, more dynamic,” Ennenga explained. “On one side, you have the extremity of Glass Bleeding with blast beats, and on the other, songs like Allure, which is a full ballad. We even pushed into more accessible territory with tracks like Spirit Corrosion, which I would call catchy in a way.”This push into new territory demanded that Ennenga redefine his own vocal role. Known primarily for his harsh delivery, he embraced clean vocals more extensively than ever before. “I had to find the sweet spot for my voice,” he said. “It feels like more mature singing now, and we really wanted to make sure it worked both on the record and in a live setting.”Recorded across Woodshed Studio in Germany and Jacob Hansen's studio in Denmark, the album benefits from a balance of fresh experimentation and polished production. Hansen's calm yet meticulous approach provided the final layer of refinement. “It's still unbelievable that this is our album,” Ennenga admitted. “Jacob was on our wish list for years, and he lifted the songs to a new level.”Lyrically, Generation of the Void reflects a more cinematic scope while also resonating with the turbulence of recent years. Themes of isolation, social unrest, and emotional weight run throughout, offering listeners both intensity and catharsis.Though no Australian tour is currently locked in, Ennenga expressed the band's enthusiasm: “We would love to come down under one day—it would be really special.”Generation of the Void is out now.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Two decades into their career, Ohio metalcore outfit The Devil Wears Prada are still intent on exploring their sonic boundaries. Despite - as most bands do - having a core, recognisable brand of music, The Devil Wears Prada remain unrestrained by the confines of expectation, preferring to allow their creativity to dictate the direction of their music rather than expectation.This has never been as evident as with The Devil Wears Prada's upcoming ninth album, Flowers. The new album marks the start of an incredibly epic cycle and phase for the band, representing perhaps their most significant creative leap forward yet.HEAVY sat down with vocalist Mike Hranica for some clarity."This one has been years and years in the works," he began, "even since the record was finished being mixed feels like years ago, but that's an exaggeration (laughs). We're excited for folks to hear it."We ask Mike to tell us more about the epic new cycle of the band alluded to in the press release."In terms of looking at the cycle, what we just did with Color Decay coming out of the pandemic was certainly unprecedented compared to the seven other full-lengths we released every year or so," he measured. "We really looked forward to this cycle. We feel like we're in stride in terms of the band and marking 20 years in and full steam ahead."Talk turns to the musicality present on Flowers."There's a lot of pop sensibilities," he offered. "When you look at the genre and the label of metalcore, you think of the heavy with the singing. When I think about what this record is, I think it leans a little bit rocky - at least from the exterior - but there are certainly songs that by all means fit the metalcore description. I think it's very chorus-oriented and working with the pop sensibilities to the choruses and the theatrics having more of a place than ever."In the full interview, Mike dives deeper into the musical side of Flowers, details how it marks the start of an epic new cycle for the band, runs us through the dual single release and accompanying short film and how they lay the sonic platform for what is to come.He discusses the opening track That Same Place and the thought process behind it, the meaning behind the title, whether Flowers is an overall representation of hope or despair, their continued musical evolution and how it stands The Devil Wears Prada amongst their peers, their upcoming tour of Australia with Bullet For My Valentine and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Soulfly have long been a force unto themselves, spearheading the movement of groove metal over twelve previous albums, integrating tribal elements into metal with a passion and genuineness that is as undeniable as it is brutal.Proudly wearing his Brazilian heritage as a badge of honour, frontman Max Cavalera has overseen Soulfly since its inception, consistently raising the sonic bar with every new body of work. This trend looks set to continue with the impending release of Chama on October 24.The album is already being touted by those who have heard it as a return to the roots of Soulfly; a return to the gritty rawness that accentuated their early albums such as 1998's self-titled effort as well as Primitive, 3 and Prophecy. Capturing the essence of tribal lore in every breath of music, Soulfly are at their best when singing about their core ideologies, with Cavalera leading the charge with honest, meaningful appraisals of lost lives, land, and heritage.Max himself has already said, "I'm excited to present it to long-time Soulfly fans, it's a revival of our original sound", a statement which may seem casual enough but is also one which has sent scores of fans around the world in musical raptures of anticipation.HEAVY recently caught up with Max to go into greater detail. We start by asking if, after 13 albums with Soulfly and countless more with other projects, he still gets the same feeling of anticipation that accompanies an album release."Oh yeah," he replied instantly. "No matter how many albums you make, it's always the same; there's nervousness and anxiety. I probably have a bunch of ulcers from making records, but it's a cool excitement. It's fun. You're proud of the thing, you want to hear what people think of it because that's what fuels it. Everything that we do is for the fans to enjoy what we do, you know. But I think right now, Soulfly is being more inspired than ever before. I think this is a really good moment in Soulfly; a really inspirational moment to make a record like Chama. And the record is full of very strong songs and full of tribal grooves, kind of back to the tribal beginnings of Soulfly with a lot of real cool noise stuff in it, which makes it more modern. I've been joking that this album feels like tribal technology. You have the tribal beats, but with technology on top of it. If you love Soulfly, this album is definitely for you. This is an album made for Soulfly fans. If you don't like Soulfly, don't even waste your time."In the full interview, Max further shared his excitement and anxiety about Chama, emphasizing its strong songs and a return to tribal influences, blending traditional beats with modern technology. He noted that the album is tailored for dedicated fans, with themes reflecting Brazilian culture, including songs in Portuguese and narratives inspired by personal and historical experiences. Notable tracks like Always Was Always Will Be and Indigenous Inquisition were highlighted for their experimental sounds and thought-provoking content, addressing issues such as the genocide of indigenous tribes.Max also discussed the collaborative nature of the album's creation, involving his son Zyon as a producer, which brought a fresh perspective to the music. He expressed pride in the familial contributions to the project and the emotional challenges of writing authentically. The conversation included details about the upcoming Australian tour featuring Soulfly, NailBomb, and Snot, with Max expressing enthusiasm for the setlist and the opportunity to connect with fans. Overall, the album represents a significant moment for Max and Soulfly, capturing the essence of their musical journey while looking forward to future endeavours.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Melbourne-based crust-death outfit KÜNTSQUÄD (pronounced Kountskard) announced themselves with their self-titled 2022 debut album, selling out multiple pressings and ushering in a new era of extreme style Australian music. It was an album laced with brutality and unflinching honesty that was as much a declaration of war as it was a statement of intent.Fast-forward three years and KÜNTSQUÄD return with a new, heavier mission, delivered in the form of their follow-up album Satan's Cock. Satan's Cock is an album that pulls no punches, offering up an intense sonic battering that fuses crust punk's raw chaos with death metal's guttural power, laced with blackened grime and a signature streak of unbridled discontent. With their sharpened edge and unholy vision, KÜNTSQUÄD prove once again that there are no genre walls—only a relentless descent into weaponized sonic depravity.HEAVY sat down with vocalist Paula VC Damnzal and guitarist Nikronomicon Satanik to journey deeper down the rabbit hole."I think it was a concerted effort," Paula replied when we asked her to dive deeper into the new album. "We took a lot more time this time to actually finish it. When we started the recording - which is probably more than two years now - the intention was to do four songs. We put four songs down, and it sounded like crap, and we thought, no, we've got to start again. And then we had some dramas, and our engineer also had some issues, so long story short, basically, we started again. We wrote some more songs, down-tuned again just to get it right, because the last release was a bit… We weren't expecting a record to be honest, so it was done in a very rushed way. So this time round, we took a lot more time and did a bit of a critical review, where we were kind of going with it, and solidified what we'd already been doing. But it just needed to be more direct, because not everyone got it. But this time it was a lot more measured in how we did it."In the full interview, Paula and Nick further highlighted the band's commitment to a more refined production process, resulting in a heavier and more cohesive sound that reflects their goal of musical progression with each release. Nick noted that the album maintains a consistent style, addressing past challenges in genre categorization.They elaborated on the complexities of merging various metal genres while striving for originality, emphasizing the collaborative effort of each band member in shaping the album's sound. The conversation also covered their upcoming tour, starting in Perth and extending to Melbourne and other locations, with fans encouraged to follow their social media for updates on tour dates and information.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It's hard to believe that a band who have dominated the global metal landscape for more than 35 years would be about to embark on their first ever Australian tour. Hard to believe, but also true in the case of England's most disconsolate export, pioneers and kings of doom metal, MY DYING BRIDE.Well known for haunting atmospheres and sorrowful tones whilst balancing uniquely heavy, desolate riffs with melancholic melodies, MY DYING BRIDE redefined musical misery with their earlier albums Turn Loose the Swans (1993), The Angel and the Dark River (1995) and Like Gods of the Sun (1996). A consistent flow of exceptionally sombre albums and EPs have followed, with highlights including The Dreadful Hours (2001), A Map of All Our Failures (2012), and today they continue their endless suffering like no other band of this ilk can.Aussie fans finally get the chance to see My Dying Bride live this month (September) when the band makes the trek Down Under for two select dates in Sydney and Melbourne. To commemorate the occasion, HEAVY sat down for a great chat with guitarist Andrew Craighan."We're about to come to Australia for the first time in our 35-year career or existence or whatever you want to call it," Andrew reiterated, "so we're all really quite excited about that, and some of us are still in shock that it's finally happening. Some of us are still shocked that it's happening at all (laughs)."We ask Andrew what he is expecting from Australian crowds, warning him that we do get a little crazy at times."I'm expecting that actually," he laughed, "and we're hoping that we can just hold it together to get the set done. We'll be happy with whatever takes place. These two shows that we're doing are very up close and personal type club shows. It's not like the festivals that we sometimes play in Europe, where the crowd's massive, and you're 20 feet away from everybody and 40 feet up in the air as well sometimes. So we appreciate it's very much a club show, and we haven't done many of them in the last few years, so for us, it's going to be almost like a blast from the past. We'll be going back in time to when people were really keen and really close at the same time, so it should be interesting."In the full interview, Andrew talks more about the tour and what we can expect, why it has taken this long for My Dying Bride to make it to Australia, what the set list will look like, new vocalist Mikko Kotamaki and why he was selected, how crowds have been responding to him, My Dying Bride moving forward, the early days of the band and where they fit in, if creating music gets easier or harder the more you put out, new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Formed from the ashes that has become COVID, Melbourne hard rock outfit XCALIBRE had the benefit of time on their side from the outset. Time to hone their craft. Time to practice. Time to plan.All of which proved fruitful when XCALIBRE hit the ground running, earning themselves slots alongside acts such as Van Halen, Aerosmith, Drowning Pool, Karnivool, and The Amity Affliction, among others. Their upward trajectory attracted the attention of rising Australian label XMusic, who snapped up the band and set about planning their next step, which begins this Friday, September 5, with the release of their single Gravity (Through It All).Not content to open their account with what is already a great track, XCALIBRE enlisted the help of two massive music identities in DJ Lethal (Limp Bizkit) and Marcos Curiel (P.O.D.) as guest artists, tracking the song in the home of Guns N Roses drummer Matt Sorum. While not a guaranteed recipe for success, pulling off that trifecta is an achievement in itself, especially for an up-and-coming band from Melbourne.HEAVY sat down with lead vocalist Daniel Marazita to find out more. We start by gauging his enthusiasm surrounding the impending release of Gravity."Yeah, we're just looking forward to getting it out," he smiled. "We did a lot of hard work on these tracks, so to have this one off the rank first… It's pretty exciting."We ask Daniel to tell us more about Gravity from a musical point of view."It's got a mixture of sounds with this one," he measured. "Brandon Friesen mixed it so we've got that electronic in the background, that real sort of - I hate to stereotype songs - but Linkin Park sounding with the rap and the big melodies. We've got that aggression, but we still keep a sound within it, which is really important."In the full interview, Daniel also discussed the music video, which features creative visuals, the collaboration with DJ Lethal from Limp Bizkit and Marcos Curiel from P.O.D., including how their contributions enriched the song through electronic programming and distinctive guitar sounds.He emphasized the collaborative spirit during the creation of their upcoming debut album X, noting that Gravity represents just a fraction of the album's diversity, which will include a mix of heavy, soft, and crossover tracks. Plans for live performances were spoken about, along with upcoming plans and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

No matter what genre of music you listen to, if you had an ear to the radio in 1995, then you would have heard a track by Skunkhour called Up To Our Necks In It. A raw, jazzy and ultimately uplifting tune, Up To Our Necks In It opens with melancholic instrumentation before swelling into a swooning and soulful affair, embracing rapped spoken-word vocal verses balanced alongside soaring melodies and rousing arrangements.While such genre mashes might be considered the norm in the modern age of music, back then, it was a concept still very much in the experimental stage. Sometimes it worked, more often than not it didn't.But when Skunkhour released Up To Our Necks In It, the musical landscape shifted forever. Before then, it was seemingly impossible to blend sounds and instrumentalisation together and still achieve commercial success. Not that the idea of combining musical ideas was entirely new to Skunkhour, whose career to that point had been laced with songs of varying experimentation. But this time it had struck a chord with the masses and catapulted Skunkhour from the local scene into international infamy.Now, thirty years later and still rocking out, Skunkhour plan to celebrate that groundbreaking single by honouring it on a national tour through October and November. HEAVY sat down with vocalist Aya Larkin to take a trip down memory lane. We start with Up To Our Necks In It and ask if the band had any inkling that there was something special about the song when they initially wrote it."It's a good question," he measured. "It came together pretty quickly, and we did, we enjoyed it a lot as it was forming. The guitarists came into the rehearsal studio one day and said, 'oh, I dreamt this part' - and I think that was the intro section. Then he got a couple of the other riffs, because it's like a whole series of riffs that kind of just work, you know, rolling over each other. But my brother Del had had this idea in his back pocket - he's the MC. He had this idea in his back pocket of a spoken word thing that didn't rhyme, and those parts came together. They kind of grafted onto each other seamlessly. And yeah, it felt good. But it didn't…we didn't know that it would be our biggest song…"In the full interview, Aya announced the band's upcoming tour to celebrate the 30th anniversary of Up To Our Necks In It, which will take place along the east coast of Australia in October and November. He shared insights into the song's creation, emphasising its themes related to urban life and its pivotal role in the band's evolution, contrasting it with their heavier subsequent album.We talked about how that one hit song forever changed the career of Skunkhour, the title of the song and its broader meaning, what to expect from the live shows, the band's progressing sonic direction during the period Up To Our Necks In It came out, the musical climate that gave birth to Skunkhour, new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceAustralian heavy outfit Arkangel are charging into a bold new chapter with their latest single, Haunting My Dreams, set for release on September 5. The track marks a defining moment for the band, not only in sound but in ambition, and features a powerful collaboration with electro-driven artist Misstiq.For vocalist Jake Harrop, the collaboration was a dream realised. “I'd always wanted to work with Misstiq—her synth work is incredible, and she brought a whole new energy to the track,” he explains. “We already loved the song before she jumped on it, but when she added her vocals and flair, it just took it to another level.”The single was produced by ARIA-nominated songwriter and producer Callan Orr, who Harrop describes as “like a fifth member of the band,” and accompanied by a visually striking music video filmed at Melbourne's historic Old Jail with acclaimed director Colin Jeffs. “If we were ever going to go all out, this was the one to do it for,” Harrop says. “It's our favourite song we've written so far, and we wanted everything around it to match the scale and intensity.”Since forming in late 2022, Arkangel have been quick to make their mark, with their debut EP racking up over 250,000 streams and a relentless schedule of nearly 30 shows across Australia. The band's unique blend of crushing heaviness and atmospheric synths has earned them both a loyal fan base and the respect of peers in the heavy scene.Looking ahead, Arkangel aren't slowing down. With more singles already in the works, including additional collaborations and a return to the studio immediately after this release, the band is focused on pushing boundaries. Fans can also catch Haunting My Dreams live at Ark Fest on November 1, where Arkangel will headline alongside a stacked line up.Tickets are available now via Oztix.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

As with every other year, anticipation surrounding the first line-up announcement for Good Things 2025 was almost at a fever pitch. Social media experts and promoter wannabe's all shared their projected line-ups, but most were well off the mark.Good Things is possibly one of the hardest festival line-ups armchair critics get to sink their teeth into, with the diversity and seemingly flippant mashing of genres meaning pretty much any band from any genre could make the final cut. And this year was no exception.When TOOL were announced as headliners, a large number of punters were already scrambling for tickets, but a quick scan through the rest of the line-up proves the eclectic tastes of organisers and the variety of live music on show for fans of most persuasions.Rock? Tick. Weezer, Garbage.Pop Punk? Tick. All Time Low, New Found Glory.Punk? Tick. Refused.Metal? Big tick. Machine Head. Knocked Loose, Lorna Shore.Amongst the impressive international bands on display is a large contingent of Australian bands who will be representing at Good Things. One of whom is Windwaker, who have just released the crushing new track Victory Lap. The Melbourne-based metalcore outfit are deservedly riding a tidal wave of success following the release of last year's genre-bending album Hyperviolence. The album catapulted the band into the ears of a global audience, in the process earning them a nomination at this year's APRA Awards alongside touring opportunities both local and abroad. The album - which was the first featuring Liam Guinane as lead vocalist - showcased the evolution within Windwaker's sound, tearing at the foundations of sonic tapestries to reveal a convoluted yet accessible underbelly that was as refreshing as it was unique.The flow on effect from that album has seen Windwaker lead the charge of Aussie acts at Good Things 2025, with Liam sitting down with HEAVY to go over a whirlwind last 18 months. The band have previously played festivals such as Download, UNIFY and Knight & Day, but we state the obvious by remarking that no matter how often it may happen, Liam would never get sick of seeing the name 'Windwaker' on the poster."No, I want to see it more often," he laughed. "I'm so stoked to be part of this line-up. We've played Good Things once before, but I think this is probably my favourite line-up of theirs put together. That's not just because I'm on it, I think it's just a great round of bands."We ask about the mentality backstage between Australian bands and their international counterparts, and if it ever seems like an 'us against them' type of situation."It can be," Liam laughed again. "It's case by case with every band. Some keep to themselves and do their own thing, while there's others that are very friendly and talk to you. It's always different. I think the artist area is where a lot of the mingling happens. When you're backstage, as such, everyone is acting like security guards for their gear (laughs), and they're just staunching everybody. For the most part, everyone is really nice, but you're right, the Aussies gravitate to the other Aussies. I guess it's just a bit of a natural thing that happens."In the full interview, Liam talks more about the eclectic assortment of artists and genres and why he prefers a festival like that rather than one with a more common mixing of genres. We talk about the high number of Australian bands playing and how it represents local music on a global stage, his tips for surviving Good Things, what songs from Windwaker to listen to in preparation for the show and what we can expect from their set.Talk turns to Windwaker's new single Victory Lap and it's sensational music video, whether it is a standalone single or part of a bigger picture, what direction future music may take and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceOne of the most in-demand rising rock bands on the planet, Canadian post-rock act, Cleopatrick, will tour Australia for the first time ever this September, playing three shows only in Brisbane, Sydney and Melbourne. The tour follows the release of their bold and introspective second record FAKE MOON, a sonic journey blending lo-fi grit with expansive production and raw existentialism.Sonically, Cleopatrick are what can only be described as the audio equivalent to Playstation 1 graphics, serving up gritty 8-bit guitars, minimalist synth lines, glitchy vocals and shoegaze-like refrains to create a sound that is both retro and otherworldly at the same time. With influences ranging from Radiohead's experimental brilliance to the grounded surrealism of Dijon's Absolutely, and the raw intimacy of Califone, Cleopatrick can take you on a journey of self-reflection or a voyage to the stars, depending on your frame of mind.With the tour set to kick off in Brisbane on September 25, HEAVY sat down with Luke Grunts to bring us up to speed."I think (the best thing) has been just seeing the excitement coming from the fans," he enthused when asked how it feels to be finally coming to this side of the world. "We've had people asking us to come to Australia for a really long time, but it's never really been in the playbook because it's quite far away, and we're an independent band. But just being able to satisfy that request for some people has been really awesome.And then the most surprising thing is finding out that we're missing a lot of the country. There's also a lot of disappointed people, which I didn't expect. I guess it's much like Canada in the way that it's vast, and the cities are separated, and it's not easy to just travel to a show when it's happening in the same country. So I guess that's a good reason for us to come back (smiles)."In the full interview, Luke talks more about touring Australia for the first time and what he is expecting, what fans can expect from a Cleopatrick live show, how much influence social media has had on their career and how they have used it to their advantage and living in the modern age of the internet.He talked about things he wants to do while he is here, their latest album and how/why it sounds the way it does, Scooby Doo and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFinnish powerhouse Battle Beast is set to unleash their seventh studio album, Steelbound, on October 17, and frontwoman Noora Louhimo says the record is their most empowering yet.Known for fusing classic heavy metal with symphonic flourishes, 80s-inspired rock, and soaring synths, the band continues to evolve while staying true to their mission of uplifting fans through music.“This album deals with serious issues—life, death, and human rights,” Louhimo explains. “But at its core, Steelbound is about empowerment. We want to encourage people to fight through challenges, whether big or small, and to feel strong enough to go on.” Songs like Last Goodbye reflect this ethos, drawing inspiration from bassist Eero's encounter with a fellow patient battling cancer. “It's about that relentless hunger for life and never giving up,” she adds.Louhimo's own transformation into her stage persona, “Mother Beast,” embodies this spirit. With her striking horns; symbols she describes as “horns of courage” and elaborate stage outfits, she seeks to inspire fans to embrace individuality. “I want people to show their horns, to be their true selves. You are enough just the way you are,” she says.For Louhimo, music is more than performance: it's a lifeline. “Culture is vital for mental health. If we don't have something to escape to, we don't have the strength to carry on. Music brings people together and helps us heal.”Vocally, she pushed her limits on tracks like Twilight Cabaret, which she calls a showcase of her full range. Yet, her focus remains on the bigger picture: uniting fans and advocating for equality. “Success doesn't come from fame or money—it comes from expressing yourself freely. That's my rebellion, and I hope to encourage others to do the same.”With Steelbound, Battle Beast delivers not just metal anthems but a rallying cry for resilience, individuality, and joy.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It's been 8 long years, but ILL NIÑO, the trailblazing Latin-influenced metal band that redefined heavy music, is set to return for a blistering run of shows across Australia.Known primarily for their explosive live shows and genre-defining fusion of Latin-infused metal, Ill Nino have been in the headlines more recently following the departure of vocalist Marcos Leal and who would replace him. While fans around the world demanded a quick resolution, founding member and drummer Dave Chavarri held firm, refusing to throw just anyone into the cauldron.Instead, he waited patiently, shutting out the external noise, finally settling on Tommy Roulette (Jynx) to assume frontman duties. The decision came only weeks before Ill Nino set out for a recent tour of America, with all reports coming from reviewers and fans overwhelmingly positive.HEAVY sat down with both Chavarri and Roulette to get more information about the tour and transition of singers."We're fucking ready to go, man," Chavarri said excitedly. "We're going to fucking destroy for sure. We're psyched. We just came off a month-long tour in the United States with a Power Man 5000/Ill Nino co-headline that was fucking packed every night. And, you know, we're ready to go, man. We're well-oiled and ready to fucking rock right now."We ask Roulette how he is settling in."I've been with the guys for a couple of months now," he replied, "and everyone's super great. I couldn't ask to be with a greater group of guys right now. It truly is an honour. I'm very grateful and thankful to be here. I'm not taking this for granted, and I'm very excited for what the future holds."In the full interview, the discussion centred on Ill Nino's upcoming Australian tour, set to begin on September 12. Dave highlighted the successful recent performances in the U.S. and introduced Tommy as the new vocalist, who expressed his excitement about joining the band and experiencing Australia's music scene. Tommy shared his background in drumming and the positive atmosphere of Ill Nino's shows, contrasting it with his previous experiences in hardcore music.Dave recounted the careful selection process for a new singer, emphasizing the importance of quality over haste. He announced plans for re-recording old material and working on a new album, alongside a covers album, with a busy schedule confirmed through October 2027. The band is eager to debut their new song Born to Suffer during the tour and encouraged fans to actively participate in their performances. The conversation concluded with a shout-out to Australian fans, showcasing the band's enthusiasm for their upcoming shows and the music scene in Australia.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For the past four years, Adelaide blackened death groove outfit Sons Of Erebus have noisily gone about their business, smoothing off the edges of a rough exterior to uncover the gemstone beneath.Despite the inevitable teething problems faced by most bands, Sons Of Erebus have racked up the miles, playing a string of festivals across Victoria, Queensland and New South Wales while fine-tuning their material and road testing it on the people who matter most.The fans.Now, with a settled line up comprising guitarist Ethan (Asmodeus/ex-Thorngate) bassist Bedlam, eccentric frontman Paulie (PAUL13/A Murder of Crows/ex-Age of Horror), lead guitarist Rus (ex-Scapegoat/ex-Horrific Penetration/ex-Age of Horror) and young drummer and local legend Kyle (Broken Loose), Sons Of Erebus are ready to pounce, unleashing their debut 4 track EP Drenched In Plague last week to an overwhelmingly positive response that has so far justified the extra hours put in before committing anything to disk.Frontman Paulie sat down with HEAVY recently to discuss Drenched In Plague and everything around it."Yeah, pretty good so far," he smiled when we asked what the reaction has been so far to the EP. "We've had good feedback and a lot of good compliments. A lot of messages that are all positive so far (laughs). And the songs are familiar with the fans because we've been playing them for a while and trying to bust out finishing the CD. So yeah, it's had a good reception."We ask Paulie to dive deeper into the musical side of Drenched In Plague."It started off as more of a black metal thing," he measured, "and then it's evolved with me dipping my style into it. I come from a bit more of a groove background, and we've tried to make that kind of sound - that bit darker sound - a bit more accessible by taking some of the intensity out of it."In the full interview, we discussed Drenched In Plague in greater detail, running through each of the four tracks one at a time with Paulie explaining how the songs came together and what they are about.We talked about the pressures of a debut release and the length of time it has taken for Sons Of Erebus to release their first recorded material. Talk turned to their live show and upcoming support with international thrash metal outfit Vektor plus advanced plans on new material, including what it will sound like and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Being a band from Newcastle has meant massive expectations ever since the Screaming Jets exploded onto the scene in 1989. What was already an uphill battle establishing yourselves from outside the capital cities overnight became even more daunting with little brother always fighting to escape the shadow of one of Australia's finest ever musical exports.While admittedly difficult, it is not impossible. A fact proven by the emergence of progressive rock outfit KODEM.After two years spent honing their craft on the touring circuit, KODEM have unleashed their debut single Tattooed Sin, celebrating their signing to rising Australian music label XMusic with an atmospheric and intense track that highlights the struggle between vulnerability and shame. Tattooed Sin is also the lead single taken from KODEM's upcoming debut EP of the same name, and showcases the raw emotion from which KODEM have launched their assault.HEAVY caught up with vocalist Luke Jones and guitarist Matt Semmens to find out more."We're super pumped," Matt enthused when we bring up the release of the first single. "Super pumped. This was our first track that I sent to Luke in his truck many years ago, just reaching out to him and saying, hey, would you like to write some tunes? This is the very first one that we worked on, so we're pretty pumped to get it out there finally."In the full interview, Matt and Luke spoke more about Tattooed Sin, which delves into themes of acceptance and life's challenges, highlighting the synergy between the lyrics and the abstract visuals of the accompanying music video. They also shared insights from their live performance experiences and their excitement for future projects, including another single and an EP, showcasing their dedication to their musical journey and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It is more than a myth that forging a career from the Western side of Australia poses many more challenges than other music hubs around Australia. The isolation, costs of travel, reduced market, and subsequent lessening of opportunities faced are definitely quite difficult to overcome. Difficult? Yes. Impossible? No. Perth alt-rockers Late 90s are living proof.Drawing influence from the likes of alt-metal icons Deftones, alt-pop and rock legends Paramore, and emo kings Basement, LATE 90s have shaped their own sound into something reminiscent of past greats, all the while tying together elements of something so fresh and distinct. With over 2.1 million Spotify streams and having spent recent years touring with the likes of Neck Deep, Taking Back Sunday, State Champs, Hot Mulligan, Free Throw, Short Stack, Slowly Slowly, and more, the band have recently announced their inclusion on the 2025 BIGSOUND line-up, which will see them bringing the heat to Brisbane this September.It is an opportunity well deserved for the rapidly emerging band, who hit the opposite side of the country to their home base from September 2 to 5, armed with their explosive new single Low and an appetite for success. HEAVY caught up with vocalist Steve Loreck to find out more. With over 120 bands performing over the three days of BigSound, HEAVY questions Loreck on why punters should mark the name of Late 90s on their to-see-list."I think we're the only heavy band playing out of Perth, so that's a definite reason," he replied. "There isn't that many bands that have got those heavier influences, so I think we do a good job of representing that more alternative scene. I think our music is not too heavy where people might be put off by it, but they might still enjoy it if they're not necessarily into the heavier stuff. So yeah, we're kind of the middle ground, I guess, for the punter. The music we make is a little different, so I think people will like it."In the full interview, Steve tells us what BigSound means to emerging local artists and the Australian music scene, the networking side of the event and how best to handle it, a brief history of the band and their sound, their new single Low and how it represents Late 90s moving forward, future music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Melbourne-based musician Envy Marshall is an artist who doesn't care for trends or fashions or being the 'next big thing'. Her musical journey is more selfish, in a way, in that she creates music that means something to her first and foremost. But when that music is rooted in life experiences and self-worth, it suddenly becomes accessible to the masses. Or at least those who believe that you are the master of your own destiny and, as such, deserve to be happy. Deserve to be free. Deserve to be confident in yourself.After announcing her intentions earlier this year with the explosive and confronting track Like A Man, Marshall returns via the path least expected with Hurt, a song dripping with emotional vulnerability amid haunting piano, laced with searing guitar riffs and a vocal delivery with the unmistakable swagger of an artist for whom boundaries are a source of inspiration rather than fear. Following the viral success of Like A Man, Envy Marshall is proving herself to be one of the most vital independent voices in today's rock scene. With Hurt, she doesn't just raise the bar - she rips it off the wall.With her debut album in the can and nearing release date, Marshall joined HEAVY for an open and honest discussion about her life and music, starting with Hurt and how it has been received."I think people are sick of hearing positive music," she measured, "and I think this song has really touched a lot of people. We've had some great success with it in Australia, but it's been number one in a couple of countries over in Europe, which has been amazing. I was a bit worried about putting out a ballad because you never know how it's going to land, but it's landed really well. People are just sick of candy pop, and they want to actually listen to something that means something to them."We ask if the song is more about hurting yourself or inflicting hurt on others."I think when we get hurt, we like to hurt. It's a reaction," she mused. "So I think this song is about taking power back after being really badly hurt. And I think we've all been really hurt. I think we live in a lot of hurt, especially these days. The world is crazy. I don't think we need lots of lipstick, positive songs. I think it's a real thing that a lot of us are in a lot of pain, so this song, for me, was about being hurt; being let down and finding a way to move that through my body - not through revenge - because that's where you start. When you get hurt, first you get angry, then you get sad, and you get angry again. Then you get jealous, then you get some envy, and you go through all those emotions, and then finally you get to revenge, which is a better feeling. And that sort of gets you out of that feeling of hurt. So it's really about moving through those emotions and coming out the other end of it, the hero of your own story."In the full interview, Envy discussed her recent professional developments, emphasizing Hurt's exploration of complex emotions and the importance of processing pain rather than seeking revenge. She elaborated on her creative process, highlighting her collaboration with Mike Young at Armory Studios, where the haunting piano intro for Hurt was developed. Envy cited musical influences such as Portishead and In This Moment, and emphasised her commitment to artistic freedom in her songwriting. She shared plans for her forthcoming album, which will showcase a gritty rock sound, and teased her new single Looking Good and Feeling Famous, set for release in September, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

After building momentum and a solid, loyal fan base following the release of two EPs - The Wound, The Blade (2022) and Shadow Dancer (2023) - Melbourne metal outfit ATLVS went strangely quiet, going over two years with an eerie radio silence. While such a period of inactivity, especially in the modern age of music, would be an almost certain death knell for emerging bands, the absence seemed to do little to quell the thirst of their loyal army.Their return in June of this year with the instantly irresistible single Soulsucker saw ATLVS pick up almost precisely where they left off, proving that quality music will still be rewarded despite the shortening attention spans of the world and the wealth of bands and music released every day. The track hinted at something bigger from ATLVS but just what that is remains as mysterious as their absence, so to try and get to the bottom of things ahead of the band's trip to Brisbane as part of BigSound, HEAVY sat down for some quality time with Nathan Coff (vocalist) and Nick Clavarino (drummer) for a chat that ultimately left just as many questions as it did answers.We ask what ATLVS hope to get out of the BigSound experience."As a band, I am very interested to see other acts playing," Clavarino answered. "Also, meeting like-minded people. Very interested to see… just from all sorts of bases. You've got your promoters, agents, sync agents, even roles I've never heard of before (laughs), so I'm just interested to meet every single person I can possibly meet and make some good connections."Further to that, we ask what BigSound means to Australian bands and the Australian music scene." I think it's awesome that we have this sort of thing in Australia," Clavarino began, "that is so focused on the future of music. It's the biggest thing like this in the Southern Hemisphere, obviously, so we're pretty lucky to be able to have that. BigSound gives a stage where artists can showcase themselves to people from all around the world and meet people in the industry and industry professionals."In the full interview, Nathan and Nick highlighted the importance of networking with other artists and industry professionals at BigSound, viewing it as a unique opportunity to showcase their talent on a global stage. The band promised to deliver a high-energy performance that stands out among numerous acts, drawing on their experience and professionalism.They also discussed their recent single Soulsucker, which has been well-received after a two-year hiatus, and mentioned that it is part of a larger project, though details were not provided. Nathan acknowledged the challenges of re-establishing the band's presence but expressed confidence in their loyal fan base and plans to engage with fans through social media platforms like Instagram and Facebook to maintain that connection and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

With the world becoming increasingly sanitised and regulated, it is refreshing to see and hear a band that still adheres to the old school ethos where fun was the order of the day and everything said and played is meant to be taken with a grain of salt. Which is exactly what you get from Melbourne hard rock outfit Ablaze, who wear their hearts proudly on their sleeves and their sleeves proudly on their hearts.Known for their love of a good time, but even more so for their particular brand of hard rock - especially live - Ablaze set the world on fire even further with the release of their second album Sink Ya Teeth In.Packed full of hard-rocking, toe-tapping, boot stomping tunes, Sink Ya Teeth In showcases the abundance of riches within Ablaze, all neatly wrapped under the banner of Aussie hard rock. With the band set to board a flight to Belgium for an upcoming European/UK run of shows, drummer Mango stopped packing for ten minutes while he brought HEAVY up to speed."It's been amazing," he beamed when we asked how the reception has been for Sink Ya Teeth In. "We've been dropping singles off it for about two and a half years because that's the world that we live in now. Everybody wants singles. But with how much time and effort, and money goes into recording something professionally, we didn't want to just record everything, drop a single and release the rest. We wanted to really wring this thing out for everything we could. We've released five singles and a bonus track was a single as well off an eight to nine-song album, depending on how you look at it."We ask Mango to dive deeper into the musical nature of the album."One of the things that Ablaze has always been really proud of, and I've been really proud of with us, is that we can write in a whole bunch of different styles and genres," he replied, "and it always comes out sounding like Ablaze. Our first one was a rock album, but we had a hoe down, we had an Irish drinking song, we had an acoustic song that I sang and played acoustic on. We could do a whole bunch of different stuff. And so on this album, we've done the same thing. It's an eight-song album, or nine song with the bonus, but we've got the heaviest song we've ever written. We've got some real Aussie rock style stuff. We've got a big six-minute gospel epic that finishes the thing. We've got a big glammy song, and we've got a Southern rock song as well. And a Christmas song, again. So we really kind of wanted to show that we're still doing what we do, but after our first album, our writing has really taken a step forward."In the full interview, Mango shared further insights about Sink Your Teeth In, highlighting the album's positive reception and the strategic release of five singles. He emphasized the importance of the album's cohesive flow and the thoughtful track listing, which he believes enhances the depth of the songs. He also addressed the challenges of releasing a second album, aiming to avoid being perceived as a "one-trick pony" while ensuring that each song is crafted to be single-worthy, reflecting the band's commitment to quality and creativity.The conversation also covered the logistics of their upcoming European and UK tour, starting in Belgium and ending in Germany. Mango noted the differences in touring dynamics between Australia and Europe, particularly the shorter travel distances in the UK, which allow for a more manageable schedule. He expressed excitement about upcoming performances, including festivals and album launch events and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The term supergroup is bandied around too often these days when a group of talented musicians from established bands try something together. It creates almost unrealistic expectations among fans of the respective members' bands, who are more often than not left disappointed due to the logical fact that this 'supergroup' is only one quarter or less of the band they are widely known for.Which is why HEAVY won't be labelling Bleak Squad a supergroup - although many will.Featuring the unlikely quartet of Mick Turner (Dirty Three, Mess Esque), Mick Harvey (Nick Cave & The Bad Seeds, PJ Harvey, The Birthday Party), Adalita (Magic Dirt) and Marty Brown (Art of Fighting), Bleak Squad unite for the first time on their brooding, noir-rock debut LP, Strange Love, out now on Poison City Records.The album is a combined output of four seasoned musicians who have come together to express themselves musically in ways other than, as well as a continuation of, the music they are known and loved for. Prepare to put expectations aside and appreciate the music for what it is, rather than what you think it should be, as Adalita sits down with HEAVY to talk about the album and how Bleak Squad became a musical family.We start by asking how she feels about Strange Love."Great," she enthused. "It's great to finally have it out there (because) it's been in the making for quite a few years. We've been working on it since, I think, 2019, maybe? We got together and just jammed some stuff and recorded back then, and we've been working on it for a few years on and off because everyone's so busy with other things. So it's great to finally have it out in the world."We follow that by asking Adalita to dive deeper into the musical side of the album."Well, we really didn't know what we were doing," she laughed. "We just got together. Marty called us up and said, 'do you want to get together and maybe collaborate and see what comes out of it?' We all said yes and got together and brought in our own songs, or we brought in riffs and things that were half done and just to see if we could collaborate on it. And it was really great because straight away we clicked and there was real chemistry. The songs just flowed, and we decided to record it, and it was really low pressure. We didn't know what was going to come out of it, but we ended up having a record and then suddenly we're a band, and we're going to tour it."In the full chat, Adalita highlighted the collaborative nature of Bleak Squad, where each member contributed their own songs, resulting in a diverse sound. She praised her bandmates for their musical talents and emphasized the enjoyable, low-pressure environment that allowed for creative exploration.She also shared insights into her collaboration with Mick Harvey and Mick Turner, the instinctual approach to determining vocal parts, and the different challenges of writing and recording outside of her long-time band Magic Dirt. We talked about the formation of Bleak Squad and how it came about, what each member brought from their other musical projects to the project, their first live gig and how the nerves were, establishing a bond with her new musical partners, upcoming shows and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

When it comes to cursed vocalists, US rock outfit Adema must have stood at the head of the queue.Since their inception in 2000, the band have seen four vocalists come and go - most at times where the band was starting to gain traction, which upset flow and momentum and ultimately held the band back from the musical heights they should have reached. After yet another forced vocalist change when Ryan Shuck departed in February last year, the band members decided to stay in-house with their next singer, promoting guitarist and regular back-up vocalist Tim Fluckey to the head role. This enabled Adema to stick with the core group of four members and maintain the chemistry they had built without having to usher in and train another band member.The international music industry must have been happy with the band's choice, with ILL NIÑO deciding to bring Adema to Australia as their national support for three select shows, starting in Sydney on September 12, before hitting Melbourne and Brisbane over consecutive nights.Fluckey joined HEAVY recently to talk shop, with one of our first questions being why have Adema neglected us here in Australia for so long?"Well, it's not on you guys," Fluckey laughed. "We had a tour that we were going to do in Australia maybe 23 years ago, and then something else came up that we had to do. I can't remember what it was, but we always thought we'll just reschedule, or we'll find a way to get back to Australia in the next couple of months, and it just never happened. So we've always wanted to go and couldn't be more excited about finally getting over there."Talk turns to Fluckey falling into the role of lead singer, and we ask if being a frontman is something he has always wanted to do."No, I did not always want to do that," he shook his head. "I didn't mind doing back-up vocals, that was cool. I liked just being over in my guitar world, and doing that, and being able to jump around and move around and interact with the crowd that way. And then it just came by necessity. One tour, our singer had… we couldn't find him for days. We had already missed a couple of shows, and we thought, are we going to get sued? So they're like, can you do it? And I said I'll try. So literally on the way out to the first show, we never rehearsed with me singing. I was just sitting there playing my guitar and trying to sing along to this stuff. We went out there, and said let's play three songs without saying a word and see what happens. We'll see how the crowd reacts."In the full interview, Tim revealed that Adema are finalizing their new record, expressing enthusiasm for connecting with Australian audiences on the tour. He discussed the band's live performance strategy, which prioritizes high energy and fan interaction, and shared his journey from guitarist to lead singer, noting his increased confidence in engaging with the crowd.He confirmed that the new music retains the classic Adema sound with contributions from all original members, and he feels assured in their musical direction. Tim explained their songwriting process, which typically starts with music creation followed by vocal melodies, and mentioned that they plan to focus on familiar older songs during the Australian shows while refining new material for future performances and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceWith more than two decades of epic storytelling through metal, Sabaton are preparing to unleash their 11th studio album, Legends. Frontman Joakim Brodén spoke with us about the excitement of recording, the historical depths behind the songs, and what fans in Australia and New Zealand can expect when the band finally headlines shows there.Despite years in the studio, Brodén insists the process never loses its spark. “There's always something exciting – the drummer trying something new, a solo that takes shape in the moment. Even after writing, hearing it all come together is magical.” He admits experience brings both clarity and fewer surprises: “Eighty-five percent of the song is already in my head before recording begins.”Legends marks the first time every band member contributed to songwriting, though Brodén says it felt natural. “I've worked with them all before, just never at the same time. It wasn't a big change, but it was great to share the load.” The album explores figures like Joan of Arc, Napoleon, Julius Caesar, and Musashi, but for Brodén, the most eye-opening were stories from ancient Egypt and China's Three Kingdoms era. “It's like being a kid in a candy store – discovering new things all the time.”Sabaton's passion for accuracy extends to their YouTube series, Sabaton History. Brodén laughs at how professional historians still teach him something new every episode: “No matter how deep I dig, they always uncover more.”As for live shows, fans can expect both new material and classics rarely performed in Australia. “We've never headlined properly down there, so we want to give a mix – some songs from Legends, but also older tracks fans haven't heard live.”Brodén admits to the pressure of comparisons, with each release judged against decades of fan favourites. Still, the band thrives on discovery and evolution. “If someone comes in excited for a new Sabaton album and walks away disappointed, that's our biggest fear. But I'm confident this one delivers."Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Swedish metal outfit Ambush realized the secret to success early in their career and have been deferring to that template on a daily basis ever since. Not that you could call the love of a laugh and a good time an actual secret, but it is surprising how often bands forget that on their pathway through the music industry.Founded in 2013, AMBUSH continue to showcase their unyielding energy and intricate musicianship, establishing themselves as a force to be reckoned with within the underground heavy metal scene. The fact that they have gone relatively unnoticed in Australia is largely due to the wealth of quality bands coming out of Sweden, but trust me when I say if you love hard, dirty rock with an armour of metal, then your quest ends here. These guys are the real deal and emphatically prove this statement with a statement of their own.That statement is their new album, Evil In All Dimensions, which arrives on September 5. But don't let us sway your opinion. Just take a listen to vocalist Oskar Jakobsson, who joined HEAVY for a fun-filled chat earlier this week."I'm excited as I've never been before," he replied when asked how he is feeling about the new album. "I think this is a fresh start for Ambush, because we have two new members playing on this record, and they bring a lot of different creativity. That shines through on this album, I think, and it's the best we've done this far."We ask Jakobsson to dive into the musical side of Evil In All Dimensions."We play traditional heavy metal," he shrugged. "We call it heavy metal, and we want to play it simple, but interesting. This is kind of a trade-off. I mean, we want meat and potatoes, but we also want some béarnaise sauce on the side, if you know what I mean (laughs). So we try to fight hard for real music, as we call it. We play real instruments. We try to make this grassroots and organic all the way, and we do it with a smile on our face. We don't take everything so seriously all the time."In the full interview, Oskar spoke more about Evil in All Dimensions, which showcases contributions from new members and aims to blend traditional heavy metal with modern influences. He emphasized the album's emotional range and distinct instrumentation, while also expressing his commitment to preserving heavy metal culture amidst the loss of iconic musicians. Oskar announced the band's upcoming performances, including the Keep It True Rising festival in Germany and a European tour, with aspirations for a future tour in Australia.We talked about the singles and how they represent the album, how this is the beginning of a new chapter for the band, the musical climate that gave birth to the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

As with every other year, anticipation surrounding the first lineup announcement for Good Things 2025 was almost at a fever pitch. Social media experts and promoter wannabe's all shared their projected line-ups – but most were well off the mark.Good Things is possibly one of the hardest festival line-ups armchair critics get to sink their teeth into, with the diversity and seemingly flippant mashing of genres meaning pretty much any band from any genre could make the final cut. And this year was no exception.When TOOL were announced as headliners, a large number of punters were already scrambling for tickets, but a quick scan through the rest of the line-up proves the eclectic tastes of organisers and the variety of live music on show for fans of most persuasions.Rock? Tick. Weezer, Garbage.Pop Punk? Tick. All Time Low, New Found Glory.Punk? Tick. Refused.Metal? Big tick. Machine Head. Knocked Loose, Dayseeker.But one band stands out more than others for their brutality. And of course theirs is the only logo on the poster almost unreadable to the non-metal trained eye. That band is Lorna Shore, and HEAVY was fortunate enough to speak with guitarist Adam Demicco earlier this morning about their Good Things appearance plus their new album.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

In just under three years, Melbourne hard rock outfit ANA have laid themselves a strong platform from which to launch their music. Having already toured through Europe and Japan, ANA are now setting their sights on their home country, starting with a headlining slot at Rockdale Metal Festival in September.Merging the intensity of metal with sweeping orchestral arrangements, ANA have quickly found their niche, exploring the outlying areas of symphonic/power metal and integrating it with a harder edge that gives their music an edge all of its own.HEAVY sat down with the band earlier this week to discuss their rapid rise through the ranks. One of the topics of conversation was the cinematic orchestration prevalent in their music."When we were making the album - before we started going into the studio - Josh (Mak, lead guitar)  pulled me aside and told me that Anna (Khristenko, vocals) likes to have strings in the songs," keyboard player Mark Shi explained. "But if I could have my way, I would love to have a lot of synths. So I took that into mind when we were writing the album and tried to come up with a good balance where we could have cinematic string lines along with synth sounds and synth sound design in the songs. It was a mix of everyone's ideas, and when we went into the studio, honestly, it was quite magical. I've never seen anything like that, writing a full album in two days. I think that the Japan tour helped us a lot because we knew what each other was thinking. Everything just came together in a very short amount of time, and it was perfect. We couldn't have asked for a better experience than this."In the full interview, the conversation touched on the band's excitement for their headline performance at the Rockdale Metal Festival and the positive reception of their recent European tour, particularly in Budapest. The band members noted cultural differences in audience behaviour, with a desire to explore international venues beyond Australia.The group reflected on their debut EP, The Art of Letting Go, and the collaborative writing process for their new album, which incorporates diverse musical influences, discussing the challenges of blending different genres while maintaining a cohesive sound. We discussed their musical direction, future tours and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersSydney-based post hardcore four-piece Closure continue their impressive momentum in 2025 after the release of their long-anticipated debut EP, The Sweet Suffering, which is out now on all major streaming platforms. The record includes the previously released singles Hindsight, Glare, and A Cold Space Between, each showcasing the band's evolution into a darker, heavier sonic identity. A deeply personal and hard-hitting project, The Sweet Suffering chronicles emotional resilience, anxiety, the art of letting go, and love. For Closure, this release is more than just a debut — it's a defining moment and the beginning of a powerful new chapter.Riding the momentum of that release, Closure have recently been announced as part of the annual music extravaganza BigSound, which will again be held in Brisbane's Fortitude Valley from September 2 to 5. HEAVY caught up with Closure vocalist Lucy May to discuss BigSound and how Closure got to be there.We also asked her what Closure hopes to get out of the experience."I think just a new experience, definitely," she measured, "and hopefully meeting some people that we haven't had the opportunity to meet before. I feel like, being in a heavier band it's obviously a really tight-knit community, so I think meeting other people obviously… we're self-managed at the moment so we don't have a manager, so I think that would be really something that would be a massive thing if we could maybe connect with some people and have a conversation about that, but honestly just getting out there and supporting people."In the full interview, the discussion covered the musical evolution of Closure from pop punk to post-hardcore, including their debut EP The Sweet Suffering and the DIY production approach for their latest release. We also talked about upcoming performances, networking opportunities at music events, and the importance of strategic industry connections, while Lucy shared insights about their venue plans and plans for future releases and tours.We spoke about the stylistic changes within their music and how they plan to integrate new music into future setlists, the importance of BigSound to emerging Australian artists and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The music industry is a fickle one.Try as an artist may to strike that elusive winning formula, more often than not, it is timing, or luck, or a combination of both which will ultimately decide the course your musical journey takes. Bands can try unsuccessfully for years to crack the market, churning out quality material time and time again with little or no return.But then that one moment of magic can change it all. That chance encounter. The right planets aligning at exactly the right time. Which is precisely what happened for Melbourne-based punk/pop band KTV last year, when a simple acceptance to an offer made about putting one of their old singles on a compilation album paid immediate dividends.After originally forming in the late 1990s, KTV released two EPs, played a tonne of gigs and won music industry competitions at the time. They played shows with high-profile artists including Killing Heidi, Magic Dirt, Deborah Conway, Vika and Linda, and Kisschasy, amongst others. After numerous line-up changes, the band ran out of steam in 2001. Singer/songwriter/guitarist, Kat O went on to form Kathematics, who had a song featured in an American TV show, as well as many other bands.Fast-forward to 2025, and KTV are back in action with original member Philip Yarra on bass/vocals, who recently toured with UK Ska legends, Bad Manners and the drumming prowess of John Hastings. Armed with a back catalogue of original 90s-inspired pop/punk classics, as well as Kat's new tunes, KTV are currently making a dent on the local live scene and are keen to get back in the studio to record. HEAVY caught up with Kat late last week to find out more.One of the things we spoke about was the early days of the band."It was around the time when Killing Heidi had their Reflector album out and was number one, they were the number one band in Australia," Kat recalled. "Back when bands were actually number one in Australia (laughs). Those were great days, because that unfortunately doesn't happen anymore. Anyway, we got to support them at the Prince of Wales, and that was a really huge show for us, plus we did gigs with Deborah Conway and Vika and Linda in front of thousands of people at the Arts Centre. There were some really, really big shows, and we played with some of our heroes as well. The scene was amazing back then."In the full interview, Kat reflects on the KTV's past successes, including supporting major acts and winning competitions. She expressed the excitement and nerves surrounding their recent first show back, highlighting the strong chemistry amongst the members.We discussed how a compilation CD featuring their demo track reignited interest in the band and addressed the challenges of reforming after a long break, including busy schedules and changes in the music industry. Kat discussed their plans for new music, which will blend nineties-inspired indie punk and grunge elements, while also revisiting older songs. KTV also announced upcoming gigs and encouraged fans to follow them on social media for updates, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela Croudace*CONTENT WARNING - Swearing and Mention of Suicide/Self Harm*Australian heavy metal veterans Temtris return with their powerful eighth album, Queen of Crows, a record built around the theme of good and bad consequences. Vocalist Genevieve Rodda and guitarist Foxy explained that the concept was inspired by personal experiences and reflections on how life's choices affect us and those around us.While their previous release, Chaos Divine, delved into a sci-fi dystopian world, Queen of Crows stays rooted in raw human struggles. Rodda described the writing process as emotionally charged, pointing to Scars of Betrayal, which confronts bullying and self-harm. Written about her own daughter's struggles, it remains one of the band's most personal songs to date.Musically, Temtris continue to evolve while remaining true to their heavy metal roots. “We try to push our boundaries every album,” Foxy noted of their collaborative writing approach. The record blends crushing riffs with Rodda's soaring vocals, as heard in tracks like Carnival of Tears and closing epic The World Is Bleeding, a critique of greed and consumerism framed within powerful fanfare.Beyond the studio, Temtris take pride in delivering authentic, high-energy performances. At a time when many bands rely on backing tracks, they remain committed to live musicianship, valuing the thrill of pulling off challenging songs on stage.The band is preparing for a return to Europe in 2025 with festival dates already being locked in. There's also talk of a long-awaited vinyl pressing of Queen of Crows. With honesty, passion, and resilience, Temtris prove that heavy metal's heart still beats strongest when fueled by authenticity.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Fresh off a wildly successful European tour, guitar virtuoso Bernth and bass wizard Charles Berthoud, undisputed masters of their instruments, have joined forces to bring their technical mastery, dynamic performances and jaw-dropping musicianship to Australia for 3 very special events.With over 4 million followers across their platforms, this will be a once-in-a-lifetime opportunity for fans to witness the guitar and bass heroes emerge from the screen onto the stage to perform together live. This tour is an unmissable event for fans of virtuoso musicianship and those eager to experience the real-life chemistry between these YouTube giants. Whether you're a follower of Bernth‘s intense technical guitar work or Charles Berthoud's genre-bending bass lines, this is a must-see show for music lovers and aspiring musicians.HEAVY was fortunate enough to spend time with both of them to talk more."I also have a YouTube channel," Bernth replied after Charles introduced himself. "That's what we both have in common. It's where we kind of met virtually, and we started playing roughly two years ago, just some one-off shows, then decided to do our very first tour this year. We started out in Europe, and in a couple of weeks we will be in China, South Korea, and then finally in Australia to end the next leg of the tour."Talk turns to their popularity on YouTube and how their musical paths entwined initially."I filled a couple of guitars with water to see what that sounds like and drilled some holes into others," Bernth explained, highlighting some of the experiments he has performed online. "And those videos often went viral because it looks quite interesting if you see like a drill going inside an acoustic guitar. That led to people actually checking out the music I played with those instruments, and that finally led to people wanting to see those videos or songs performed live. And that's also how we met.""One of his crazy ideas was to pitch shift his guitar down into a bass register," Charles took over, "which then led a lot of people to leave comments saying you should do something with Charles Berthoud. Then Bernth uploaded a video that said, My Problem With Charles Berthoud and that was an interesting way to start the day. The first thing I saw in the morning was that someone has a problem with me (laughs)."In the full interview, Charles and Bernth shared insights on cultural nuances and audience interaction with their music, emphasizing the tour's unique blend of music, banter, and challenges to engage attendees. Bernth recounted his journey from being a session musician in Austria to gaining popularity on YouTube through viral guitar experiments, while Charles reflected on their initial collaboration, which was seamless due to their thoughtful song arrangements.The conversation highlighted the friendly rivalry between bass and guitar, with Charles humorously asserting the superiority of bass. They both expressed excitement about their upcoming shows, aiming to create an immersive experience that showcases their individual styles and collaborative spirit and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersGerman guitarist Uli Jon Roth is renowned for his work with the Scorpions during their early, more experimental phase and for pioneering the neoclassical metal genre. He is also known for his innovative Sky Guitar design and his solo career exploring a unique blend of rock, classical, and philosophical themes.Roth joined the Scorpions during their formative years, contributing to albums like Fly to the Rainbow, In Trance, Virgin Killer, and Taken by Force, as well as the iconic live album Tokyo Tapes. These albums are all heralded in the history of Rock and Metal, with Tokyo Tapes being touted as one of the greatest live albums of all time, with Roth's guitar playing on those albums highly regarded for its precision and innovative style, influencing many later guitarists.Now, for the first time ever, Australian crowds get to witness the majesty of Uli Jon Roth when he hits this country for a run of three select dates this September. Uli will be performing a best of the SCORPIONS set, amongst other songs from his extraordinary catalogue, guaranteed to make up for lost time.Roth joined HEAVY earlier this week to find out more details. We start by asking why he has neglected Australian fans for so long."You know what, nobody asked us to come," he laughed. "So it's actually you, because we need an invitation if we want to play somewhere. I would have loved to come much sooner. Having said that, even the Scorpions - although they were so successful - even they found it difficult to get to Australia simply because of the logistics. When you tour America, you can do a month-long tour, and you have a big tour bus. You sleep at night, and then the next morning you're in Chicago, you know? I don't think that entire industry exists in Australia in the same way. You have to fly everything, and that makes it much more complicated to do a tour and more expensive."We bring up Roth's time with the Scorpions and ask how that period shaped the rest of his life and his musical career."I was only 18 when I joined," he recalled. "It very much shaped my life because it was my artistic apprenticeship and also learning the ropes in the music business. Learning how to do an album, how to write songs, all that came together in those five years. And we had a great time. You know, it was wonderful. I've got only good memories. It was just at the end, I started to write music that really didn't fit the framework anymore."In the full interview, Uli Jon Roth discussed his upcoming tour to Australia and Japan, with Uli explaining the tour logistics and musical direction for each leg. We explored Uli's history with the Scorpions and his decision to leave the band to pursue his own artistic vision through Electric Sun and classical compositions.We talked about why, after all these years, he is finally coming to Australia and what fans can expect. He discussed curating a set list to appease longtime followers, Tokyo Tapes and his thoughts on the live album, plus his other musical passions. The conversation concluded with a discussion of Uli's influence on other guitarists and his perspective on musical collaboration and learning.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.