HEAVY Music Interviews

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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