HEAVY Music Interviews

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.

18/05/2026 • 15:17

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.

18/05/2026 • 18:51

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.

17/05/2026 • 21:48

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.

15/05/2026 • 09:43

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.

14/05/2026 • 12:44

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.

13/05/2026 • 12:04

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.

13/05/2026 • 13:48

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.

13/05/2026 • 06:04

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.

10/05/2026 • 28:32

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.

09/05/2026 • 28:52

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.

08/05/2026 • 08:24

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.

07/05/2026 • 13:12

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.

07/05/2026 • 10:30

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.

07/05/2026 • 14:14

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.

06/05/2026 • 19:13

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.

01/05/2026 • 20:18

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.

01/05/2026 • 11:44

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.

29/04/2026 • 21:07

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.

28/04/2026 • 15:59

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.

28/04/2026 • 18:43

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.

27/04/2026 • 13:39

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.

26/04/2026 • 14:01

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.

26/04/2026 • 15:21

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.

24/04/2026 • 30:36

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.

23/04/2026 • 23:18

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.

22/04/2026 • 18:43

Interview by Ali WilliamsHOKKA are not easing their way into their new release. They are kicking the door off the hinges, draping the room in red capes and dark mythology, then having the nerve to make it all look effortless. Speaking with HEAVY, Joel Hokka comes across as the kind of frontman who has already lived enough band life to know exactly what matters and exactly what doesn’t. There is no wide-eyed “we just got lucky” routine here. HOKKA might be new on paper, but this is not a band fumbling around in the dark hoping to strike a chord. This is the sound of seasoned musicians taking the scenic route through chaos and somehow arriving with a debut album, a label, festival slots and a clear creative identity before most bands have even agreed on a decent group photo. The origin story is almost insultingly efficient. After Joel’s split from Blind Channel, he linked up with Pauli, formerly from The Rasmus with both men bringing years of Finnish rock pedigree and enough experience to avoid wasting time pretending the business side of music is some mystical accident. What began as informal sessions and song ideas quickly snowballed into a real band, real momentum and a debut release in MiSERIA IV. That sort of rise would be nauseating if it did not also make perfect sense. When two people with history, hunger and unfinished business get in a room together, things tend to move.And that unfinished business matters. One of the more entertaining truths to emerge from the chat is that HOKKA’s creative engine is not powered by incense, deep breathing and trust falls. It is powered, at least in part, by revenge. Joel says it plainly, with the kind of grin you can almost hear through the transcript: revenge is a fantastic motivator. It is a wonderfully unpretentious admission, and honestly, a refreshing one. Rock music has always done some of its best work when someone is at least a little bit annoyed. HOKKA are simply organised enough to turn that irritation into riffs, spectacle and a whole new era.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22/04/2026 • 17:29

Interview by Ali WilliamsClawfinger's Bård Torstensen stopped in for a chat with HEAVY Magzine's Ali Williams to fill in the gaps after their long standing hiatus on new releases. After nineteen years between albums, Clawfinger could have returned with something painfully self-important, full of mythology and creative suffering. Instead, Bård talks about it with the kind of dry honesty that makes the whole thing far more endearing. Before We All Die arrives not as some grand rock resurrection, but as the product of a band that simply figured out how to make it work in a world that had changed around them. Back when the CD market collapsed, the practical choice was to get jobs, keep playing the good gigs, and stop pretending the old model still paid the bills. That pause stretched into nearly two decades, which is a long time to leave fans hanging, but Clawfinger have enough self-awareness to see the humour in that too. One of the key points of interest is that the new record was built remotely, with files flying back and forth instead of bodies standing around a studio trying not to annoy each other. Torstensen makes it sound almost civilised. He could sit with an idea, have a coffee, eat dinner, decide a part sounded awful, sleep on it, then come back the next day and fix it without the pressure of a studio clock ticking away in the background. For a band that has been together long enough to know exactly how each other thinks, that distance sounds less like compromise and more like self-preservation with better acoustics. The result is a process that feels modern without being clinical, and flexible without losing the band’s bite. The album title itself came from a manager’s plea for the band to make another record “before we all die”, which is funny on its face but also lands neatly in Clawfinger territory. This has never been a band interested in dressing things up with delicate metaphors and interpretive dance. Their whole identity has long been built on staring directly at the mess and saying it plainly. Torstensen points to war, political absurdity and environmental collapse as the obvious backdrop, and in that light Before We All Die stops sounding like a throwaway joke and starts sounding like the most Clawfinger title possible. Grim, blunt, slightly hilarious, and uncomfortably on the money. There's a significant element of reassuring unglamorous quality about the way Clawfinger still operate. The band only rehearses together once or twice a year, which sounds reckless until Torstensen shrugs and points out that sometimes they just walk onstage after months apart and it still works. That kind of confidence only comes from years in the trenches, though he does admit a full new album means a little more homework than the occasional stray song. He also jokes about past drummer changes being a bit Spinal Tap, but beyond that the line-up has been largely steady since 2007, which probably helps when you are trying to restart the machine after a nineteen-year recording gap without the whole thing flying off the rails. For now, the action is centred in Europe, where summer festivals and an upcoming club run through Central Europe have the band moving with real momentum again. Torstensen sounds genuinely excited by the prospect of getting back on a bus and doing a proper tour, and even more encouraged by the fact that tickets are moving well enough for venues to be upgraded. Australia, sadly, remains on the wish list rather than the itinerary. Clawfinger have never played here, and Torstensen himself has never even visited, describing the country as “exotic” in a way that will probably make Australian readers laugh into their coffee. Still, between a new album, a receptive European market and a global fanbase that has clearly not forgotten them, there is a sense that Clawfinger are not just returning for nostalgia’s sake. They sound like a band that still has something to say and, more importantly, still knows exactly how to say it without wasting everyone’s time. New album out now available on all platforms. Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

21/04/2026 • 13:26

Interview by Angela CroudacePhoto credit Diana SeifertFor George Marios, influence isn’t something he carefully maps out, it happens instinctively. Drawing from artists like Alter Bridge and Dream Theater, he describes his sound as a kind of “musical osmosis,” where ideas naturally collide and evolve. Even unexpected touchpoints, like the atmospheric pull of Jeff Buckley, can surface in his work before giving way to massive, anthemic choruses.That same ambition extends visually. His Crash Burn music video embraces a cinematic scale inspired by The Karate Kid and the modern grit of Monkey Man. Taking on multiple roles (director, producer, editor), George pushed through tight timelines and unpredictable challenges to realise a long-held vision. The result is something he considers creatively complete, a rare milestone.Looking ahead, upcoming album Accidental Hero promises a more layered, diverse sound, weaving orchestral elements with organic production choices. Influences stretch as far as Kimbra, while retaining the raw humanity he admires in artists like Adele.George hopes the record inspires listeners to take risks: seize the day, and try anyway.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

21/04/2026 • 23:59

Interview by Kris PetersWaiting for something you truly desire can be pure agony and loyal fans of Norwegian extreme metal royalty Dimmu Borgir know that feeling better than most. Ever since guitarist Sven “Silenoz” Kopperud and vocalist Stian “Shagrath” Thoresen formed the band amid Norway’s shadowed forestlands in 1993 - at the height of second-wave black metal’s triumphant aeons - rushing the creative process has never been part of the equation. Especially since Abrahadabra (2010), Dimmu Borgir’s latter-day opuses have arrived only when every last detail has been carved into place, never when trends, algorithms, or schedules demanded it. It has proven to be the right path for these northern devotees of the underworld: Dimmu Borgir’s records have gone on to become all-time metal classics.Eight years after their previous studio release Eonian, Dimmu Borgir return with thirteen punishing yet remarkably diverse tracks under the banner Grand Serpent Rising on May 22, and even the sheer weight of the album title alone speaks volumes.HEAVY caught up with Silenoz to find out more, asking him to describe Grand Serpent Rising from a musical point of view and what Dimmu Borgir were going for with it."I think we've just approached it like we always approach a new album," he shrugged. "We don't really have a specific recipe in that sense. We get together with stuff that we have collected individually and basically throw it into the pot and stir around and see what brew comes out of it in the end. It's nothing more dramatical than that. But yeah, some songs needs a little bit more time than others. It all it all depends. You don't really have an off and on switch or creative button, so to speak. So you just have to try and go about it while the iron is hot, so to speak."In the full interview, Silenoz described Grand Serpent Rising's background and the band's plans around its release. He revealed the album gathers songs written over several years and that the band achieved its creative aims for this release; explaining Dimmu Borgir's process of assembling individual ideas without a fixed recipe, allowing songs to mature at different rates and intentionally showcasing the band's different eras and dynamics.The conversation covered artistic choices and practical changes. Silenoz explained the opening string-led intro for Tridentium and the decision to keep the album lengthy rather than shorten it for attention-span concerns, and noted that the title serves lyrical depth rather than denoting a title track. He also described a shift in songwriting responsibility toward himself and Shagrath after longtime guitarist Galder's departure, the selective use of Norwegian when English did not convey feelings on some songs, plans for shorter, more frequent touring runs following the May 22 release and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

21/04/2026 • 11:34