HEAVY Music Interviews

With their ninth studio album, Another Miracle, landing on November 14 - and an Australian tour commencing May 7, 2026 - Of Mice & Men are stepping boldly into their next era—one defined by emotional depth, creative freedom, and an unshakeable bond with their fans. Drummer Valentino Arteaga speaks about the record with a mix of pride and awe, describing it as a “journey” built on layered soundscapes, soaring melodies, and crushing heaviness. It's an album meant to be absorbed front to back, not just thrown on a playlist.Self-produced and richly textured, Another Miracle reflects a band continually pushing their own boundaries. Valentino compares its intricate sonic layers to “ten wedding cakes stacked on top of each other,” each one representing experimentation, growth, and the group's ever-expanding musical vocabulary. Songs were crafted during a period of major life changes, including frontman Aaron Pauley discovering he was about to become a father, which brought a new emotional dimension to the writing.Valentino's current favourite track, Troubled Water, mirrors the album's dynamic energy with groove-driven drumming and bold performances. Yet he insists each song offers something different: “With Of Mice & Men, there's something for everybody.”Despite their evolution, one thing remains firmly intact; their connection to fans. Community is at the heart of their legacy, and it's something the band is determined to honour. “When you come to an Of Mice & Men show, you're there with family,” Valentino says. That spirit will follow them to Australia in May 2026, where they'll tour with genre-blurring heavyweights Crystal Lake for what promises to be an explosive run of shows.With Another Miracle, Of Mice & Men aren't just reinventing their sound, they're reaffirming why their music continues to resonate so deeply after 16 years: honesty, passion, and a commitment to constant elevation.OF MICE & MEN + CRYSTAL LAKE May 2026 Australian Tour DatesTuesday 5th May - PERTH, Magnet HouseThursday 7th May - ADELAIDE, Lion Arts FactoryFriday 8th May - MELBOURNE, 170 RussellSaturday 9th May - SYDNEY, Manning BarSunday 10th May - BRISBANE, The TriffidTickets: https://thephoenix.au/of-mice-men-2026/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Sometimes a band comes along that manages to transcend the normal parameters of heavy music. A band who has all the elements to be labelled as such, but also displays enough emotional resonance and accessibility to allow their music to seep through into other markets as well.With a self coined phrase calling their music 'sad rock', Southern Californian outfit Dayseeker have proudly evolved from post-hardcore upstarts to a band whose sound sits somewhere between that genre and many more, defiantly allowing their emotions to dictate proceedings but still spicing things up with moments of heaviness that in lesser hands would work against them.Having recently released their sixth full length album Creature In The Black Night, Dayseeker have grown musically once more, delivering their most immersive and intentional record to date — eerie, cinematic, and threaded with a dark emotional current. It is a deeply personal experience for vocalist Rory Rodriguez, but one which he feels is essential in his own personal development as well as that of the bands. Dayseeker will be bringing their music to Australia early next month for all three Good Things Festival shows, as well as two select sideshows in Melbourne and Brisbane. HEAVY sat down with Rodriguez recently to talk about the new album and their upcoming Australian shows. We start by asking if the band is packed and ready to go with the Australian tour looming large."I think so," he smiled. "It's a little nerve wracking because we unfortunately parted ways with our guitar player very recently. We have a good friend of ours who is gonna be filling in for us, so these are our first shows with him. We're trying to get rehearsed and make sure that everything's good and that our live show stays intact. We really care about our live show being good, so other than that, we are really excited about coming to play."We mention there's no pressure at all having a debut gig in front of 50,000 people, to which Rory lets out a laugh. "Yeah. I feel worse for him. I think we get a warm-up show for a side show in Melbourne so he will get to play to 900 people and then jump times fifty for the festivals (laughs). He's a pro, though, He's gonna do great."In the full interview, Rory talks more about their live shows and what we can expect, highlighting the differences between outdoor and indoor gigs. He ran us through three songs Good Things punters can listen to if they aren't that familiar with Dayseeker, plus the diversity of the line-up and how that is a good thing for festivals.We talked about the just released Creature In The Black Night and the early response, what Dayseeker were going for musically on album number six and how it is their most immersive album to date. He dove deeper into the lyrical content of the album and whether it is an album of hope or despair, how singing about his problems has worked over time and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Armed with undeniably some of the heaviest riffs known to mankind, DYING FETUS have established a reputation for uncompromising integrity with a slew of classic albums, and today ride a resurgence of respect and esteem with a new generation. After 12 horribly long years since their last tour in Australia and in only their second appearance in New Zealand since 2009, DYING FETUS are well overdue to lash us unmercifully this December with their savage beat downs and earth-moving grooves and grunt, equally designed to pulverize and mesmerize. And smash us they shall, but to find out just how they plan to do that, HEAVY sat down to chat with bass player Sean Beasley. One of the things we ask about is the well-known ferocity of Dying Fetus's mosh pits and what it looks like from stage."Yeah, it's always different," Beasley smiled. "You never know with big festivals or whatever. That's when you see it, like, oh shit, somebody might get hurt out there. Usually, people get hurt when they fall over the railing instead of being in the pit, you know?"We also address the fact that the band have not toured Australia for well over a decade, and ask cheekily why they have neglected their fans here for so long."I don't know, to tell you the truth," he replied, laughing. "It just hasn't worked out. We haven't been back to Southeast Asia either, so for some reason that hasn't worked out. It's been this long, which is really surprising to me. I had to look it up and was, like, damn, when was the last time we were there (laughs), and then I had a look and realized it's been that long!"In the full interview, Sean talks more about the tour and what we can expect from Dying Fetus. He runs through what has changed with the band in between visits, including new albums and how much attention they will be getting in the set list.We praise him on the selection of 200 Stab Wounds as support, talking about this being their first tour of Australia and how they will adapt. The excellently graphic tour poster is discussed, along with more on the mosh pits in the crowd, new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Entering album number ten, the all-encompassing sonic realm inhabited by Swedish musical enigma Avatar looked set to face the band's biggest personal hurdle to date. Very much a band who have proudly proclaimed their intention to maintain musical growth from day one, Avatar were forced to confront the critical and commercial success of the wildly entertaining album Dance Devil Dance. While most bands would welcome such success, it also forced Avatar to take stock of their music and career.This is a band who have steadfastly refused to become a parody of themselves, forsaking convention and expectation in pursuit of their own musical vision from where the sonic Garden Of Eden would forever bunker down. But the temptation would surely have been there. The temptation to possibly rehash whatever winning formula was at the core of Dance Devil Dance's success and squeeze that metaphorical cash cow while the milk was still fresh and creamy.So what did they do on their recently released follow-up, Don't Go In The Forest?They did exactly what long-term fans of the band and the band themselves would have expected and basically raised their middle fingers in the air in an act of defiance to the Metal Gods, who felt they had paved the way for Avatar to continue their journey unabated to the upper layers of the global music empire.While understandably retaining certain elements of what was created on Dance Devil Dance, Avatar more took the challenge of continuing their sonic evolution, exploring new and unchartered ideas personally. Maybe not outwardly, but certainly in the dark recesses of their brain, the band vowed to stick by their word. Stick by their mantra, their fans, but most importantly themselves. What they created was pure musical genius of unrestrained creativity that is perfectly represented by the intentionally sporadic and unexpected turn taken over the very first few songs on Don't Go In the Forest and only gets more disturbed from there.HEAVY was given the opportunity to journey into the creative mind of Avatar frontman and mastermind Johannes Eckerström and relished the chance to put some sense to the engulfing madness."The first couple of weeks is transpositional in the sense that you are a writer; you're a performer, we're a bunch of stuff, right?" he more stated than asked the question. "And release, as in putting something out, that word has a double meaning. Because release also means letting go. And as far as the writer in us goes, it's done. It's gone forever. It doesn't belong to us anymore, it belongs to everybody."We mention that it must be hard to emotionally let go of a body of work that has dominated their world for such a large period of time."There's a thing I do for myself...," Johannes measured, choosing his words carefully. "Ever since going back to the Black Waltz, because that album started an... I don't know... a quarter-life crisis kind of place in our lives, at least speaking for myself and John (Alfredsson, drummer). We had a powerful moment of that around that time, which, long story short, led to us really thinking, 'okay, this is the last album. Fuck it.' And that mindset of this is the last album, fuck it, I've tried to keep that ever since. I mean, I have some kind of confidence in that we will get to do another one (laughs), but it's always that question. If this were to be the last album, would I be okay with that? Did we achieve what we want to achieve here? If the world hates it, did we do enough to be at peace with that? And yes, I am. So, yeah, I have that little mental exercise or whatever you want to call it to deal with exactly that."In the full interview, Johannes spoke deeper about the musical side of Don't Go In The Forest, including the deliberately eclectic nature of the music and the way they approached the order of the songs on the album. We discussed the singles released and the thought process that goes into their selection, and the ways in which Avatar go against usual industry practices when it comes to everything about their music.Johannes explained the creative vision of Avatar and the importance of continual progress and experimentation within their music, their place in the sonic universe, creating an all-encompassing music experience for themselves and the listener and Avatar's perpetual quest for musical enlightenment.We explored the importance and meanings behind the album title and took a look inside the theatrical nature of the band and their music, discovering even more layers and complexities in Avatar and their quest. As if we needed to go down that rabbit hole…Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The main common thread that ties music and comedy together is timing, not that it works every time. While there and many - some would say the majority - of musicians out there who THINK they are funny, once the alcohol and/or adrenaline wears off, what they thought funny 20 minutes ago is suddenly now lame at best.But occasionally the transition between two very different forms of artists' works seamlessly. Artists like Weird 'Al' Yankovic, Stephen Lynch and Jack Black spring immediately to mind when talking about people who have performed at high quality across both professions, but there have also been some riotous failures - but we won't go into that for fear we, too, might be accused of overstepping the line.If you had have asked me a couple of weeks ago how I thought Five Finger Death Punch's bass player Chris Kael would go on the stand-up comedy circuit, I may have mumbled alright, but that would only have been to save my ass if word had got back to him. Then, if you had have suggested an admittedly famous comedian by the name of Craig Gass, who is best known for voicing cartoon characters, chances are I would have tuned out and failed to clock back in.Ask me the same question now after having spent a night interviewing then dining with the pair of them, and you would get an entirely different response. So I guess even the black sheep of the world are not immune to judging a book by its cover…What Kael and Gass may lack aesthetically as a star comedy pairing, they make up for with impeccable timing that has its foundations in mutual respect. The fact that they have lived similar lives in and around the music community definitely helps to keep the conversation flowing, but together this mismatched pair are more like the Golden Goose of the comedy circuit. Their jokes are hilarious, their banter even better, but above all else, both are humble and inspiring people who just happen to have a somewhat concerning panache for a side hustle referred to as DCP. What is DCP, you may ask? Well, have a listen to our conversation, and you will find out the meaning of that unexplained wonder of the world, plus heaps more that you may or may not be emotionally prepared for at this stage of your life. HEAVY sat down for an engaging and entertaining chat with Kael that covered everything from comedy to music to shin chins.We start by asking how the tour has been so far."It's been incredible," Kael purred in his gravel-stained Viking voice. "We had a very short time to be able to promote these shows, so the amount of support that we've had and the amount of people we've got in there in only a week of promoting the show is awesome. We did the stand-up comedy show in Melbourne at The Comics Lounge on Friday night, and then we went to see Metallica on Saturday. That's basically all we're doing. Just funding the Metallica vacation (laughs). I have found ways to make money to be able to travel while off the road with Death Punch. I saw that Metallica was playing over here, so… I am a marketing aficionado. What better way to go out and see my old friends in Metallica? Because we toured with them the last couple of years, going all around the world, but we're working on a new record right now, so this gave me the opportunity to come over, see Metallica and get the comedy show going. We had those two shows in Melbourne, and then on November 11 here in Brisbane, we are playing at the Good Chat Comedy Club, doing a show at 7 o'clock and at 8.30 pm. Me and Craig - Craig Gass is a stand-up comedian. An actual stand-up comedian. Not a bass player who is basically telling stories about life on the road. He's been doing it for about 25 years and has been on The King Of Queens and the Howard Stern Show. A funny story about Craig - well, I don't know whether it's funny or not because it's his story - but when he was growing up, he was the only person in his family who could hear. His entire family is deaf, except for him. So I'm helping him with his acting these days. We're both gonna be doing some stand-up comedy here at Good Chats. 7 o'clock and 8.30 on November 11, and we're just having a really good time with it. This has been nice for me. The whole thing started when Craig gave me the opportunity to do some stand-up shows with him. I was originally going to write stories. I wanted to be either a musician or an author when I was growing up. The musician part… I get paid to play bass, so I guess that makes me a musician… but that's already happened, so I was gonna write a book about growing up in Kentucky and being able to come up from Lexington, Kentucky, to these worldwide stages. I mean, I'm right next to where Metallica is playing, and we have toured the world with Metallica. All my favourite bands. Judas Priest. We've been out with those guys. So, just coming from a small town in Kentucky, all the stuff that had to happen to get me where I'm at, that I am able to do all this stuff, and then all the craziness that's gone on behind the scenes, being in a hard rock/heavy metal band… I was gonna tell those stories in a book, but now I'm just doing it on stage because I like being able to have that automatic response. I'm an entertainer. Musician, yeah, I guess. But entertainment. That's where I thrive."And that's just the first couple of minutes of our conversation. Over the course of the next 20 minutes, discussion ranges from Shin Chins to Double Comedy Penetration to Gene Simmons to Five Finger Death Punch and pretty much anything and everything in between. If you are reading this in time to make one of the two shows in Brisbane tonight, do yourself a favour and make it happen. But if not, keep an eye out for when next Craig and Chris visit Australia. You won't want to miss them a second time.Tickets and more information www.getgass.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceHalf a century on from his Rabbit days and even longer since fronting the very first line-up of AC/DC, Dave Evans hasn't slowed down one bit. Celebrating 50 years of Rabbit with the new album Defenders of Rock, the self-proclaimed “King of All Badasses” still lives by the mantra: every song a killer, no song a filler.Speaking to us from Mexico, Evans radiates the same unstoppable energy that's defined his career. “I'm lucky I went solo years ago,” he says. “I can record with anyone, anywhere in the world. If someone gives me the shits, I just say, ‘See ya later!'” That autonomy, he explains, keeps his fire burning and his fans around the globe ready to rock.Evans credits his longtime collaborator and Rabbit guitarist Mark Tinson, “the king of all riffs,” for the new album's punchy sound. “Rabbit's a party band — sexy and tough. The world needs Rabbit right now,” he grins. “No doom and gloom. Just rock and roll, baby.”Reflecting on the early Aussie rock scene, Evans recalls when “getting signed was like being touched by God.” Yet, even as times change, he believes the secret to survival is simple: energy, hooks, and happiness. “I still go out there to make people happy,” he says. “When they leave my show, they're smiling and that's what it's all about.”At 50 years of Rabbit and counting, Dave Evans proves that real rock 'n' roll never dies — it just keeps getting louder!Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For a man who has been there and pretty much done it all in the Australian music industry, Mark Lizotte - or Diesel to his friends - is one hell of a humble guy.First snapping necks with Johnny Diesel & The Injectors in the mid to late 1980s, the 90s saw Diesel launch a solo career that has seen his career progress in a steady trajectory that is a testament to the workman-like way in which he goes about his business. Singer, guitarist, producer and multi-instrumentalist, Diesel has mastered all aspects of his craft with a youthful exuberance and genuine love for music that is as infectious as it is rare.After releasing his 17th studio album Bootleg Melancholy in 2023, Diesel could be forgiven for being a touch pickier about where, when and how he plays, but by talking to the man, you get the feeling such thoughts are barely a whisper in his subconsciousness. Instead, Diesel has spent much of this year on the road, culminating with his current By Request Tour, which sees fans and audience members choosing his nightly set list in a performance where it is guaranteed no two shows will be alike.But rather than hang his guitar on the rack at the completion of this successful run of shows, Diesel recently announced his intentions to fire it back up again for round 2 early next year, with another 21 shows added from January through to April. And seeing how it is blatantly obvious Diesel doesn't know what to do with his spare time, HEAVY jumps at the chance to keep him busy by accepting the invitation to have a yarn about life on the road. We start by pointing out that he must be a glutton for punishment to basically turn straight back around and head out for another run of shows."I hope it's not punishment," Diesel laughed. "No, it's been really fun, I have to say. I've really enjoyed these ones. I think in the back of my mind, I was always like, well, if we're going to do regionals, let's do some cities too. Take it to the big smoke."We get a bit cheeky and ask if the songs for each night's set list are 100% as voted by the fans, or if he sometimes takes liberties with what he feels like or doesn't feel like playing."I try to attach a person's story or name to every song," he smiled. "I've got the analytics come to me in a document, and it's all very… It's great, actually. They've got graphs of songs and which ones have been chosen, and I can see which ones are more popular than others on particular nights. It's a lot of information for me to digest. And along with that, I think the thing that is most usable and intangible are the comments that people write about why they want that song."In the full interview, we ask Diesel if there have been many surprise requests, any that he has seen come up and cringed, and if he can see any trends between different eras of his career. We ask how he remembers so many songs on demand, the range of songs people can draw from, and the personal nature of these particular performances.We look back on his career and ask Diesel if he ever has time to reflect on his achievements, next year's run, which starts in Tasmania and ends at the Sydney Opera House, the prestige of playing there, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali Williams90's alt-rock legends Everclear are heading back down under in November, ready to kick off their 30-year Anniversary tour of their debut album Sparkle and Fade. HEAVY Mag's Ali Williams caught up with frontman and founder Art Alexikas to chat about the tour, their huge success in Australia and what fans can expect when they swing through in a few weeks.Hailing all the way from Portland, Oregon, Everclear started making a name for themselves in the early 90s when their debut, independently released album World of Noise (1993) would gain them credit on the home front and East Coast Alt Rock scenes. But that was nothing compared to the epic surge they felt after signing to Capitol Records. In 1995, Sparkle and Fade was released, and in what felt like overnight, the world fell in love with them.Australian audiences couldn't get enough, with the album going platinum soon after its release and reaching 9th place on the ARIA charts of the same year. Their music has that Cali Coast grunge vibe and lyrics that struck a chord with those who could relate.Singing about growing up left of centre, trying to make it in the world, overcoming childhood trauma, teenage angst, underwritten by the influence of recreational drug use and powered by the sex drive of a young adult in top gear still learning the road rules, seemed to resonate with young listeners, and their following albums had the same effect.For many Australians who were teenagers in the 90s, Sparkle and Fade was the soundtrack to their misspent youth, cassette tapes played on repeat, driving along the coastline, windows down, the summer heat thick, mixed with the distinct pungent odour of leaded petrol and dank kush being choofed in another bong hit billowing out of their prized Datto 120Y in clouds of fury. Life was good.Art recalls the moment he realised that their track Local God had become an anthem in Australia when the head of EMI Records asked him before a show why it wasn't on the set list. He couldn't believe it and from then on says “we can't come to Australia and not play Local God,” surprised that a song written as a soundtrack for Baz Luhrmann's remake of Romeo and Juliet had struck such a chord with Australian audiences.Alexikas also shares some insight into what it's like still touring and battling MS, a debilitating, lifelong chronic illness. At 63, Art is definitely showing no signs of slowing down, although he admits he's a little slower than the fast pace he'd once lived. Tickets for Sparkle and Fade are available from www.ticketmaster.com and www.everclearmusic.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

While most kids are out and about trying to think up what trouble they could possibly get into, 13-year-old Vox Realis was indoors, practising his guitar. Ever since picking up his first guitar at just 7 years of age, Realis has ploughed all of his time and energy into mastering the instrument, earning the praise and subsequent guidance of Kiko Loureiro (Megadeth, Angra) along the way, who saw something special in the aspiring musician. Not content to merely practice for himself, Realis started the YouTube series Metal For Breakfast - which has since gone viral - putting his name and guitar prowess out there to a global audience.The result is his recently released debut single Overkill, which also features Felipe Andreoli (Angra) on bass and Dirk Verbeuren (Megadeth) on drums. HEAVY recently sat down to chat with the young guitarist and start by asking him to go into the musical side of Overkill a bit deeper."I knew that I needed to find my own voice, and I wanted to make sure that what was in my head was represented in the song," Realis measured. "I'm really about tones, and so I really just embraced a song structure that is accessible to listeners, but I can still get what I want from my head into the song. This song is full of emotion, and I had lots of fun with the different effects and the drive and really capturing what I was feeling. School and life is pretty hard at 13 (laughs), and this song is my first attempt to communicate those sometimes conflicting and really big emotions."We bring up his age and ask Realis if it is difficult being thrust into the limelight so young."Yes," he replied honestly, "but everyone is so supportive and excited to see where this all goes. They also recognise that I'm young and all this guitar needs to be my choice. My parents, my mentors and my teacher, they all help me keep a balanced life and encourage me to embrace the long and patient journey that is becoming a musician."In the full interview, we talk more about Overkill and bringing the song to life. Vox tells us about the writing process for the song and how he put his own DNA through it. He mentions the two guest musicians playing on the track and how they came to be involved, as well as having Kiko Loureiro as his mentor and the importance of that in his future plans.Vox talks about his passion for guitar and having old-style metal musicians as inspiration, but sprinkling enough of himself into the creative process to make it his own. He talks of future musical plans and what got him interested in guitar, plus winning the Musicians Institute Summer Program Scholarship and what it means moving forward. He spoke of future plans and mapping things out in steps, Metal For Breakfast and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For most bands, album number two is make-or-break time. The general consensus is that a band's debut album is their easiest, taking into account things like no pressure as an unknown band and having a larger amount of time to come up with material and draw from their well of music.But the dreaded sophomore album - especially if the debut is a raging success - is usually the one by which a band is judged. And more than you think fail. There's a multitude of reasons and excuses for this, but we are here to dwell on the positives, not the negatives.Yorkshire melodic metal outfit Caskets fall firmly into this category. Following the breakthrough global success of their first album Lost Souls, Caskets went more introspective for the follow-up, Reflections, and although it, too, was well received, the band themselves still felt they could do better. And so it is that the band approached album number three, the hurdle of the dreaded second album behind them.It was another fresh approach from Caskets, with frontman Matt Flood opening up and delving into deeply personal troubles like never before on The Only Heaven You'll Know, which is out now. It was a risk, in a sense, inviting fans to take such a journey with a band on only their third album, but one which looks set to pay dividends, with Flood joining HEAVY to dive deeper. One of the topics of discussion was a quote from Flood that said, "this record is the sound of me falling apart in real time", which we ask him to elaborate on."I write, or I sing, or I've written lyrics where a lot of the meanings of these songs are written about parts of me, or aspects of my life that I've - in all honesty - been too scared or anxious to talk about before," he explained. "Ever. To anyone. I feel like it's time for me now to get these… not only thoughts out of my head for my own sake, but I know that this type of stuff that I've gone through in the past and what I've sung about in these new songs, I know they will potentially help other people listening. They will relate to it, and I hope it helps them find some closure or helps them feel heard and feel seen. A lot of the songs are about my dealings with my belief in Faith and my past with addictions and parts of my upbringing, and my own self-criticisms as well. It's about time I took a little bit of responsibility for some of the bad I've done in my life that I have kept inside and pent up. I let that out not just for me, but so other people can hear that it's fine to acknowledge that sometimes you can be the bad person in a situation, but also know that we all have bad in us, and we all do bad things, but it's also fine to forgive yourself and try and find forgiveness."In the full interview, Matt talks more about the personal nature of The Only Heaven You'll Know, what they were going for musically, how the album is the best representation yet of Caskets as a band and how such personal lyrics help in his own healing process.He talks about the early days of Caskets and the band's early vision, how it has changed since, and their future goals as a band. Matt also talks about how each album has to stand on its own merits rather than repeat the winning formula of what came before, their Australian tour next year and what to expect, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It's a great sign in the modern music scene in Australia that there are still festivals in this country that feature exclusively homegrown bands. It is a testament to the quality of music at our disposal, and also just reward for Australian bands who are able to be showcased in their own right.One such festival is Metal In The Mountains, which is set to go down in Beechworth Historic Precinct on November 29. Featuring Frankenbok, In Malices Wake, Goat Sharman, Whisperhead, Saralisse, ESP Mayhem, Oblivion and Sufferance, Metal In The Mountains is an annual regional event held in picturesque Beechworth under the open sky and gets bigger, better and louder each year. Throw in the fact that you can take the kids along for an education in metal, and you can't go wrong!With the festival just weeks away, HEAVY caught up with guitarist/vocalist Shaun Farrugia from In Malice's Wake to talk shop."We started, I'd say, as a bit more of an old school thrash band, but over the course of recording the last five albums we've definitely gone to a much heavier death-infused band," he began, introducing In Malice's Wake for those unfamiliar with the band. "We've been kicking it for about 20 years now, and we're stoked for Metal In The Mountains. It's our last gig for the year, and everything I've heard seems to indicate that it's super well attended. It's a bit of a hub for all the regional towns, and it's supposed to absolutely go off. I had a few friends who played it last year who said it's the regional one to go to."We mention the cross-section of metal styles on display over the eight bands and praise the modern trend of diversification in line-ups as opposed to the older style of keeping it more like-for-like."Yeah, that's right," he said, nodding in approval. "And it just keeps the day a bit fresh. I really miss Metal For The Brain back in the early 2000s, because you'd go to a show like that and there would be just so many different bands. You'd see, I don't know, Lorde playing next to Hobb's Angel of Death, for example. It was just a full day where you'd see all these world-class bands, but the vibe and the range of things to see, there'd always be something interesting happening."In the full interview, Shaun talks more about Metal In The Mountains, doing research on the other bands playing, what we can expect from In Malice's Wake, three songs to listen to if you aren't familiar with the band, Metal In The Mountains being all ages and the plusses in doing such a thing, the importance of Australian only festivals in the growth of Australian metal, In Malice's Wake changing sound over the years, next year's new album The Profound Darkness and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Ten years is a long time in music, especially when you take into account the changes in the music industry, which magnify with each passing year. When a band decides to have a break from making music for that amount of time, the temptation to try and amalgamate the changes over that period into their music would be huge, even if that band has an established, existing fan base of international acclaim.But when Toronto-based rock outfit Finger Eleven sat down to write and record their new album Last Night On Earth - their first in a decade - the decision was made to stick with their existing structure and bring the sounds that had made them a household name back to life by their own volition, in their own way and image.The result is a highly entertaining slab of music which harks back to Finger Eleven's musical roots while still retaining their relevance in the modern age of music. HEAVY took the chance to catch up with frontman Scott Anderson to break things down, starting with how he is feeling about the album release."I'm feeling good," he beamed. "I have felt everything there is to feel about this album. It's been a long journey, and I'm so happy that it's finally coming to an end and it's going to materialise in an actual record. I'm thrilled."We ask if he feels there is extra pressure on the album, given the lengthy amount of time between releases."I think there's a lot of pressure because of the time," he nodded, "you can't just put out anything. There's been so much time that's gone by, and so I think that hung over our heads a little bit. But it doesn't change the day-to-day writing where it's like, okay, we're still going to try to do the best we can. That's what Finger Eleven does. We're going to get in a room and try to make whatever idea we're working on the very best it can be."In the full interview Scott dives deeper into the musicality of Last Night On Earth, if the personal growth of each band member shows in the finished product, the singles released and how they represent the album as a whole, keeping their earlier sound while using modern technology, the start of the album and the small nuances that prepare you for this particular journey, having Richard Patrick guest on one song, having an acoustic number as the title track and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The world of death metal is relentless and unforgiving, with hardcore fans renowned for their refusal to have pity nor understanding for anything that isn't pure of metal. As such, new bands to the fold face a literal baptism of fire with no quarter given, and certainly none taken. Put simply, you either impress from the very get-go or you get gone. Simple as that.Which is what has made 200 Stab Wounds' rapid ascension up the metaphorical metal ladder all the more impressive. In just six years, the band have solidified a global base of loyal supporters, with some in the know proclaiming them as death metal legends in the making. But legend status is not something handed out freely. It has to be earned, then earned again, and Australian audiences will have the opportunity to judge for themselves when 200 Stab Wounds hit this country for the first time this November, teaming up with fellow purveyors of brutality, Dying Fetus. It is a match made in the bowels of Hell and one which is certain to shake Australia to the core, but first HEAVY elected to sit down with 200 Stab Wounds' guitarist Ray Macdonald to see how the band is approaching their first trip Down Under. One of the questions we ask is if 200 Stab Wounds have toured with Dying Fetus previously. "Yes, we've played with them before," Ray affirmed. "We did a tour with them in the US, and it was a great time. They are great dudes, their team are great dudes. We all got along really well."We mention the fact that having two brutal bands on tour together would keep each other on their toes, keeping the bar at a consistently high level so as not to disappoint."I mean, Dying Fetus are legends," he replied. "They are arguably one of the heaviest bands - if not the heaviest band ever - so watching them and knowing that we have to set the stage for them every night makes us definitely want to push our game up for sure."In the full interview, Ray talks more about the band's debut Australian tour, including why it has taken them so long to get out here. We talk about touring a country for the first time and how Ray approaches the experience, what they are expecting from Australian crowds and what we can expect from 200 Stab Wounds and how crazy shit gets in the mosh pit.We spoke about how quickly 200 Stab Wounds have established themselves in the death metal scene and what he thinks it is that makes them stand out. The topic of musical experimentation comes up as Ray tells us how the band have changed and grown musically over their two albums, how much experimenting they have in them moving forward and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

New Zealand sludge/psych metal outfit Beastwars have been dominating the metal landscape ever since unleashing their self-titled debut album in 2011. Defying trends and convention, each subsequent album was just as good as, if not better than, the last, ensuring Beastwars maintained that elusive edge in a genre becoming more cluttered with each passing day.Along the way, they have experimented with progressive rock elements, but for their upcoming sixth studio album, The Ship/The Sea, Beastwars have taken their sound back to its roots to deliver a punchy amalgamation of everything that got them to this point, with a stronger emphasis on metal. The result has seen The Ship/The Sea described as one of the band's most intense and cathartic albums by the few who have laid ears on the album, but regardless of the backstory, there is no denying that Beastwars have come up with another winner, as we all shall hear when the album is released on November 7. With a run of shows in Australia to follow soon after the album drops, HEAVY sat down with drummer Nato to get the inside information, at one point asking him to describe the album musically."We've done six records and I think with most bands, their first album is probably going to be their best record," he measured. "And their second album is hopefully better, and then if they make a better second album, it means their career goes pretty well. I think that we did that on our level. I'm not saying that we changed the world or anything, but our second album was pretty good, and the people who are into this sort of music really liked it. And then the albums that came after that, we went down a little bit of a different path, getting a bit more proggy and maybe going away from the sounds that we first created, which was much more direct. A lot of the recent songs had a much more linear song structure. I'd start somewhere, and I'd end up somewhere completely different, which I really love. But this record has really gone back to what the first two albums were like, just a lot more direct, heavy, riff-based, but still being a more standard sort of song structure."In the full interview, Nato described the album as a return to a heavier sound, contrasting it with their previous experimental work, and emphasised the thematic significance of water, representing purification and chaos. He recounted their recording experience in Mount Maunganui, New Zealand, where the beachfront setting allowed for focused creativity, and explained the artistic choices behind the album's opening track and cover art by Nick Keller. The conversation also covered the band's tour schedule starting November 12, marking their first visit to Australia since 2020, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For almost a decade, Melbourne alternative rockers Bad Juju have walked the tightrope between various genres, unafraid to experiment within or outside of their comfort zone.With a unique blending of 90's grunge, 00's nu metal and modern hardcore, the band have opened up differing sides to their musical psyche with every release, and have done so again on their most recent EP, Simulacra. The release draws inspiration from the concept of simulacra and simulation, and explores the distortion of reality in the digital age. Each track unpacks themes of identity, perception, and the struggle to find authenticity in a world of artificial narratives.With the album being out for one week, HEAVY caught up with drummer Drue Herring to discuss the new music and more."The reception's been great so far," Herring smiled. "With this new EP, we went back to our heavier roots. Seeing as we all come from heavier bands, it was nice to blend a little bit of the younger musicians' taste that we've been playing in previous bands before into this new body of work. Linkin Park, Limp Bizkit, Korn, all that type of stuff is music that all of us guys grew up on. We just wanted to influence a little bit of that type of sound towards what we were previously doing. And also just on the back of that, just for the live shows, we always feel like those heavier types of songs that are a bit more energetic and a bit faster, just have an overall better type of vibe."In the full interview, Drue highlights the positive early reception for Simulacra and describes the EP as their most ambitious work, drawing inspiration from influential bands like Linkin Park and Limp Bizkit to create a more energetic sound. He explains the collaborative songwriting process, where guitarists develop initial ideas before the group finalizes the tracks and how the songs came together.The discussion also includes the revival of vinyl records, with a limited edition of the EP being pressed, how much further Bad Juju will go with their sound, how this is the band's most ambitious release, finding the balance between genres in the creative process and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsHZED band's leading lady Tenaye swung to chat with HEAVY's Ali Williams amidst their hectic rehearsal schedule for their new single release Save Yourself. Released on October 17, Save Yourself is the latest single from Melbourne's HZED. The band has had some recent line-up changes, and with that comes fresh, new vibrant energy.The female lead group have been on the circuit for a number of years delivering riff-driven old school rock with raw, new energy. Having recently had their heads down and in the studio writing new material, HZED is about to bring their new tracks to the stage with a couple of performances over the coming weeks for their home crowd in Melbourne.Temaye speaks of the commitment the bands had to staying consistent and working hard to get the results they want, and it shows; their new track slaps hard. Coming together every week to rehearse plays a big role in being able to go out there and perform live. With hopes to add some more shows to their roster for next year, they are also focusing on eventually releasing another album sometime in the near future.Proudly doing it for the girls, Tenaye's vibrant energy and passion for heavy metal is infectious as she hopes to inspire more girls to get out there and shred it. She's definitely an asset to the band and an inspiration for females in the rock industry.Save Yourself is out now and available on all platforms, and information about their shows and tickets can be found on the band's Facebook page https://www.facebook.com/HZEDBANDBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The 1990s were a turbulent time for music. The advent of gentrification began in earnest as strains and side strains of sidestrains of different sounds came together to supposedly enhance our listening pleasure. Newer styles- or genres if you will - of music materialised almost before our ears, and all of a sudden phrases like grunge and alternative rock/metal were being bandied about as though the very passing of those words through your lips gave you a greater natural aura than all else around you.But it was also a time where work for musicians was plentiful, be it trying your hand at creating what was to become the next musical revolution or branching out into other fields within the music industry. It was a time where it was okay to mess up, because in those early years of a new era of music, mistakes were welcomed. Encouraged in some instances.It was also a time when an aspiring musician was making a name for himself as a producer, latching on to the fascination with all things grunge and throwing his DNA behind the musical revolution from inside the studio. The place where the magic happens. His name? Butch Vig. Back then Vig was relatively unknown, but before long would become known as one of the pioneers of this sonic movement, producing bands such as Nirvana, the Smashing Pumpkins, L7, and Sonic Youth. Butch could have set himself up as a producer for as long as he liked, but the discontent grew inside him, leaving him bored and disillusioned despite his obvious talents.Rather than allow the lingering darkness to fully take over, Butch instead turned his attentions to creating and playing the music, in the process uniting with three other like-minded musicians and forming a rock outfit called Garbage, who still have the same original four members some thirty years later. Butch realised that in life, you must forge your own path. Pain is fleeting, the darkness penetrable. The easiest way for it to consume you is to sit by while it slowly takes control. Or you can go out and get that thing you want. Make it happen. Just like Butch Vig did some thirty years ago.With Garbage set to touch down in a matter of weeks for the first time in a decade as part of Good Things 2025, HEAVY jumped at the chance to get a little nostalgic when we sat down for a chat with drummer Butch Vig."We are so psyched to be coming there," he said warmly. "We have a huge fan base there. I'm going down there to play some shows, but also I'm going early, and I'm gonna stay late in Australia, so I actually can be a tourist for a few days. I'm bringing my wife along, who has never been there before. So I'm really psyched to come back."We point out that it has been a while between drinks."Like I say, I am coming down early," Butch laughed, almost apologising. "We're going down to New Zealand early, then we're gonna stay extra time in Australia because I haven't been there in a while. Garbage hasn't been there for a while, and I wanna be able to take in the country and spend some time there. In the US run, we play a show, and then we get on the bus and we drive overnight and play a show again, then get on the bus and drive overnight. We have tonight off in Salt Lake City, but rarely do we have days off, so I really wanna get down there and be a proper tourist for a few days.In the full interview, Butch tells us what has changed with Garbage since their last tour a decade ago. He introduces us to their new bass player and highlights some different elements she has brought to the band's music. We talk more about the tour and what to expect, reflecting on the eclectic mixture of bands at Good Things, and run over the pros and cons of genre-specific festivals opposed to ones with a wide range of different music.We spoke about the vibe backstage at music festivals and if the musicians mix with bands outside of their genre, plus Butch suggested three songs for Good Things attendees to listen to from Garbage if they are not familiar with the band's music. Butch took us through the early days of the band, including his disillusionment with music at the time, and how forming Garbage helped reignite his musical spark. We asked him about the success of Garbage's self-titled debut album and if the band had any inkling they were onto something special after finishing it, the importance of continuity within the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

After establishing themselves as serious contenders in the ever-growing Australian music landscape with their 2024 EP Requiem, Melbourne hard rock outfit The Last Martyr seemingly went into their shells, still playing the odd show but failing to release more new music to deliver the knockout blow.It was ultimately a combination of many different factors of life and music that stood as a buffer between maintaining momentum and walking the tightrope of everyday life, but if the absolute carnage that is their upcoming single Brain Rot is anything to go by, The Last Martyr have decided it's time to reacquaint themselves with their fans. And not by easing back into things, either.Harking back to their nu metal roots, The Last Martyr have proved that while they might not have been as prolific in the public forum, that doesn't mean they have remained idle in the creative realm. Brain Rot is a seething, attitude-laced descent into a world diminished by the rapid emergence of the digital age and the many fears, problems, and disconnections that come with it.Throw in the fact that vocalist Monica Strut was recently crowned as a deserved winner of the Women In Heavy Music Award at this year's Australian Women's Music Awards, and you have a potent mix of tempered aggression and personal embodiment that is just waiting to be unleashed. HEAVY spent time earlier this week with Monica to talk about the new single and her recent recognition by her peers."I think it's just one of those milestones that is so rare, especially in the music industry," she relayed when asked if winning the award has sunk in yet, "and as a woman, and in Australia. There's obviously the ARIA's, but you really have to be so on top of your game to win an ARIA. We don't have many awards like this in Australia, and there's something really special about even just being invited to the ceremony."We question Monica on the gap between releases and ask if she thinks The Last Martyr may have lost momentum in that time."We thought we weren't going to do it justice if we rushed it," she said of Brain Rot. "We had the song ready, but in terms of being a musician, it's not just about writing music. You've got to prepare all the contents, and you've got to have the marketing for it and create the single artwork. So I think we've delayed it a little bit, mainly due to logistical reasons."We bring up the return to a more nu metalcore sound and ask if that is going to remain the way forward for The Last Martyr."We're always going to experiment," Monica shrugged. "We're never going to be a band that sticks with a certain sound and then just copy/ paste. We have too many ideas, and we always want to be pushing ourselves as artists. But what I will say is I feel like this song and the next batch of songs, they're the best songwriting that we've ever done in terms of arrangements and everything like that."In the full interview, we explored the shift back to The Last Martyr's roots in more detail, discussing the reasons behind the return and how Monica thinks fans will react. We talked more about her recent Award and what it means to her as a person and an artist, also mentioning the previous two winners and how tight-knit the Australian metal circle is.We spoke more about not rushing into releasing anything straight after Requiem, whether Brain Rot is a standalone single or part of a bigger album picture, upcoming shows and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Electro metal group Solence frontman Markus Videsäter caught up with HEAVY's Ali Williams to chat about their upcoming release, Angels Calling, and the inevitable album tour. Originally from LA, these guys are now settled in Sweden in the hope of optimising their expansion. Solence formed back in 2012 and had initially released tracks in increments in a build-up to their first album, Brothers, back in 2019.The success they saw from this catapulted them into the algorithm, which meant Spotify was kind to them, and we all know what happens when you scratch Spotify in the right place.Making a significant amount of their music during the COVID epidemic had unprecedented results, none of which could be predicted. As Markus stated, Solence could see the numbers they had, but that didn't transpire into the realisation that those numbers were real people actually digesting their music. So when they were invited to perform alongside Five Finger Death Punch, the band individually and collectively had their minds blown at the surreal nature of their growth.Fast-forward to 2025, and Solence are locked in and serious about gaining more traction. Their latest release, Angels Calling, comes out on October 31 and will be available on all platforms. That date corresponds with the band's upcoming European tour that kicks off on November 7 and finishes up on December 6.Markus informs us that after their tour, Solence have some exciting new plans for 2026, and although he stopped short of revealing what those plans were, he has strongly recommended fans stay tuned and keep a close eye on things.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Certain things in this world should always be spoken in the same breath. Be it respect, acceptance or merely just because that's the way it has always been, some things you just don't mess with. Like a pie and tomato sauce, a Tim Tam straw, bacon and eggs, and The Meanies and Australian music.It seems The Meanies can't ever put a foot wrong, even when it comes to apathetically releasing a song recorded 25 years ago that just happens to have worked its way to the surface, although, admittedly they did hedge their bets somewhat by inviting another classic Aussie band from that era in Frenzal Rhomb to provide a cover of Play This Song Every Night on the B Side.From the late 1980s and into this century, Melbourne pop punk-meets-hardcore-meets-punk-meets-attitude outfit The Meanies have crawled and fought their way into the halls of Australian music royalty, generally not caring either way about the trappings of success and the money and problems that invariably come with it. Put simply, The Meanies are the band that keeps on giving, and if you have no idea about why or how these guys have etched themselves into the realm of champions, then I suggest you repeat Grade 5. Or maybe listen to this chat HEAVY recently had with frontman Link Meanie. We ask him how a song could just be found after 25 years in captivity, to which he had a strangely semi-serious answer."We initially released an EP and a couple of more EPs from that recording session," he explained. "The more traditional Meanies-type songs. But I was just a bit confused at the time and recorded a whole bunch of ridiculous shit. There was a disco song, there's a fucking country song. I don't know what the fuck I was thinking, but yeah. So we did release those, and we had a whole bunch of other stuff that we've gradually done a bunch of singles with. So we'll have one of those tracks on the A side and a couple of Aussie bands covering our songs on the other side. So we've been lucky enough to have some really good bands do that."In the full interview, Link told us the story behind the suddenly found music and why it has been drip-fed over the years. We discussed the song itself, Shutdown, and the funkier direction it takes, asking if that was a direction The Meanies had contemplated taking 25 years ago. He told us of the fun he had writing and recording that sexier number, and the potential for The Meanies to rebrand themselves as sex symbols.We chatted about having Frenzal Rhomb and Leeches! feature on the B Side, each band covering a different song by The Meanies. We also spoke about the friendship and connection between them and Frenzal, and some fun times they have had together over the years. The topic of grunge music and its global invasion was raised, and how The Meanies started up around the same time, but never conformed to what was a rapidly expanding genre. He told us about the band's single launch tour starting on October 31 and what fans can expect, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

At a time when much of the music industry was still finding its feet after the rapid emergence of alternative rock, Sydney up-and-comers The Clouds took a different approach. Rather than grow with the music trend that was sweeping the country, they decided to get ahead of the curve by expanding on what was, in the 1990s, a sound still very much in development.Coming together towards the end of 1989, The Clouds quickly stamped their own class on the Australian music scene, playing by no rules except their own and daring to colour way outside of the lines to create a sonic tapestry of eclectic beauty that saw the band rapidly surpass the growing movement to create one of their own.By blending dreamy pop, angular rock, and hazy shoegaze elements with warm melodies and poetic, insightful lyrics, The Clouds - armed with two part female harmonies which were almost unheard before in a band situation at the time - have stood the test of time and character, reaching their 35th anniversary as a band with little or no signs of conforming to industry expectations despite the obvious benefits of doing so.To celebrate this milestone, The Clouds embark on a select run of three capital city shows through November in what is sure to be a poignant trip down memory lane for anyone who has even only slightly followed the band and their music over the last three and a bit decades. HEAVY sat down recently with guitarist/vocalist Jodi Phillis to find out more, pointing out that 35 years as a band is as good an excuse as any to hit the stage."It's a bit surreal and a bit crazy," she smiled, looking back on the last 35 years, "but yes, it's always good to have an excuse. Something to hang the tour on, as they say."We bring up the obvious fact that The Clouds have to play certain songs that fans almost demand - like Hieronymus, Red Serenade, Say It and Soul Eater - but also raise the point that being a special anniversary run, the band has the right to be self-indulgent to a degree."We're doing a combination," Jodi laughed. "So we're going to do those ones that we know that the audience enjoys, and we still enjoy playing them otherwise we wouldn't do them. But yeah, we're definitely going to put back in some of the ones that we've dropped for a while that were also our favourites. Plus, we're putting in a couple that are really obscure, so it will be fun."In the full interview, Jodi talks more about the shows and the reasons behind doing three select performances instead of a traditional pub run, keeping match fit and being in a position to perform to your best as the hands of Father Time inevitably catch up and who else other than herself and Patricia Young will be part of the tour.We chat about the early days of The Clouds and the emergence of alternative music, with Jodi deliberating on their place in the alternative movement and how the band sonically negotiated that period. She brings up relearning songs that were written nearly forty years ago and how they have stood the test of time, the balance between playing their existing catalogue and writing new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Melbourne rock/metal outfit To Octavia have shown their hand early in their career, resisting the temptation to follow in the path of easier acceptance in preference for staying true to their art.With the breakout success of their EP Somewhere In A World, Not Of The Dream, it would have been tempting and sensible to rehash the same winning formula for their debut album Melodrama. Their sound had obviously struck a chord with the music-loving public, and more of the same would have likely instantly propelled them into the next level of aspiring artists. But more of the same wasn't on the minds of To Octavia, who instead followed a darker, heavier path more in keeping line with their own musical progression, leaving behind the safety net they had worked so hard for and once again throwing their choices and music at the mercy of the public.It was a decision that has already shown dividends with four singles already making a splash, and with Melodrama coming out this Friday, October 31, it seems like the band's bold decision to defy expectations is not going to backfire on them.HEAVY caught up with guitarist Nav Jay, vocalist Merry Kirk-Holmes and drummer Lucas Keurntjes to chat more and start by asking how they are feeling on the cusp of the album's release."Very excited," enthused Merry. "This album has been in the works for a very long time, so it's really exciting to finally get it out."We ask the boys to dive deeper into Melodrama musically."We were all on the same page when we were writing it and taking it to whatever it was going to be," Merry replied. "We didn't know it was going to be an album at the time. But I guess there's more of a darker tone than the previous EP, Wonderland, which is a bit more upbeat, a bit more poppy and rocky. We decided naturally that we'd go back to our more metal influences, like our roots, really. And that led to experimenting more and more with different kinds of sounds and things."In the full interview, To Octavia tell us more about the musical side of Melodrama and how it is heavier than previous offerings. They detail their thoughts on taking the music in a darker direction and discuss the need to further expand their sound rather than play it safe.They discussed how their music has grown and will continue to grow, how Nav is fitting in to the band, the risk of alienating existing fans with the new direction and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Norse folk music has always been a more than handy bedfellow with metal music. Despite the obvious sonic contrasts between the two, they seem to combine well with each other, providing an unsettling ambience that could potentially veer into darker territory at any given moment.While Kalandra - spearheaded by four Norwegian and Swedish musicians - make use of these Nordic elements, they also create a sonic tapestry laced with progressive rock and pop sensibilities that is both intimate and consuming. Led by Katrine Stenbekk's sublime vocals, the band have spent over a decade refining their sound and building a world which has led to them sharing stages with acts like Wardruna, Leprous and Eivor while earning acclaim at festivals such as France's Hellfest and Norway's Midgardsblot.And now, it's Australia's turn as Kalandra prepare for their first ever trip to our shores, bringing their haunting, beautiful and immersive live experience to a new world filled with new opportunities for the band. HEAVY sat down with vocalist Katrine Stenbekk, guitarists Jogeir Daae Mæland and Florian Bernhard Döderlein Winter plus drummer Oskar Johnsen Rydh to find out more, starting with the final piece of the touring puzzle just falling into place."I just actually got my final email from the Australian government saying that I'm allowed to bring this little funny instrument in," Jogeir laughed, holding up a goat horn. "It's something about the nature instruments and the endangered species in Australia."We ask the band about touring countries for the first time and if they do their homework, pointing out that the Australian sense of humour is a bit different to the rest of the world, offering the example that our way of showing friendship and respect is to pay out on each other."This is very good to know," Florian smiled. "This is like in Toulouse in France. We were very confused because when they boo, the whole crowd goes boo. Apparently, that means that they love it, which is very confusing for us. So yeah, learning these sorts of things like that is very useful to us."In the full interview, we discuss in greater detail what we can expect from Kalandra's live show, why it has taken so long to get over here and what, if any, research they plan to do. We asked them to elaborate on the atmospherics with their music and how they translate to the live arena, as well as the blending of instruments in their music and how that translates live.We spoke about Kalandra's upcoming EP Morketid and what it represents, as well as the musical growth in the band over their journey. I asked about getting the balance right in the creative process and how they know if they have gone too far or not far enough in any musical direction, future plans and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

What better way to kick off a new year than a trifecta of brutality? Which is exactly what Australia is getting next February when death metal miscreants Aborted join forces with Archspire and Organectomy for a tour so crushing they have had to name it the Return To Prison Island Australia Tour 2026.For the last three decades, Aborted have pioneered death metal, taking no prisoners in their blending and cross-pollination of extreme metal, death-grind and ferocious extremities neatly wrapped in a ball of technical precision that defies their relentless approach. Their most recent album, Vault Of Horrors, solidified Aborted's supremacy, and now they are headed our way to spread sonic carnage across the land. While these three bands will complete a four-date capital city run themselves, Aborted and Archspire have also been invited to perform at both Froth & Fury Festival shows, rounding out the tour with bookends in Perth and Adelaide.HEAVY sat down with Aborted's Daniel Konráðsson to find out what to expect. We start by asking if Aborted has hit the road with either Archspire or Organectomy before."We've toured with both of those bands before, absolutely," he smiled at the memory. "We did a summer tour with Archspire, which was a great time. We toured the U.S. together, North America, and had a lot of fun. Those guys definitely are very upper alley, both musically and personally. We've known those guys a long time; the two bands go way back. And sonically, I feel like they align as well, so that makes for a very good package. It's kind of broad, but it's also going to be pretty pummelling most of the way through, which is not bad (laughs). Organectomy were with us throughout Europe, and those guys were awesome. Absolutely awesome. So we're very excited to see them all again, definitely."Over the full interview, the discussion focused on the upcoming Australian tour and live performances by Aborted. Dan shared insights on the importance of crowd participation in creating an engaging atmosphere during shows, emphasising that they aim to foster an active environment where the audience's enjoyment is key to a successful performance.He expressed excitement for Froth & Fury Festival, highlighting the unique experience of a metal-only festival and the opportunity to discover new bands. Dan recommended three key songs for new listeners and reflected on his smooth transition into the band, noting his pride in enhancing their sound while maintaining high production quality in their latest album and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

While the idea of conceptual records and music is nothing new, more often than not, these concepts are drawn from ideas, visions, or the minds of people who are passionate about the very thing they are writing about. While these musical storylines are more often than not an entertaining escape from the mundane existence of everyday life, they are merely a figment of another person's imagination and can be construed as such.But when it comes to conceptual stories surrounding war and the atrocities associated with it, there are few bands who manage the task well. Subjects that have basis in reality and the suffering of others must have an authentic flavour to them in order to be respectful to those who have lived it and their families, with bands like Sabaton standing out for their continued excellence in this field.But there is also another band who delves into the horrors of war with unnerving detail, except this time the band in question themselves live and/or were raised in a war zone. A real-life battle zone where life and death are a daily balancing act. As such, their music is not only based on fact, it is written in conflict.That band is 1914, formed in Lviv, Ukraine, in 2014. From the outset, 1914 have written and sung about war - primarily WW1 - but the daily threat of war that lives on their doorstep enables the band to write with an eerie authenticity unlike most others. 1914's upcoming fourth album, Viribus Unitis, adheres to the same conceptual storyline as each of the other albums, except this time the story arc follows the personal accounts of a Ukrainian soldier in the K.u.K. army, following real events and tracing a timeline from 1914 to 1919. The album paints a grim journey through the war's rise, climax, and hollow aftermath, combining a brutal mixture of blackened death metal, slow-burning doom, and ambient war soundscapes.HEAVY spoke with vocalist 2nd Division, 147th Infantry Regiment, Senior Lieutenant Dietmar Kumarberg (Dmytro Ternushchak) to find out more."I don't know how I must feel about it," he laughed, speaking with a thick Ukrainian accent. "At least I'm still alive - because I'm from Ukraine - so it's not bad at all in our circumstances. At least we did this, and we finished this album, and we will release it on Napalm Records. I feel some… let's call it happiness (laughs), because I'm allowed to do this, and it's not bad at all."We ask him to dive into the album deeper musically."With this album - like all of ours - we started based on real historical events, with a lot of research," he replied. "It's a big concept. But with this album, we started in a completely different way. We based the whole album on the life of one soldier. This is a soldier from the Western part of Ukraine - my home town. This is the view from one soldier when he faced war at the very beginning of the First World War, and the Russians invaded my hometown, and his regiment must retreat, and he faces the huge battles."In the full interview, Dietmar tells us more about the conceptual journey of the soldier, including his lonely end. He tells us the story behind the title - which is Latin for With United Forces and how it ties in with Viribus Unitus, including personal tales of battle he has endured living in Ukraine.Dietmar goes further into the concept and explains how 1914 manage to create a sonic landscape and atmospherics that take the listener inside the war zone and the importance of research and factual information in their music. He talks of the personal toll writing about such horrific encounters leaves on him after an album cycle and runs us through what it is like living as a musician in Ukraine throughout the war and devastation, plus much more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

CKY are the flag bearers for big, raw, authentic, earth-shaking rock liberated from useless pretence. They burned it all down, with a raucous, anarchic rock sound soaked in the skate-punk culture that birthed them; and a hard-partying lifestyle onstage and off that left decimated relationships and reputations in its wake.Boasting a collection of killer rock anthems like 99 Quite Bitter Beings, Flesh Into Gear, Escape From Hellview and Familiar Realm, CKY's music is a huge part of the infamous Jackass TV series as well as just about every skate and surf compilation of the era and covered by the likes of modern superstars Polyphia, leaving a highly influential imprint on the current punk/alternate scene.Following the infamous incident that forced the cancellation of their participation in the co-headline tour with Alien Ant Farm, CKY are finally making their way to Australia in January for three very special shows. HEAVY sat down with drummer Jess Margera to find out what to expect.We can't help but point out it has been well over a decade since CKY were last out here. "I can't believe it's been 14 years, that's crazy." Jess laughed. We follow by asking what has changed with the band since the last tour."We have a new bass player, Mike Leon," he replied, "and man, he's a shredder. He worked with the Cavalera's, and he did some stuff with that new band IIgor. It's really cool. He makes my job easy (laughs)."Talk turns to the early days of CKY and where they fit into the music scene."Same as now, we don't really fit in anywhere," Jess laughed, "which is a blessing and a curse. We've been doing this a long time, and a lot of bands can't really say that. So, it's funny when we play the festivals, because they don't know where to put us. We've played the metal stage, the punk stage, the rock stage… It's funny in that respect, but I think having our own sound has definitely afforded us to have a career. I don't take that for granted at all."In the full interview, Jess talks more about touring, emphasizing the challenges of maintaining their high-energy live performances as the band ages, particularly in hot weather, while also addressing the complexities of curating a set list that appeals to a diverse fan base by analyzing streaming data.Jess shared insights into CKY's unconventional rise to fame, highlighting the influence of skate culture and media appearances, including stunts for Jackass that sometimes led to injuries and tour cancellations. The conversation also touched on the band's eclectic musical style, their instinctual creative process, and the decision to release new music as singles in response to evolving listener habits, alongside reflections on memorable touring experiences, particularly in Japan.TOUR DATESFriday, Jan 23: Max Watts, MelbourneSaturday, Jan 24: Crowbar, SydneySunday, Jan 25: Crowbar, BrisbaneBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

In a relatively short amount of time as far as the music industry goes, Swedish rock outfit Smash Into Pieces have quickly risen to become one of the leading exponents of rock on the planet. After twice reaching the Swedish Eurovision final and delivering a string of consistently quality albums, the band found themselves on the international stage and touring with bands of the calibre of Evanescence and Within Temptation.But if you think getting somewhere near the top is hard, it's even harder staying there. All of a sudden, the weight of expectation falls heavier on your shoulders, and new music is critiqued on a level never experienced before. Which is why the next album from Smash Into Pieces couldn't just be as good as previous releases. It had to be better.Which is exactly what Smash Into Pieces have achieved with Armaheaven, to be released on October 31. Continuing the battle between humanity and AI where previous album Ghost Code left off, Armaheaven paints an even bleaker picture of humanity's future, set to the backdrop of a cinematic and sonically abundant tapestry of riches throughout its 15 tracks. It is another step forward in the evolution of Smash Into Pieces, and reaffirms their growing status with an almost effortless ambience that hints at even more expansion to come.HEAVY sat down with frontman Chris Sörbye to find out more."We have been working on this album for a long time," he told us. "There's a lot of songs there that have been with us for a long time, which we haven't really had the time to finish. For example, Devil In My Head has been with us for almost five years now. We didn't know what to make of that song in the early stages, but it turned out great."In the full interview, Chris talks more about the musical side of Armaheaven, how it continues from Ghost Code, runs us through the storyline and gives some insightful thoughts into AI.He talks us through the guest artists on the album, including Elize Ryd from Amaranthe and the history between the two bands. The topic of integrating cinematic scores into their music was discussed, as was the art of conveying emotion through atmospherics in the studio. Talk turned to their recent tour of Australia, the ever-evolving sonic palate explored by Smash Into Pieces and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Celebrating twenty years in the music industry is a great achievement in itself, but celebrating 20 years of sustained success is even better. Bursting out of the blocks with their 2007 debut album The Way Of The Fist, Five Finger Death Punch were on a collision course with the rest of the world, laying the foundations for a turbulent yet continual upwards trajectory.By the time War Is The Answer followed two years later, the band were notorious for their rebellious spirit and ruthless approach to music, but love them or hate them, there was no denying Five Finger Death Punch were the real deal. For every one person who hated the band, there was another ten who loved them, and despite the public perception that 5FDP were the bad boys of metal, they maintained their belief and integrity and stayed on course.Now, 20 years later, that trajectory is available for the world to share when Volume 2 of the band's Best Of double header is released on October 24 via Better Noise Music. Both albums feature music entirely re-recorded, with 5FDP tenaciously clinging to the notion that their music was to be celebrated, not recycled. On the eve of the release of Volume 2, HEAVY sat down for a chat with guitarist Zoltan Bathory to relive the journey that has been two decades in the making."It's kind of crazy, because by doing this little exercise of recording these songs, we got to sort of revisit our past, you know?" he began. "Because we are a forward-facing band, like what's next? Where are we going? What's the next thing we're doing? So it's not really that we're looking into the rearview mirror so much, and so this was kind of crazy, looking back… 20 years… if I had to put some money in and bet, I probably would bet against us (laughs). I would have lost, because not many bands make it that long. It's difficult. And from all bands, this was like… it was a fire tornado or whatever for the last 20 years (laughs)."We ask Zoltan which of the two Best Of albums is his personal favourite."Each record has amazing moments, and both records have a song that has a feature," he measured. "The first one had Maria Brink, and that song became a number-one song. And it made a lot of sense. A lot of people don't know this, but In This Moment, and Maria and Five Finger Death Punch, our history is kind of intertwined. Not many people know this, but there was a band in Los Angeles that was a local band that was fairly big locally, but never really made it. And when this band fell apart, half of the band became In This Moment, and the other half went to Five Finger Death Punch. Then they got the record deal, I think, with Century Media. Then we got ours and we sort of grew in the same time. They were heavier, so they kind of went into that direction. We had radio songs, so the band obviously blew up."In the full interview, Zoltan takes us into both albums in greater detail, highlighting the guest artists on each and why they were chosen. He explained the band's decision to re-record everything rather than re-mix it or touch it up with technology, and relayed some fun stories from their studio time.We spoke about the never-before-released live songs on Volume 2 and how the band chose which songs to put on each album and why. Zoltan shared insights into changing certain bits of the songs, and if that was a rehearsed or jammed in the studio decision, what songs he may have fallen back in love with again during the process, plus he also revealed details of planned new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kyra-Jade CoombsOnly recently I celebrated my five-year anniversary with HEAVY Mag and over the years I've had the privilege of meeting and interviewing some of the world's biggest music stars, living out my wildest music nerd dreams. Nerves come and go depending on who it is that I'm interviewing, and ‘normally' I hold my shit together. Today? Oh boy… Don't get me wrong, I jumped at the opportunity to have a chat with Wolfgang Van Halen, although it wasn't until I somehow blasted through THREE, yes three, whole pages of questions I wanted to ask that I sat back and reflected on the gravity of the occasion. I thought about what his music means to me, what his family's music means to me, and how insane it was that I would be casually chatting to Wolf from my little office in Australia.Wolf's newest album from his band project Mammoth, The End, is due for its release on October 24, and this was a major topic interview. I wanted to know how this recording experience at the legendary 5150 Studios varied from his other Mammoth albums and what it was like to work with Robert Rodriguez on his self-titled film clip that honours the 1996 Quentin Tarantino horror film From Dusk Till Dawn as it celebrates turning 30 next year. If you haven't already, do yourself a favour and watch it. Many Easter eggs await to be spotted… I'll wait, hurry back...Being a man of many hats, or instruments rather, I felt I already knew what his stance would be about this particular question, although trying to be a good journalist, I wanted to ask about AI/technology and see how he felt about its place in the music industry. His answer was pretty much F$%K AI. "There's no soul or heart behind it. It makes hot dogs - it's all gross stuff and none of it is real". Great answer, and honestly, if I'm going to trust anyone's opinion on the matter, it's going to be the guy who's taught himself instruments without asking a computer to ‘fill in the gaps'. AI has its place in mundane tasks, not in our creative community.This was such a fun interview. We covered a lot of ground mapping out his music journey this far, dropping cool stories and treasured memories from over the years that only a Van Halen fan could subtly sprinkle in. Look, I could carry on all day - this is only meant to be a quick summary, go ahead and check out the video below and have Wolf tell you all about it himself!Get ready to have your f*#$king socks blown clean off. The End is near, and for once, everyone is running towards it. Be prepared to turn it up LOUD with your air guitar and drum sticks ready on stand by.Bye, legends!Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Sean Martin from The Quarantined took some time out recently to catch up with HEAVY Mag's Ali Williams to chat about their new release Nemesis (Friend of Mine), overcoming toxic relationships and algorithms and what the next chapter for the band entails. Discussing the creative process of songwriting and their musical influences and intentions, Sean explains the origin of their song Nemesis (Friend of Mine), which started as a poem inspired by a sudden burst of creativity. The transformation from poem to song presented challenges, especially in conveying the depth of the lyrics in a musical format. He goes on to talk about blending different musical genres, such as rock and pop rhythms, saying their goal was to capture the emotional energy of the lyrics while drawing inspiration from various music styles, including Aaliyah's Tell Me You're That Somebody. Martin details the meaning and influences behind the lyrics of their new track, noting the song addresses themes of paranoia, confrontation, and understanding narcissistic behaviours. It reflects on overcoming manipulation and the personal growth that comes from understanding difficult personalities. These guys had the incredible opportunity to be recorded at Blackbird Studios in Nashville, which contributed a warm sonic quality to the music due to the use of historic equipment. Martin recalls the recording sessions were a calm experience, leading to a sound that improved upon previous versions. The production process involved collaboration with studio musicians who were given creative freedom within the framework of Sean's original composition. This approach ultimately led to a more refined and satisfying final product. The Quarantined's music often addresses political and social issues, aiming to promote free thinking and cautioning against fascism. He touches on the current state of societal discourse in the U.S., emphasizing the importance of diverse perspectives, acknowledging that he feels that artists and musicians, particularly from the US are in a position where the ability to express political and social commentary through music has been reduced to virtually impossible unless you want to be cancelled. Drawing heavily on a blend of punk, metal, and hip-hop influences, Martin describes it as a watering down of the essence of what those genres stand for, highlighting the similarities between these genres in terms of their energy and message. The goal is to create music that resonates across different audience segments. Ideally, without enraging the public or facing adversary reaction. The Quarantined's new release Nemesis (Friend of Mine) is out now and available on all platforms.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Few bands in history have left such a lasting impression in music as Santa Barbara funk metal outfit Snot.Forming in 1995, Snot released just one album before having their career cut short by the tragic death of frontman Lynn Strait. Despite their short time as a band, such was the impression left by Lynn and Snot that after his death, a tribute album called Strait Up was recorded in his honour, featuring everyone from Slipknot to System Of A Down to Sevendust paying tribute to the man and his music.Snot's fusion of genres - before it was common to do so - stood them out from other bands of the era, with their blending of hardcore, punk, nu metal and funk combining for the masterpiece that was their debut album Get Some.The band have flirted with the idea of reigniting the flame with a new frontman several times since Lynn's passing, but until recently, and buoyed by the resurgence of nu metal, have failed to find that elusive spark that ignited three decades ago to create pure musical magic.Next January, for the first time in over a decade, Snot return to Australia for a run of shows with Soulfly and Nailbomb - including Froth & Fury Festival - with vocalist Andy Knapp (Stronger Than Machines) to introduce a new generation to the power of music. HEAVY spoke with bass player John Fahnestock to find out what to expect. We start by running over the three touring bands - Soulfly, Nailbomb and Snot - and reiterate the quality of music in one package."Soulfly and Nailbomb, right," John laughed. "They are good friends of ours. We have known each other for, God, going on 25 years or more. Mikey (Doling, founding member and guitarist) also played in Soulfly after Snot, after Lynn had passed. So, we're out on the road with family again. We played with Soulfly in Mexico City back in May and rekindled our friendship, and here we are coming to Australia now."We ask John about their new vocalist, Andy Knapp, and what they were looking for in a frontman after trialling two previous vocalists in Tommy Vext and Carl Bensley."I think the whole thing is a lot different now," he measured. "We are pretty much saying Snot is back at this point. We finally found in Andy what we basically were dreaming of having, and I'm not saying anything negative on the past singers that we had. Before, when we put Snot back together, it wasn't like 'we're reforming, we're back', anything like that. We were just more doing it for fun, for the love of music, the love of Jamie and Mikey and myself playing together.And we were like, let's go out and play the songs, you know? But it wasn't seriously saying we're back and coming back here to stay, like we are now. It's a blessing to have found Andy and what he's doing, and obviously, the response from the fans has been nothing but positive."In the full interview, John spoke more about the upcoming Australian shows, what has changed with the band in the decade since they were last here and what we can expect. He spoke more about welcoming Andy Knapp as frontman and what sorts of things Snot were looking for in their new vocalist.He told us about the first show with Knapp and how old time fans reacted, how Snot's music relates with modern audiences, and how their sound shaped a generation of bands. We talked about the early days of Snot and the musical climate that gave birth to the band, their initial sound and how they found the balance between genres, including how to know when or if they had gone too far in one direction or not far enough in another.We spoke about the impact of Snot's debut album, Get Some, and the band's initial feelings on the album, including Lynn Strait's early vision for Snot and his musical passion. John delved deeper into the tribute album Strait Up and the contributions of the many bands, new music the band have written and if that will translate into a full album and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali KBrisbane's Community radio station 4ZZZ is celebrating 50 years of being on the airwaves. Known for being the springboard for most of Brisbane's best-known musicians and bands, the station has been an integral part of their journeys. The day will be market day style, reminiscent of the original market days 4ZZZ held at Roma Street Parklands. Regurgitator have well and truly formed their position as one of Brisbane's most well-known artists who, like many before and after, had their music on radio hosts' playlists at Zed Headquarters. Joining The Gurg on the line-up for Saturday's celebrations will be The Saints, Butterfingers, Tropical Fuck Storm, Big Noter, Screamfeeder, Party Dozen, Flangipanis, plus many more. The Gurg's Ben Ely shares with HEAVY some of that nostalgia, noting that their reappearance on the stage at The Parklands will be the first time they've played since their initial gig there back in 1994. With a whopping four songs they'd written and an old drum sampler that played sounds of dogs barking and glass shattering, Regurgitator took to the stage and gave it all they had, having to play two songs twice in order to fill the time slot. The Gurg also announced their JUKEBOXXIN Tour, which kicks off in November. These guys have locked in for the long haul, taking their tour literally everywhere through until around August 2026, including New Zealand and Japan. They will be playing all 58 of their singles over an extended show that'll be in two sets. Joining them as support will be South Australia's Dem Mob. Tickets and event details for Zed 50 can be found at Oztix or via https://4zzz.org.au. Tickets and event information for Regurgitator's JUKEBOXXIN Tour can be found at https://www.regurgitator.netBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

In the more than two decades since the band's launch, Sabaton has headlined major festivals, sold-out arena concerts worldwide, and gained a legion of loyal fans by carving out a reputation as one of the hardest-working bands in the business. Since their 2005 debut album, they've earned Gold, Platinum, and multi-Platinum certifications in territories around the world with their 10 studio albums. Eight of their albums scored Top 10 international chart status, and six claimed the Top 5. SABATON has earned eight Metal Hammer/Golden Gods Awards nominations, taking home the award for Breakthrough Artist in 2011 and Best Live Band in three different years, and a Grammis nomination (Swedish equivalent to the U.S. Grammy Award) as Best Heavy Metal band.Now, Sabaton return with their newest album and perhaps greatest triumph, Legends. LEGENDS marks the very first time that every band member has come together to contribute to the songwriting process. This is SABATON as you've never heard them before—relentless and unbound. LEGENDS is a global journey through the annals of warfare, leadership and unbreakable will.Throughout the album, SABATON—Joakim Brodén (vocals), Pär Sundström (bass), Chris Rörland (guitar), Thobbe Englund (guitar), Hannes Van Dahl (drums)—delve into some of history's greatest and most loved characters such as Jeanne D'arc (also known as Joan of Arc), Hannibal, Genghis Khan, Vlad the Impaler, Julius Caesar, the Knights Templar, and the legendary swordmaster Miyamoto Musashi.HEAVY caught up with frontman Joakim Brodén to find out more."We're an evolutionary band, not a revolutionary band," he began, "so every album is a little bit of an evolution. It's never going to change completely between albums. If you listen to our first album and our last album, with this one, there's a huge difference. But between the albums, it's usually a smaller step or a slightly bigger step. And I think this is a slightly bigger step, actually, maybe because the previous two albums were about World War One, and now we're jumping in history. We are covering everything from Ancient Egypt - that's 1800 before Christ - to Napoleon 1800 after Christ, and jumping both in time and geographically, quite a bit in between there. So I think that has sort of influenced the music and the sound to a certain extent."In the full interview, Joakim discussed Sabaton's latest album Legends, detailing the lengthy process of its completion and the band's evolutionary approach to music. Joakim explained the criteria for selecting historical figures honoured in their songs, emphasizing a literal interpretation of legends and sharing personal connections to figures. He expressed surprise at the philosophical insights of Miyamoto Musashi discovered during songwriting and discussed his creative process, which includes managing writer's block.The conversation also touched on the limited edition vinyl of Legends, the band's commitment to diverse music formats, and upcoming tours in Europe, the US, and Canada, highlighting the excitement of live performances and audience engagement and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kyra-Jade CoombsOctober with all its spooky Halloween charm is the perfect setting to catch up with Wednesday 13. Our very own Kim Dracula has summoned Wednesday 13 to join him in his Australian tour starting in Sydney on the 21st of November. These shows are sure to satisfy your sweet tooth for all things macabre with each band having their unique style and stage presence that will have you hooked.Throughout his career Wednesday 13 has had such an interesting journey and we couldn't wait to hear his story. Maintaining success in this industry doesn't come easy. Among many other things, Wednesday has managed to reinvent himself after riding the wave of success with The Murderdolls, proving his music, tenacity and brand is something special.We delve into the origins of Wednesday 13 - the stage name, the band and the influence horror has had on Wednesday's career. He went on to share a story about working on set in full costume when a wildfire in LA breaks out and the band jumped in to help save the day which got his blood pumping and concreted his dislike of fires. Over the interview we started to reveal the many layers that make up the Wednesday 13 that we know and love today and we hope you enjoy peaking into his weird and wonderful world.The Horror Down Under Tour is going to be one hell of a show that you don't want to miss out on. TOUR DATESFriday, Nov 21: Princess Theatre, BrisbaneSaturday, Nov 22: The Metro, SydneySunday, Nov 23: Northcote Theatre, MelbourneWednesday, Nov 26: UC Hub, CanberraFriday, Nov 28: The Gov, AdelaideSaturday, Nov 29: Magnet House, Perthhttps://thephoenix.au/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The Delta Riggs will be hitting home soil again this weekend, ready to headline the main day celebrations for Mo's Desert Clubhouse's 6th birthday celebrations on the Gold Coast. In the lead up to the show, founding member and bass player Michael ‘Monte' Tremonte took some time out to chat with HEAVY. Arguably Australia's most underrated band, The Delta Riggs, have been together since 2010, and are about to release a new track before the end of the year, with the hope it will set the pace for what's to come their way in 2026. The Riggs frontman Elliot Hammond has had a full roster with his focus recently being with his other band Dope Lemon, which he is a member of alongside his other bestie Angus Stone. Now that is completed, his focus is back with The Delta Riggs, with Monte stating they are excited for what may evolve out of their new releases and plans for the band, as he jokes with Ali calling 2026 The Year of Rigg. Following on from last year's highlights that saw Smashing Pumpkins' frontman and founder, Billy Corgan, joining The Delta Riggs for the full tour of Good Things Festival.  Prior to Corgan's accompaniment, The Riggs had made a lasting impression when they played a show in Los Angeles that got the attention of a member of the Foo Fighters crew. So much so that this led to Foo Fighters requesting to have The Delta Riggs support them on their 2015 Sonic Highway stadium tour of Australia. A pivotal moment for the band and a lifelong friendship was formed with Foo's guitarist Chris Shiflett. Looking forward to getting loose and playing together again, Monte is pumped to be heading back to the GC and to Mo's, which is set to be a big weekend of celebrations all around.  If you're in the neighbourhood, head on out to the Clubhouse. Kicking it off on Thursday night are the epic legends Testeagles, with The Delta Riggs on Saturday and wrapping it up before they send it will be King Parrot on Sunday. Event details and tickets are available at www.mosdesertclubhouse.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It's nothing new to see a fighter make the transition from the ring to the cinema, with people as far back as Bruce Lee, Jackie Chan and Chuck Norris pioneering the way before a procession of fighters followed. From Van Damme to Ronda Rousey to Michael Jai White to Gina Carano, the list goes on, but while some of the attempts at acting have not been quite as impressive as the actual fighting career itself, there is always one thing in common. The fight scenes in their movies are always much more realistic and believable.Naturally, someone who has fought professionally would have a better idea of the practicalities of fighting, and, let's face it, there are numerous movies out there that depict fighting with no degree of accuracy whatsoever. But just the mere presence of a trained fighter in an action movie should instil more confidence in the final product. At least, it does for me.Which is why the upcoming action extravaganza The Workout - which premieres on Amazon on October 28 - was ahead of the game before the cameras even started rolling, when Ashlee Evans-Smith was cast in the role of Tank. Evans-Smith has previously fought in the UFC's bantamweight and flyweight divisions, giving her added advantage and knowledge when it comes to effectively knowing how to injure an opponent.The Workout is an intense found-footage action thriller about an army ranger whose plans to launch a workout video empire are shattered when a mob attack leaves his pregnant wife dead. The film stars Peter Jae (Darkness of Man), Josh Kelly (S.W.A.T.), UFC fighter Ashlee Evans-Smith, and Augie Duke (Yellowjackets), with co-writer David Lawrence bringing a sharp narrative edge. Director James Cullen Bressack has directed over twenty feature films known for bold storytelling and explosive action, including collaborations with Bruce Willis, Mel Gibson, and Steven Seagal, all of which sounds like a damn good start!HEAVY recently sat down with Ashlee Evans-Smith to talk through the worlds of filmmaking and martial arts. We start by asking Ashlee about her role in the movie."Oh, I love the storyline," she replied. "It's basically two army rangers - former army rangers - and they have a gym together. Unfortunately, somebody gets caught up in some bad stuff, and the pregnant wife gets killed. Then you basically go on a revenge journey with these badass former Army Rangers who are now doing crazy stunts. I'm also a former Army Ranger, so I'm basically who I am in real life - a big old tomboy without the military training - and I come in and want to help these guys seek revenge, and we spend the whole movie kicking butt and taking names."We ask Ashlee if making the transition from the UFC cage to acting is a difficult process."You think it's either going to transfer really easily or be scary for a stunt partner, but a fun fact is it's both," she laughed. "There are times where it feels seamless and effortless, and then there are times where… to pull a punch is so taboo in my sport. You step all the way into the punch; you don't pull it. And to train something like that for years and years, it's now a natural reaction to go full on. So that was a little scary, because I want to be safe and professional first and foremost. I don't want to hurt anyone, and I don't want to hurt myself, obviously."In the full interview, Ashlee discussed her transition from UFC fighter to actress in The Workout in greater detail. She described her character, Tank, a former Army Ranger seeking revenge after a tragic event, and expressed excitement about the project despite her nerves regarding audience reactions and mixed reviews. Ashlee reflected on the challenges of adapting her fighting techniques for film stunts, sharing a humorous incident where she accidentally landed real punches during a fight scene. She also emphasised the importance of collaboration with the stunt coordinator, who helps balance choreography with the actors' input, and noted the difference between real martial arts and cinematic portrayals.Ashlee described The Workout as a blend of action and patriotism, drawing comparisons to John Wick, and highlighted the authenticity of the fight scenes due to her martial arts background. Additionally, Ashlee shared her feelings on this, her debut major acting role, the differences with filming a 'found footage' movie, the importance of not paying too much attention to reviews and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

They say music runs in the blood, and if ever there was a family to prove this theory, it's the Trujillo's. Dad, Rob, plays in Metallica, Mum, Chloe, is in BLVD Of Eyes, daughter Lullah is an accomplished drummer, while son Tye plays in Suicidal Tendencies and also OTTTO. Not a bad lot to hear jamming in the garage!While most people know, or at least have heard of, the above bands, there's one there that may not be as familiar. The band OTTTO, who have been Tye's band project since 2017. With a sound blending punk, alternative rock and grunge, OTTTO have been steadily building their careers, culminating in the release of the new EP Sweaty Pool, which will be released on December 5.But for the immediate future, Tye will be out here in Australia with Suicidal Tendencies as direct support for Metallica and Evanescence on the Aussie leg of the massive M72 Tour. What's more, it will be a family affair, with Rob obviously in Metallica and Chloe starting an Australian tour of her own with BLVD Of Eyes straight after Metallica's run finishes.What's the chances of a family stage reunion? Take a listen to HEAVY's chat with Tye to find out…"Oh man, I'm super, super happy to be back out in that part of the world," he smiled when we brought up the Metallica tour. "It's literally one of my favourite countries ever. It's going to be a lot of business (laughs), but when there's some open windows I'm definitely going to try to get out to the ocean, jump in the water and get some surfing."We ask what it's like being on the same tour as Rob and whether he stays in Dad mode or treats Tye like any other musician."He's got his routine, and they all have their routine, so we'll get some time in hanging out together," he replied, "but there will be times where they'll be in the next city and I will come in later to meet up with them for the show."In the full interview, Tye discusses the upcoming tour and how different the support shows will be to Suicidal Tendencies' own headlining run of side shows. We talk about the magnitude of playing with Metallica, how Metallica fans respond to Suicidals and whether he prefers to play the bigger outdoor shows or the smaller clubs.Tye opens up about joining Suicidal Tendencies after Rob left and what advice was passed on, learning his Dad's bass parts and if he would have done them any differently, growing up with talented musicians and how that shaped his own sound and who he has gelled most with from a writing perspective. We spoke about OTTTO's upcoming EP Sweaty Pool and what to expect, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Coming together via other notable bands such as Fire At Will, Swerve City, Coridian, and the Sun Gods, New Zealand's freshest face on the hard rock scene is Cry Wolf.Fresh from the success of their debut single Rainfall, Cry Wolf return with the follow-up Burn, upping the intensity and sonic outburst to showcase another side of their musical psyche. Essentially a track about embracing the unknown, Burn also acts as a sonic accompaniment to the trajectory thus far from Cry Wolf, a trajectory that the band hopes will continue to rise with each release.HEAVY caught up with singer/guitarist Kevin Ashby to find out more."It's always exciting to release new music," he smiled. "Because it's always a pretty long time between when you write the song and when you actually release it, so it's always good to get it out in the world and get people's opinion on it."We ask Kevin to dive deeper into the musical side of Burn."We were going for something pretty heavy, but still accessible," he measured. "I tend to write songs that are relatively simple. We don't want to make it too difficult for ourselves to play, so trying to keep it simple, but keep it catchy as well (laughs). We wanted it nice and heavy, but still retaining that melodic kind of element. That's kind of what we went for."In the full interview, Kevin contrasted Burn with their previous single Rainfall, explaining that Burn symbolizes a fresh start after their previous bands. We discussed the differences between the two songs and if they were representative of Cry Wolf's overall sound or if they were more an appetiser.We talked about whether the two songs were part of a bigger picture and when that might be, the thought processes that go into new material as a young band and future plans. Kevin shared the band's early vision of creating something fresh and bold in the music scene and how they plan to make that happen and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

After initially starting life as a one-man vehicle for Howard Von Noise (Howsie) in 2012, Coffin Carousel slowly morphed into something much more sinister. Taking band formation in 2015, Coffin Carousel are your haunted chainsaw ride formed within the roots of horror punk and sludge metal, bastardised by DNA strands from throughout the metal gene pool to create a sound that continues to defy convention.While the band's earlier material was more rooted in the horror/punk style of metal, Coffin Carousel have honed their craft and allowed their metaphorical wings to spread over four full-length albums, maintaining the lifeblood that defines their music while also crossing over into darker, heavier territory. With their most recent album Quantum Chainsaw Part: Three Six Nine, Coffin Carousel have infused elements of Swedish death metal riffs with HM2 chainsaw guitar tones, dark drone feedback moments and throat-savaging vocal layers, fortifying their continued musical evolution and providing a sonic playground for the macabre and sinister.HEAVY sat down earlier this week to chat with frontman Howsie about the progression of Coffin Carousel and their current plight to dominate our nightmares."I'm definitely excited for this one," he enthused, "because I'm back in my roots and back with the metal cap on. I had a lot of fun making it. I've had a lot of friends reach out and say I'm loving the new sound. The feedback I'm getting personally is that people are enjoying the heavier direction, which has always been progressing that way. The first album was in the horror punk world, but every album since has got heavier and heavier, and this one, I felt it was time to go full metal retard and just have some fun."In the full interview, Howsie introduced the album in greater detail, highlighting its heavier sound as a return to his death metal roots. He discussed the creative process behind the music, including the use of specific guitar effects to achieve a distinctive tone and the metamorphoses of Coffin Carousel's sound over the journey.He spoke about the album launch show scheduled for October 24 at the Revolver Band Room in Melbourne, emphasising the venue's historical significance in the Melbourne metal scene, speaking of plans to enhance the live performance with additional visuals while maintaining a focus on the band's music without guest performances or dancers. We talked about historical significance within the horror/punk genre and the use of older techniques such as VHS quality graphics in music videos, as well as integrating cinematic soundscapes and layers through their music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Words and interview by Ali WilliamsSydney-based metalcore band Bloom have just finished up the first headliner tour here at home and are about to set off to Europe for their next leg of their tour. Frontman Jono Hawkey and drummer Jack Van Vilet caught up with HEAVY recently for a chat about new releases, tours, and future plans for the band.The band's journey so far has seen these young lads hit the ground running with almost instant success. Bloom formed in 2017 and has grown from playing small venues to international tours. They started with young dreams, and their music career evolved, allowing them to travel the world and perform music they love. The big breakthrough for these guys was the release of their first EP in 2018, and their single Cold unexpectedly gained traction on platforms like Spotify, which influenced their approach to creating their next EP, incorporating more strategic efforts. These guys have been able to successfully navigate the music industry essentially by acknowledging the role of online algorithms and how critical that is to succeeding in today's market. They also emphasise their focus on the storytelling aspect of music rather than just aiming to go viral. Bloom have toured extensively, enjoying the ability to connect with fans worldwide. Their recent Australian tour was significant as it showcased their growth, with more engaged audiences. Hawkey and Van Vilet note that their fan base overseas is much stronger than at home, and go on to discuss in more detail their differences in music culture in different regions of the globe and why genres like metalcore are more popular in areas like Europe and Japan, where fans show intense dedication and appreciation for the music. Bloom's musical influences come from a wide style that blends heavier metalcore with more melodic elements, drawing influence from alternative and surf rock. They aim for a versatile sound and appreciate not being confined to a single genre. High priority is made on experimenting with their sound and occasionally swapping of instruments, which not only adds to Bloom's fun and dynamic cohesion as a group, but also expands their creative exploration. Looking ahead, Bloom are preparing for a busy schedule, including tours in Europe, the UK, and America. Back home just in time for Christmas, the band will be looking forward to some much-needed downtime to rest and revive before continuing on their successful journey, but first Bloom drop their new album The Light We Chase on October 31.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Heathenspawn return with their latest slab of blackened melodic death metal, The Ravenous Earth, a crushing track that dives into dark themes and envisions a world where humanity has brought about its own extinction. Obsessed with conflict and distracted by trivialities, mankind clings to the illusion of permanence. But when the end comes, it will come for us all, and the Earth will bury our legacy beneath roots, soil, and stone, as it has done with every empire before us.To capture this vision, Heathenspawn teamed up once again with long-time producer Matt Clarke (To The Grave), with mastering handled by none other than Dan Swanö (Edge of Sanity, Bloodbath). The track also features a guest performance from a friend of the band, Kevin Smits, whose ferocious vocals amplify the track's dark themes and intent.The artwork for The Ravenous Earth was created by legendary punk musician and artist Alex CF, whose evocative painting of a skeletal king consumed by nature mirrors the track's themes of decay and inevitability. The band describe his work as the perfect visual embodiment of the song's essence, and are honoured to feature his art alongside their music.The Ravenous Earth is Heathenspawn at their most uncompromising, a brutal yet thought-provoking statement about the fate of humanity and the enduring power of the natural world, but to get to the real meat of potatoes of the track, HEAVY sat down with vocalist Jim to dive deeper."The theme of the song is essentially about a vision of the world after humans are gone," he explained. "Every organism that's ever lived here is extinct now; it's a biological and geological reality. We think we're going to be here forever as a species, so humans conduct themselves in an arrogant way, where we think that evolution has ended with us. It's about that vision. The song is about the ravenous earth. The idea of it comes from the Earth consuming humanity and all human artefacts, so societies, buildings, and everything that we think is really important, ultimately, the Earth doesn't care about."In the full interview, Jim talks more about how the single marks a shift towards a darker and more aggressive sound, influenced by Swedish melodic death metal, and critiques human arrogance through its concept of a post-human world.The accompanying music video enhances these themes with visuals of ruins and live performances. As a standalone release, The Ravenous Earth aims to reintroduce the band and their new singer, while also developing new material for an album expected next year. That work promises to be more aggressive and varied than their previous work, with recent live shows in Newcastle and Sydney indicating a favourable reception to this new direction.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It's not often you get a second chance in life, especially in the music industry, where success - sustained or fleeting - is anything but a given. But that is precisely what has happened for US rock outfit Yellowcard, who return on October 10 with their new album Better Days.After forming in Jacksonville, Florida in 1997, Yellowcard became one of the most influential bands in the 2000's alternative rock scene. Known for blending high-energy pop punk with a signature violin twist, their 2003 breakthrough Ocean Avenue is certified Platinum, with the title track now certified two times Platinum.Despite this early success - or perhaps because of it - Yellowcard disbanded ten years later, making emotional goodbyes to fans all around the world with a farewell tour. It seemed as though the band's decade of dominance would remain at just that, until Yellowcard reunited in 2022 with a fresh outlook and armed with lessons learnt the first time around.Fans and the music scene in general embraced the band's music once more, affirming Yellowcard's decision to return from premature band retirement and solidifying their resolve to make their next album also their best. After signing with Better Noise Music, Yellowcard confirmed the addition of Blink 182's Travis Barker to produce the new material, which he was so impressed with, he also stepped behind the kit to play on the whole album.The result is everything you ever loved about Yellowcard, boosted by musical output from a band that sounds like they have come to terms with their musical status and, more importantly, have rediscovered their zest for life and music.HEAVY recently sat down with frontman Ryan Key, who battled the effects of a cold to talk about the continued rise of Yellowcard. We start with a subtle attempt at humour by asking how he is feeling about the imminent release of the new album and wish him Better Days ahead because of it."It already has, mate," he smiled. "It already has. It's not even out yet, and we're already having the best chapter of this band's career. I think we're right in the middle of it right now. So the fact that the album isn't even out yet and so many amazing things have already happened for us around it and with it, it's pretty mind-blowing."We continue down that line, asking if the feelings and expectations surrounding the new release are different this time around."It feels…," he measured. "We have made a lot of music in our career. We've made a lot of records, and we've written a lot of songs. In 2008, we stepped away from the band - not in the same way that we did in 2016-17 - but in 08 there was this feeling of uncertainty in terms of what was going to come next. We had gone up the first side of the mountain extremely fast. We went from practising in whatever garage we could find to being at the Video Music Awards in two and a half years. It was really rapid. And so we came down the backside of that mountain equally as fast, and we didn't really know what was next."In the full interview, Ryan talks more about the first stage of Yellowcard's career, including the highs and lows. He opened up about the problems the band faced with being part of the industry cog and how it left them disheartened at a time where they should have been riding the crest of a wave.He went deeper into the musical side of Better Days, how it is an improvement on anything they have ever done before, and how it represents Yellowcard in 2025. Ryan also detailed how Travis Barker came on board as producer and what difference it made to the finished product. He told us his feelings on working with Barker and how he came to be their studio drummer, signing with Better Noise Music, reaching Number One on the charts after 22 years and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

There have been select few bands that have truly shaped the course of history. For heavy metal, it would have to be bands like Black Sabbath and Judas Priest, but when it comes to rock and roll, only Elvis Presley springs directly to mind. But there was another band of the same era that many believe were a more accurate representation of the term - or what would become the term - rock music. A band who combined elements of blues, R&B, and rock into a sound that has inspired generations. A band who are mostly still very much alive today, and who are currently en route to Australia for a run of shows dubbed The Final Curtain Australian Tour, which starts on October 23.If you guessed The Animals, then you guessed right.A major part of the musical British Invasion of the 1960s, The Animals produced a string of hits that still resonate today, including We Gotta Get Out Of This Place, Boom Boom, Don't Let Me Be Misunderstood, It's My Life and the band's iconic multi-million selling, and Number One worldwide hit, House of The Rising Sun. Universally known and loved and influential to generations of music lovers, The Animals have an affinity for Australia, with original drummer John Steel once saying, “Australia has always felt like a second home for us."HEAVY recently sat down with Steel to talk about the tour and the enduring legacy of The Animals."We're looking forward to it," he enthused of the tour. "People keep telling me it's the final tour, but I think it's still such a good band. I enjoy playing with them, and I'm playing as well as I ever did in my life so let's wait and see. But for now, this is the final tour. At my age now, I can only think one year ahead at a time anyway, so maybe this will be the last one. We'll see what happens (laughs)."Talk turns to the multitude of hits The Animals have had over the years and their place in musical history."There's not one song in our repertoire that I've ever thought that is not good enough," he replied. "I've always felt we've got a great bunch of songs, and it's not always the same ones every night. Obviously, we play the big hit singles every night, but we've got a good selection of A-sides, B-sides, and album tracks. So it's a pick and mix, but it keeps it fresh."In the full interview, John talks more about the tour and what to expect, having to alter their live show in keeping with ageing, the extensive run of shows and playing in out of the way places, his memories of The Animals first tour of Australia and his love of our red wine. We also talked about The Angels cover of We Gotta Get Out Of This Place, the early days of The Animals, what he hopes to leave as their music legacy and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Switzerland isn't known for its nu metal/metalcore bands, with thrash bands such as Coroner or extreme acts Celtic Frost more prominent. But all that changed in 2018 when Chaoseum, a newcomer to the scene, announced their arrival with their debut album First Step To Hell. The album took the musical landscape by surprise, in the process helping Chaoseum secure a US tour supporting Soulfly, and things just snowballed from there.Following a steady, yet upward trajectory, Chaoseum refined their sound on albums such as Second Life (2020) - which also welcomed new vocalist CK Smile - and The Third Eye (2022), constructing their music in such a way to incorporate more cinematic elements and soundscapes that have now become part of the band's signature sound. That evolution continued on their most recent album, Life 4 Sale, which was released this year on September 19. HEAVY recently sat down with CK Smile to find out more."This album has a completely different story," he measured, deliberating over speaking English, "more than the previous album, because I had to compose it completely alone. On the previous album, we were two composers, the ex-guitar player and I. When he quit the band, we had to find new members, and they had to learn every song from the previous album. It was huge work because we had to do some tours and many, many gigs so they didn't have time to form the composition, so I decided to do it alone. It's different, because I grew up in a nu metal era from 90s and early 2000s, and you can hear on this album it's a little bit simpler, but that's what I like. Plus, the lyrics are different too, because in the previous album, I was mixing part of a true story, mixing with something from my imagination for something more epic. This one is more real. More personal, and so that meant that it was hard for me to write that because I'm talking a lot about my past, and I have many episodes from my past that were very complicated to live. For some things, it's still a little bit complicated, but I deal with it."In the full interview, CK talks more about the writing and creative process for Life 4 Sale and how it impacted the finished result. He spoke about the darker nature on the previous album, The Third Eye and if that flowed onto this record, plus opening up more in his lyrics and how doing so was a difficult process.He spoke about the emotions and atmosphere present in Chaoseum's music and how difficult those features are to integrate into music, how Chaoseum have expanded their sound since he joined the band, how much growth the band have left in them musically and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Maryborough rock outfit Ruination warmed music lovers up in 2022, offering a tasty appetiser with the EP Whispers. More of a demo release to showcase their potential, Whispers served up an eclectic take on the standard fare of alternative metal, entwining soft soundscapes with a melodic, yet hard-edged exterior that showcases the best of the early days of the alt-rock genre with enough modern sensibilities to appeal across the board.Despite their relative distance from a capital music hub, Ruination have continually accepted and performed gigs wherever the wind has swept them, refining their sound on the live circuit, just the way the great Aussie bands of the late 80s and 90s did. With their reputation growing and their sound developing more with each show, Ruination headed to King Street Studios to record their debut album, ultimately deciding to represent the entirety of the band by re-recording the tracks on Whispers and adding a handful of new tracks to complement the recording.The result is the impressive Everything Eventually, which is slated for release on October 10, with frontman Luke Karolak revealing: "This album deals with loss, heartbreak, redemption, and soul searching. It is not just eleven songs; it is eleven statements!"HEAVY sat down earlier this week with the three members - Luke Karolak (guitar/vocals), Brady Weber (bass), and Josh Brooks (drums) - to find out more."We wanted to make something that we would listen to as fans, as well as everybody else," Karolak replied when asked to describe the album. "Something that we'd enjoy playing, just doing our own thing and putting up a flag and hoping that people will catch on. As an album, it's 11 pretty solid songs. We've been playing them live for a little bit, so they're pretty well fleshed out ideas."We bring up the above statement where Karolak refers to Everything Eventually as "eleven statements" and ask if that is correct."Yeah, that's absolutely correct, man," he nodded. "100% best way to describe them. Obviously, with everything, we learn from our masters, so to speak. But as a band we're a pretty raw, organic, straight down the line, no frills band, and they are statements. That's the best way I can sum that up."In the full interview, Ruination talked more about the musical side to Everything Eventually, talking us through the different sonic structures throughout and how they all tie together. They spoke of the decision to re-record older songs and mix them with newer material, and how that is a better representation of where Ruination is at this stage of their career.We spoke about the cover art and how it relates to the album, the things they thought about going into their debut album, the difficulties faced in being a band outside of a capital city and ways to overcome that, their upcoming album launch show and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

There aren't many true old school Aussie rockers left these days, but the ones who are remember the 1980s with fond memories. For all of the household names to come out of that time, such as AC/DC, INXS, Cold Chisel, there were just as many, if not more, that were at least equally as talented. Bands like Buster Brown spring immediately to mind, but there's also another who may have faded from the minds of even those fortunate to have lived those times. Not because of their relevance to Australian music, but just because of Father Time and their relative inactivity.And that band is Heaven.Just one of many bands forming in and around the turn of the decade, Heaven were always a class above most others, a combination of talent and good representation seeing them earn the right to do a national support tour of Australia with Iron Maiden after just one album. The inevitable growth from an experience like that took Heaven to the U.S, where they would record their second and most popular album, Where Eagles Fear To Tread, an album which featured guest spots by an unnamed Ronnie James Dio, Lita Ford and Glenn Hughes.During their time abroad, Heaven supported many more leading bands of the era, from Black Sabbath to Judas Priest to KISS to Motley Crue, but following the 1985 release of Knockin' On Heaven's Door, the band returned to Australia, lasting just one more tour before the tolls of the last 5 years proved too much and the band went their separate ways. A couple of fleeting attempts at getting the gang back together followed over the ensuing years, with no bad blood between the band enabling them to get together when timing and schedules aligned. The loss of frontman Allan Fryer to cancer in 2015 seemed to permanently shelve plans of a fairytale reunion, until the seeds began to grow around the same time as COVID enveloped the world. Not to be deterred, bass player and founding member Laurie Marlow persevered in his quest, ultimately reassembling Heaven in what seems for all intents and purposes to be a fully fledged crack at restoring them to their former place amongst this country's elite rock acts. HEAVY sat down with Laurie for an in-depth chat about the past, present and future of Heaven, starting with the formation of the band."I'd been a musician around Adelaide for a number of years and decided that if I was going to get anywhere and move forward with things, I had to move somewhere like Melbourne or Sydney, so I picked Sydney," Laurie recalled. "When I got here, I just started looking around for players. And one guy... I lived around the corner from him, actually... and I used to go and see this band play, and that was a band called Swanee, which was Jimmy Barnes' brother. I struck up a friendship with the guitar player, Kelly, and I used to take him to gigs, because I had a car and he didn't. We just started talking about things, and he said that he wasn't happy staying with what he was doing, and he wanted to move into something different. And I said, well mate, what's your interest? And he said, I love this band Van Halen that's just hit the scene in the last couple of years. I said so do I, why don't you come and join me, and we'll put a band together. So that was the first step in the evolution of Heaven."In the full interview, Laurie provided a comprehensive overview of Heaven's history, detailing the band's formation in 1980 and their evolution from performing as Fat Lip to adopting the name Heaven. We spoke about them getting signed and making the transition to the U.S., and how their music progressed from there.Laurie talked about some of the bands Heaven has toured with and some of the memories of those times, noting how important being from Australia was in the early days in America. He reflected on Heaven's second album, Where Angels Fear To Tread and the contributions from notable artists like Ronnie James Dio, Lita Ford and Glenn Hughes, as well as the funny tale about how they came to be on the album.He recounted the initial break-up of Heaven and the subsequent flirtations with regrouping, including a tale about how the Australian version of Heaven lost their name to an assembled American version spearheaded by Fryer. He shared details of the current reunion and plans to record new music, explaining how it might differ slightly from older material due to inevitable modernisation. Laurie also discussed the band's two upcoming Sydney shows, including one where they will pay homage to Black Sabbath and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Canadian musician Cory Marks has succeeded where many others have failed - or weren't even game enough to try - by managing to bring elements of rock and metal into his country-oriented music and, more importantly, make it accessible to all sides of the musical fence. It is a musical amalgamation that by every letter of the law should not work, but somehow Marks not only makes it work. He makes it breathe.Whether by design or by plain old-fashioned luck, Marks has made the transition even easier over the course of his career by enlisting the talents of some of hard rock and metal's biggest names with Sully Erna (Godsmack), Mick Mars (Motley Crue) and DL (Bad Wolves) providing notable guest appearances across Marks' three existing albums. By having these names attached to his music, Marks has managed to form a gateway between genres that has flowed through into his whole catalogue of music, to the point that on his latest album, Sorry For Nothing Volume 2, Marks dispenses with guest musicians and delivers 11 original songs of his own volition.And it still works.HEAVY caught up with Marks on the eve of the October 3 release of Sorry For Nothing Volume 2."It's crazy to think that this is my second album in less than a year," he smiled. "Volume 1 came out in December 2024, and this is all music that I love, and I'm very proud of and excited to finally have out into the world. I'm excited, and I think it's a perfect blend of country rock and hard rock."We ask if Volume 2 is a continuation of Volume 1 or if it is more of the same."I would say it's a continuation," he said after a moment's thought. "I think there's some really great country stuff on there. Again, it might be a biased opinion, of course, but there's some heavier stuff like what you've heard so far already, with songs like Hangman and Are You With Me?. And there's some different stuff on there, too, with a song like Someone I Hate, which you even hear some metal screams in there. I'm maybe channelling my Phil Anselmo or my Chester a little bit (laughs), which is different for me on the record and even that style of song."In the full interview, Cory talks more about the songs on Sorry For Nothing Volume 2, the singles released and how they represent the album as a whole, plus the reasons why he chose to put all of the songs with guest artists on Volume 1.He spoke about the blending of genres and how he makes them fit together on an album, as well as the moment when he first had the thought of blending country, metal and rock. Cory told a great story of how that idea became reality and set him off on the path he is on today. We spoke about his upcoming tour with Sevendust as well as the possibility of an Australian tour and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Music is always a transitional thing. Be it mind, body, or sonically, there is always room for growth and expansion.Gold Coast-based rock artist Ollie Twohill is discovering that now, almost two decades into his professional music journey. For the majority of his time performing, Twohill has been a solo artist, enjoying the freedom of creativity and the pressures of handling everything yourself. His most recent single, Crisis, accentuated that belief, with Twohill writing, composing and playing all instruments as well as singing. The song itself is a fine effort - made all the more special by the fact he was responsible for all facets - but after a recent flirtation with playing with a full band on stage, Twohill feels now is the right time to expand on his sound and music by assembling a band from which to launch his music.HEAVY sat down for a chat recently with Twohill to discuss the new single and life moving forward. We start by asking how people are responding to Crisis."So far, reception has been insane," he smiled. "People are really getting behind the track, which is awesome to see, especially since the context of the song is quite an angry song. I feel like there's a lot of turmoil in the world, and I feel like a lot of people can get behind it. So yeah, it's great so far."We ask him about playing and writing everything himself on Crisis."It has been a passion project of mine," he measured, "it's been a bit of a dream to have a song where I played every instrument, and it just felt like the most natural fit to step into that realm."In the full interview, Ollie talked more about his latest single Crisis, which aims to inspire unity during global challenges. Ollie detailed his songwriting process, starting with guitar progressions, and described the difficulties he faced in composing and performing all instruments for the track, which he views as a passion project. He shared his journey as a solo artist before forming a band after relocating to the Gold Coast, discussing the balance between solo and band performances, noting the creative freedom of solo work and the challenges of being overshadowed by full bands. He also introduced his upcoming EP, Calamity, with Crisis as a pivotal piece that reflects a new alt-rock direction for him and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

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.