HEAVY Music Interviews

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Interview by Kris PetersThe Home Team are travelling to Australia for the second time - this time with Mayday Parade -  for the Three Cheers For 20 Years tour, after crossing the ocean last May with Caskets (UK).The quartet have introduced stylings of R&B, pop and funk into their music in an effort to be true to their tastes while crafting their unique sound and return to play new songs for the first time off their latest album, The Crucible Of Life, and struck a chord on their debut visit, winning fans over more at each show.HEAVY caught up with frontman Brian Butcher to get the rundown on the upcoming tour, with the turnaround being that quick, we have to ask Butcher if he has even had time to unpack yet."(laughs) Oh, that trip was awesome," he smiled. "I remember it like it was yesterday. We all agreed that Australia is one of the best places on Earth, and when we got the offer to come back we were very excited, and it was an immediate yes."The Home Team are coming out with Jack's Mannequin as well as Mayday Parade, who are celebrating their 20th anniversary, so we ask Butcher if he has always been a fan of their music."I grew up listening to a lot more metal," he replied honestly. "A lot of heavy music. Mayday Parade was always on my radar, for sure, but I never dove into their albums until probably last year. And I can definitely see why they are as influential as they are. I also have a close friend who is a huge Mayday fan, so when I told him I was going on this tour, he was like, here is this album, and this album did this (laughs). They are very clearly extremely influential for great reason. For that, I have a lot of respect for them, and I'm very excited to meet them."In the full interview Brian talks more about his time in Australia and how the crowds reacted to them, going from being the least heavy band on tour to the heaviest, how their set will differ to last time, why he thinks they were chosen as supports, the reception for their recent album The Crucible Of Life and how much of it they will be playing live, their eclectic sound and why it works plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It's scary to think that British metalcore outfit Architects are just hitting their stride eleven albums in.Having completed two Summer runs with Metallica in the lead up to their latest masterpiece The Sky, The Earth & All Between, Architects took stock of their career to date and set out to make the definitive Architects release.“It wasn't about just putting out another Architects record. It had to be the record—the one people talk about when they talk about our band,” frontman Sam Carter said at the time. Bandmate Dan Searle echoed this sentiment: “What we're trying to say is that we had to make the quintessential Architects album—bringing together all our best qualities and everything we excel at.”Their last couple of albums - For Those That Wish To Exist and The Classic Symptoms of a Broken Spirit - had been about attempting the new. When those records performed well critically and commercially, that was their green light to pursue whatever they wanted to. So, they resolved to channel the lessons learned from innovation into making something that felt like the pinnacle of what Architects have long been evolving towards. And they achieved that emphatically with The Sky, The Earth & All Between winning over fans and critics around the world.Now, Australian fans get to experience that rebirth in the flesh with Architects headed this way for three select dates starting in Melbourne on December 11. Not only that, they will be bringing House Of Protection, who recently wowed crowds over here on a support run with Bad Omens, and emerging outfit President, who promise to balance the trifecta. HEAVY caught up with Architects bass player Alex Dean to get the full rundown."It's been a little while since we've been over, so yeah, we're really stoked to get back," he enthused. "We're having a lot of fun playing these tracks. It's always fun getting out and playing new records, but it feels really like people are engaging with the songs."Architects are a band who, despite having their core sound, have always been unafraid to experiment musically on each record. We ask Dean about that approach and how much musical growth he feels the band have left in them."We're always trying to push ourselves," he replied. "And I think as soon as - for a metalcore band with two guitars, bass, drums - as soon as you start adding electronic elements to it, the musical world is your oyster, because there's just so many things you can try. We've done records where we experiment a lot with orchestral sounds, and that might be something we revisit again. But we just try and do what's exciting for ourselves, really."In the full interview, Alex expressed excitement about returning to Australia after a couple of years and highlighted the positive reception of their new album, The Sky, The Earth and All Between. He elaborated on the band's evolution in sound, emphasizing their confidence in creating music driven by instinct rather than external influences. He mentioned their willingness to experiment with various musical elements, facilitated by advancements in technology.We spoke about what has changed with the band since they last toured Australia, what we can expect from their shows, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersArriving just after the turn of the century, Australian metal legends DAYSEND were born into a healthy national metal scene that included bands like Blood Duster, Abramelin, Frankenbok and Dreamkillers, some of which are still going strong today. It was a golden era for Australian metal, made that much better by DAYSEND, who built a formidable reputation in the global metal scene, touring extensively across Australia and internationally and sharing the stage with some of the biggest names in metal, including Slipknot, Trivium, Arch Enemy, In Flames, and Machine Head.Their 2003 debut album, Severance, was met with widespread critical acclaim and was voted Best Australian Metal Album in a 2003 Triple J listeners' poll. The album's blend of melodic aggression and technical prowess cemented its status as one of the most influential Australian metal releases of the era.DAYSEND disbanded in 2011 and have lain dormant ever since - until now.Listed as one of the bands Necrosonic Festival has Resurrected From The Dead - alongside Massic, Beanflipper, Brace and Idle Ruin - DAYSEND have come from the abyss to revisit their debut album with a select number of shows before planning to fade back into the darkness.But before that could happen, HEAVY caught up with Aaron Bilbija (guitar) to talk about Necrosonic and the rebirth of DAYSEND. One of the topics for discussion was the importance of festivals such as Necrosonic to the Australian metal scene."Hugely, hugely important," he replied without hesitation. "They're doing it… they've got the passion for it, you know what I mean? They're not doing it for the bucks. They've got the passion for it, and they love what they're doing, and it's great that they are supporting guys like us. Yeah, it's excellent."We ask about the early stages of the band and where DAYSEND fit in initially."We all came from other bands at the time, just local bands in the Sydney scene," Aaron recalled. "And we used to play the hotels a lot, a bunch of all ages shows, things like that. There were loads and loads of bands, and there was gigs on pretty much every weekend. I remember going as a 16-year-old with the fake ID and trying to get into as many gigs as I could (laughs)."In the full interview, Aaron further discussed his role as guitarist in Daysend, which is performing a select number of shows, including an upcoming appearance at Necrosonic Festival in Brisbane. He provided background on the band's formation in Sydney during the early 2000s and explained their unique musical style that set them apart from other local bands. The conversation covered their current tour plans, including performances across multiple cities to celebrate their debut album, Severance, and why it connected with so many people. We discuss revisiting that old material and whether it still feels fresh and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceAfter more than 15 years, grindcore titans Pig Destroyer will finally return to Australia, and frontman J.R. Hayes couldn't be more thrilled. “We're just really, really excited,” he said. “It's hard to get all the stars to align, but we're finally doing it.”Their long-awaited comeback is bolstered by the inclusion of Singaporean grind heavyweights Wormrot as tour support. “They've been one of the top grindcore bands for the last 10 years,” J.R. said. “You just have to make sure they don't blow you off the stage.”Known for their blistering speed, raw aggression, and lyrics that dive deep into the bleakest aspects of the human psyche, Pig Destroyer isn't softening with age. “We always just try to write the craziest thing we can,” said J.R. “We don't care about record sales—we never have. We just want to play it as hard as we can.”While their music is undeniably dark, the band members are anything but grim. “Live, we're just a bunch of idiots,” J.R. laughed. “You can't really cover that up.”A staunch believer in the rawness of sound, J.R. remains adamantly against over-polished production. “The best music is flawed music,” he insisted. “When things are too perfect, it just becomes Katy Perry to me. It doesn't sound like it's made by people.” If Pig Destroyer's next album ends up being a live one, let it be known that the idea was planted into J.R's mind by one incredible interviewer for Heavy Mag (I'm talking about myself).For first-timers catching Pig Destroyer on this Australian run, expect chaos in the best way, a full assault on all the senses. “Usually it's the mosh pit that hits them first,” he said. “Then the volume—it's so loud it becomes a physical experience.”As for what keeps the fire burning after decades in the underground, J.R. summed it up simply: “We never wanted to be a popular band. We just wanted to be a crazy band. Grindcore scratches an itch that nothing else can.”Catch Pig Destroyer with Wormrot on Aussie shores in September. TICKETING DETAILS https://swdpresents.comPIG DESTROYER with guests WORMROT performing at:Sept 2nd – Perth, Amplifier Bar w/ Bile Cannon, Allocer*Sept 4th – Adelaide, Lion Arts Factory w/ Meth LeppardSept 5th – Melbourne, Max Watts w/ Tongue ScumSept 6th – Sydney, The Factory Theatre w/ Crown Street MilitiaSept 7th – Canberra, The Baso w/ Blight WormsSept 9th – Brisbane, The Triffid w/ Awful NoiseSept 10th – Townsville, The Warehouse w/ Varrim*Sept 12th – Auckland, Galatos w/ Imperial Slave, Sawnoff*Sept 13th – Christchurch, Loons w/ Vixen Execution, Unyielding Desolation*Sept 14th – Wellington, San Fran w/ Glassblower, Post Natal Abortion**Wormrot not appearing in Perth, Townsville or NZBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAs with every other year, anticipation surrounding the first line up announcement for Good Things 2025 was almost at a fever pitch. Social media experts and promoter wannabe's all shared their projected line-ups - but most were well off the mark.Good Things is possibly one of the hardest festival line ups armchair critics get to sink their teeth into, with the diversity and seemingly flippant mashing of genres meaning pretty much any band from any genre could make the final cut. And this year was no exception.When TOOL were announced as headliners, a large number of punters were already scrambling for tickets, but a quick scan through the rest of the line up proves the eclectic tastes of organisers and the variety of live music on show for fans of most persuasions.Rock? Tick. Weezer, Garbage.Pop Punk? Tick. All Time Low, New Found Glory.Punk? Tick. Refused.Metal? Big tick. Machine Head. Knocked Loose, Lorna Shore.But there was one band name there that defied expectations. A band not even from this planet. A band dubbed 'Scumdogs Of The Universe'. A band like no other…And that band is GWAR. These guys have been devastating audiences the world over for more than 40 years, their incredible backstory and characters resonating just as much as their music. But it is in the live arena that GWAR excels. Their stage shows are legendary, so much so that filmmakers were driven to make a documentary on the band and their history called This Is Gwar.Yes, ladies and metalheads. This IS GWAR. And what follows is a brief transcript of HEAVY's interview with frontman Blöthar the Berserker, who, as you will be able to tell, is keen to get back to Australia and convert the country en route to enslaving the world. With Good Things sharing the same calendar month as Christmas, we ask Blothar if GWAR will be filling their red sacks with surprises for Aussie fans."(laughing) Well… mostly, when it comes to Christmas, we don't really hand out gifts as much as we take them," he offered. "Gwar is keeping alive that horrible tradition that the Dutch have, Black Pete. Can you believe that they did that? Who do these people think they are? But, seriously, that's what we do. We kidnap children, and we stuff them into stockings, and we turn them into coal and all of that stuff, then we run off with them to Morocco, or something like that. GWAR's not big on Christmas. We are friends with Krampus, though."We run through the line-up again and reiterate our early observation that GWAR are the proverbial black sheep of the Good Things line up, a point which is not lost on Blothar as we ask if the people of Australia are ready for the carnage."I don't know. They loved it last time that the band went down there," he shrugged. "We took a swipe at Tony Abbott and everybody got all upset - boo hoo - but I don't even know what's going on politically in Australia now. We've been very busy… we've got our own problems here to worry about. I think Australians are gonna love GWAR. GWAR is a band that is funny. That's the difference. And let me be clear about that. You go see a heavy metal band… you don't go and see a lot of heavy metal bands where everyone you look at is smiling. They're laughing and having a good time. They can't believe they're seeing… they feel inspired to go and do something creative themselves. That's what GWAR is. That is what GWAR is."In the full interview, Blothar talks more about the line up and gives his thoughts on spreading so many different genres through a festival, what has changed with GWAR since they were last out here, battling the oppressive Australian heat, what three songs punters should listen to if they aren't familiar with the band, where to research the backstory and find out more about the GWAR universe, their latest album The Return Of Gor Gor and how it was received, reaching 40 years as a band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

BIGSOUND can be anything you want it to be. You can choose to revel in the activities and workshops, or check out the band showcase gigs or watch/see/listen to any number of things, but the one thing that catches HEAVY every year is the range of live bands out there plying their trade.This year's BIGSOUND, to be held in the usual areas of Brisbane's Fortitude Valley over September 2 to 5, features more than 120 bands playing across 18 stages so it looks like we are going to have our work cut out for us.But getting to know the bands a little better beforehand always helps, so today we chat with one of the emerging bands from New Zealand heading this way for BIGSOUND, Grecco Romank.Described as offering dysfunctional music - the kind played in your uncle's garage rave while he's in the middle of a hellish k-hole after being dismissed from his drop-shipping office - in a world increasingly obsessed with the exact opposite, Grecco Romank are a breath of fresh air on a scene that is often weighed down too much in its own self-importance.But just to make sure the band are the genuine article, HEAVY sat down to chat with two of the three members, Billie Fee (classical soprano, vocals) and Damian Golfinopoulos (samples, synths and more), to find out just how interestingly different Grecco Romank really are."I've listened to every single one," Damian replied when we mentioned the number of bands playing at BIGSOUND. "It's gonna be a good year, I'm excited."We ask Damian what bands stood out most after listening to them, not at all hoping to catch him out."Spike Fuck, UGLi, Mumfighter, Shock Corridor," he quipped without missing a beat.Maybe they are the real deal... We ask how well prepared the band is for what will be a hectic few days in Australia."We've definitely we've got a bit of homework to do on trying to plan our days and make sure everyone gets to see what they want to see," Billie smiled. "We're also bringing our manager, so he can go do a lot of that stuff on our behalf (laughs)."In the full interview, we further discuss Grecco Romank's upcoming performance at BigSound 2025 in Brisbane, where Damian and Billie shared insights about their band, which has been active for five years and has released three albums, primarily performing in Auckland. They described their music as a fusion of electronic elements and operatic vocals, emphasizing their goal of delivering an engaging live experience. The band is eager to connect with new audiences and fellow artists at the festival, and they plan to participate in workshops and networking events.They also mentioned an unofficial show at the Junk Bar and a subsequent gig in Melbourne. Additionally, they provided details about their acclaimed third album, Arts Colony, highlighting its collaborative nature, the inclusion of a 330-page art book, and a secret version accessible via a code in the book and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceThree decades into their career, Paradise Lost remain masters of gothic metal's melancholic grandeur. With their new album Ascension, guitarist Gregor Mackintosh took on the dual role of musician and producer—a responsibility he says wasn't a giant leap, given his growing involvement in shaping the band's sound over recent albums.“In the past, producers used to be heavily involved in songwriting and structure,” Gregor explained. “Now it's more about getting the sound in your head onto the record.” While self-producing offered him complete creative control, it also brought the risk of over-polishing, a trap he deliberately avoided. “Metal's become so sanitised, chasing perfection until all the character is gone. I wanted Ascension to have flaws that give it life.”Inspiration for Ascension struck after a period of creative standstill, triggered, unexpectedly, by the band's re-recording of their 1993 album Icon. “It put me in a different headspace,” Gregor says. The record's visual identity came together just as organically, centred on George Frederick Watts' Victorian painting The Court of Death, whose calm central figure surrounded by grief perfectly mirrored the album's themes.For Gregor, Paradise Lost's longevity comes from refusing to chase trends. “We've always done our own thing, not been part of any scene,” he says. “If it resonates, great—if not, so be it.” That independence extends to songwriting, where fan expectations take a back seat to authenticity.And while misery remains at the heart of Paradise Lost's music, Gregor sees its appeal as intensely uplifting. “Dark music is evocative; it makes you feel something. It's not about being miserable, it's about connection.”Australian fans may get to experience Ascension live in early 2026, with tour plans currently in discussion. “Fingers crossed,” Gregor says. “We'd love to be back.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAfter championing the cause for Australian music for almost a decade via their weekly radio show, Rock Hard With Phil & Tish, the two co-hosts have decided to take the next step in their evolution, putting on the first-ever Rock Hard Festival in Adelaide.For two nights over October 10 and 11, Woodshed at Royal Park will host Aussie rock legends The Poor, headlining both nights with a selection of some of this country's hottest emerging bands such as Audio Reign, Karly Jewell, The Dreadful Tides, Ablaze, Avalanche and more.Not content to help grow and nurture homegrown talent over just the airwaves, Phil & Tish have decided to give the band a bigger platform from which to show their wares in the first of what is hoped to be a long-running annual concert event.HEAVY recently sat down with Phil & Tish, who were understandably a bit nervous with their roles as radio hosts/interviewers reversed."We have a radio show on PBA FM every Wednesday night," Phil explained, setting the mood. "It's been going for about seven, eight years and is called Rock Hard with Phil and Tish, and we try to rock.""Yeah, PBA FM every Wednesday night," Tish reiterated. "We are 9pm Australian Central Standard Time, and we are your local insane metalheads. We're very much a variety show of heavy and hard rock."We bring up the excellent line-up and ask what their selection process was when deciding who to book."We picked all bands we have relationships with over the journey," Phil measured. "We're fans of… I mean, The Poor… I was 14 when I got into them, and Skenie (vocalist) was the first interview I did where I actually reached out to someone that I grew up enjoying their music, and I thought I'll shoot him a message. I thought, I'm gonna fire a shot and see what he says, and a couple of weeks later he came back, and he said I'd love to have a chat, and I chatted to him for about an hour on the show. Because I'm such a fan - and when you're 14, they're like larger-than-life rock stars - and to think he's having a chat on our show probably opened up the courage for me to approach other bands and stuff that we've loved. Literally every band that we've got on this festival are just great Aussie bands, and we're so stoked that they've agreed to play."In the full interview, Phil and Tish shared insights into their planning for Rock Hard Festival, emphasizing their commitment to showcasing Australian talent and the challenges they faced in curating a lineup that reflects their personal relationships with the artists. They expressed excitement about the festival's potential, particularly with the inclusion of local bands and the overwhelming interest from musicians wanting to participate, as well as the scheduling of two nights of live entertainment and the reasonable ticket prices.They highlighted the festival's unique offerings, such as a special beer crafted by Beer No Evil and the decision to have The Poor headline both nights. We discussed the significance of including acts like Audio Reign, who were the first band interviewed in their studio, as well as their radio show Rock Hard and how and why they got into a radio career based in music, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudacePost-rock outfit In Transmission are back with their new EP, Betterment, a record that blends atmospheric beauty with an urgent social conscience. Frontman Martin says the inspiration behind lead single Catching Up (and the EP as a whole) comes from observing a world plagued by environmental and civil issues, often met with apathy.“When it's out of sight and out of mind, it's easy not to care,” Martin explains. “But if we ignore these things and just focus on our own individual lives, it's going to catch up to us.” That message of personal accountability, particularly through mindful spending and daily decisions, threads through the band's latest work.Betterment also represents an evolution in In Transmission's sound. Known for their instrumental, post-rock style, the group has embraced a more vocal-forward approach, blending melodic guitar layers with a heavier edge. “It's about trying to do better in all aspects — creatively and personally,” Martin says. “We've naturally gravitated toward a heavier live set, but still hold onto the atmospheric elements.”Recorded with longtime collaborator Beau Burchell, the EP benefited from Burchell's ability to enhance rather than overhaul the band's ideas. “He just takes what we have and makes it sound way better,” Martin notes.The writing process remains rooted in live jamming, with songs developing organically — sometimes in a single rehearsal, other times through extensive trial and error. Influences range from post-rock staples Mogwai and Sigur Rós to post-hardcore acts like Thrice, Citizen, and Basement.The Catching Up music video, filmed in a Los Angeles photo studio, takes a simple performance setup and adds a playful twist in the form of a motorised rotating floor. “It started as a joke,” Martin laughs, “but ended up being some of the coolest shots.”While touring is on hold due to new arrivals in the band's extended family, Martin hopes Australia is in their future. A keen surfer, he dreams of spending a month exploring the coastline. “That's why I haven't gone yet — I want to do it properly.”For now, Betterment captures a band balancing introspection and intensity, with music that resonates as much in a wedding aisle as it does in a packed venue. Watch the interview for more on the sweet request from a fan to walk down the aisle to an In Transmission song.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceWhen Cursed hit number seven on the Spotify global charts, Paleface Swiss didn't just make a statement — they detonated it into the metal world. For guitarist Yannick Lehmann, the milestone still feels surreal. "It's unbelievable. We're completely DIY, no label, nothing — so to see that kind of success is mind-blowing," he says.Formed in 2018 as a local Swiss act, Paleface Swiss quickly built momentum in the hardcore beatdown scene before COVID shut the world down. Instead of stalling, the band doubled down, writing two albums and teasing songs online. Their audience was ready and hungry by the time live shows returned.Switzerland may be known for peace and neutrality, but Paleface Swiss are proud to represent the country's heavier side. "We love being the hardest band from our country," Yannick laughs. Yet the journey wasn't straightforward. Yannick initially joined as a studio guitarist, unsure about committing full-time. Fast forward to 2025, and he's now a full-time musician, having traded carpentry for crushing riffs.With its raw, live-ready sound, Cursed was born under sunny skies in Spain's Canary Islands, with palm trees, a pool, and nightly darts championships. "We had the time of our lives making it," Yannick recalls. "When we write, we write to play live — raw and powerful." That live energy translates into ferocious shows, whether it's sweaty clubs or on massive festival stages.Australian fans, he says, match the wild energy of U.S. crowds, with memories of wheelchair crowd-surfing standing out. This September, the band returns to Australia, bringing friends and early inspirations Nasty along for the ride — a full-circle moment for a band heavily inspired by them in their formative years.Paleface Swiss' Influences range from metal titans Judas Priest and Iron Maiden to Slipknot, hardcore heavyweights, and even dubstep and hip-hop. That genre-blending spirit gives Cursed unexpected textures without losing its bone-crushing core.Off stage, Yannick stays grounded, valuing personal connections with fans over rock-star distance. And while a mandatory stint in Swiss military service looms after the tour, there's minimal downtime in sight. "We never rest," he says. "There's always something to do."With their relentless drive and genre-defying edge, Paleface Swiss aren't just rewriting the rules for heavy music in Switzerland; they're smashing them to pieces globally. This Aussie run of shows is one you don't wanna miss! Tickets: https://thephoenix.au/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceWith their upcoming album, Where Did All the Butterflies Go? dropping on September 5, LA-based rock outfit Beauty School Dropout are stepping into their boldest sonic chapter yet. The band (Colie, Bardo, Beepus, and Colton) describe the record as "the best music we've ever made," a profoundly personal and genre-blurring journey through love, loss, and self-discovery.The album's title stems from emotional reckoning, as Colie reflected on a relationship that dulled his spirit: "I just didn't feel anything anymore… I was like, where did all the butterflies go?" That question became the emotional nucleus of the album, which explores falling out of love, not just romantically, but with society, identity, and purpose.The record marks a creative leap for BSD, produced with legendary studio wizard Neil Avron (Fall Out Boy, Linkin Park). "We took a year and a half to write this," they shared. "It's the first time we've ever sunk our teeth into an album fully." The result is a kaleidoscope of influences from EDM and indie sleaze to pop punk and party rock, anchored by raw emotion and explosive energy.Their single On Your Lips leans into techno-inspired textures, a nod to their love of underground sounds and Jersey Club rhythms. "We've always loved EDM," they said, "and we wanted to bring party rock back."Having shared stages with Blink-182 and played iconic festivals like Lollapalooza and Download, BSD are no strangers to surreal moments. Yet, they remain grounded. "We're grateful, but we're ambitious," they said. "Five years from now, we just want to be having as much fun as we are now."Whether it's jump rope competitions, tattoo artistry, or bingeing Seth Rogen's The Studio, BSD's off-stage lives are as eclectic as their music. And yes, Australia is firmly on their radar. "We think about Australia every day," they laughed. "2026—we're manifesting it."Beauty School Dropout are seriously impressive to an elder emo like myself and is just the band I've been looking for to satisfy my teenage nostalgia itch as a 30-something year old today. The best part is, I could have been totally intimidated by these shirtless Californians, but these boys were so down-to-earth and humble despite being backed by some huge artists in the industry. BSD is ready to soar with authenticity as their compass and butterflies as their muse, and I only want more!Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Sydney rock outfit Stormflower are effectively about to take their first steps into the world, placing themselves at the mercy of the public in pursuit of musical fulfilment.They say in music, as in life, it is the little things that ease the pain. Things like planning, preparation, practice... anything that can be considered a building block or a platform to sustain you along the arduous journey that confronts each and every musician at some stage of their career. But no matter the amount of time and thought you put into even the minutest of details, the music machine will invariably strike and send you flailing into the darkness from where you came and poke holes in your surroundings just for good measure.Sound bleak? That's because it is, but building a firm base can act as a buffer and allow that faint glimmer of hope to remain in your eyes, if even for one moment longer.Which is what Stormflower have done before unleashing their debut song Coda into the world. They have spent countless hours planning and practising before releasing music, even managing to secure a place on the roster of Australia's emerging label XMusic, but you can never be too sure. The proof, as they say, is in the pudding.And that pudding arrived earlier today courtesy of Coda, with HEAVY taking the opportunity to talk with the band while still in the honeymoon period, catching guitarist Owen, drummer Julien and vocalist Robert a mere couple of hours after Coda hit the streets."Coda is a bit of a journey," Owen began. "It's touching on a few elements around where we are and the whole cycle of life thing and in reference to CODA and the DSL CODA, etc, where we return to start in that sense, and trying to figure it out along the way and try to get some help along the way to help make sense of it all as well."The press release refers to Stormflower's genre-defying sound and experimental nature, which we ask the boys to elaborate on further."I guess we've got lots of influences," Julien measured. "I think there's bands that we love that are quite experimental as well. We try to do something that's a bit unique, mixing different genres. And I guess when we say experimental, that means musically, but also spiritually, maybe trying to challenge ideas and concepts."In the full interview, the boys discussed Coda in greater detail, which marks their first release under XMusic and is part of an upcoming EP featuring a blend of heavier and more accessible tracks. The band emphasized their commitment to emotional depth and authenticity in their music, highlighting their perfectionist tendencies in the creative process and their collaboration with XMusic to ensure quality. They shared their experimental approach, merging influences from various genres to create a unique sound, and expressed excitement for live performances and audience connection and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersPolaris have been conquering the world one country at a time since the release of their third album, Fatalist, in 2023. Having already firmly established their place as a fixture in the Australian heavy landscape via their first two albums - 2020's ARIA Award-nominated The Death Of Me and 2017's The Mortal Coil, which debuted in the Australian Top 10 - Polaris have earnt themselves a laundry list of accolades along with sold-out headline tours of Australia and previous tours across the globe, including most recently performing at Good Things Festival in 2022 alongside headliners Bring Me The Horizon. 2023 saw POLARIS head overseas for multiple European summer festival appearances, and the band's global love affair has been on an upward trajectory ever since.Last month, Polaris were finally given their deserved level of respect in their home country when they were named to headline Froth & Fury 2026, a rapidly growing Australian festival that this year has expanded to feature Perth for the first time as well as its adopted home in Adelaide. Polaris' name sits proudly on the event poster atop some legends of the music world, with Soulfly, Nailbomb, Comeback Kid and Lagwagon leading the international charge, and Frenzal Rhomb, Ocean Sleeper, Private Function, Terminal Sleep and Zuko joining Polaris for home country honours. HEAVY recently caught up with bassist/vocalist Jake Steinhauser to firstly congratulate the band on their headlining status."Thank you so much," he replied sincerely. "We're absolutely stoked to be headlining the fest. Just to be at the stage to be doing anything like that at this point is really awesome for us. So, yeah, very, excited."We mention the high number of Australian bands on the bill and ask Jake how important festivals that reward homegrown talent are for the Australian music industry and what emerging bands can take out of the experience."I guess being here in Australia, we're so separated from the world and there's kind of almost like this illustriousness to some of the bands that do come over here and play shows," he measured. "Getting to see some of our bands rub shoulders with them, regardless of what level they are themselves, helps to put the image of that band in a similar place in your mind, especially as a young audience goer. I remember when we were young, the pinnacle of what we could - just to go back to Soundwave again - was always… we just wanted to desperately play that festival. And, sadly, it's not with us anymore. But every time we get to do something here at home, I am always reminding myself of what it looked like to see those local bands, to see the homegrown heroes and stuff like that."In the full interview, Jake expressed gratitude for the opportunity and highlighted Froth & Fury's diverse lineup, which is beneficial for emerging artists. He detailed the extensive planning and rehearsal involved in their live performances, the positive reception of their latest album, and shared experiences from recent tours. He also provided an update on Polaris' new album, indicating progress in the writing process and plans for a focused retreat in New South Wales, while expressing excitement about the new material and upcoming shows in Japan and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.