HEAVY Music Interviews

Melbourne outfit Riff Raiders are a powerhouse hard rock outfit known for their explosive live energy, massive hooks, and crunching guitar riffs. Formed in 2017, the band features core members Jenni Powell on soaring lead vocals and Marty Powell on lead guitar. The band initially built a loyal following across the Australian live rock circuit with their debut album Live Like You Mean It and their critically acclaimed 2020 follow-up Rock and Roll Daydream, with their signature sound blending classic Aussie rock traditions with a sharp, modern alternative edge.On 7 June 2026, the band ended a six-year album hiatus by releasing their highly anticipated third studio record, Welcome to Mars. Released worldwide across streaming platforms like Spotify and YouTube Music, the tightly constructed 11-track project serves as a grand "rock ’n’ roll re-entry".  Welcome to Mars is a genre-blurring collection that explores diverse musical flavours while staying rooted in hard rock. The album's roll-out was driven by three standout singles that showcase the band's creative evolution: Nothing to Lose, Broken Halo and Welcome To Mars.To support the release, Riff Raiders are breaking their long absence from the live stage. They will celebrate their official live comeback on August 28 in Melbourne as part of the Rock Is Not Dead festival, bringing their new space-age stadium anthems directly to the fans. HEAVY caught up with Jenni and Marty to chat more, asking them to describe Welcome To Mars from a musical point of view."On the last album, Rock and Roll Daydream, we did a lot more overdubbing and went for a bigger production sort of sound," Marty measured. "So this time we stripped it right back and brought the bass and drums right up into the picture and kept the guitars pretty dry and simple and really showcased the vocals. The idea of the band with Riff Raiders is we do a few different styles of hard rock, which hopefully tie together under the theme of Welcome to Mars this time."In the full interview, Jenni and Marty dive deeper into Welcome To Mars, including the three singles released and how they reflect the album overall. We spoke about the different layers of rock throughout the album and finding the balance and cohesiveness to keep the flow going.We talked about Riff Raiders' prolonged absence from the stage and the reasons behind it, the upcoming Rock Is Not Dead show, future gigs and more.Welcome To Mars is out now: https://tinyurl.com/WelcomeToMarsBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersDead of Winter Festival is officially back, resurrecting its glorious, dark alternative underworld at Brisbane’s iconic Mansfield Tavern on Saturday, 27 June 2026. After six long years in the shadows, this absolute staple of the heavy music calendar is rising like a Phoenix. Organisers have curated a massive line-up of 31 bands, performance art, and horror cosplay. Yet, out of all the distortion and chaos set to take over the multiple stages, one band is uniquely poised to completely steal the show: The Neptune Power Federation.Fresh off massive European touring, the Sydney-based rock outfit is making their highly anticipated return to Australian soil. If you have ever witnessed them live, you already know it is an over-the-top, mind-bending experience. If you haven't, prepare your soul. Fronted by the utterly hypnotic and fiercely commanding Imperial Priestess, Screaming Loz Sfire, the band seamlessly blends 1970s heavy psych, punk-driven aggression, and pure, unadulterated stadium rock theatrics. They do not just play a set; they bring a full cosmic ritual that forces your feet to tap and your neck to snap.What makes their inclusion at Dead of Winter so perfect is how seamlessly their occult energy meshes with the festival's community atmosphere. Backed by a razor-sharp rhythm section and an onslaught of massive, screeching guitar riffs, they are an absolute powerhouse of rock 'n' roll. Dead of Winter has always built its legacy on being a super fun, super safe space for sub-genres to collide. The Neptune Power Federation delivers exactly that brand of welcoming, theatrical madness.HEAVY sat down with bass player Jaytanic Ritual (a.k.a Jason Whalley from Frenzal Rhomb) to better prepare ourselves for the show and asked about the genesis of the band."We were formed on a distant planet," he began. "We were summoned by Her Majesty the Imperial Priestess to basically support her in all her endeavours. Those endeavors being traveling through time to destroy the patriarchy. So we've basically been doing her bidding now for about 10 years in our time, but it spans the millennia in other people's time. We also have all these rules. So, none of the men in the band are allowed to speak. She's deemed that it's okay for me to talk today, so I can talk candidly, but for the most part, we're there just to do her bidding. And apparently, her bidding is to play 1970s psychedelic rock."We mention that it must be an exercise in futility expecting Jaytanic Ritual to say nothing from the stage, to which his tone became more sombre."The consequences of speaking are so dire that it's better off just doing what she wants," he replied, fear in his eyes. "The other thing we're not allowed to do is smile, because what we're doing is very serious. Plus, we're not allowed to wear band shirts because we're the only band from our planet, so there are a lot of rules, but I do like the boundaries."In the full interview, we explore the world of The Neptune Power Federation in greater detail, finding out what makes them tick and the driving force behind their music. Jaytanic Ritual runs us through their live performance and what to expect, offering three songs concert goers can listen to in order to get to know the band better if they are only new to the party.We talk about the new album Mondo Tomorrow and its musical psyche, including the move away from recounting the adventures of the High Priestess in favour of technology. Jaytanic Ritual explains how the album sees The Neptune Power Federation return more to their punk roots, the surprise album that was recorded at the same time and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersPortuguese masked metal maestros Gaerea will embark on their highly anticipated debut tour of Australia next month. Presented by Soundworks Direct, the five-date national run is officially titled the Loss Australian Tour. This run marks the very first time the cathartic extreme metal band will bring their intense live performance down under.Known for their signature black hoods and a sound that blends crushing breakdowns with soaring, emotional melodies, Gaerea has built a formidable reputation in the global heavy music scene. The upcoming shows promise to deliver immense emotional impact and raw live energy.Vocalist Alpha shared that the tour is a massive milestone for the group. While Australian promoters have shown eager interest since Gaerea's early days, the high financial barrier of international travel delayed the trip until the band reached a stable position. Now celebrating a ten-year journey, the band is thrilled to bridge the physical gap with their long-time supporters.The nightly setlists will span Gaerea’s entire discography. Audiences can expect to hear definitive tracks from earlier foundational releases like Unsettling Whispers, Limbo, and Mirage. The performance will heavily highlight material from their 2024 album Coma, alongside an immersive exploration of their newest sonic era, Loss. Supporting the band across the East Coast leg of the tour is Melbourne-based progressive tech-metal act Ironstone, adding exceptional local flavour to the brutal bill.HEAVY caught up with Alpha to find out more, asking him to run us through what fans can expect from the shows."Well, I always say that it is the best cocktail mix that we can do to make a very aggressive show," he replied, "together with minimalistic, super melodramatic emotional moments where we go through the motions of anger, but also loss, for example, or sadness. There's a bit of everything in terms of the extremes of emotions in the show. We try to be very visual with that. And yeah, I'm pretty sure it's going to be a good, striking, emotional ride.That's what we set ourselves to do 10 years ago, and we've been doing that. So again, it feels good to be able to do it for the first time in a country. But I heard the fans go completely wild in Australia, so that's always something that gets our blood running for even better shows."Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

There are few stories in Australian rock history as heavy or as real as Nathan Cavaleri’s. We all remember the kid—the pint-sized blues prodigy who jammed with B.B. King, signed global deals, and made the guitar sing like a seasoned delta master before he was even a teenager. But as any rock fan knows, the higher the climb, the more brutal the crash. With his upcoming massive national theatre production, the Growing Pains tour, Cavaleri isn't just playing a set of tunes; he’s laying his soul bare on stage in a raw, real-time reckoning with stardom, mental health, and survival.This isn't your standard, ego-driven rock retrospective. This is an intimate, solo performance that beautifully blends heavy storytelling with the soulful, blues-infused musical prowess that made him a household name. Cavaleri is taking audiences on an emotional rollercoaster, tracking his journey from busking on the streets of Campbelltown to conquering international stages, battling leukaemia, and surviving a full-blown mental health collapse that once left him terrified to even pick up a guitar.What makes Growing Pains so essential is its unapologetic vulnerability. Cavaleri openly admits to feeling "nervous as hell" about putting his darkest moments under the theatre spotlight. Yet, it’s exactly that honesty—paired with his undeniable guitar wizardry—that leaves the crowd uplifted, inspired, and completely in awe. It is a powerful reminder of how music can serve as ultimate therapy.HEAVY sat down with Nathan to chat about the run of shows and the subject matter, asking where the idea came from."When I got back into it, I was actually just starting to share my experiences," he began, "like growing up on tour and playing with all these amazing legends, but also making sense of life along the way and some of the challenges I went through. I was getting a lot of feedback from members of the audience saying that they loved the songs, but they really loved the stories and wanted more of them, and suggested I write a book. I've lived this life, so it's not... it just feels pretty normal to me. And I thought, well, I don't want to write a book. It feels a little bit premature, but they were barking at me for a long time. So I thought, all right, well, why don't I try something different and bring it to the stage and create a live show out of it?"In the full interview, Nathan talks more about the genesis of the idea, including how he decided what subject matter to cover. He detailed the difficulties he faced confronting some of those memories and working them into a narrative, offering up some stories that made the final cut along the way.He talked about some of his best memories, how music ultimately affected his mental health and the steps he has taken to get through it. The format of the shows was discussed, as was the level of crowd interaction, as well as new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFifty years after helping ignite the UK punk movement, Captain Sensible still sounds pleasantly surprised that The Damned are standing strong.Speaking ahead of the band's Australian 50th Anniversary Tour this September, the guitarist reflected on a career that has taken the group from playing tiny pubs to prestigious venues that once wanted nothing to do with them."When we started, I never thought it would last more than three or four weeks," he laughed. "We were playing this uncompromising noise music and upsetting audiences. I never thought anyone would let us make an album, let alone still be doing it 50 years later."For Sensible, The Damned's longevity comes down to authenticity. Despite five decades on the road, the band continues to embrace unpredictability."You never know what's going to happen next, even we don't know," he said. "That's the great thing about proper, organic rock and roll."The celebrations arrive during what Sensible calls a "golden period" for the band. One particularly satisfying milestone has been performing at iconic venues that once rejected them."We're playing places that banned us back in the day," he said. "The Royal Albert Hall didn't want us in the late '70s, and now we're playing places like the Sydney Opera House. For a band that's always been anti-establishment, that's pretty ridiculous."The conversation also unearthed one of punk's more bizarre stories, with Sensible confirming a bit of family lore for me; a tale involving an inflatable dinosaur costume at London's Rainbow Theatre. After being dragged into the crowd by the costume's tail, he emerged without it and finished the show naked."It's why there was never a repeat performance," he joked.Fifty years on, The Damned remain rebellious, unpredictable and, somehow, still surprising themselves.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

American rock titans Shinedown and British alternative legends Bush are uniting for a massive co-headline tour across Australia and New Zealand in September 2026. Promoted by Destroy All Lines, this blockbuster arena run bridges two distinct eras of heavy guitar music. The highly anticipated roadshow represents Shinedown’s monumental return down under for the first time in over 15 years. Simultaneously, it marks Bush’s first full-scale headline run of the region in nearly three decades.Shinedown brings a precise, high-octane live production to the stage, fueled by a record-breaking 24 number-one rock hits and more than 8.3 billion global streams. Local audiences can expect a dense, anthemic setlist packed with their definitive mainstream radio hits like Second Chance, Sound of Madness, and Monsters. The Florida-based rockers are also using this international trek to showcase brand-new material from their eighth studio album, EI8HT, which launched recently with widespread critical acclaim.Complementing Shinedown's arena-ready energy is the raw post-grunge power of Bush, anchored by the iconic charisma of frontman Gavin Rossdale. With over three decades of global success and a billion streams, the London-born outfit remains an essential fixture of modern alternative rock. Their performance will highlight definitive mid-90s hits from their seminal, multi-platinum debut record Sixteen Stone, treating fans to live renditions of Glycerine, Comedown, and Machinehead. Additionally, Bush will perform tracks from their tenth studio album, I Beat Loneliness, demonstrating their continuing creative evolution.HEAVY sat down with Shinedown frontman Brent Smith to get his thoughts on the tour. It's been 16 years since Shinedown last toured this country, so we ask Brent what has changed with the band over that period."Just the trajectory of the band," he measured. "The albums. Life. Experience… The thing that I never take for granted is that I can look back and say to myself, I feel very, very fortunate that from the moment I could have a conscious thought… what I wanted to do with my life, I'm doing. And to still be 25 years into being in this band… You don't ever want to have this big, meteoric rise. I don't know the way I should say this, but I can only say it in the most authentic way possible. Experience is something that you need in this industry. Sometimes, when you get a big jump, there can be a heavy fall. It's a very difficult industry to navigate, the music business and however you want to look at it. But the reality is it all comes down to the audience and the artist. I've said this before, and I mean it. In Shinedown, we only have one boss. It's just everybody in the audience. And Shinedown is also everyone's band."In the full interview, Brent makes apologies for taking so long to get back to Australia, promising the band will more than make up for lost time. He spoke about the evolution of Shinedown over their musical journey and the importance of staying grounded, no matter what else is happening.He recounted how the initial discussion to pair Shinedown and Bush on tour came about, expressing his respect and love for their touring partners and how their music will compliment the other. Brent talked about Shinedown's recent album Ei8ht and its reception, highlighting the positive reaction by fans and critics alike, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsGerman death metal veterans FLESHCRAWL are entering a major new chapter with Epitome Of Carnage, their 10th studio album and the first to feature Borisz (The Savage) Sarafutgyinov handling all vocals and lyrics. In conversation with HEAVY’s Ali Williams, founding drummer Bastian Herzog and Borisz spoke about the refreshed lineup, the record’s old-school approach, the pressure of carrying a long-running name forward, and the small matter of trying to get the band to Australia without financially maiming everyone involved.It is a big moment for FLESHCRAWL, although neither Borisz nor Bastian seem interested in dressing it up as some grand reinvention. The feeling is more practical than theatrical. The lineup has changed, the energy has shifted, and the band have used that movement to build something that still sounds unmistakably like FLESHCRAWL. Borisz joined the band in 2021 following the passing of longtime vocalist Sven Gross, and Epitome Of Carnage marks his first album taking full control of the vocals and lyrics. That is no small handover. FLESHCRAWL have been part of the European death metal landscape since 1987, and walking into that kind of history requires more than a decent growl and a reliable calendar. For Borisz, the change in sound comes naturally from the people now in the room. “The lineup is pretty fresh,” he explained, pointing to the two newer guitar players as part of the reason this album feels different. His own voice and lyrics also helped push the material into its current shape, giving the band a new angle while keeping the core intact. Bastian sees it as a new start as well. Coming from a founding member, that carries weight. He has been there since the earliest days, long enough to make most band origin stories look like recent lunch orders. Yet there is no sense of him clinging to the past with both hands and a suspiciously labelled backup hard drive. He sounds ready for this version of FLESHCRAWL to stand on its own. The lyrical direction on Epitome Of Carnage came from a darker place, although Borisz admitted he only fully recognised the pattern once interviews for the album began. War, media doom, social decay and the world’s apparent commitment to behaving like a malfunctioning meat grinder all worked their way into the songs. When asked what drove the album, his answer was refreshingly direct. ‘Being pissed off’. Fair. Death metal has never exactly demanded a vision board and has launched entire careers on less.That anger, however, has been channelled with purpose. FLESHCRAWL were clear about wanting the album to feel organic, not manufactured into something overly slick. Borisz spoke about avoiding modern production techniques such as enhanced drums, triggers and excessive studio layering. The aim was to create a record that could connect with older fans while still making sense in 2026. Bastian contributed riffs and also wrote a short instrumental piece for the album, although he was typically understated about his role. Borisz was quicker to point out that everyone contributed across the record, with no strict divisions in the writing process. The band worked as a unit, which also means everyone had the pleasure of annoying everyone else in useful ways. Check out the full interview for much more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Get ready to snap your necks, Australia, because New Zealand black-thrash titans Bulletbelt are crossing the ditch this June to tear you all a new one.The Wellington metal veterans are locked and loaded for the highly anticipated resurrection of Dead of Winter Festival. Taking place on Saturday, June 27, 2026, at its brand-new stomping ground the Mansfield Tavern, this iconic alternative counter-culture gathering is officially back after a multi-year hiatus. While Aussie heavyweights like DZ Deathrays and Mammal are ready to hold down the home front, Bulletbelt represents the absolute pinnacle of relentless, sonic savagery coming from across the Tasman.If you have ever witnessed Bulletbelt live, you know they do not just play music; they deliver a sonic assault that leaves your ears ringing and your feet bruised. Their signature blend of old-school thrash velocity and cold, uncompromising black metal atmospheric filth creates a hellish wall of sound. It is the kind of measured aggression that instantly gets your head snapping. For years, these guys have carved out a reputation as one of the hardest-working, most road-hardened extreme metal forces in the Southern Hemisphere.Dead of Winter has always been a sanctuary for the outsiders, the riff-lords, and the beautiful weirdos of the heavy music community. Moving the madness to the legendary Mansfield Tavern means 34 acts will split your skull across multiple stages. It offers the perfect, high-intensity indoor environment for Bulletbelt to do what they do best: decimate crowds. Expect sweat-soaked leather, full-throttle blast beats, and a wave of pure, unadulterated energy that hits with the subtle force of a flying brick.HEAVY caught up with drummer Steve Francis to find out more. With Dead Of Winter returning after a number of years, we ask Steve just how important festivals that nurture homegrown talent are to the continued growth of Australian and New Zealand music."They're huge," he replied instantly. "And look at Australia. Look at how many amazing heavy bands there are at the moment, and a little bit of a parallel to back here in Wellington. I think the local scene at the moment here in Wellington and the bigger New Zealand is probably better than it's ever been. There's so many bands that are getting overseas and getting signed to international labels and coming over to play Brisbane with such a really cool, diverse lineup as well.We came two years ago and played Necrosonic Festival, and that was catered a little bit more to the heavier side of the rock genre. But this one is really exciting because we're going to be presenting ourselves in front of a bunch of people who aren't just into heavy music, they're into all sorts of rock-oriented music. So, yeah, really excited."In the full interview, Steve reported that Bulletbelt has been off the road since a November 2024 15th‑anniversary show while recording a new album, which is finished and produced by U.S. producer Damien Reynard to achieve a “world‑class” sound. The record emphasizes more melody, higher tempos (including songs near 200 BPM) and power‑metal influences, and is planned for release around October; release timing is partly delayed by the postponed film Deathgasm 2, for which Bulletbelt wrote the theme.Steve characterized the band’s festival approach as high‑energy, crowd‑engaging “party band” sets and said festivals are crucial for reaching broader rock audiences beyond heavy‑music niches. He confirmed the band will perform two new songs during the Australian shows and named local bands he’s anticipating at Dead of Winter and more.Dead Of Winter will be held at the Mansfield Tavern in Brisbane on June 27, featuring Mammal, DZ Deathrays, Jay and Lindsay, Beanflipper, Toe to Toe, Slim Krusty and many more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Denver, Colorado punk collective Dead Pioneers return with their fierce third studio album, Wagon Burner. Set for release on 26 June 2026 via Hassle Records, the project builds upon the momentum of their 2023 self-titled debut and 2025’s acclaimed PO$T AMERICAN. Fronted by Indigenous visual performance artist and activist Gregg Deal, Dead Pioneers' continue to blend the raw fury of hardcore punk with biting spoken-word commentary, channelling the contemporary Indigenous experience, historical trauma, and political resistance.While their previous work relied heavily on targeted individual statements, Wagon Burner represents a more unified, collaborative writing effort by the full band. Musically, it is their heaviest and hardest record to date, yet it remains intensely accessible, striking a delicate balance between abrasive noise-punk melee and viciously catchy hooks.HEAVY caught up with Deal to find out more, asking him how he is feeling about the album close to release date."Honestly, there's a lot of emotions," he measured. "I kind of go through peaks and valleys. I'm excited about it, and then I'm not sure. We do these releases, and sometimes they do really well. And sometimes they're not doing as well as I'd like, and so it gets in my head. I'm excited about it, but it's been a bit of a mind F."Spoken word and narrative pieces play a major role in the feel and message of the album, with Deal agreeing that there was much thought put into getting even the smallest of details correct."Yeah, I think so," he nodded. "We actually recorded so much that we have enough for another half a record. We have enough for like an EP, and so we're trying to pick and choose. We want a narrative and a sound that can live in that space. We came into this record trying to be as articulate as possible, but also not pulling any punches from everything that has been happening, everything that is happening in the United States.And so it is meant to be political, social and cultural. We're trying to find a medium in there with that, because it's a lot of heavy stuff. So the humour that has existed in other places is a little bit more subtle on this one, but it's still there. We definitely are trying to curate something that makes sense audibly and in the information that exists lyrically."In the full interview, Gregg talks more about the musical side of Wagon Burner and how it differs to Dead Pioneers' first two albums. We run through the themes that permeate through the album and their connection to Gregg personally.The constant battle against oppression in all forms is discussed, along with the impact bands such as Dead Pioneers have on the global landscape through their music. Gregg ran us through some of the spoken word pieces and elaborated on their meaning, diving deeper into the guest artists and why they were chosen.Gregg also detailed the genesis of the band and how it has evolved over the years, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSpanish melodic death metal force BLOODHUNTER returns on June 12 with their new album, Sons Of The Abandoned. It has been both a long wait and a very deliberate one for the band. Four years have passed since the band’s previous album, and while fans have been understandably circling the release date like metalheads around a merch table with limited sizes, BLOODHUNTER have not spent that time idling around waiting for inspiration to knock. “It’s been a long wait until we finally release the album,” vocalist Diva Satanica explained to HEAVY's Ali Williams, adding that the response from fans has already been overwhelming. “We are very thankful for that.”For Diva, Sons Of The Abandoned is not simply another BLOODHUNTER record with the distortion turned up and the emotional damage left to fend for itself. This time, something shifted. The music still carries that death metal edge, but the album and its inspiration step into more exposed territory lyrically. Diva admits that previously she had hidden behind the metaphors in their lyrics, but this time the writing became more direct. “It has been different this time,” she explains. “Usually, I feel like I hide myself behind the metaphors. It’s difficult when you play death metal to find this balance between speaking about things that everybody has in common, but without sounding too cheesy.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThirty years after the tragic loss of frontman Bradley Nowell, California’s premier ska-punk icons Sublime have defied the impossible. The band has returned with their new album Until the Sun Explodes (June 15), their first full-length studio album of entirely original material since 1996. Arriving via Atlantic Records, this highly anticipated 21-track LP is a monumental generational handoff. Stepping into the frontman role is Bradley’s son, Jakob Nowell, who unites with original founding members Eric Wilson (bass) and Bud Gaugh (drums) to create a record that feels less like a modern reboot and more like a beautifully crafted epilogue.To capture the definitive, sun-soaked identity of the band, Jakob and producer Jon Joseph meticulously catalogued every chord progression, sonic texture, and lyrical boundary of the classic Sublime discography. The result is a vibrant resurrection of their signature formula: an intoxicating blend of reggae-infused punk, dub, hip-hop, and Southern California absurdism. The rollout has already proven historically successful; the explosive lead single Ensenada spent eight weeks at No. 1 on Billboard’s Alternative Airplay chart, eclipsing the chart-topping run of their 1996 timeless hit What I Got.While the music captures the nostalgic energy of the 1990s, the thematic core of the album rests heavily on legacy, sobriety, and profound gratitude. On the poignant title track, Until the Sun Explodes, Jakob’s vocals eerily mirror his father’s chill cadence as he sings directly to Bradley's memory: “Until the sun blows up in the sky/I owe you my life”. Rather than trying to rewrite history, Jakob has explicitly framed this album as a final, heartfelt thank-you letter to his father and the fans who kept the scene alive.HEAVY sat down with Jakob to dive deeper. We ask about the difficulties he faced with making an album that represented the entire career of Sublime, while still making it sound fresh and vibrant, asking if he and the rest of the band sat down and studied past releases to get the sound they were after or if it was more of a natural process."A little bit of both," he replied. "There's a lot of study going into it for me and our producer, John. We wanted to really do our work and take this gig seriously. Every single released piece of Sublime media and all of the interviews and the bootlegs, and then going back and listening to all of their influences and all the bands that really made them excited. We wanted to factor all this in so the sounds we were using had some precedent in the Sublime release catalogue, so we weren't just pushing the sound in some random directions for no reason. Then bringing Bud and Eric in to write these songs and fleshing them out with those two, who obviously already know how to make Sublime records, that part was the most natural part."We ask Jakob if he felt much internal or external pressure to get it right on the album."Yeah, yeah," he nodded. "Pressure abounds, for sure. We all deal with pressure differently, but acknowledging it is a big part of the process. I know how many people love Sublime, and I know how much my Father's legacy and memory mean to me and how much the very idea of even doing this might be ill-advised or fraught with peril. I think I had to go into it with that amount of respect. The way that I deal with all those expectations and fears and imposter syndrome is I try to remember at the end of the day, 'okay, this is important and is deserving of my respect, and I'm gonna take this job seriously as a professional'. But at the end of the day, I always say we're not curing cancer here. We're making rock and roll music (laughs). That is something I believe I know how to do."In the full interview, Jakob talks more about the new and final Sublime album, including the musicality present and what they were going for. He tells us about the pressures of not only filling his Father's shoes as frontman, but also personal fears and expectations around doing his Dad justice.We spoke about Jakob's first time fronting Sublime in the studio and how he feels about it, the fact that this is Sublime's final album and what the future holds. The album collaborations were fleshed out, and we talked about Sublime's recent shows at Red Rock Ampitheatre and plans for the rest of the year, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersLet’s be honest for a second. When you hear that Karnivool is touring, your ears instantly prick up. They are the undisputed kings of Australian progressive rock, a band that makes complexity sound like second nature. But when the tour announcement dropped, the words Car Bomb and TesseracT were slapped on the bill alongside them, things suddenly took an even bigger turn for the better. This isn’t just a concert line-up; it’s an absolute musical assault on the senses.HEAVY has always loved music that challenges you—the kind of tracks that don’t just sit in the background but grab you by the throat and force you to pay attention. That is exactly what this tour is going to do. If Karnivool is the masterclass in sonic atmosphere, deep groove, and sweeping, emotional melodies, then Car Bomb is the chaotic entity sent to tear the room to pieces before the headliners even touch the stage.For the uninitiated, Car Bomb doesn’t just play metal; they weaponise time signatures. Their style is a dizzying, frantic, and claustrophobic mathcore that feels like a glitching supercomputer trying to punch its way out of your speakers. Pairing their jagged, laser-guided ferocity with Karnivool’s lush, towering soundscapes and the wizardry of TesseracT is a stroke of absolute genius. It’s a beautiful contrast between absolute, calculated chaos and pristine, progressive beauty.HEAVY sat down with Car Bomb's guitarist Greg Kubacki to find out more. One of the topics of discussion is how Car Bomb find the balance between styles and genres in the creative process."I do the majority of the writing these days," Greg replied. "Back in the day, it was all of us working together in a room, but now we all have responsibilities, so I do the majority of the stuff. When the song starts, I start with an idea and put it on the shelf for a month or two and come back to it and see if I like it. And if I like something - whether it's technical or it's knuckle-dragging, really simple stuff - I'll just start working on a song from there.When I run out of ideas, that's when I usually know a song's done. Or if I put the song again on the shelf for another month and listen to it, and I don't find anything wrong with it, then I'm like, okay, it's good. But usually we have so many ideas that we're always working on. It's not like the movie Amadeus, where we're just writing it out, and it's written in five minutes (laughs)."In the full interview, Greg explains why it has taken Car Bomb so long to make it to Australia, how he prepares to tour a country for the first time and what they are expecting. He talked about the live show and what to expect, including what three songs people going to the show should listen to in order to get to know the band and music more.Greg ran us through difficulties in transforming the musical complexities into the live arena, as well as finding the balance between styles in the creative process. We spoke about the early days of Car bomb and the musical climate that gave birth to the band, the first time he heard one of his own songs on the radio and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersAustralia's hardest working rock outfit Airbourne are the official supporting act for Guns N' Roses across the Australia and New Zealand leg of their World Tour. This high-voltage stadium tour pairs two generations of fierce rock icons.Hailing from Warrnambool, Victoria, Airbourne was formed by brothers Joel and Ryan O'Keeffe and are a seamless fit for the legendary Los Angeles band. Airbourne has spent decades carrying the torch for raw, traditional Australian hard rock. Their straight-ahead rock 'n' roll style is heavily reminiscent of pub-rock pioneers like AC/DC, slotting comfortably alongside Guns N’ Roses' multi-platinum, stadium-sized catalogue.The stadium series of shows brings out the principal star power of Guns N' Roses, with original members Axl Rose, Slash, and Duff McKagan completely committed to the line-up, promising a blending of classic anthems like Sweet Child O' Mine and Welcome to the Jungle, mixed with fresh, contrasting modern tracks Atlas and Nothin'.Airbourne acts as the perfect match to ignite the stadium environment. Frontman Joel O’Keeffe is legendary for his reckless live antics, which include climbing high stage scaffolding and tearing through blazing guitar solos. Criminally more popular overseas than in their own back yard, this upcoming tour will hopefully help Airbourne gain wider acceptance where it matters.At home.HEAVY caught up with Joel to talk about the tour and the excitement of sharing the stage with Guns 'N Roses."We're coming back to tour Australia!" he enthused, "And we are very excited because one of our favorite bands of all time - Guns N' Roses - has decided to take us with them! So we're going all around Australia and it's gonna be a blast. In the world that we live in today you've got everyone attached to their phones, or you got to go to work tomorrow. We're always thinking about the future; thinking about the past, chained to this; chained to that. This is the opportunity to literally live right in the present and rock and just be purely free. No phone. No job. Nothing but beers and Guns 'N Roses. What gets better than that?"In the full interview, Joel talked more about the upcoming tour and what it means to Airbourne to be playing. He described role as openers and the expectations on the band, as well as the potential for learning by watching one of the worlds best in action.We talked about Airbourne's live show and what to expect, including his own high energy performances. Airbourne's recently released new single was spoken about, as was their upcoming album and what to expect. Joel went deeper into how the album respects the life and legacy of Lemmy Kilmeister and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersSeattle’s favourite bald, bearded, heavy metal comedian, Luke Severeid, is returning Down Under this September for his highly anticipated headline stand-up tour, aptly titled Here To F#@k Spiders. Presented by premier music and entertainment promoter Destroy All Lines, this national run cements Severeid's status as one of the most explosive, must-see comedy acts in the global circuit today. Severeid first won over massive Australian audiences with a breakout run on the KNOTFEST Australia circuit, followed by an appearance on Aussie television's The Project. Known for his self-described "unmedicated ADHD in action" comedic style, he effortlessly fuses the high-octane energy of a heavy metal show with brutally honest, aggressively absurd, and insightfully idiotic storytelling. Severeid's unique ability to connect with heavy music fans and comedy lovers alike has earned him over half a million followers online, as well as the distinction of filming the first-ever stand-up comedy specials released exclusively through the KNOTFEST platform.The Here To F#@k Spiders tour will bring Severeid's chaotic observations, raw punchlines, and famously energetic facial expressions to premier comedy rooms across the country. Fans can expect a loud, unfiltered, and hilariously unpredictable night of storytelling that hits harder than a double bass drum. Reflecting on his return, Severeid shared his immense excitement for Australian crowds, warmly comparing them to a room full of country cousins who get to laugh with complete, gleeful impunity.Of course, one of the topics of conversation was the name of the tour and why spiders are the flavour of the month."You guys have terrifying, terrifying spiders and other small critters," he answered. "I'm going to keep my genitals away from them. But I thought it was a funny name, and I hope you do too."We ask Luke about his last Australian experience in 2025 as part of the travelling Knotfest Festival."Everyone was super cool," he smiled, "but I felt like I was a transfer student to a high school that everyone... I mean, my shows were at a different time than the actual festival. Because to actually compete with that would be just asking to lose (laughs). But I got to hang out backstage and do that in the back area, and everyone was super cool; this is what they do for a living. This was a new experience for me, where I've been a touring comedian before, but not part of a large festival. So I'm talking to the crew way more easily than I am talking to musicians. People would look at me and go, are you the bass player from Hatebreed? I got that so many times. I'm not that guy, but I've written probably at least 20 minutes of jokes that would make that individual man laugh very hard based on just me talking about how I look and how he looks."In the full interview, Luke characterized his stage style as high-energy and noisy, built from short, social-media-friendly bits and improvised material rather than a fixed hour. He said he uses crowd work selectively and adapts his set dynamically to the room and lineup position. Luke also discussed his association with heavy metal branding, explaining it is partly intentional marketing and partly driven by material about the genre, and that he sometimes withholds mentioning metal to surprise audiences.We spoke about his two Knotfest comedy specials, what Australians fans can expect from the shows, the tour name and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Poison The Well is touring Australia in June 2026, marking their highly anticipated return to the region for the first time since 2009. This massive headlining run celebrates a monumental new era for the Florida metalcore heavyweights following the release of Peace In Place, their first studio album in 16 years. For local fans who have spent nearly two decades missing the band's visceral energy, the tour bridges historical legacy with sharp modern urgency.Promoted by Destroy All Lines, the national tour features a heavily stacked bill of elite hardcore talent. Poison The Well is joined by Boston hardcore disruptors Haywire, making their debut Australian appearances, alongside iconic Melbourne road warriors Iron Mind.HEAVY spoke with guitarist Ryan Primack to find out more about what the band has in store for Australian fans.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Australian rock legends The Superjesus are celebrating the 25th anniversary of their landmark sophomore album, Jet Age, with a national tour that kicks off in Brisbane tonight, June 5.Released in October 2000 through EastWest Records, Jet Age marked a massive creative and commercial evolution for the Adelaide-formed band. Following the gritty, raw, grunge-fuelled success of their 1998 debut album Sumo, The Superjesus faced heavy industry pressure and unexpected internal turmoil. This included the departure of founding guitarist and co-writer Chris Tennent.Rather than collapsing, frontwoman Sarah McLeod and bassist Stuart Rudd recruited new guitarist Tim Henwood. This lineup change completely transformed their musical direction. Moving away from the heavy distortion of the '90s grunge era, they embraced a more sophisticated, melodic "dark pop" and alternative power-rock aesthetic. The shift paid off brilliantly; Jet Age debuted and peaked at number 5 on the ARIA Albums Chart and officially reached Platinum status.The album delivered some of the most enduring rock anthems of the turn-of-the-millennium era. The soaring lead single Gravity became a definitive radio staple, landing at number 17 on the Triple J Hottest 100. Other massive tracks like Secret Agent Man and Enough To Know solidified their status as titans of the Australian live music circuit, a position where the band has remained to this day.HEAVY sat down with bass player Stuart Rudd to talk about the album and the history of The Superjesus, at one point asking about the emotional side of doing an album anniversary tour."Just going through the songs is kind of reawakening these tunes that have sat dormant for probably since we… some of them we actually haven't played live since we recorded them," he smiled. "So to reawaken some of these songs is fantastic, and it's sounding great. We're always keen on doing this sort of thing and touching back on the history. We think it's a great vibe all around, just connecting with the audiences."We reflect back on the pressures on The Superjesus when making Jet Age, particularly after the universal success of their debut album Sumo."We'd just come off the back of touring worldwide, so we had been on the road for 18 months," he recalled. "Maybe more. It was hard. I know touring sounds like a dream - and it is - however if you're sleep deprivated for 18 months it can be quite an insane experience. We came off the road, and it was time to write because we hadn't been writing on the road. We'd just been touring, touring, touring, so yeah, it was difficult. And it was one of those things where we lost a band member through all the touring and the pressures of the road. It was a real roll up the sleeves effort, and we moved to Melbourne on this one just to get out of the comfort zone and find a new guitarist, then start working the only way we knew how. The only way we knew from the inception of the band was to roll up our sleeves and get the work done, and that's what we did. We listen to the album now through rehearsals and touching back on it, and we're super proud it."In the full interview, Stuart talks more about Jet Age and the process behind it. We run through the album and his personal favourites, focusing on the live component and bringing the music to life. Stuart spoke about the history of The Superjesus and the pressures on the band following the massive success of Sumo, detailing how Jet Age had to be a step forward for the band and more.Tickets for the Jet Age 25th Anniversary Tour can be found here: https://www.thesuperjesus.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersDrowning Pool's multi-platinum debut album, Sinner, celebrates its 25th anniversary with a special reissue via Craft Recordings, marking its release date on June 5. First unleashed in 2001, Sinner remains a towering monument of the nu metal era. It quickly rocketed the Dallas-based heavy metal band into global stardom, debuting at No. 14 on the Billboard 200 and achieving RIAA Platinum status within its first six weeks. At the absolute centre of the album's cultural impact is the explosive hit single, Bodies. Instantly recognizable by its blunt, repetitive, and devastating opening riff, the track became an omnipresent cultural staple. It has soundtracked countless action sports videos, movie trailers, professional wrestling promos, and festival mosh pits and has been a life mantra for countless fans around the world. Alongside Bodies, standout tracks like Tear Away and the aggressive title track Sinner gave the record its thematic weight, exploring internal conflict and religious pressures. Sinner was also the first, and only, Drowning Pool album to feature original vocalist Dave Williams before his tragic passing in 2002 and remains the benchmark for debut albums across all genres.With the Anniversary issue out this Friday, and Drowning Pool preparing to hit the road where they will be playing Sinner in full, guitarist and founding member CJ Pierce has donated some of his time to chat with his Australian family about the album and plenty more. One of the topics of discussion was Williams and the emotions that invariably arise when Sinner is mentioned."Dave Williams was such a great human being, and he was excited to play rock music," CJ reminisced. "And just the stuff you don't think about, man, because life is just going, going, going. So it's been a time of self-reflection. And then us going over all the songs on the entire record. I'm excited to play this live, and I've been re-inspired by it, all three of us. And we just started writing all this new stuff.We walked into the studio with all these ideas we've been working on all year long, and all of a sudden, it's just like, it just started pouring out of us, man. So, I'm super excited about this song because we've been really inspired by the first record, and we're here doing it. The other thing that's exciting is we haven't been able to play the record in its entirety in so long. So the hardcore fans that have been with us get to see that again. And then there's a whole new generation of teenagers to 20-year-olds that are coming out that are finding nu metal again. So, for us to be able to play this record for them, for them to see it after so much time is super exciting. So, I'm all jacked up about it, man. I can't wait."In the full interview, CJ ran through his memories of making Sinner, their hopes for how it would be received and the weight of a massive commercial success. He reluctantly picked his personal favourite song from Sinner, running us through stories on a number of the songs and how they came into being.We discussed the limited edition vinyl release of the album as well as the three bonus tracks on the digital release, including Rob Zombie's The Man Without Fear. Drowning Pool's upcoming tour was mentioned, as was the possibility of an Australian tour early next year. CJ spoke of his fondness for Australia and the relationships he has built here, before moving on to new material and what we can expect and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Words by Ali WilliamsBen Kweller is excited to be heading back to Australia in July with his Cover The Mirrors tour. It has been a while between visits. Kweller says he has not toured Australia since before the pandemic, making this run something of a proper return after the world decided to collectively lose the plot for a few years. “I’m so excited,” he says. “I love Australia. I haven’t been there since the pandemic, so this is my big return since the world shut down.” That excitement is not the polished, copy-and-paste version artists sometimes pull out when talking about every country on an itinerary. Kweller speaks about Australia with real affection. His fans are keen, he is keen, and the timing feels right. Cover The Mirrors has now had time to live out in the world, and Australia gets to be part of the international stretch of the album cycle. Released in 2025, Cover The Mirrors is the latest chapter in a career that started ridiculously early. Kweller began writing songs when he was eight and formed his first band around the age of 12 or 13. By his teens, he was fronting Radish, the Texas band that first put him on the map and gave him one of those music memories that still lights him up. He remembers being 14 when a Radish song, Dear Antarctica, was played on Q102 FM in Dallas by the gloriously named DJ Redbeard. Kweller and his bandmates piled into a car, because only one of them was old enough to drive, and circled the block until the song came on.  It is the kind of story that sounds small until you remember how massive it would have felt at the time. Three young musicians, one working car, a local radio station, and proof that something they made had escaped into the world. That is the sort of thing that keeps people writing songs long after common sense has suggested a more stable hobby.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceFor more than three decades, Bush frontman Gavin Rossdale has weathered the highs and lows of the music industry, but the band's current resurgence feels less like a comeback and more like the reward for years of persistence.Speaking ahead of Bush's Australian tour this September alongside Shinedown, Rossdale reflects on the band's renewed popularity, comparing success to a carousel that eventually brings artists back into the spotlight. "You've got to keep going," he said. "As long as you stay on and do your best, there's a chance it comes back around again."Rossdale credits Bush's longevity to a simple philosophy: focus on your craft, stay likeable, and never stop improving. Despite selling millions of records worldwide, he admitted the uncertainty never disappears, recalling conversations with actor Keanu Reeves that reminded him even the most successful people still wonder what comes next.Away from music, Rossdale has also found success with his cooking and interview series, which he hopes to continue with a second season. He described the show as an opportunity to reveal the human side of well-known figures.As for Bush's upcoming Australian dates, Rossdale is eager to return, promising fans a refreshed setlist featuring deeper cuts alongside the band's biggest hits. Tickets from destroyalllines.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSpiderbait stands as one of Australia’s most enduring alternative rock bands. Formed in 1989 in the small town of Finley, New South Wales, the trio comprises Janet English on bass and vocals, Whitt (Damian Whitty) on guitar, andKram (Mark Maher) on drums and vocals. The childhood friends began playing in a local tractor shed, forging a unique, high-energy sound that blended punk rock, thrash metal, and catchy pop sensibilities. Their tight-knit personal bond and minimal three-piece lineup became the foundation for a career spanning more than three decades.The band rose to national prominence through Australia’s independent touring circuit and constant support from youth radio station Triple J. They achieved a historic milestone in 1996 when their frantic track Buy Me a Pony became the first Australian song to top the Triple J Hottest 100. This success catapulted their third studio album, Ivy & the Big Apples, into multi-platinum status. The album showcased their versatility, juxtaposing heavy guitar riffs with sweet, melodic vocals, exemplified by the chart-topping, acoustic-driven single Calypso.Spiderbait solidified their global and commercial legacy in 2004 with a blistering, hard-rock cover of the traditional folk song Black Betty. The track reached number one on the ARIA Singles Chart and gained massive international exposure through video games, television, and film soundtracks. Known for their explosive live performances, the band transitioned seamlessly from sweaty pub rock venues to headlining major festivals like the Big Day Out.Decades after their formation, Spiderbait remains highly relevant to the Australian music landscape. The group continues to tour to sold-out crowds, celebrating milestone anniversaries of their classic albums and introducing their raw, energetic catalog to new generations of fans. Their longevity, commercial triumphs, and fiercely independent spirit have earned them a permanent place among the legends of Australian rock music history.HEAVY'sAli Williams sat down for a nostalgic chat with Kram ahead of Spiderbait'sIvy & the Big Apples 30th anniversary tour.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Kris PetersThis August, Tasmania's finest export, extreme metal pioneers, Psycroptic join like-minded-and-saxophone-wielding US progressive death wizards Rivers of Nihil for a co-headline tour that brings together two elite bands operating at the highest tier of modern death metal.For Psycroptic, the timing couldn’t be stronger. Off the back of relentless global touring alongside the likes of Dying Fetus, Ne Obliviscaris and Six Feet Under, the recently released singles, Architecture of Extinction and Falling, plus their ninth studio album set for a mid year release via Metal Blade Records, the band continue to prove why they remain Australia’s most respected technical metal export more than two decades in.Fellow Metal Blade label mates, Rivers of Nihil arrive riding the momentum of their 2025 self-titled release, a record that tightened their sound without losing the scope that has defined them since Where Owls Know My Name. Now fronted by bassist Adam Biggs, the band’s current form is more potent than it ever was.Joining them on all dates are Melbourne’s psychologically charged Growth who are on the eve of releasing part two of their highly anticipated album trilogy, Under The Under, and Sydney’s uncompromisingly brutal, Slaughtercult, rounding out a bill that is equal parts precision, atmosphere and outright savagery.HEAVY caught up with Biggs to find out more, starting with what has changed with Rivers Of Nihil since they were last out here in 2023."Since then we've put out a new record that we did last year," he measured. "It's our fifth studio album and a self-titled record, and is the first one with yours truly on on vocals alongside our new guitarist, Andy Thomas, also providing his soaring clean vocals and such like that. So it's a mix up in the lineup of the band, but I think we've put together a strong cluster of songs, especially to bring to the stage."With the tour being billed as a co-headline event, we ask Biggs if that means themselves and Psycroptic will alternate playing last each night or whether it means something else."I think we're playing the same length set," he replied, obviously unsure himself. "I can't remember if we are alternating or not, but I'm fairly certain it's Psycroptic closing the show for the most part. I mean, we're on on their home turf and they're the national Australian death metal band so it's hard to argue with that (laughs)."In the full interview, Adam spoke more about the tour and what to expect, including having the final date at Necrosonic Festival in Brisbane. We talked about what fans can expect, as well as his recent transition to frontman and how easy that move was for him.Their latest self titled album was mentioned, including which album song was the most challenging to learn to play live and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSome bands age quietly into legacy status, then there is The Living End, who appear to have treated the passing of time as a personal dare.After decades of twisting punk, rockabilly, sharp-suited swagger and full-throttle Australian rock into something entirely their own, the band are now being welcomed into the ARIA Hall of Fame. For bass player Scott Owen, speaking with HEAVY Magazine’s Ali Williams, the honour is still landing somewhere between pride, disbelief and that very Australian instinct to not make too much of the emotional bit in case someone notices.He admits the induction has made the band stop and reflect, which is no small task when you are part of a group that has spent most of its life moving at the speed of a getaway car with a double bass in the back seat. The Living End’s first EP arrived in the mid-’90s, the first record followed in 1998, and Scott and Chris Cheney had already been playing together since around 1990. The mathematics, as Scott cheerfully points out, are “confronting”. Fair. Nobody asked time to come in here with a calculator and start being rude.But that long history is exactly why The Living End still matter. They were never neatly slotted into the machinery around them. In the ’90s, when Triple J was a very different beast and Australian alternative music had its own wild ecosystem, The Living End were not simply alternative. They were, in Scott’s words, “the alternative to the alternative” - a strange, sharp, highly flammable hybrid of rockabilly and punk that did not fit anywhere and therefore carved out its own corner by force.That identity has not softened. It has become the band’s signature. Scott’s double bass remains one of Australian rock’s great visual and sonic weapons. It is not just an instrument in The Living End; it is part of the architecture. Alongside Chris Cheney’s famously elastic guitar work and the locked-in chemistry that only comes from surviving decades of stages, buses, hotels, rehearsals, chaos and suspiciously romantic dinners together, the band still carry a sense of occasion every time they step up. Scott jokes that he and Chris have probably had more romantic dinners together than any couple in the world. Somewhere, a relationship counsellor just threw away their notebook.That chemistry also includes Andy Strachan, affectionately referred to by Scott as “the new guy”, despite having been in the band for around 20 years. Rock and roll timelines are ridiculous. A man can spend two decades behind the kit and still be treated like he has just wandered in with fresh ID and a lunchbox.Swinging back to one of the year’s great live surprises: Jimmy Barnes joining The Living End onstage at the Hotel Brunswick. Scott says it was a hard secret to keep after finding out that morning, because the whole point was to blow everyone’s minds without warning. Mission accomplished. When Barnesy appears unannounced at a pub gig, that is not a cameo. That is a national incident with vocals.For Ali, who had been in work mode in the media pit before realising she was casually talking to Jimmy Barnes himself, the moment became one of those live music memories that gets filed under: “This is why we leave the house.” It also reinforced something that runs right through the interview: the irreplaceable magic of real bodies, real instruments, sweaty venues and the shared lunacy of a crowd being lifted by noise.That idea sits at the heart of The Living End’s current chapter. Their upcoming run carries the spirit of I Only Trust Rock N Roll, a sentiment Scott says came from the same place many of the new songs did: the strange, rattled, post-2020 world where everything suddenly felt unstable and everyone started wondering what, if anything, could still be trusted.For Scott, the answer is simple. Rock and roll still feels real. Still, for all the shifts around them, The Living End’s purpose remains gloriously direct. They like to put on a show. They like leaving people wondering what the hell just happened. They like blowing the roof off the joint, whether that joint is a festival stage, a regional venue, or the kind of pub where the walls know more secrets than the patrons.Their latest album bares the same namesake as their upcoming tour - I Only Trust Rock N Roll. The album is available now on all platforms and for tickets and tour information head to www.thelivingend.com.auBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Angela CroudaceAfter more than two decades as one of metalcore’s most respected bands, August Burns Red are finally heading back to Australia this September, and drummer Matt Greiner says the excitement from fans has been overwhelming. Speaking ahead of the tour, Greiner revealed Australia will be the first country to experience a full headline run celebrating the band’s upcoming album Season Of Surrender.Greiner admitted the response to the announcement caught him off guard, comparing it to the excitement the band experienced when first touring internationally in the late 2000s. “It felt like that level of excitement again,” he shared, reflecting on the flood of messages from Australian fans eager to welcome the band back after such a long absence.The veteran drummer also opened up about how surreal it feels to still be connecting with audiences after 23 years. These days, Greiner is not only performing to longtime supporters, but also teaching drum lessons to the children of fans who grew up with August Burns Red. He described it as both humbling and rewarding to see the band’s music continuing to inspire a new generation of heavy music fans.Family was another major topic during the conversation, with Greiner speaking warmly about balancing life on the road with being a father. He praised his wife for supporting the demanding touring lifestyle and shared how much it means to have his family behind him while continuing to chase opportunities around the world.Matt also expressed excitement about touring alongside rising Australian acts Bloom and I Promise The World, explaining that helping younger bands grow is something he deeply values. Looking ahead to September, he promised Australian crowds energetic shows, genuine fan interaction and a celebration of the connection that has kept August Burns Red thriving for more than two decades.Check out the full interview for plenty more...Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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