HEAVY Music Interviews

Formed in Sydney by Jon Stevens (formerly of Noiseworks, INXS) and David Lowy (formerly from Mink) in 2012, The Dead Daisies started life with a view to being a platform for musicians to traverse at will. While always intended to be a permanent, fully functioning band, it was also set in motion with a firm desire to bring back the fun with playing music. No ties. No restrictions. No expectations.After releasing their self titled debut album the following year and hitting the road with the first official line-up of The Dead Daisies - Lowy (guitar), Stevens (vocals), drummer Frank Ferrer (Guns N' Roses), guitarist Richard Fortus (Guns N' Roses, Thin Lizzy, Psychedelic Furs), bassist Marco Mendoza (Whitesnake/Thin Lizzy), and pianist Dizzy Reed (Guns N' Roses) - the first major change came when John Corabi (Motley Crue) replaced Stevens in April 2015 and ever since the open door policy of The Dead Daisies has seen a plethora of established musicians pass through the group, each adding their own unique stamp of authority on the music.After passing the batton to Glenn Hughes (Deep Purple) in 2019 Corabi returned to the family in 2023, with the band releasing Light Em Up in 2024 and Lookin' For Trouble - a collection of covers originally performed by blues legends such as Robert Johnson, Muddy Waters, John Lee Hooker and BB King - the following year. These albums saw The Dead Daisies once more return to the stage, with their 2025 performance as part of Stonedead Festival being recorded and released later that year on digital and streaming platforms only.The album resonated so well that the decision to release physical copies was made, with the performance repackaged and beefed up with five live cuts from selected other shows to become Live Plus Five, arriving on CD and Vinyl Friday May 1 and May 15 in the USA and Canada. HEAVY sat down with guitarist Doug Aldrich to find out more."It's different. It's a totally different thing," he replied when we ask if he gets the same feelings of anticipation before the release of a live album as he does original albums, "because, obviously, you create new music. It is very exciting because you've got something that no one's ever heard and you're going to present it to your fans and to the community. And in this situation, we just had a bunch of... we had new material from two albums - Light Em Up and Lookin for Trouble and so we were performing those songs live last year and the last show of the tour, we just happened to record it and it turned out great. It's just very raw and very real. It's honest. No fixes, no A.I., no nothing. It's just how it was on stage. And I got to say, the audience was incredible. So that was great."In the full interview, Doug articulated the band's philosophy of preserving raw live energy rather than over‑polishing recordings, while acknowledging occasional selective fixes when necessary and citing past projects to illustrate that approach.Aldrich described how the five bonus tracks were chosen based on available recording quality and input from the front-of-house engineer and management to ensure cohesion with the main show. The conversation reviewed several cover selections on the release such as The Angels' Take a Long Line, the Beatles' Helter Skelter, and George Thorogood's Get a Haircut and covered how the band arranges covers to fit their sound and set dynamics, plus more.Pre-Order link for all configurations: thedeaddaisies.lnk.to/LivePlusFiveBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFor more than 25 years, The Used have built their legacy on chaos, catharsis and connection, but in 2026, they're stepping into entirely new territory with a landmark performance at the Sydney Opera House.Taking place on March 29, the one-night-only event, titled A Mid Summer Night's Symphony, will see the band joined by a full orchestra and choir for the first time in their career. The black-tie performance promises to reimagine beloved tracks with sweeping arrangements, elevating their signature intensity into something grander and more cinematic.Frontman Bert McCracken described the opportunity as “otherworldly,” revealing it's been a dream since first seeing the venue in 2005. He also noted the iconic setting has reshaped their approach, leaning into a more “beautiful, romantic” atmosphere to match the space.Songs like The Bird and the Worm have already been reworked to suit the scale of a full orchestral production, with McCracken promising the night will feel “magic” for both the band and fans alike.Following their recent 25th anniversary Australian tour, this ambitious performance marks a bold new chapter—one that proves The Used are still evolving, even after decades at the forefront of alternative music.Tickets from sydneyoperahouse.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsTrying to kick off an interview while your tech does that fun little “betrayal at the worst possible moment” routine is a very modern way to start talking to the frontman of Obscura. Thankfully, Steffen Kummerer was unbothered, cheerful, and immediately in touring mode, calling in from Munich while the band's next moves were already stacked: flying to the US on Sunday, detouring through France for rehearsals and pre-production, then rolling straight into a year that's shaping up to be a monster. He casually drops that Obscura are playing 80 to 100 shows this year, then lists off a “long Asian run” that includes China, India, Japan, Mongolia, Armenia and Georgia. Most people need a nap after saying those words out loud. Steffen sounds excited. The real reason for the chat, though, is Shredfest. Obscura have been here twice already: 2019 (a handful of shows with Alarum) and 2023 (a festival plus one sideshow), with that last visit being so tight they were in the country for less than 48 hours. Steffen calls it “brutal” in that very touring-band way: great show, great people, no time to actually be here. This time is the opposite. Shredfest brings Obscura back for 11 shows across Australia and New Zealand, including stops in Darwin and Hobart which even Steffen has been told are “absolutely not common” for international tours. He genuinely doesn't know what to expect, which is half the fun. He also explains why this run is set up the way it is. Shredfest is a travelling festival with five bands each night: two international acts (Obscura and Fallujah) plus two Australian bands (Ashen and Anoxia), then special guests added per show. The point is not to drag everyone through a “support acts are background noise” evening. The goal is a full day that rewards people who show up early, with proper production and a line-up designed to cover different corners of extreme metal. Ashen bring the more “orthodox” death metal end, Fallujah sit in the progressive lane, and Obscura… well, Steffen gives the diplomatic version: “techy or melodic, whatever you call it.” That little shrug of a line tells you a lot about the man. There's also a tasty detail for the collectors and the “I was there” crowd: Obscura are recording every show on this cycle, including audience mics, with the idea that one of these performances might become a future live release. Steffen is honest about the variables: the band has to play well (because, yes, not every day is perfect), and the crowd has to bring the noise. Then he throws the challenge back to fans: come through, have a good time, and you might end up on the next live album. No pressure, Australia.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSome interviews kick off with grand statements about art and purpose. This one started with me trying to bully the internet into a split-screen format while Matt from Grim Rhythm sat there, politely hungover and fully accepting his fate. The reason for the state of him? The band's second album had dropped the day before, which apparently required a studio party that ran all the way to 2am Aerosmith karaoke. Classy behaviour. Very rock'n'roll. That album title, Forever Eating Shit, is exactly what it sounds like and also not what it sounds like. Matt explains it as the unglamorous reality of being a working band: six-hour drives to play to five people, swallowing the grind for the chance that one out of twenty shows is the one where everything clicks, sells out, and reminds you why you bothered in the first place. It's crude, it's honest, and it's weirdly uplifting in the way only musicians can manage, turning misery into momentum and calling it “the pursuit.” We also got into the slow, messy death of the big Australian festival era. Matt's not mourning the corporate bloat of it all, and he reckons the decline has pushed people back into “real venues and real gigs” for the right reasons, not just a weekend bender with a wristband. The upside is a return to sweaty rooms, proper bills, and crowds that actually remember what they saw. It's not a nostalgia trip, it's more a recalibration: bands building followings one room at a time, and venues becoming the heartbeat again.There's also a very human reset in the story. Between the first record and this one, the band stepped away for a while and Matt openly references getting into trouble with substances. Coming back wasn't forced or deadline-driven, it happened naturally, helped by having their own studio and a crew who stay busy across other projects. Once the momentum returned, the album came together over roughly a year and a half, without the pressure-cooker vibe that can kill the fun. On the nuts-and-bolts side, Matt talks recording approach too. The first record was tracked live; this one was built for tightness, with click tracks and obsessive attention to detail to nail that classic heavy metal precision. The studio situation is both blessing and curse, because unlimited time can turn into endless tinkering unless you know when to walk away. Also, for the record: Matt's a bassist, which means we briefly bonded over the sacred duty of being the reason the crowd moves while guitarists soak up the spotlight. Even though Grim Rhythm are instrumental, the band isn't short on voices. Matt and other members sing in their other projects, they just choose to keep this one wordless, and it works because the focus is pure muscle and movement. When we touched on fanbase, Matt didn't pretend he's above it all either: validation matters. One person coming up after a set and telling you it ruled can be enough to fuel the next round of “eating shit,” and he calls out the “we don't care” crowd as liars. You don't have to be an egomaniac to want your work to land. You just have to be human. To top it off, the band's not sitting still. They're launching the album in Melbourne on 4 April, then heading up for shows on the Gold Coast and Brisbane, with more dates and festival slots in the mix, before a proper two-month Europe run. They've done a handful of U.S. shows previously, but this is framed as the first real European tour. And because sleep is clearly optional in this camp, Matt's already booked in to record another album in June and says they've got the next one written. No eight-year wait required this time, apparently. Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The Last Ten Seconds of Life were forged in 2010. Within a year, they were touring regularly and had self-released their debut album, Know Your Exits. By 2013, they unleashed their second album, Invivo [Exvivo], the prolific act would go on to release five more full lengths, each earning Billboard chart placements and reaping critical accolades both stateside and abroad. With a total of 50+ tours since 2011 with bands including Sepultura, Cattle Decapitation and The Black Dahlia Murder, TLTSOL are showing no signs of slowing down. On the contrary, they're looking to a 2026-2027 that's among the busiest times in the band's history. “Everyone in the group was a teenager or in their early 20s when this band started,” says guitarist Wyatt McLaughlin, concluding, “The sonic and lyrical growth has been immeasurable in ability and maturity. At this point it seems like another life!”Intense and intensely personal, the band's upcoming new album The Dead Ones marks THE LAST TEN SECONDS OF LIFE's Metal Blade Records debut. For the ten original tracks of pulverizing deathcore produced by Carson Slovak and Grant McFarland of Pennsylvania's Atrium Audio, the band focused on the guitar, bass, and drum tones as well as the mix/master to achieve what McLaughlin calls, “a super-thick sonic output and ‘rolling-tank'-like feel.”Lyrically, The Dead Ones follows 2024's acclaimed No Name Graves in the theme of death and rebirth, but in contrast, is directly focused on the human experience and the band members' own struggles. The Last Ten Seconds of Life have never been stronger as a unit. With singer Tyler Beam, bassist Andrew Petway and drummer Dylan Potts in the band since 2022, the chemistry is super-charged. “Everyone is very direct and any bumps in the road are solved through group conversations,” McLaughlin says. “Sometimes it takes years to find the right mix of people who all coincide at the right times in their lives to coexist and elevate each other and this is it for us.”HEAVY caught up with Tyler to find out more. We start by asking how he is feeling about the release."It is without a doubt the best piece of music that any of us have created or collaborated on," he replied confidently and honestly. "It's got a little piece of everything that we've ever made, put all together in one big album. And we touched on everything that the band has kind of touched on before since the beginning of the discography up into right now. So it's just a potpourri of everything that we absolutely love about the band."In the full interview, Tyler described the record as a concentrated blend of the band's past styles with an emphasis on heavy, groovy songwriting and tighter song structures after prior experimentation.Discussion then covered personnel and influences that shaped the record: the drummer's precision-focused death metal background, the bassist's Northeast deathcore roots, and Tyler's expanded songwriting role on this album. Guest appearances were drawn from longtime friends and alumni, including the original lead singer on one track as an homage to the band's past. Technical choices contributing to the band's distinct low-end included a six-string baritone tuned to drop F. He outlined the album's lyrical and conceptual focus that centers on themes of death, rebirth, and community identity as The Dead Ones and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Formed in Stockholm in 1983, Glorious Bankrobbers quickly earned notoriety for their uncompromising sound and electrifying live performances. Their 1984 debut, produced by Kee Marcello (Easy Action/Europe), marked the arrival of a band destined to push boundaries.By 1989, the group cemented their place in rock history with Dynamite Sex Doze—a landmark release that became a cornerstone of Swedish sleaze and action rock. The title track earned rotation on MTV's Headbangers Ball, while their U.S. promo tour, including the cult live album Live at CBGB's N.Y.C., expanded their reputation worldwide.Now entering a new era with Wild Kingdom Records, Glorious Bankrobbers recently released Intruder in late February. Delivering 12 brand-new tracks, the album distills everything that defines the band—grit, swagger, and heart—while propelling their sound into bold new territory. With Intruder, Glorious Bankrobbers reaffirm their place at the forefront of Scandinavian rock. Louder, harder, and hungrier than ever, the band stands as living proof that true rock 'n' roll never dies.HEAVY caught up with frontman Olle Hillborg to find out more. We start by asking him how the early response has been for Intruder."It's been great, actually," he smiled. "We've got so many responses from all over the world, thinking that this is the best album of the three releases. We have released three albums in the last three to four years and this is the best one, people have been thinking."In the full interview, Olle emphasized that Glorious Bankrobbers deliberately retained a straight rock-and-roll sound, recorded without AI and using classic gear with recurring producer Robert Pehrsson. The conversation reviewed the band's origins in Stockholm in 1984, early influences from sleaze/glam and punk-pop, and how their timing aligned them with the broader sleaze wave of the late 1980s and early 1990s.Discussion moved to the band's live reputation and early-stage behavior at pubs and parties, followed by the impact of a drummer's death that led to a 16-year recording hiatus. Olle explained the rationale for restarting with a sound consistent with their legacy rather than shifting styles and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsIf you've ever wondered what it takes to fly the classic hard-rock flag out of a country where Bollywood runs the audio monopoly, Girish and the Chronicles have the answer: persistence, volume, and a deep love of the big-chorus, big-guitar stuff that got most of us into this mess in the first place. Ali's chat with bassist Yogi quickly locks into the band's origin story, which starts simple and very rock'n'roll: Girish was gigging solo as “Girish Unplugged,” the rest of the crew jumped in, “The Chronicles” got scribbled onto the poster, and suddenly it was a full band with a proper name and a mission. Musically, they're not pretending to reinvent the wheel, they're polishing it and lighting it on fire. Yogi straight-up credits the holy trinity of hard rock and metal upbringing: Guns N' Roses, AC/DC and Iron Maiden, and you can hear that DNA all over the newer material. Ali clocks it immediately and calls out the classic-rock backbone, which Yogi happily owns. On home turf, the Indian heavy scene sits in the shadow of a massive mainstream industry, but Yogi explains the maths of it: even a “small percentage” of rock and metal fans becomes a serious crowd when your population is… well, India. He points to the proof: when international bands hit major cities like Bangalore, Mumbai and Delhi, the rooms are stacked and the fans actually know the songs, sing along, and show up loud. The conversation also ducks into Asia and the band's wider wish-list. Japan sits high on it, with Yogi nerding out over anime and shouting out Japan's long-standing rock culture, plus names like Marty Friedman and Paul Gilbert as examples of how deep that scene runs. They've already played Thailand and Vietnam, and he's clear-eyed about the next step: Southeast Asia needs more work, more shows, more presence. Then comes the bit Australia always cares about: yes, they're coming here, and it's soon. Yogi says they land on the 15th March for their first ever trip “Down Under” not just as a band, but as tourists too. They're lining up roughly five to six shows across the major cities, plus a New Zealand date. The tour kicks off in Brisbane, at the Crow Bar, and they've got a couple of days between landing and the first show (they mention the first gig being on the 19th) to explore, soak up the country and, naturally, sample the pub culture that keeps this nation emotionally upright. Ali does her civic duty and warns them about drop bears, prompting Yogi to promise he'll Google it, which is the correct response to any Australian wildlife briefing. Fresh music is also on the immediate horizon. Yogi says a new album is coming, with a couple of singles released first, and that the full production is finished, they're just waiting on the official release date. They're also tossing around music video ideas and hoping to shoot footage while in Australia. Their video “process” is pleasingly human: start with an idea that fits the song, then accept that things drift off-script and sometimes the unplanned bits end up being the best bits. There's a quick peek behind the curtain on what else the band has been up to too. Yogi notes that while the group's focus is firmly on Girish and the Chronicles, Girish has been involved in side projects with some serious names (George Lynch and Jeff Pilson get mentioned, along with Chris Adler and Joel Hoekstra), especially after signing with Frontiers. It's a neat reminder that while the band has that classic-rock heart, they're plugged into the wider rock world and they're not shy about doing the work to stay there. Bottom line: Girish and the Chronicles aren't selling a gimmick. They're a hard-rock band from a country where rock isn't the default setting, who've still managed to stack up major support slots, years of European touring, a surprise AGT run, and now an Aussie/NZ tour with a new album loading in the chamber. If you want to see what happens when the “classic” part of classic rock turns out to be alive, sweaty, and very ready to prove a point, grab a ticket and give them some lovin.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Melbourne based progressive death metal outfit Growth began in 2017 as a reflective space for brothers Tristan Barnes (guitar/bass/artwork) and Nelson Barnes (drums), and vocalist LF, later joined by Nick Rackham (bass) and Ben Boyle (guitar), to explore trauma, mental illness and grief without romanticising them. The project was never intended as catharsis for its own sake, but as a way to illustrate recovery in all its brutality. not as linear progress, but as something fractured, cyclical and deeply human.On March 27, Growth release their first album in more than half a decade, Under The Under. The gap between releases has been deliberate….and necessary. Where The Smothering Arms of Mercy was written from within collapse, sickness and isolation, Under the Under exists in the far more uncomfortable space that follows: what happens when survival is no longer the question and you're forced to confront who you are once the wreckage settles. In the bands own words, healing, is not gentle. It is an ugly process. Chaotic, disorienting and often more confronting than the pain that preceded it.Under the Under is an album that documents six stages of recovery - not as levels to be celebrated, but as thresholds to be endured. Across the record, Growth interrogates the dignity we attach to suffering, the comfort of identifying solely with trauma and the terrifying possibility that we might be more than the stories that have kept us alive.HEAVY sat down with guitarist Tristan Barnes to find out more. Under the Under is set for release on March 27 via Wild Thing Records. Pre Orders available now https://orcd.co/undertheunder. Growth will be touring Australia in August as part of the epic Psycroptic & Rivers of Nihil tour.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

One of New Zealand's fiercest rock exports, The Datsuns, will bring their all thrills and no frills brand of sleazy garage rock to their Australian fans next March.The Datsuns blazed into global consciousness with their 2002 self-titled debut, a record that topped the NZ charts and hurled them onto stages with Metallica, The White Stripes, and Queens of the Stone Age. Over the past two decades, they've released seven albums, worked with Led Zeppelin's John Paul Jones, and remain an absolutely potent live act. Their Aussie run promises to be filled with savage hooks, honed to perfection, delivering Stoogeoid evil, powerpop crunch and the classic proto rawk assault & battery they are world renowned for.Scandinavian drummer Adam Lindmark will drive the beast forward locking in with Dolf de Borst on bass. While upfront lead string wrangler and vocalist, Christian Livingstone, and rhythmic meister Phil Somervell bring a stack of raw, unfiltered and oh so good riffage.Expect the full sweep of The Datsuns' catalogue, from the anthems that scorched their early path to the first sparks of their eighth studio album, set to arrive in 2026. HEAVY caught up with vocalist/guitarist Christian Livingstone to find out more."We've been around for a long time now," he began when we ask what fans can expect from the shows. "We've got quite a few albums, so we're going to try and do a kind of cover everything, as it were, nice retrospective, and also throw in a few new songs from a record that we're hoping to release kind of middle of this year."Check out the full interview for the full discussion.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Finnish metal veterans Amorphis continue to evolve without losing their identity, guitarist Tomi Koivusaari explains in a candid interview about creativity, risk, and returning to Australia. Balancing a 15-album catalogue and passionate fan expectations, the band still approaches setlists and songwriting with fresh intent. Koivusaari describes an instinctive, cinematic writing process shaped by nature and mood rather than rigid plans. He admits the band once lost direction experimenting, but sees that era as essential growth that ultimately defined their sound. With multiple members contributing ideas, producers now help shape each album's final form. As they prepare to return to Australian stages, Koivusaari promises a career-spanning set and a tighter, more confident live experience. Despite decades in the industry, he remains driven to improve and explore.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Echoes Festival, a new immersive celebration of post-rock, experimental, and cinematic heavy music, will make its debut on Saturday, May 9, 2026, taking over both Rhino Room and Lowlife Bar for one day and night.Curated for fans of expansive instrumental rock, post-metal, and boundary-pushing alternative music, Echoes Festival brings together an eclectic and powerful lineup of interstate and local artists: which include the internationally renowned Mensicus who are playing in Adelaide for the very first time.With two stages operating across Rhino Room and Lowlife Bar, Echoes Festival will offer nonstop performances, allowing fans to experience everything and immerse in over 7 hours of non stop. Combining visual and lighting with state of the art sound - this event aims to change how you consume sound.HEAVY caught up with one of the people behind Echoes Festival, Nick Rivett.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsAlien Weaponry might have been speaking to HEAVY from Barcelona only a couple of hours after leaving the stage, but there was nothing flat about the energy. If anything, the interview captured a band running on that familiar touring cocktail of adrenaline, sleep deprivation and sheer gratitude for being able to do the thing in the first place. Midway through a European run with Avatar, the New Zealand trio sounded road-hardened but still properly hungry, laughing their way through stories of disrupted schedules, long drives and the weird limbo that hits when a tour suddenly loses momentum. After a run of cancellations due to illness in the headlining camp, Alien Weaponry found themselves stuck in the rare position of wanting less sightseeing and more stage time. A deeply metal problem, really. That restless energy says a lot about where Alien Weaponry are at right now. What began in 2010 as a project between brothers Lewis and Henry de Jong has grown steadily into one of the most distinctive heavy acts in the region, now rounded out by Tūranga Morgan-Edmonds on bass. There was no inflated self-mythology in the conversation, no grand speech about destiny or conquest, just the kind of grounded honesty that tends to come from bands who have actually done the work. Tour, write, repeat. Then do it again, preferably with less airport food. Their current run with Avatar, plus support acts Witch Club Satan and Agabas, has only reinforced that sense of upward momentum, with the band clearly relishing the chance to keep testing themselves in front of bigger and broader audiences. The Australian leg, naturally, loomed large in the conversation. Alien Weaponry know full well that Australian fans have been nagging, pleading and emotionally blackmailing them into returning for years, and they seem genuinely touched by the enthusiasm. Their past visits have been enough to build affection, but not enough to satisfy the appetite for a proper headline run. This tour is still another support slot, yet there was no trace of complaint in the band's tone. Quite the opposite. They sounded genuinely stoked to get back across the ditch, reconnect with fans who have been waiting impatiently, and introduce themselves to fresh ears in the process. That blend of familiarity and unfinished business gives this next trip a bit of extra charge. Australia may not officially own Alien Weaponry, but the adoption papers are clearly halfway filled out. What also came through strongly was the band's appreciation for the support slots themselves. Lewis was refreshingly realistic about the whole thing: when you are opening for another band, there is no guarantee anyone in the room knows who you are, let alone likes what you do. That is the gamble. But on this run, the reception has been encouraging, especially in Spain, where crowds were already singing along and throwing themselves into the set. For a band like Alien Weaponry, whose music carries both cultural depth and pure physical force, that kind of response matters. It means the connection is happening in real time, not just in algorithms and streaming numbers. It means the songs are landing where they are supposed to: right in the chest. There was also a nice sense throughout the interview that Alien Weaponry are not taking any of this for granted. The discussion drifted naturally into the wider value of live music, with both band and interviewer reflecting on how audiences have changed since the COVID years. People are showing up differently now. They are less casual, more invested, more willing to throw themselves into the experience whether they know every lyric or not. That suits Alien Weaponry just fine. They are the kind of band built for discovery, the kind that can walk on as support and leave with a chunk of the room mentally recalibrated. Not bad for a group chatting after a show while preparing for a nap and the next drive to Madrid. Human endurance is such a stupid little miracle. For all the momentum, though, the band already has one eye on what comes next. Once the touring cycle wraps and the Australian dates are done, the plan is to get home, reacquaint themselves with their own beds, their own showers and the radical luxury of not living out of a suitcase, then begin work on album number four. They also spoke excitedly about the idea of eventually reaching Japan, a place high on their wishlist and one they clearly see as a natural fit. So while this interview caught Alien Weaponry in transit, somewhere between Barcelona, Belgium, Australia and the next motorway nap, it also caught a band with a very clear sense of direction. Still climbing, still evolving, still carrying themselves with humility, humour and just enough chaos to make the whole thing interesting. Which, in heavy music, is usually a very good sign indeed.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Photo by Matthew HedgesInternationally renowned Lutruwita/Tasmanian genuine sideshow freak Samora Squid will be doing an hour of their most full-on material for SQUID'S SUNDAY SIDESHOW, a DIY punk residency at famed Naarm/Melbourne venue The Tote, and don't say you weren't warned.Sword swallowing. Live piercing. Extreme contortion. A Samora Squid show is shocking, confronting, hilarious and not for the faint of heart. “What I do, it's not stand up, though I'm sure I'll say some dumb shit that people will laugh at. There'll be a lot of non-verbal storytelling, involving sharp pointy things and burny things. When I registered the show, I ticked all the trigger warnings. [Laughs] Not all of them were in the show yet, but I wanted to cover my bases.”Having spent years performing everywhere from Europe to Dubai, SQUID'S SUNDAY SIDESHOW was born when the Melbourne Comedy Festival put out applications. “I thought, “It's been a while since I've staged something I've made … This is a good chance for me to make a new show, to revitalise old stuff, to try new stuff out, and do something that encompasses the range of skills that I've acquired over the last thirty years. This show's got my original music in it, as abrasive, industrial and dystopian as it is. I'll be using all my physical theatre training, and all of my knowledge of theatre to turn a dive bar into a unique experience. The Tote is one of my favourite places for live music.”HEAVY caught up with the man himself to peek behind the curtain some more...Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Thrash metal titans ANTHRAX return to Australia later this month for four huge shows. Bold and uncompromising, ANTHRAX stands as one of the legendary “Big Four” of thrash, a band whose breakneck riffs and mosh-pit anthems have shaped heavy music for over four decades.On their 2026 Australian tour, ANTHRAX will ignite stages in Brisbane, Adelaide, Melbourne and Sydney, performing a career-spanning arsenal of classics. Fans can expect a high-octane set packed with fan favourites, deep cuts and new-era highlights as Anthrax once again prove why they remain one of metal's most vital live forces.HEAVY caught up with guitarist Scott Ian to find out more. One of the things we ask is what has changed with the band since they were last here in 2019."The main thing is we made a record," he replied with a sense of pride. "We finished an album. It's done and it's coming out soon. There will be an announcement soon. That's all the information I have or that I can give. And we're very I'm very, very, very excited about it. And maybe people in Australia will get to hear a little bit of it when we're down there at the end of the month. That's the that's the major, the major change from six years ago, for sure."In the full interview, Scott addressed setlist strategy, noting the band balances staple hits with rotating deeper cuts because it is impossible to please every fan, and the group continues to adjust choices to keep shows engaging. Scott reviewed geographic differences in crowd energy, highlighting particularly passionate responses in Melbourne and several South American cities. He also described a recent back injury sustained during a cold outdoor cruise show, his appearance in Iron Maiden: Burning Ambition and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Rock sensation THE GEMS return with their second album Year Of The Snake, out on March 13, 2026. The Swedish trio solidifies their position as a strong player in modern hard rock with Year Of The Snake. Their very first single, Like A Phoenix, instantly hit #2 on the German Rock Radio Airplay Charts and they impressed both fans and critics with their debut record Phoenix (2024). With one album under their belt, and numerous electrifying live shows, THE GEMS quickly established what Year Of The Snake now effortlessly proves: this is the future of rock!In less than three years of existing as a band, THE GEMS have managed to shape modern rock like few other bands. Year Of The Snake is an impressive follow-up to their debut, filled to the brim with catchy anthems and groovy hits. To find out more about the rise and rise of The Gems, HEAVY caught up with vocalist Guernica Mancini.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

In support or their the long-overdue debut album ‘The World Is Not Yours', Melbourne based purveyors of blackened grinding death, MUNT embark on a spiteful nine show Australian east coast throughout March and April of 2026. Supported by death / groove churners Nembutolik, this promises to be a local tour not to be missed.Across thirteen relentless tracks on The World Is Not Yours, MUNT forges black metal, death metal, grindcore, hardcore, and noise into a dense slab of raw aggression, sharpened by a bitter philosophical edge. This edge cuts like a rusted scalpel, dissecting the hubris, corruption, indifference, and complacency that underlie our sick society.From start to finish, the album drags the listener through an urban hellscape of despair, disillusion, and the realisation of powerlessness. This is MUNT at their most focused, dynamic, and driven — Their sound, distilled into its purest and most caustic form, stands as one defining statement: THE WORLD IS NOT YOURS.HEAVY caught up with vocalist Tim Richmond to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

The Final Fall have never been a band to rush things. Instead, they have always written and released material when they are ready and feel like they have something relevant and important to say.After a prolongued period of inactivity, The Final Fall resurfaced in 2024 with the single Sold, reminding fans and music punters alike of the depth of their talent and the diversity within their music. At the time teasing the possibility of an EP in the near future, The Final Fall instead retreated to the sanctity of the rehearsal room for another extended period, intent on writing enovugh quality songs to realise their goal of releasing another album more than ten years after their debut.The first seeds of that new album have been cast into the wind, with The Final Fall releasing the first piece of new material in two years with I'm On My Way, a rollicking, fun and eclectic slab of music that accentuates the band's strengths but also introduces more elements and sonic layers to their range.HEAVY caught up with frontman Benny Whiskey to find out more, with I'm On My Way set to premiere via HEAVY at 5.pm, Tuesday March 11.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFresh from a powerful return to the region in 2024, Faroese artist Eivør is set to bring her first-ever headline tour of Australia this March, marking a long-anticipated homecoming of sorts. After opening for Heilung last year, the experience left a lasting imprint on the singer, who describes the visit as the fulfilment of a long-held dream and the catalyst for returning with her full band and production .Known for live performances that feel closer to ritual than concert, Eivør approaches each setlist as an emotional journey, carefully shaping the arc of every show while allowing room for spontaneity and connection. “It's about taking people somewhere,” she explains, noting that no two nights are ever exactly the same .Australian audiences can also expect elements drawn from her work on The Last Kingdom, where her voice reached a global audience and reconnected her deeply with her Nordic roots, threads that continue to weave naturally into her live shows .Above all, this tour is about community. Eivør speaks warmly of the love she felt from Australian crowds last time, describing the experience as family-like and deeply affirming. For first-time headline attendees, she hopes audiences leave feeling “something”; whether joy, release, or simply love."Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For the first time ever, the Sydney Guitar Show will take over Sydney Olympic Park on Saturday 7 and Sunday 8 March 2026, delivering two super-sized days of guitar gear, live performances, workshops and immersive experiences celebrating the world's most popular instrument.The 2026 program features performances, workshops and conversations with some of the most exciting and innovative guitarists in the country, including Diesel, Plini, Hussy Hicks, Tash Wolf, and international guest Larry Mitchell (US). Highlights include Diesel's exclusive Decoding The Dream conversation with Fender Custom Shop Master Builder David Brown, Plini showcasing the future of instrumental rock, and deep-dive workshops spanning tone, songwriting, recording and guitar craft.Beyond the stage, the event is a playground for players and fans alike — from boutique Australian luthiers and global brands like Fender, Gibson and PRS, to pedal launches, a dedicated Studio Room for home recording, a Pedal Party spotlighting Australian effects builders, and a brand-new Kids Room designed to inspire the next generation of guitarists. To put it plainly, there is something for everyone.HEAVY caught up with Diesel to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFresh off the release of his latest single Relapse, Sydney singer-songwriter Hayden McGoogan is writing from a place of hard-won clarity. Penned just after a month into sobriety, the stripped-back track captures a fragile headspace: doing well, but fearing it could all unravel. “It's not about relapsing,” he explains. “It's about hoping I don't.”Recorded live with a full band, including pedal steel, piano and violin, Relapse deliberately resists the urge to rush. The restrained tempo mirrors recovery itself; staying present, letting things breathe. For McGoogan, sobriety lifted a creative fog. Songs began pouring out after a period where he “just didn't have the brain capacity” to write.Over the years, Hayden has shared stages with some formidable names, experiences that have quietly shaped his outlook on longevity and authenticity. From the Celtic punk fire of Flogging Molly to the thunderous hard rock charge of Danko Jones and the trailblazing Belfast punk spirit of Stiff Little Fingers, McGoogan has witnessed firsthand what it takes to hold a crowd. He's also played alongside punk royalty Marky Ramone and CJ Ramone — a full-circle moment for a musician raised on that era's raw urgency. Watching seasoned performers command a room night after night confirmed for McGoogan that connection, not spectacle, is what turns a gig into something unforgettable.Known for his raw, raspy vocal edge, he now leans into vulnerability over perfection. Influenced by artists like Social Distortion and Jason Isbell, McGoogan sits somewhere between grit and brutal honesty.With an EP set for release on March 28, his mission is simple: be authentic. “Worst thing than failing,” he says, “is not trying.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

When British extreme metal legends CRADLE OF FILTH and American metal titans DEVILDRIVER, two of heavy music's most iconic and ferocious bands - each with a stellar reputation for incredible live shows - joined forces for a North American tour in 2023 the results were predictably amazing and the synergy undeniable.Now Australia will  finally experience this much lauded team-up in July of this year as the two titans bring full headline sets packed with classics, to deliver a night of unrelenting intensity, theatrical horror, and crushing grooves. Cradle of Filth, led by the inimitable Dani Filth, continue to reign as the most influential and enduring name in extreme metal. Their reputation as a singular artistic force and as one of the most insanely entertaining live acts metal has ever produced remains unchallenged. Fresh off the success of their acclaimed 14th studio album The Screaming of the Valkyries, the band is ready to unleash their signature blend of blackened gothic metal, orchestral grandeur, and venomous lyricism on Australian fans who in turn rewarded the band with a fully sold-out tour on their last visit.HEAVY caught up with Dani to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

UK progressive death metal outfit CRYPTIC SHIFT released their Overspace & Supertime full-length on February 27 through Metal Blade Records.While not commonly known as an extraterrestrial hotspot, Leeds faced an encounter of another kind in 2015 when vocalist/guitarist Alexander Bradley and drummer Ryan Sheperson set out to accomplish a project embodying their joint passion for the art of science fiction and heavy metal music. With CRYPTIC SHIFT taking form as a crossover between the worlds of technical thrash/death metal and all things sci-fi, the two set out to spread their influence across the UK and soon ventured across the globe.CRYPTIC SHIFT unveiled their debut full-length, Visitations From Enceladus, in 2020. The offering helped bring the band to the worldwide playing-field, receiving critical acclaim for its adventurous, progressive technical death thrash compositions, a twisted form of extreme metal simply referred to as the “Phenomenal Technological Astrodeath.”This year's Overspace & Supertime continues the conceptual and musical themes of their debut and delivers a new standard of technical thrash/death metal showmanship, including returning influences of progressive writing, harmonized with their fantastical storytelling.“The concept of Overspace & Supertime plays as an alternative reality to the happenings of Visitations From Enceladus, taking our character into new dimensions filled with both greater adventures and more bizarre encounters,” notes drummer Ryan Sheperson. “Whilst the concept themes of our sci-fi tale have grown, so have our efforts in synthesizing it with the ultimate Astrodeath soundscape. The record takes the listener on a deeper journey through the fusion of our influences, with some exciting twists and turns along the way.”HEAVY sat down with both Ryan and Alexander to get more information.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSamy Elbanna of Lost Society caught up with HEAVY's Ali Williams to talk about all things dark and the journey of coming out the other side. Their chat feels less like a promo interview and more like a long, honest exhale. There's humour, perspective, and the unmistakable tone of someone who's been through the grinder, come out the other side, and is now enjoying the simple pleasure of writing loud music without staring into the void between riffs. Lost Society's sixth album, Hell Is a State of Mind, arrives March 6, and Elbanna doesn't sugarcoat how close it came to not existing at all. The band's previous record was written during an extremely dark period in his life, one where the idea of a future album felt wildly optimistic at best. That's what makes this release feel different. It's not fuelled by misery or desperation, but by rediscovering the fun of being in a studio and remembering why making music mattered in the first place. Rather than chasing trends or trying to outsmart algorithms, Elbanna talks about returning to instinct. Writing music he actually likes. Melodies that feel good to sing. Lyrics that say something without needing to be cryptic for the sake of it. He's visibly proud of this record, and not in the chest-beating way, more in the “I can finally enjoy this again” sense. Hell Is a State of Mind is heavy, unapologetically so, but lyrically it leans toward empowerment and self-acceptance, which is a pretty solid bait-and-switch for a metal album in 2026. The conversation drifts back to Lost Society's early days, which read less like a fairytale and more like a DIY survival manual. Underage, unable to play bars, the band organised their own shows, youth centre gigs, and mini-festivals, entered every competition they could find, and sold homemade demo CDs the old-fashioned way: face to face. No viral clips, no shortcuts, just persistence and a worrying amount of faith. Eventually, a televised performance landed in front of a Nuclear Blast A&R, and things slowly started to snowball. Slowly being the key word. Elbanna is refreshingly realistic about the modern music industry. He's not anti-streaming or anti-TikTok, just anti-bullshit. He points out that “overnight success” usually follows years of unseen work, and that skipping those years doesn't exactly prepare artists for pressure, touring life, or longevity. Social platforms, he says, are tools, not commandments. Not every metal band needs to dance for clicks, and not every promotion strategy has to look identical. Radical concept, apparently. Finland, unsurprisingly, gets its moment in the spotlight. Elbanna credits the country as one of the best places on earth to start a metal band, thanks to accessible venues, youth programs, and a culture that doesn't clutch its pearls when teenagers plug in guitars. Born and raised there, with Egyptian heritage and English as his first language, he's grown up in a musical environment that encourages experimentation rather than punishing it, which helps explain Lost Society's longevity. Looking ahead, the band aren't easing into anything. The album release is immediately followed by a three-week European headline tour, a major Helsinki show, and then straight into festival season. Touring remains the heartbeat of the band, not just for exposure or income, but because that's where the music actually comes alive. Bus life, inside jokes, and temporary escape from normal reality included. Australian fans also get a nod. Elbanna recently toured Australia and New Zealand as a fill-in member for Amaranthe and fell hard for the place, despite being deeply disappointed by the lack of constant spider attacks promised by the internet. Lost Society haven't toured here yet, but it's firmly on the wish list, with this album shaping up as the one that could finally bring them Down Under. At its core, Hell Is a State of Mind isn't a comeback story or a carefully packaged redemption arc. It's a heavy record made by someone who didn't expect to still be doing this, now offering listeners half an hour of noise, catharsis, and a brief sense that things might not be completely cooked after all. Loud therapy, if you will. And honestly, that's a pretty decent reason to press play.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Since forming in Orlando, FL in 2018, Magnolia Park - vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, drummer Joe Horsham and bassist Vincent Ernst - have repeatedly proven themselves to be one of the most exciting and forward-thinking groups in the underground. Spinning a chameleonic, genre-spanning sound that incorporates punk, hard rock, hip-hop and metalcore into a dizzying, multi-sensory experience, the prolific band has dropped a mixtape, 4 EP's, a slew of singles and two full length albums totalling an impressive 510 Million catalog streams to date.The heavy genre-bending five-piece have announced NIGHTS AFTER VAMP, the deluxe version of their ambitious concept album VAMP released last year. Out on March 13 via Epitaph, the band picks up where they left off with six explosive bonus tracks that expand the soundscape of their dystopian universe.With NIGHTS AFTER VAMP, Magnolia Park have spun an electrifying mix of hard rock, punk, nu-metal, hip-hop and metalcore into a dizzying, multi-sensory experience. Throughout its 17 songs, the record soundtracks an ominous journey through the fictional world of Nocturne Nexus; where rulers and rebels battle with the future hanging in the balance. Heavily inspired by the band's love of anime, horror and fantasy, the album's narrative was spurred by the long-running Vampire Hunter D, iconic works like Star Wars, Dracula and Joseph Campbell's legendary monomyth.Magnolia Park will be in Australia this March supporting BABYMETAL, so to bring us up to speed HEAVY sat down for a chat with the whole band.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsNecrofier are in that familiar pre-release purgatory where everything important is finished and everything annoying begins. When HEAVY caught up with Christian Larson (guitar, vocals), it was early, coffee was scarce on both sides of the planet, and the band's third full-length was suddenly two weeks from release. No drama, no manufactured hype. Just the calm chaos of a band doing the work. The  bands latest record Transcend Into Oblivion -out now - , marks Necrofier's first release on Metal Blade Records, following earlier releases with Season of Mist. Larson talks about it like someone who's already emotionally moved on, not because it fell short, but because it was finished nearly a year ago. That distance has given the band clarity and allowed them to be confident in the songs, the mix, and the overall execution, even if revisiting the material now feels like reopening a time capsule from a previous headspace. Originally conceived as a non-live studio project, Necrofier evolved quickly into a full touring entity, and the resume reflects it. US tours, major festivals, and shared stages with the likes of UADA and 1349 haven't shifted the band's core focus. They're still firmly rooted in black metal, without getting distracted by the endless micro-labels that seem to appear every six months. Larson is refreshingly blunt about it. They know what they are, they know what they play, and they're not interested in inventing a new genre name just to keep up with internet trends. The album itself took a more layered approach than previous releases. Songs were written in advance, tracked across multiple studios, and refined with more breathing room than the band had previously allowed themselves. That extra time wasn't about over-polishing, but control. It gave Necrofier the ability to think, adjust, and add texture without the pressure cooker environment of a single studio lock-in. The result, by Larson's account, is a record that feels deliberate rather than rushed. Visuals played a larger role this time too. Multiple music videos were shot with both long-time collaborators and new creatives, blending live performance footage with subtle narrative and animated elements. Nothing overcooked. Just enough to complement the songs without distracting from them.Away from the album cycle, Larson comes across as a lifer. Someone who's been in doom bands, punk bands, death metal bands, and everything in between. His vinyl collection, stacked somewhere behind him on the call, mirrors that history. Old punk, classic metal, country records, black metal staples. Records he's owned since he was fifteen and still spins, not museum pieces collecting dust. Touring plans are in motion but intentionally unannounced. Europe is on the horizon, the US will follow, and Australia has been discussed, if not yet mapped. There's no false certainty offered, just the quiet confidence of a band that knows momentum doesn't need to be shouted about to be real. Necrofier sound like a band comfortable in their lane, uninterested in chasing novelty, and focused on longevity rather than noise. With their third album about to land and a bigger platform beneath them, they're not reinventing themselves. They're sharpening what already works. And honestly, that restraint might be the most telling thing of all.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

A relentless force in the underground scene, Brisbane metal outfit Dreamkillers are known for their raw intensity, genre-defying sound, and fiercely DIY ethos. Fusing thrash, English punk and melodic metal into a sonic assault that is both unrelenting and emotionally charged, while still maintaining a surprising sing-along quality, Dreamkillers continue to evolve without compromise.That evolution has never been more apparent than on new album, Proiphys Cunninghamii, that is out and ready for your listening pleasure now.Proiphys Cunninghamii is a no-holds-barred album that blends fire, fury and defiance in equal measure. Named after a rare native plant found only in Brisbane, commonly known as the Brisbane lily, the title reflects the band's roots and resilience — thriving in harsh conditions, unapologetically local, and impossible to ignore.HEAVY caught up with guitarist Damien Kechagias to find out more, asking him to describe the musical side of the album."We've tried to use as many different musical inferences as we can throughout the whole process," he measured, "keeping it true to original Dreamkillers from day one. You've never known what you were going to get, back from the original days to now. But as we've gotten older, political views change, personal views change. There's new stories out there. But the main thing that has stayed constant was giving Les the voice pad to bring those stories to life.Giving him the storyboard. And that's where we took the time to go, right, here's the songs that we're working on. Let's make them the best we can. So, not everything fits in a pigeonhole. Yeah, you've got Dreamkillers sound, but we had to look at what makes Dreamkillers sound now. We can always look back to influence the future. So that's what we've tried to do."In the full interview, Damien went through the recording process in greater detail, the importance of maintaining the old school sound and ethos of Dreamkillers while also representing them now, and the writing process for new material.He ran through each of the eight songs on the album, explaining the musicality in more depth, as well as the subtle and not-so-subtle nuances vocalist Les Jobson brought to the tracks. We discussed their upcoming appearance at Necrosonic Festival 2026, including their promise to play Poison In The Soup and Carnival Of Skin back to back and more.Proiphys Cunninghamii is available now: https://lnk.to/g37LSGBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Three short years ago, two heavyweights of the metal scene joined forces for what would become known as the Double Trouble tour across Northern America. It was an ambitious and unlikely pairing, with the two co-headliners coming from completely different spectrums of the genre chart, but the Metal Gods gave their endorsement and the two combatants - Devildriver and Cradle Of Filth - combined a run of shows that has already been written into metal history.Together, Devildriver and Cradle Of Filth created a live spectacle running the complete gammit of metal emotions, the sheer, aggressive nature of Devildriver providing the perfect folly for the more cinematic and theatrical world inhabited by Cradle Of Filth.With demand for the tour rampant across the globe, Australia has been chosen as the next destination to receive a welcome dose of Double Trouble with both bands touching down in this country for five shows across the country this July.HEAVY managed to track down Devildriver frontman Dez Fafara to get the rundown."It's incredible," he smiled when we mention the epicness of the double header. "When we did this in the United States it all sold out pretty quickly so we decided to bring it over. I mean, there's a couple of places around the world that are saying, come bring this tour. And of course, I'm great friends with Danny (Filth) so I'm proud to come out with him.We were going over the set list last night with the band, deciding what we were going to play and also going over production. It's going to be a good time. When we first started talking about it you could feel the energy in the room from both of the bands. It was like, let's go do this so it's going to be a great time. Much looking forward to it."We bring up the fact that the aggressiveness energy from Devildriver is a stark contrast to the more theatrical and cinematic stage show preferred by Cradle Of Filth, but Fafara, while acknowledging it isn't your standard teaming of bands, was quick to stress that sometimes opposites DO attract."For some reason the bands work together really well," he shrugged. "We're so separate musically, but it's a one-two punch that when you get done with the gig, you're walking out going okay, that's a proper heavy metal show."In the full interview, Dez described recent work on set lists and production planning, confirming that DevilDriver will perform an intense, non-stop hour-plus set. Conversation covered the pairing of the two band's origin and their chemistry, crediting a mutual respect between the bands based on the successful U.S. run.We spoke about the experiences for fans, including a special meet and greet, what material will be covered over the tour, the possibility of new music and never-heard-live-before songs and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Sylosis have been hacking away at metal's enduring coalface for the last 25 years. They exploded into the metal scene with their 2008 debut album Conclusion Of An Age, and have been repeatedly upping the ante for homegrown heaviness ever since. From the epic, thrash complexity of 2011's Edge Of The Earth and its swiftly-assembled follow-up Monolith in 2012, to the bruised and brooding Dormant Heart (2015), and 2020's deliriously intense Cycle Of Suffering, frontman Josh Middleton and his henchmen have been consistently at the forefront of all things heavy and brutal throughout their career. As they approach veteran status, Sylosis have sharpened their focus and are now making their greatest music yet. As with The Sign Of Things To Come, Middleton believes that the band's new album The New Flesh is a bold leap forward into more incisive and impressive songwriting territory. A towering testament to destructive riffing, incisive melody and refined brute force, Sylosis' seventh full-length offering is a powerful showcase for the state of SYLOSIS in 2025: lethal, uncompromising, and avowedly metal as all hell.HEAVY sat down with frontman Josh Middleton to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSome bands talk about changing the world. Others actually try to rewire the power source. When HEAVY's Ali Williams caught up with Lime Cordiale's Ollie Leimbach, he was literally on the floor, charging his laptop somewhere five hours north of Sydney. Very rock 'n' roll. Very Northern Rivers. Very “I may or may not be barefoot and slightly stinky.” Which, frankly, checks out. Between laughs about weather patterns and mild coastal smugness, Ollie casually dropped the fact that Lime Cordiale are putting the finishing touches on album number four . Not that they're rushing it. “We're not a three-week studio band,” he admits. This one's only taken about a year. Growth. Maturity. Slightly less agonising perfectionism. But the real headline here isn't just new music. It's Lime Green Festival, their upcoming off-grid, battery-powered, 5,000-capacity experiment-slash-party happening April 18 off the coast of Adelaide . Yes, battery powered. As in, no diesel generators chugging away backstage. As in, the band is fully prepared to risk a blackout mid-set in the name of progress. Bold. Slightly terrifying. Excellent content. The Lime Green concept was born out of a crisis of conscience. During COVID, the band were working on a farm on the Mid-North Coast, diving into regenerative agriculture and learning how to reduce their footprint. Then touring came back. Planes. Diesel buses. Global laps. Cue existential whiplash. Rather than retreat into eco-guilt or write twelve reggae protest songs (no dreadlocks involved, he promises), Lime Cordiale decided to tackle the industry from within. Their approach is refreshingly non-preachy. No finger wagging. No “stop living your life.” Just practical shifts. They've trialled biodiesel buses in Europe, slashing touring emissions by around 98 percent. They've put a dollar from every ticket toward environmental causes they genuinely connect with. In Adelaide, that means supporting awareness around the current algal bloom crisis devastating local waters . Dead fish, stinging water, beaches people can't swim in. Not exactly tourism brochure material. The Lime Green Festival, though, is the big swing. Fully off-grid. Fully battery-powered. A case study in proving that you can run a major event without defaulting to fossil fuel generators. The battery companies are confident. The production crews are cautious. Ollie seems almost excited about the possibility of chaos. “If there is a blackout halfway through, that's part of the journey,” he shrugs . That's the spirit. Punk rock, but with renewable infrastructure. The lineup includes The Dreggs alongside Adelaide locals Alexia, Pash, and a Triple J Unearthed winner . Capacity sits at 5,000, which would make it Australia's largest fully battery-powered festival to date . Casual. Beyond the headline tech flex, Lime Green will feature practical green initiatives: better waste sorting, encouragement to bring reusable bottles, conscious messaging. Not exactly radical ideas, but when you've ever seen a post-gig floor that looks like a plastic tornado hit a bar fridge, you understand why it matters. Throughout the chat, Ollie keeps circling back to one core idea: don't shame people into change. Don't demand everyone bin their petrol cars tomorrow. Replace things when they break. Upgrade when it makes sense. Let progress feel possible, not punitive. It's a refreshingly pragmatic take in a space that often devolves into moral Olympics. At the end of the day, Lime Green will still be what everyone actually shows up for: good music, a crowd, and a reason to forget your inbox for a few hours. The difference is that it might also quietly prove that the industry can do better without killing the vibe. Album number four is brewing. The future might be battery powered. And if the lights flicker mid-chorus on April 18, at least you'll know you're witnessing a social experiment in real time. Tickets for Lime Green Festival are available now at limegreenfest.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceIn conversation with Dominic (Nicky) Palermo, the driving force behind Nothing, it's clear that A Short History of Decay isn't just another chapter for the long-running shoegaze outfit, it's a reckoning. Described as their most emotionally direct release to date, the record finds Palermo shedding vagueness in favour of brutal self-examination.“I just had to look at myself in the mirror a little bit more,” he admits. Time away from the relentless album-tour cycle forced reflection on family, identity and the distractions that once kept deeper truths at bay. The result is a body of work that feels less like therapy and more like confrontation.Borrowing its title from Romanian philosopher Emil Cioran's book of the same name, the album also draws inspiration from William H. Gass's novel The Tunnel, literature steeped in guilt, introspection and uncomfortable honesty. Palermo also carried a stark line from ancient philosopher Anaxagoras with him throughout recording: “The descent to hell is the same from every place.” It became a kind of thesis statement, there's no holding back with this record.Sonically, singles like Toothless Coal push into industrial territory, reflecting a band no longer trying to fit neatly into any box. After 15 years, Nothing still thrives in that tension; not heavy enough for some, not soft enough for others.And for Australian fans? Palermo hints there's a strong chance we'll see Nothing return this year — perhaps even for a festival slot. If this turns out to be true, you heard it here first! Fingers crossed.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsGenerally speaking, bands spend years in rehearsal rooms crafting a “carefully curated sonic identity.” Others however, make an EP in a uni dorm room in a single day just to “see what happens”. Meet Tom, the founding member of Lismore's Media Puzzle, who definately falls in the latter category. In this week's chat with HEAVY Mag's Ali Williams, Tom proves that sometimes the best things start as a joke and spiral wildly into something very real. What began as a one-man experiment with a drum machine and a “let's just put it out and see” attitude quickly snowballed into a full five-piece outfit reverse-engineering lo-fi chaos into tight, high-energy live shows . Tom describes Media Puzzle as falling somewhere under punk, synth punk and the wonderfully unserious label of “egg punk.” Yes, egg punk. It's fast, scrappy, lo-fi, and occasionally powered by a drum machine that had to be dragged from bedroom obscurity into full band reality . The early worlds of Media Puzzle had no band at all, it was just Tom in his bedroom with a laptop, guitar ,drum machine he could use with synth samples. After showing his one day work of art to his friends, they loved it and wanted in. Tom found himself pulling apart his own recordings, rebuilding them piece by piece like some musical Rubik's Cube. ranslating bedroom experiments into something a five-piece could detonate onstage . There's something beautifully chaotic about having to reverse engineer your own songs because you can't quite remember how you made them in the first place. Most bands polish demos. Media Puzzle disassemble them like they're defusing a bomb. Their upcoming run supporting Regurgitator is a genuine full-circle moment for the band. Ten shows across Ulladulla, Canberra, Albury, Melbourne, Brisbane, Sydney and Bathurst are locked in , kicking off March 13 , marking their first proper tour invite and easily their biggest leap so far . For a few members, it's poetic. Bassist Kelly once snuck into a Regurgitator show at 16 . Now she's sharing the bill. That's not just ironic nostalgia. That's rock and roll karma doing its job. The timing couldn't be better. Media Puzzle are dropping a new album around the same time the tour kicks off . According to Tom, it's a step in a “somewhat different direction” while still sounding like them, which in Media Puzzle terms probably means faster, weirder and somehow tighter all at once. The interview drifts into everything from the widely recognised, now redundant Southern Cross University's Bachelor of Contemporary Music that helped shape Tom and a generation of musicians drawn to the Northern Rivers, to the glamorous reality of balancing band life with a day job at Bunnings. Rock and roll might be chaotic, but sausage sizzles keep the lights on. What makes Media Puzzle compelling isn't just the genre-blending, DIY approach or the scrappy origins. It's the freedom. Tom describes the project as something without rules, a space to try anything and learn in public . In an industry obsessed with strategy, that kind of creative recklessness feels refreshing. From dorm-room experiment to national tour support for one of Australia's most iconic alternative acts, Media Puzzle are no longer just “seeing what happens.” They're making it happen. And come March 13, they'll be doing it loud, fast and proudly egg-shaped. For more info and links to tickets for all of Regurgitators Jukeboxxin Tour head to https://www.regurgitator.net/blog Tell ‘em ya mum sent ya and they'll tell you she loves it.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

American deathcore outfit Signs of the Swarm are widely regarded as deathcore's most ferocious bands.After recently completing a sold out US tour to celebrate ten years as a band, Signs Of The Swarm have now set their sights on Australia, heading Down Under for a string of shows with Born Of Osiris in March.Over six studio albums - the most recent of which being last years To Rid Myself Of Truth - Signs Of The Swarm have embedded themselves in the upper echelon of metal bands worldwide, with an unrelenting presence and dynamic output that looks set to dominate well beyond their current decade of dominance.HEAVY caught up with frontman David Simonich to find out more. We question David about their ferocious reputation and ask if it is a badge of honour worn proudly by the band."Absolutely," he smiled. "I feel like that we bring an attitude that a lot of people can't imitate because it's very organic. We just try to be ourselves and that's just the energy that conveys of us being ourselves, you know? Good old American deathcore, brother."With the band recently celebrating ten years together, we take the opportunity to ask David what sorts of things he has learnt about himself and his music over the journey."There's been a lot of learning curves professionally and musically," he measured, "always figuring out, like, sometimes you have to find the right balance of what you want to do and what your fans will like, where you'll be happy to play it for 10 more years. You know what I mean? So there's some songs on other records where I'm like, man, I hope I never have to play that one. Just my head was in the wrong place at the wrong time, you know?"In the full interview David answers the last question in more detail, talks about touring with Born Of Osiris and what fans can expect from the shows, celebrating ten years, how Signs Of The Swarm have grown as a band, how their live show has expanded since the last Australian tour with Within Destruction in 2022, some funny tales from that tour and more.BORN OF OSIRIS and SIGNS OF THE SWARM 2026 Australian Tour DatesWednesday 18th March ADELAIDE, Lion Arts FactoryThursday 19th March MELBOURNE, Max WattsFriday 20th March BRISBANE, Brightside OutdoorsSaturday 21st March SYDNEY, Manning Bar Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceElectric Six are heading back to Australia, and according to frontman Dick Valentine, there's “no reason not to do it.” Big, profitable shows, short flights between cities and a guaranteed good time keep the band returning Down Under.This run promises refinement over chaos. “We're respectful, polite… and we have a good time,” Valentine laughs, describing the live show as “drunk karaoke” backed by seriously tight musicianship. Expect the hits, including the ever-electric Gay Bar, plus deep cuts for diehards yelling requests.Beyond the stage, it's the simple pleasures that win them over: hotel television, great food, and elite pre-flight rituals at the Virgin Australia Lounge.After 25 years, Electric Six remain shocked they're still doing this, but Australia keeps proving why they should.And if Valentine gets his way, fans will walk out of the final Melbourne show already demanding their return. In a world that feels increasingly chaotic, he half-jokes that Australia might be “our only hope.” Refined or ridiculous, Electric Six are ready to plug back in and let the absurdity roar.Tix from: https://metropolistouring.com/electric-six-2026/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

U.S rock/metal outfit Story Of The Year exploded onto the scene with their groundbreaking debut Page Avenue, one of the first albums of its kind to sell over a million copies.The breakout single “Until the Day I Die” quickly became both an enduring anthem and a mission statement for the band. What began as four friends working in a St. Louis pizza joint evolved into a movement, connecting deeply with fans through every era. From Page Avenue (2003) to In the Wake of Determination (2005), The Black Swan (2008), The Constant (2010), Wolves (2017), and Tear Me to Pieces (2023) the band, comprised of Dan Marsala, Ryan Phillips, Josh Wills, and Adam Russell, has delivered a signature blend of melodic aggression, raw vulnerability, and anthems built to scream along to in the dark.And, fans will be pleased to confirm, Story Of The Year are back bigger and better with A.R.S.O.N., marking the next evolution of the band's signature sound and raw, personal lyricism - elements that have earned the band a dedicated global following. An acronym for “All Rage, Still Only Numb,” the album channels their trademark energy into a powerful exploration of anxiety, emotional turmoil and inner darkness. With a dynamic blend of modern post-hardcore, polished production, and nods to their emo roots, A.R.S.O.N. delivers a compelling, storied sonic journey through the fight of Story Of The Year to make it through this life.HEAVY recently caught up with vocalist/drummer Dan Marsala to find out more, running through our review of the album track by track and listening to his thoughts on our thoughts...Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Hailing from America's Rust Belt, hardened nu-metal underdogs KING 810 have built a towering sonic reputation around themes of poverty, crime and the real-world experiences linked to their hometown of Flint, Michigan. Unleashing their debut album Memoirs of a Murderer in 2014, KING 810's maiden LP reached #18 on the Billboard Top Hard Rock Albums charts and #8 on the Billboard Top Heatseekers charts, with the group since forging their own path as an independent band through numerous albums.Earlier this year, KING 810 unveiled two palpitating releases, Rustbelt Nu Metal and K7 Rustbelt Nu Metal 2, with both LPs captured in front of a live audience in compelling and rambunctious fashion, and a promised third album in the Rustbelt series still yet to come.A band renowned for never holding back when it comes to their performances, KING 810 surge with chaos and intensity in a live setting, balanced with raw catharsis and an unwavering audience connection driven by lead vocalist David Gunn. And while often perceived as controversial due to the reality of their lives spent growing up on the streets of a deeply troubled city, the band's balance of heavy discomfort and spiritual insight has led to them becoming seasoned festival performers, with the likes of Download Festival, Rock am Ring in their wake, along with their own acclaimed headline shows and sharing stages with many of the scene's elite, including Korn, Slipknot and Alpha Wolf. Previously appearing at the final edition of Soundwave in 2015, KING 810 also most recently toured Australia in 2024, supporting In Hearts Wake, with Everblack Media noting of their Brisbane support slot: "for a band who has not been to Australia in over 10 years, they certainly got a warm welcome back with the crowd moshing to every song". But in 2026, it's headline prime-time for the ferocious quartet; and KING 810 will not be pulling any punches.HEAVY spoke with Gunn to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

A whole new world of inventive, insidious and infectious metalcore awaits in 2026, with Melbourne's The Gloom In The Corner -- Mikey Arthur (vocals), Jesse Abdurazak (guitar), Paul Musolino (bass) and Joshua Clinch (drums) -- on the cusp of releasing their third full-length album Royal Discordance, due out on Friday 27 February via SharpTone Records.A record that could readily soundtrack an Anime epic, a Netflix smash series, or a sprawling open-world game, Royal Discordance is certainly not your average metalcore album. An action-packed opus hell-bent on sharp narratives and astonishing sonic dexterity, Royal Discordance journeys between an all-out onslaught (previous single Assassination Run) through to cinematic-yet-sinister brutality on Nope (Hollow Point Elysium), grinning chaotic frenzy on You Didn't Like Me Then (You Won't Like Me Now), and a double closing sucker punch via the two-track suite Love 1: A Quaver Through the Pale and Love 2: A Walk Amongst The Poppy Fields.HEAVY caught up with Mikey Arthur to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Formed in early 2022, Townsville metal outfit Varrim burst onto the scene with their debut single Buried in the Hills in August 2022, immediately setting the tone for their signature sound: angry, heavy, and groovy, with blasts of rage, wicked hooks, and evil breakdowns. This track marked the start of what would become Varrim's DNA.Following up with Spirit Bomb - inspired by vocalist Kurt's love for Goku from Dragon Ball Z - the band continued to refine their sound — blending brutal heaviness with melodic and chaotic energy. In April 2023, Varrim released Hunger for the Taste of Conquer, while simultaneously chipping away at their debut EP, Funeral for the Undead, featuring four tracks: Funeral for the Undead, Slaves, Genetic Hell, and Dethroned.The EP launched Varrim into live performance mode, securing shows across Cairns, Townsville, Mackay, Rockhampton, and Yeppoon. Known for their high-energy, brutal live sets, Varrim quickly gained a reputation as a band to watch in the local heavy scene.In December 2024, the band teamed up with local filmmaker Arik to release their debut music video for the single Exhume, featuring vocals from Yowie Smith. Exhume showcased a new direction for Varrim — darker, heavier, and packed with groove-laden, crushing breakdowns — setting the stage for the band's next evolution.Throughout the following year, Varrim focused on recording their next single, Carnography, and developing a music video to match. Despite a busy year of recording and production, the band still tore up stages alongside acts like Hidden Intent, King Parrot, and Pig Destroyer, as well as performing with numerous local heavy bands, steadily building a devoted following.Carnography, dropping 21/02/26, will be the first release from Varrim's upcoming 5-track EP Devourance. With more music, more live shows, and a relentless drive, 2026 promises to be another year of growth, aggression, and pure Varrim energy. HEAVY caught up with vocalist Kurt to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsLord of the Lost are currently somewhere between frostbite and frequent flyer miles. When HEAVY's Ali Williams caught up with frontman Chris Harms, the band were enjoying an “off day” in Las Vegas, which sounds glamorous until you realise it comes after three straight weeks of snow and a delightful minus 25 degrees in Canada. Celsius, for the record. The kind of cold that makes you reconsider every life choice that led you there. The German dark rock outfit are wrapping up the North American leg of their tour before pointing themselves toward Australia for the very first time. Yes, first time. Seventeen years into their career and they've somehow never made it Down Under.  Not for lack of trying either. A previous Australian run collapsed thanks to the classic rock'n'roll villain arc of a disappearing promoter and vanishing ticket money . Enter Hardline Media and Extratours, who stepped in to resurrect the tour and finally get the band on a plane for the 28-hour trek south That's commitment. Or madness. Possibly both. The Australian run kicks off in Brisbane on February 19 before heading through Melbourne, Sydney and wrapping up in Adelaide It's a tight schedule. Fly in the night before the first show, play, fly, repeat, and then straight back out again No cuddling koalas, no hunting for drop bears, no leisurely beach days. Just work, work, work. Romantic, isn't it? Musically, Lord of the Lost are in the middle of rolling out their ambitious Opus trilogy. Volumes 1 and 2 are already out in the world, with Volume 3 on the way. Two singles from the final instalment have already dropped, meaning Aussie fans will get a taste of the new material alongside the older cuts that built their reputation Harms promises a set that represents the whole journey, not just the shiny new toys. And journey is the right word. Over 17 years, the band have evolved through multiple musical styles, toured with Iron Maiden and even dipped into the Eurovision Song Contest in 2023 tghe result is a fanbase that's gloriously mixed. Older devotees have grown up with the band, while younger fans keep discovering them through playlists and, somehow, TikTok Harms jokes they're “too old for TikTok,” but the algorithm clearly disagrees. As for what Aussie audiences can expect? According to Harms (who answered in jest), “extremely boring shows” with zero effort and maximum disappointment. Given their reputation for theatrical impact and high-energy performances, we'll assume that's the driest German humour you'll hear all summer. After surviving Canadian blizzards and Vegas temptations, Lord of the Lost are trading snow boots for sunscreen and finally ticking Australia off the bucket list. Brisbane, Melbourne, Sydney and Adelaide, prepare yourselves. Seventeen years in the making, and they're not flying 28 hours for a quiet night out.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceA Wilhelm Scream are heading back to Australia this March and if you know AWS you know that these guys, much like myself, love a chat! So much in fact, that we had to schedule two interviews just to get through all my questions. Thank you for the laughs guys, I sincerely needed that after the week I was having, anyway, let's get into what we discussed.Our interview with Trev and Ben started off strong talking of coffee rituals, the band's unfiltered group chat, and the ever-expanding “Wilhelm Scream” lore that continually grows more nuanced.Beneath the laughs, though, was something more telling. Trev spoke about constantly chasing the next goal, never settling, never coasting. It's that mindset that's fuelled a career built on integrity rather than trends. Far from a cliché quintet, A Wilhelm Scream have carved out their lane with staggeringly rich albums of ultra-technical, melodic punk firestorms, drawing from their deep catalogue when shaping new material instead of reinventing themselves for relevance.Joining them in Melbourne on March 8 are Authority Zero and Aussie punks The Decline. Expect riffs, sweat and zero complacency, oh yeah and maybe a dash of yapping.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Mizzie MaxxAlt rock icons Yellowcard have released a new version of their track Bedroom Posters which features current touring partners Good Charlotte. The original version of Bedroom Posters can be found on their 2025 album, Better Days.“GC and Yellowcard finally have a song together and it feels so right”, Good Charlotte lead vocalist Joel Madden says. "I love this band and this song and I'm so happy we got the GCXYC collab. And now we are going on tour! This is our love language and I hope everyone that listens feels the love that both our bands have for each other, our fans, and for the music. I can't wait for tour!”Better Days is Yellowcard's first new album in almost a decade and first with executive producer Travis Barker, with Barker also playing drums on every song including Bedroom Posters, Better Days, honestly I and Take What you Want.Yellowcard join Good Charlotte in Australia on their Motel Du Cap World Tour, GC's first shows down under in eight years! The tour hits Australia & New Zealand, starting on February 17. HEAVY's Mizzie Maxx spoke with Yellowcard violinist Sean Mackin to find out more."We were just here celebrating 20 years of Ocean Avenue, so we're going to mix up the set a little bit," Mackin began. "We have this new batch of songs from the album Better Days with Travis Barker producing, and hopefully everyone in Australia is aware of those songs and we can play a couple off of that. It's a small milestone for us, we've never had a number one song before with Better Days reaching number one on the charts in the United States."In the full interview, Sean spoke more about Yellowcard's visit to Australia, their upcoming live-show plans, and creative work around the new album Better Days. He said the Australian performances will blend Ocean Avenue anniversary material with tracks from Better Days. Sean highlighted the single Bedroom Posters, which features Joel Madden of Good Charlotte, revealing that collaboration grew out of long-standing Warped Tour relationships and a backstage conversation that led Joel to agree to contribute quickly. Conversation then turned to songwriting and production choices for Better Days, including collaborative sessions with songwriter Nick Long and producer Travis Barker, who invited the band to his studio and helped write multiple songs. He group discussed the album's emotional content, Sean's violin contributions—traced to his mother's influence—and practical advice for emerging bands to stay genuine and outwork competitors plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Explosive Ukrainian metalcore force SPACE OF VARIATIONS returns with their new album, Poisoned Art, out now via Napalm Records. Blending furious brutality with heartfelt emotion, the four-piece band sheds their skin and continues to push the boundaries of modern metal, their new record showing a new facet of their ever-evolving sound—a new era.Bold as ever, Poisoned Art explores the boundaries of modern sounds. SPACE OF VARIATIONS directs the way into the future of metalcore: unbroken, unapologetic—unstoppable.HEAVY caught up with the band to find out more, starting by asking how they were feeling about Poisoned Art just out from last weeks release."I'm excited, confident, but in the same way, I'm thinking how to play these songs live," Dima Kozhuhar (vocals) replied. "It's both things for me. It's like excitement and a little bit of like fear, you know, how the people will react. But in the end, I'm happy that we did this album and finished it."We ask the band to dive deeper into the album from a musical point of view."What can I say about musical parts from a musical point of view?" Alex Zatserkovny (guitar, vocals) measured. "It's a natural extension of our previous art. For me it's still Space Of Variations and we always change something when we're recording. It's like normal, organic and natural stuff. I don't know, we're always looking for some new angles, new points of view or art. No dramatic changes, I believe, but at the same time, I believe this album sounds very different from all previous albums."Discussion then moved into musical intent and composition: the band described the album as a natural extension of prior work, blending genres and seeking new angles in composition and sound. They explained the singles strategy—releasing varied tracks (Halo, Tribe, Lies, Doppelganger, Ghost Town) to keep listeners uncertain about the album's full scope—and confirmed Tribe was chosen as opener and lead single for its impactful qualities. They addressed bilingual lyrics as a nod to Ukrainian fans and discussed touring ambitions including a clear interest in playing Australia, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

In recent years, California deathcore juggernauts Spite have risen to the forefront of modern heavy music, building a reputation as one of the most formidable forces in the genre. They've drawn comparisons to Thy Art Is Murder, The Acacia Strain and Suicide Silence, and have consistently pushed and pulled at the boundaries of metalcore, nu metal and deathcore. Their rise has been fast and impossible to ignore, seeing the band collect millions of streams and hundreds of thousands of social media followers.Unafraid to experiment and unfazed by expectation, Spite have continually expanded their sonic palate with each new release, culminating with last year's well received album New World Killer, which will be the focus of the band's debut Australian headline performances.Through past visits sharing the stage with Make Them Suffer and Thy Art Is Murder, Spite have integrated themselves into the lives of Australian music lovers with their uncompromising live assault and inate ability to genuinely enjoy each passing moment as a band.With the tour set to kick off in Brisbane on April 24, HEAVY caught up with frontman Darius Tehrani to guage just how much carnage Spite plans to reign down on us all.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Brisbane rock outfit Sound Affliction are proud to release their debut album, Behind The Walls, available now via Australia's only independent rock music label XMusic.The band comment "Behind The Walls is a cumulation of several years of hard work, writing, recording and performing songs we love. It features a diverse range of songs but sticks to the band's core theme of hard rock with emotive lyrics.Our songs are known for dealing with issues that many people face in modern society, such as depression, anxiety and addiction. As the title suggests we all build walls around us to protect ourselves from the outside world, but who really knows what is going on behind those walls."XMusic's Tim McLean-Smith adds "Sound Affliction have delivered an amazing debut album full of driving riffs overlayed by melodies and incredible vocal performances. You discover more the more you listen to this album. Turn it UP! And enjoy."Sound Affliction have shown their tremendous range via four widely diverse singles, the emotionally charged Sober, the riff frenzy of Devil In Me and the powerful songwriting of Leave The Light On and the angst filled The End. To celebrate the release of the album, they have also dropped the final single from it, Fly.HEAVY caught up with the band to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Mighty Swedish Modern Melodic Metallers, BATTLE BEAST head here for the first time EVER in March and the first shows with NEW singer Marina La Torraca. And not only will the shows be their first Down Under, but the opening performance in Perth will also mark the debut show with La Torraca out the front!Marina La Torraca is a Brazilian vocalist from São Paulo, best known as the powerhouse frontwoman of modern metal band Phantom Elite and as a member of the symphonic metal project Exit Eden. She began performing in her teens in local cover bands before moving into formal training, including studying musical theatre in New York.Renowned for her versatile, commanding vocal range, Marina effortlessly transitions from dramatic, melodic passages to fierce, harsh screams. Alongside her career in metal, she has starred in professional musical theatre productions across German-speaking countries. Beyond the stage, she is also an accomplished graphic designer, vocal coach, producer, and songwriter.Now, those talents are joining with Battle Beast to begin the next phase in the evoltion and growth of this great Swedish band. HEAVY sat down with founding member and bassist Eero Sipilä and Marina La Torraca to find out more.The dates are below:March 10, 2026 North Perth – Magnet HouseMarch 11, 2026 Adelaide – Lion Arts FactoryMarch 13, 2026 Melbourne – Max Watts MelbourneMarch 14, 2026 Sydney – Manning BarMarch 15, 2026 Brisbane – CrowbarTickets on sale now  from: https://thephoenix.au/battle-beast/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Failsafe are proof that age has nothing to do with impact. The Sydney trio are only 18, yet they carry themselves with the confidence, humility and purpose of a band far beyond their years (oh yeah and they have a whopping three releases under their belt already!). Formed while still in school, Failsafe began as three friends jamming in a bedroom in Sydney's Inner West, chasing connection and catharsis rather than polish or hype.Those humble beginnings quickly spilled into local bowlo shows before snowballing into a relentless run of gigs across the city. In just two short years, Failsafe have become familiar faces in their local music scene, earning a loyal following through sweat-soaked, bleeding-heart rock performances that feel urgent and alive. They're not just playing punk and rock, they're actively pulling it back to what it was always meant to be: community, expression and somewhat-controlled chaos.Their fiercely DIY ethos defines everything they do. From generator-powered skate park and park pop ups to all-ages gigs, Failsafe prioritise inclusion, even inviting fans to be part of one their music videos. Musically, Theo Fernandez's fast-footed pulse drives the momentum, Anna Morrow's groovy bass anchors it, and Liam Elwing's screeching guitar and raw vocals cut deep.As Anna explains, “Growing up I felt like I could really understand what other people put out, but not really express myself verbally… being able to do that through music is an entirely different skill… it's being really vulnerable and also incredibly dangerous and exciting.” It's that intelligence and drive to take hold of goal after goal that sets Failsafe apart from all the garage bands that never get beyond the garage.They may be young, but these guys are mighty. Check them out on spotify: Failsafe or Youtube: failsafesydneyBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

If you've ever wondered what it's like to survive 30 years in an Australian band without a punch-up, a lawsuit, or at least a few costume changes, Quan Yeomans of Regurgitator is here to tell you—it's mostly sweat, setlist amnesia, and just the right amount of “naive courage” to dive headfirst into the circle pit of life.Ali Williams catches up with Quan mid-tour, somewhere between a billion-degree beach day and Quan's Melbourne “hoodie weather.” Regurgitator's recent shows clock in at a marathon hour and 55 minutes, a feat even Quan admits is “too much for me.” The band briefly flirted with the idea of an intermission—abandoned after realising it just broke the groove. Audiences now get an uninterrupted slab of Gurge, and honestly, no one's screaming for an encore after that much garage rock. As Quan puts it: “I played everything!”The current tour isn't just another lap around the sun—it's a madcap dive into the Regurgitator singles catalogue, dusting off tracks they haven't played in years (thank you, Google, for those forgotten lyrics). There are over 50 singles, so no, they're not playing them all (unless you fancy a three-hour endurance test). But the setlist is a living, breathing thing, evolving with every gig—much like the band themselves. Expect some surprises, and don't get too comfortable: they change it up to avoid “getting bored” and keep the fans guessing.Forget the urban legend about meeting band members Ben Ely and Quan meeting on a Brisbane bus—turns out Ben first rocked up at Quan's mum's place to score weed. “He just happened to walk downstairs where I was tinkering with my 4-track,” says Quan, and the rest is history. Brisbane in those days was a tight little scene: cross a few one-way streets and you'd bump into half your future bandmates (or get hopelessly lost, if you're Ali).Regurgitator's music has always balanced piss-taking parody with actual substance—something Quan admits is often missed by casual listeners. “I'm amazed how many people don't listen to the lyrics,” he laughs, despite the fact he obsesses over every word. These days, their songs show up on random playlists, introducing a whole new generation of fans (many thanks to TikTok and Spotify—“even if Spotify's evil,” Quan quips). The band's legacy now stretches from ‘90s moshers to 19-year-olds who think The Angels are edgy vintage.Despite three decades of gigging and a few legendary bust-ups (including one that almost ended in a lawsuit—cheers, Martin), Quan says the band feels more like a family than ever. New members like Sarah have slotted in seamlessly, proving sometimes a bit of stability trumps creative friction. That said, Quan reckons the secret to not going stale is “reinventing yourself—take a page from Bowie.” But these days, the wild competitive spark of youth has mellowed into something more sustainable: “Now it's way easier to tour. It's easygoing, it's lovely.”Swerving into songwriting, journalism, and the perils of letting technology do all the heavy lifting. Quan's not shy about the state of AI writing: “My god, the writing part is so bad. It's terrible… it just messes it up every time. It's such a slop.” For Regurgitator, the real art comes from putting in the work, not “pressing buttons.” So, aspiring artists—take note: it's called a work of art for a reason.As Quan wraps up, he drops the essential plug: “You can catch us playing at a rural town near you, and probably a big city as well, so please come along. We'd love to see your face. It'll be a good time.” So, whether you're an OG Gurge tragic or a TikTok kid who thinks Polyester Girl is a deep cut, Regurgitator's Jukeboxxin' tour is your chance to see living legends in the flesh.Check out Regurgitator's upcoming Jukeboxxin' dates—from the Top end to Tassie and everywhere in between. Expect singalongs, sweat, and possibly a history lesson in Aussie music, all delivered with Regurgitator's signature sideways grin. Tickets available now—don't sleep on it.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Italian metal icons Lacuna Coil are set to return to Australia for their first full headline tour in nearly a decade, and according to bassist Andrea Ferro, the timing couldn't feel more right.Following a standout appearance at Good Things Festival 2022, the band are eager to reconnect with their dedicated Australian fanbase while showcasing material from their latest record .While Andrea only learned through our interview that their Good Things set was hailed as one of the festival's best, he says the decision to return was driven by a mix of unfinished business and excitement around new music. “We don't come there so often because of distance and cost,” he explains, “but we know we have a very solid fan base, so we couldn't wait to be back” .The tour also marks a rare opportunity for the band to fully immerse themselves in Australia again, something Andrea describes as uniquely special compared to touring Europe or the US.“When we're there, I really feel I'm somewhere else,” he says, noting the landscapes, cities, and wildlife that make each visit memorable .With new songs primed for the live stage and long-awaited headline shows ahead, Lacuna Coil's Australian return promises to be a powerful start to the year.Tickets:  https://www.destroyalllines.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For Thrice drummer Riley Breckenridge, returning to Australia is never just another tour stop, it's a highlight etched deep into the band's history. From their earliest visits alongside Hot Water Music and Alkaline Trio to their most recent run in 2023, Australian audiences have consistently left a lasting impression. “The crowd response blew our minds,” Breckenridge recalls, noting that no matter the venue size, the enthusiasm has never faded.This upcoming tour sees Thrice bringing Horizons West to Australian stages for the first time, a record shaped by reconnection both musically and physically. Unlike Horizons East that was written remotely, West was crafted together in the same room, allowing the band to focus on how songs would translate live. The result, Breckenridge says, is some of their strongest live material in years.That sense of evolution also extends to Thrice's legacy. Revisiting The Artist in the Ambulance has given the songs new life, refined by decades of growth while retaining their emotional urgency. “A lot of it has aged like a fine wine,” he reflects.With a setlist spanning over two decades, Breckenridge promises a cohesive, dynamic journey that honours the past while celebrating where Thrice are now. As always, Australia remains central to that story. Riley even shared that he'd move here if he could and if he does you can thank me for encouraging him to do so, so that his family can witness kookaburra's first hand.Tickets: https://sbmpresents.com/tour/thrice-2026Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Set to bring their monstrous headline show to Australian shores next month, Michigan metalcore titans We Came As Romans return to Australia in support of their new album All is Beautiful.. Because We're Doomed, joined by very special guests Caskets (UK) and Headwreck. They will also be performing at Life's A Beach, the first-ever curated summer event by Polaris will take place at the Riviera Beach Club in St Kilda, joined by a stacked array of talent.Stepping into view in 2009 via their debut album To Plant a Seed, We Came As Romans have remained a powerful force of sharp melodies, thick guitars, grooves and unwavering positivity in the face of an uncertain world. Between countless sold out shows, over 250 million streams, seven studio albums and ongoing critical acclaim, We Came As Romans relentlessly forge ahead with a sonic blend that spans metalcore, post-harcore, electronic hues at times and an urgency that captivates in any and every live setting.Traversing tragedy and tenacity along the way, the band returned with gusto in 2025 with the recent release of their seventh studio album All Is Beautiful…Because We're Doomed; the band's second studio album since the tragic passing of their brother Kyle Pavone, and a collection of tracks that wrestles with the highs and lows of humanity.In a live setting, We Came As Romans have spent their storied career touring with some of the giants of the scene, spanning Bring Me The Horizon, I Prevail, The Used, Sleeping With Sirens, Parkway Drive and countless others, with WCAR performing down under most recently in 2023 which marked their first Aussie performances since 2015.HEAVY sat down to chat with frontman Andrew Glass ahead of this months tour to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Melbourne's high energy rockers, XCalibre release their brand new album, X, today! Born from grit, fire, and raw emotion, XCalibre are a powerhouse rock trio from Melbourne, Australia, blending hard-hitting riffs with cinematic energy and heartfelt storytelling.XCalibre channel life's chaos, resilience, and redemption into every note, crafting songs that hit as hard emotionally as they do sonically. Their music fuses modern hard rock intensity with classic influences, creating a sound that's both anthemic and deeply personal.To celebrate the release of X, the band have released their most touching yet enormous song to date. Lights and Sound. With a feeling evoking the epic melodies of Lanterns by Birds of Tokyo, Lights and Sound is, as frontman Dan Marazita explains, "inspired by a big chapter from earlier in life and the need for closure. The song explores what it feels like to stand at the edge of change. Looking back on a meaningful connection, recognising that people grow in different directions and stepping forward without bitterness.It's reflective, emotional and grounded in respect. Sonically, it strips back the big riffs but holds onto Xcalibre's emotional core and melody. Even without the heaviness, it still feels massive.”HEAVY's Angela Croudace spoke with Marazita to find out more.X also features the unstoppable House Of Pain and Gravity (Through It All), which features DJ Lethal (Limp Bizkit) and Marcos Curiel (P.O.D.), and was recorded at Matt Sorum's studio in Los Angeles. X is out now via XMusic: https://lnk.to/HHI9cxBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

COPPERHEAD are a three-piece heavy rock/metal band from North-West Tasmania, delivering a powerful no-nonsense sound that punches well beyond their years.Fronted by Charlie Wicks (15) on guitar and vocals, alongside Nate Starkey (16) on bass and Charlie Williams (19) on drums, Copperhead already show the chemistry and focus of a band built for bigger stages. Despite their young age, their sound is confident, aggressive, and unapologetically heavy and wearing their influences like a badge of honour, unashamedly drawing from the power and grit of bands such as Metallica, Nirvana, Alice in Chains, and even flashes of early Silverchair.After travelling to Melbourne to record with producer Tyson Fish (Mammal, Vance Joy), the band went on to dominate at the Rock Challenge in Tasmania, the state's elite school band competition, taking out both their heat and the state finals in the high school division.Their debut single Mortal Souls delivered hard-hitting riffs and relentless energy and quickly racking up thousands of streams across Spotify, establishing Copperhead as one of Tasmania's most exciting emerging heavy acts.Now gearing up for the release of their new single Public Indecency, Copperhead continue to push an old-school rock/metal sound with a modern edge. Early listeners have already described the track as something that “could fit perfectly on Metallica's Black Album.”Both songs have been co-written with Australian punk band Captives and Public Indecency is shaping up to be a defining moment, not just for the band, but for the next generation of Tasmanian heavy music.HEAVY caught up for a chat with all three band members ahead of Friday's release and start by ask how they are feeling just a couple of days out."We're extremely excited," drummer Charlie Williams exclaimed. "We've had this song in the files for months now and we've just been so eager to it out to the world. And now it's finally happening and it's going to be out next week."Public Indecency follows Copperhead's debut single Mortal Souls, and we ask the boys what their thought process was when deciding which song to lead with."We released Mortal Souls first because we thought it was just a good way to really show people who we are," Williams replied. "But Public Indecency is our favorite out of the two songs. We kind of wanted to hold off on releasing the better song because people are going to be surprised on how different it is musically. Mortal Souls is just a thrash it out, fucking just go hard all the time, and Public Indecency is also that in a way, but it's a lot more like… I don't even know how to describe it (laughs)."In the full interview, Copperhead spoke more about Public Indecency and how it represents them as a band. They talked about the title and subject matter, emphasing the need to have fun with your music whenever possible.The band spoke about their youth and love for old school rock and metal, recording in Melbourne, co-writing both songs with Captives, album and tour plans and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.