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HEAVY Music Interviews

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All the latest music interviews from the team at HEAVY Magazine.

HEAVY interviews the worlds leading rock, punk, metal and beyond musicians in the heavy universe of music.

We will upload the latest interviews regularly so before to follow our social accounts and our podcast account on www.speaker.com/user/heavy
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Comprising several ‘lifers’ from the Sydney music scene, punk outfit Only At The Movies are searching for something a little different with their music.With a diverse repertoire and influences harnessing the best of late 1990’s and early 2000’s punk, melodic hardcore and alternative rock, Only At The Movies promise to be anything but predictable.Their purpose is simple: to deliver the timeless sound of a treasured generation to a new audience paired with a visual style that makes people feel like they are at a movie when they listen to a recording or watch the band play live.After releasing the EP Straight To VHS last year, the band have now focused on their next chapter which starts with the single Welcome To The War.Vocalist Brad and bass player Aaron joined HEAVY to talk about the single and future plans."Musically I pretty much haven't left the late 90s, early 2000s genres of punk rock,” Brad laughed. “I'm influenced by bands like Blink 182, New Found Glory, all your higher up punk rock bands, but I'm also into a lot of underground bands as well. We wanted something nice and quick, punchy, easy to remember and is hopefully something everyone hums along to after is finished.""The whole idea here is as a band we just wanna have fun,” Aaron added. “We're lifers in the Sydney music scene. What we wanna achieve live is for people to dance along and sing along and have a laugh. We wanna make our shows as visual as possible so it really feels like you're at a show or a movie. We've got plans to dress up as Ghostbusters and things like that and really make it an interactive experience. With the music, as much similar as possible. So, a lot of imagery- like lyrical imagery of your favourite movies - and situations from movies that create that visualization as well."In the full interview, the boys talk more about Welcome To The War, the lyrics and how they tie in with the theatrical direction of the band, future music, the state of punk rock in Australia, their sound and where it comes from, how they plan to translate their central image to their music and live shows and more.
After the phenominal worldwide success of their debut album Tu in 2018, New Zealand metal outfit Alien Weaponry have continued a mereoric rise to the head of the international heavy metal snake, commanding respect for their music and live performances both in their native country and on a global scale.Combining elemts of thrash and groove metal with lyrics in their native indigenous language - te reo Māori - the three young Kiwis struck a fresh market with their vigorous musicianship and heartfelt music.Here was finally a band that people could relate to and respect, especially the younger generation, and their success looks set to reach even further heights with the imminent release of Tangaroa which will be out on September 17 via Napalm Records.Brothers Henry and Lewis de Jong sat down with HEAVY to chat about the album and future plans."Musically, it's a lot more progressive compared to our last album," Lewis began. "It's still Alien Weaponry but we've evolved our sound and kind of evolved as people as well so some of the things we're writing about are quite different but also hold true to who we are as a band.""We've got a lot more progressive in the way we song write," Henry affirmed. "I feel like we're exploring a lot of different things with this album. There's not all hard, heavy hitting songs. There's some really almost etherial stuff we're doing. As far as the Maori side of the song writing goes, I experimented using more traditional Maori song writing methods."In the full interview, the boys discuss the album in greater detail, talk us through some of the traditional instruments used in the recording, growing up in the spotlight, fitting centuries of stories into one song, staying true to their heritage, their new bass player and what he brings to the band plus more.
Formed in Orange County in 1998, Thrice are widely regarded as one of the most innovative rock bands of their generation.Consistently producing rock fuelled albums that veer into technical wizardry while still remaining accessible to fans, Thrice are preparing to unleash their 11th studio album Horizons/East on September 17.Addressing the fragile and awkward arrangements that pass for civilization while openly inviting the listener to dwell more knowingly within themselves, Horizons/East is more than a body of music, it is a statement of intent.Bass player Eddie Breckenridge sat down with HEAVY to run us through the album."It's kind of all over the place in a good way,” he laughed. “We all write, we're all guitar players, we're all keyboard players, if we can't play drums we program drums (laughs) so there’s a lot of variety on the record, but for the most part I think this is kind of more in the rock realm of what we've done. The last record had a lot of electronic stuff going on - and this one does too - but I think it's more in the vein of guitar rock music. I'm really happy with how it turned out and how it sounds. The guy that mixed it crushed it. It sounds so good."In the full interview Eddie talks us through the album in more detail, the themes explored, self producing an album and the benefits, the concept behind this album and it’s successor, the musical climate that gave birth to Thrice, claims they are one of the most innovative rock bands of their generation, and more.
Brisbane hard rock/alternative rock outfit Krave have been steadily building a name for themselves on the local scene and look to solidify that even further with the release of their latest single Puppet.Vocalist/bass player Siana and drummer Sam joined HEAVY to chat about the new single and other exciting happening within the Krave camp."We were going for a hard rock vibe,” Siana explained of Puppet. “We love riffs in our band! When I was real young I wrote the song, so it was one of the first songs I wrote, and I brought it to the band. Sam has put an awesome spin on it with the drums.""The drums are 60s psychedelic rock inspired but with a bit more of a hard rock feel,” Sam added. “It’s got a lot of little phrases in there that are interesting to people who like things like the Jimi Hendrix Music Experience and Deep Purple, so it was a drumming approach to that.""It sounds really cool, because the bass and the guitar has got that hard rock metal vibe to it, so it's got a real cool fusion happening,” Siana picked up. “It's a really groovy song with a cool attitude - a bit of a Joan Jett kind of vibe. It's a sick song, full of energy and a sick solo with a bit of Steve Vai to it... it's reminiscent of that classic rock."In the full interview Siana and Sam talk more about Puppet, run us through the lyrical side of the song, upcoming new music and when to expect it, structuring their assault on the metal world, touring and more.
With music and the entire landscape around being a musician having to rapidly adapt to changing times – particularly in the current climate – Fender has confronted the problem head on, releasing the Player Plus Series of guitars to cater to the younger generation of guitar enthusiasts who have been locked away searching for the ultimate thrill that only music can provide.Since capturing the world's attention with the Player Series in 2018, Fender has looked to expand and improve on the already quality product and has succeeded with the all new Player Plus Series to be released worldwide on September 15.The sleek modern “C” necks, 12’ radius fingerboards, newly-voiced noiseless pickups, and upgraded electronics enhance the tone, playability and style of the instruments, so these artists can play longer and louder.And what better way to launch a new line aimed at the next generation of guitarists than to invite Sacramento punk outfit Destroy Boys to showcase their product?Hailed by many as the next great punk band, and with over 40 million streams as confirmation, Destroy Boys play hard with heavy guitar tones that radiate tuneful defiance and steely pop hooks in equal measure. As such, they require a guitar that can take the heat. Guitarist Violet Mayugba and vocalist Alexia Roditis from Destroy Boys joined HEAVY to talk about the Player Plus Series and the positive impact it has had on their sound.We start the conversation by congratulating the girls and the position they find themselves in for a band so young in their career."It's very cool, they're great guitars, so we're stoked,” Alexia beamed.Despite the perfect union between guitar and performer, particularly in the context and market Fender is going for, rarely is a band of this age – let alone nature – afforded an opportunity like this."We had a little bit of a relationship with one of the reps there,” Violet offered, “and Alexia and I have been back and forward playing Fender a little bit over the years too. It kind of just happened serendipitously. There was another band that was gonna be involved in some of the promo, and then they had an injury, so we decided to roll up. It's really cool. We're just super stoked to be a part of it.""I think they wanted us to be a part of it because we play heavy ish music,” Alexia added. “It's not metal by any means, but it's distorted and the Player Plus is more for forward facing rock music. The guitar is more in your face, and the Player Plus is a good guitar for that."With the rest of the world waiting anxiously for a first look at the Player Plus Series up close, as brand ambassadors, Destroy Boys have enjoyed one of the many perks by having early access to the guitars."They're sick!” Alexia enthused. “They're really well-made guitars. They sound incredible, and they have a super nice high gain pickup in the bridge, which is great for a band like us that's all about high gain. The neck is set up super well, they're just really cool guitars. And they have super cool finishes. We played the Tequila Sunrise one, it was, like, our focus guitar."“They're also really versatile,” Violet continued. “They have a lot of different options as far as what pickup you're going into. You can get in between for all of them which isn’t how all guitars are made, so I like the versatility and the options that you have."Two of the most noticeable additions to the Player Plus Series are the noiseless pickups and upgraded electronics which allow you to play longer and louder, two modifications which both girls agree are welcome additions.“It's hard to improve on a guitar like a Strat,” Violet said. “It's just one of the most classic, famous guitars across the board in the history of music, but Fender seems to continue to do it. I love how it (Player Plus) sounds. When we've used Fenders in the past, we add some sort of effect or a little bit to give it an extra bump, but when we put this guitar through some pretty clean effects it sounds high gain on its own."In the full interview Alexia and Violet talk more about the features of the Player Plus Series, how easy they are to use, their appeal to guitarists from beginner to advanced, the benefit to the music community products like Player Plus have, their new album Open Mouth Open Eyes, future plans for Destroy Boys and more.
Perth heavy outfit Sedative return with a new name and new musical direction with their upcoming single No Hard Feelings, which will premiered through HEAVY on September 15.No Hard Feelings is the second of three planned releases for 2021, following on from Cough Medicine which was released earlier this year.It is a song written out of pure frustration, drawing from the anger and despair of consistently being let down, and showcasing the more aggressive nature of Sedative’s music.Guitarist Raphael joined HEAVY to discuss No Hard Feelings earlier today."It’s a bit of a new direction for Sedative,” he affirmed. “We're going for a heavy, slam type feel with a bit of nu-metal elements as well. (There’s) A lot of aggression in the song. It comes from a place of frustration but is a bit of a fun song at the same time. We're just trying to make good music to play live and get the crowd into and it's something we really enjoy."In the full interview Raphael talks us more through No Hard Feelings musically, runs us through the powerful message of the song, talks us through the crazy film clip, the three songs released this year and how they relate to each other, surviving COVID, upcoming live shows and more.
What were you up to in 2004? It was the era of cargo shorts, spiked bracelets and a lot of cool music festivals. *Insert major generalisation here*. The world was a different place back then and Australian music was well and truly alive! Venues all over Australia would be packed mid week for countless local bands which made for an absolute ball tearer of a music scene/ scenes.Back then Minus Life were a major player in the local Brisbane scene smashing out their debut album 'Eternal Urban Megacide' for all to see across the land Oz.The (the then) quintet were reaching new heights whilst building an impressive resume of support slots for international acts and playing the likes of the Big Day Out Festival as well. Then after a major support slot with Slayer, everything suddenly stopped.Fast forward a decade (and a half) as the heavy metal world has rejoiced with the return of not only Minus Life as a live act but also as a continued recording act too! After 17 long years Minus Life are set to release their second studio album entitled 'Contorted Reality' set for release on October 1st, 2021.Relish in this in depth chat with Scott Moss the lead singer and (one of the) founding members of ML. We got right down into the gritty details about some hard times, some more hard times and some really really really good times from the past, present and the not too distant future!
Despite only being formed earlier this year, Gold Coast hard rock duo Mermaid Waters have wasted little time impacting the local music scene.After introducing themselves with the single Royalty this July, Mermaid Waters are following it up with new single The Grudge which will be out on September 10.Frontman/drummer Liam Chappy caught up with HEAVY to talk about the upcoming release."It's a bit all over the place,” he measured. “I've been a professional musician for about five years now and I've always been focused on drums and that kind of stuff so when I started getting into songwriting it felt like no-one would ever really give me a chance. It felt like a lot of people around me wouldn't give me too much light of day to express myself. Since 2016 to now I've been in about nine bands, and I've tried to express myself the way I wanted without anyone understanding. It put me down more than I was wanting, and I repressed it quite a bit. It wasn't until recently that I went you know what, I don't care what these people think, I'm gonna give this a go and fuck them (laughs)."In the full interview Liam talks more about The Grudge and who it is directed at, how it differs from Royalty, condensing sounds and influences from larger bands into a duo, the spoken narrative in The Grudge and what it signifies and more.
Those who have followed the career of Trevor Dunn will know the man is a musical nomad.His eclectic tastes have led him to bands such as Mr. Bungle, Fantomas, Tomahawk, Secret Chiefs 3 and The Melvins, but with his recent release with new project Sperm Church, Dunn has managed to outdo even himself in terms of niche music.Uniting with electronic artist Sannety, Dunn released merdeka atau mati through his newly formed label Riverworm Records on September 3, an album containing elements of abstraction and trap music, battling cultural conditioning with non-traditional tunings, glissandos, percussion, and a max/msp patch. Trevor joined HEAVY earlier in the week to discuss the new project and the eccentricity of their debut release, starting by trying – unsuccessfully – to pronounce the album title."It’s funny, a lot of people ask me if they're pronouncing that right but it's Indonesian and I don't speak it,” Dunn laughed infectiously. “My partner on the record, Sannety, is half Indonesian so that's partly where that originates. I play electronic bass and she's an electronic musician and she developed this sequencer - a max/msp - which is a complex drum machine essentially, so it's kind of like a weird drum and bass duo for lack of a better description. She was definitely influenced by a lot of trap music and hip hop and stuff, and I've never played that kind of music per se myself, but I took a lot of her influences and tried to incorporate what I do with electric bass with what she was doing electronically."Considering the above outlined projects Dunn has recorded with previously, the fact he says Sperm Church records music he has never played before is somewhat of a surprise."It was essentially her influence, but it was something new for me,” he shrugged. “As a bass layer to really sit there and check out trap baselines, there's some really interesting stuff going on. To be able to take those ideas and twist them into my own weird sensibilities and just try to do something totally different and step outside of the box that I'm used to doing was great. We wanted to improvise but not be regulated by the traditional limitations of improvisation - which there are unfortunately. Free music is rarely free. If someone says 'oh yeah, there's gonna be a free improv show' you almost kind of know what it's gonna sound like. This cultural formula has developed over the years and that’s kind of unfortunate in a way. It's like everything... it's human instinct to trap things into this box and not let it be free (laughs). I don't know if that's a human thing or a Western thing but out whole concept was to liberate the sound, essentially."In the full interview, Trevor talks us more through the music on the album, his tendency to play in bands that have a niche market, his new label and why he started it, the status of Mr. Bungle, Fantomas and Tomahawk and possible new music, working with Mike Patton, some of his other projects and more.
English rock outfit Inglorious captured the world's attention earlier this year with the release of their album We Will Ride, a collection of rock belters that perfectly showcased the vocal talents of front man Nathan James and the musical prowess of his new band members.Topping that album - which I am sure they will - will be a momentous task, so in the meantime the band have decided to have a bit of fun with other artists songs.This approach has been tried before many times over, but for Inglorious' upcoming release Heroine, the band have taken themselves completely out of their comfort zone by recording songs made popular by some of their personal favourite female artists.James joined HEAVY to talk about the album and his expectations for it."I don't think any other rock band has done this before, which just seems crazy. Maybe it's because they think it's a stupid idea," he laughed. "For me the idea came from when we were doing a cover on tour of Alanis Morissette - Uninvited - which is on the album, and people really liked it. The reaction every night… I had people coming up to me every night saying 'you sing this so well, the band play it so well', and I thought maybe we can make a whole album out of unexpected songs, and then I realised what was also cool was that Alanis is obviously a woman, and we are five men, so let's try and see if we can recreate some legendary female songs."Covering artists ranging from Whitney Houston to Miley Cyrus, Tina Turner, Joan Jett, Evanescence, Heart and Halestorm, James admits the biggest challenge he faced was choosing which artists to pay homage to."Dude, it was so hard," he acknowledged. "I have a Spotify playlist and whenever I heard something or thought of something I would just add it to it. Before I started whittling it down, there were 50 tracks on there! We could have done anything. There are some artists that I'm a bit gutted that we missed off, but we could do another one maybe…”In the full interview, Nathan discusses how Inglorious approached their versions of the songs, the women's charity some of the album proceeds are going to, singing parts out of his comfort zone, how Inglorious put their own slant on the music, being back on stage after a prolonged absence and more.
While COVID has generally been a clusterfuck for all involved – and those who don’t wish to be involved – there are a few feel good stories to rise from the belly of the beast.One of those is Melbourne rock outfit The Dreadful Tides who’s birth and rise to prominence has come off the back of lockdown and the frustration it brings.Inspired by old school classic rock and metal, The Dreadful Tides have been plotting their assault on the music world while quietly assembling a collection of songs to announce their arrival, the first of which is Crazy which will be premiered through HEAVY on September 10.We spoke with guitarist Justin Strudwick earlier this week to discuss the single and their plans moving forward."I'm a massive Zack Wylde fan,” he began, instantly getting the thumbs up from HEAVY, “and between all of us we've all got a bit of different music taste. For me, this was a real classic metal rock riff you might say with a bit of a modern twist to it. We feel that people will have their own opinions and let the song take them on their own journey, but if you break it down it is about someone who is trapped inside their own head. They don't know what's going on and they're trying to find where to go. It's got a really good rhythm behind of it to get your head banging, there's a bit of classic guitar arrangement and catchy melodies. It's an all-round genuine rock song."In the full interview, Justin takes us further into Crazy, the decision making process when it comes to choosing your debut release, future plans for music, the pros and cons of starting life in the modern climate, the sound of the band and where it comes from and more.If you're like us and can't stand waiting, you can catch a special sneak listen to Crazy at www.pbafm.org.au, Rock Hard with Phil and Tish this Wednesday, September 8. The song will air on the show between 9:30pm-12:30am AEST for VIC/NSW listeners and 9pm-12am ACST for South Australian audiences.
It’s no secret that the music industry and all of those – from the performers to the venues to the studios to the punters – have all been affected, and in most cases decimated, by the rules and laws governing lockdown and restrictions.While the argument will continue to rage over the rights and wrongs of the way things are being handled, one fact remains true throughout.The music industry is suffering.With no end in immediate sight and many in the industry uncertain of their futures, HEAVY has decided to start a weekly segment called FCK CRNA to highlight affected businesses and industry workers and hopefully shine a light on a different key component of the music industry each week.These businesses need our support now, more than ever, so please, read on and spread the word about not only the businesses we focus on each week but any business you know of that is or has been affected.The only way out is for the music industry and those involved to unite and support each other in any way you can.We must be here for one another.This week, FCK CRNA turns the spotlight on live music venue The Basement in Canberra, as we catch up with Michael Bergersen.
With so many concerts and music festivals falling victim to the unpredictable nature of COVID and the domino effect of lockdowns and venue closures and restrictions, the Australian public has been starved of live music in Australia for coming on to 18 months.It is a situation and realisation that has seen many promotors reluctant to book shows, particularly shows with multiple bands from differing states, that could have serious ramifications if even just one section of our country was forced back into lockdown.Although understandable, it has still been a form of frustration for concert goers, but in reality booking any form of concert in the current climate is a risk almost not worth taking.Luckily for us here in Queensland - who have been fortunate enough to escape the plight of our Southern comrades - the risk versus reward factor is stacked more in our favour than against, meaning several promoters and music enthusiasts have run the gauntlet by planning and booking shows.One of those people is Shannon-Lee Sloane, aka The Colourful Writer, aka manager of music website Good Call Live, who went against advice and opinion to forge ahead with her now annual Moondoll Music Festival.Unfortunately, the initial date of July 10 had to be revised when lockdowns closed the Queensland borders to a number of headlining bands, including New Zealand outfit Kaosis and Melbourne metal titans Frankenbok.The new date chosen was September 11, but that too was thrown into doubt when first Kaosis were forced back into quarantine in their home country and then both N.S.W and Victoria both slammed their non-existent border gates closed and effectively isolated Queensland from a large portion of Australia's music hierarchy.Rather than postpone the event once more, Shannon elected to push on, relying on Queensland's musical collective and wealth of talent to fly the flag for not only Moondoll, but music festivals themselves.Shannon sat down with HEAVY recently to discuss Moondoll and the often bumpy road to the September 11 revised date at the Mansfield Tavern."There's a lot of relief - well, not a lot of relief yet," she laughed. "I think once we get there, and I actually walk into the venue and know it's all happening, then there'll be some relief."Only someone who has organised live music on a large scale could truly understand the frustration and emotional upheaval even one setback can cause, but even faced with increasingly insurmountable odds, Shannon remained determined to see her vision come to fruition."To be honest, I ummed and ahhed about even putting it on this year," she revealed. "I was talking to some other promoters who put on festivals and things in Brisbane and some of them were saying they were going to go ahead and others were saying no, we're gonna wait until the following year and hopefully things are a bit back to normal by then, so I actually decided not to put it on this year. Then, I had this moment one night - I think I was having a drink with Jimmy, my partner - and we were talking about my birthday and I thought I'm just gonna do it. I'm gonna put Moondoll on this year, I'm gonna throw caution to the wind and do it and kind of make it a bit of a birthday thing too because I turned 40 this year. Originally Moondoll was scheduled for July which is close to my birthday, and then it all went to shit because of Covid related things, so it got postponed until September, but I thought I've put this much effort in, I've come this far. I'm not gonna give up."In the full interview Shannon talks more about the troubles faced with having to reschedule an event, the high profile cancellations and how she has worked around them, moving from The Back Room in previous years to Moondoll's new home at the Mansfield Tavern, doubling the stages to have twice as much entertainment this year, juggling performances over two stages and how difficult it is to avoid clashes, her future vision for Moondoll, the musical diversity of the line-up and more.
Project 34 is currently shrouded in mystery.Although having released two album since their inception in 2017, Project 34 are ramping things up significantly with their third ‘self-titled’ release, an ambitious and groundbreaking collaboration encompassing 30 musicians from 13 different countries all packed together in one collection of music that promises to live up to the swelling hype.Although yet to receive a solid release date, Project 34’s album is being teased through social media and on the bands Facebook page www.facebook.com/project34music where updates, teasers and play throughs are working up to the release of two singles in the coming months.To shed some light on Project 34 and exactly what we can expect, the two foundation members and surveyors of everything undertaken by Project 34, Chris and Renee, joined HEAVY for a revealing insight into the world of what looks set to become a pivotal moment in Australian music history."This is an ideal time for us to talk about what we have embarked on,” Chris began, “over the last couple of years in particular, and what Project 34 is, plus our upcoming release that is scheduled for 2022. Project 34 was established by Renee and I in 2017 and it was initially just a musical project to create a soundtrack based on emotions with a high production. It was a small thing we thought we would embark on in terms of trying to get as much fuel into the record as possible as opposed to a physical recording studio. What we started with was light jams which we tailored into songs but the general feel of the album in what we're trying to represent would be a contrast of genres. We've always had an idea of merging a few different genres and that's basically the general remise of the project. It has progressed significantly since that point, so the first release was a little bit of a demo, the second was more of an EP that allowed us to explore our sounds a little more and collaborate with more individuals. The first album we had six or seven individuals we collaborated with, the majority of which were in our previous bands and local network and that evolved into probably nine people that were domestic in Australia so what we decided to do was have a similar approach with the third release in terms of we wanted to take things a bit further in terms of that unique merging of sounds but expanding on that."In the full interview Chris and Renee elaborate more on Project 34, talk about the musicians they have assembled from all over the world and their part in the project, the upcoming album and what to expect, the magnitude and scope of Project 34 and more.
After more than thirty years in the music industry, British rock act The Wildhearts have seen their fair share of trouble.Unapologetically led by enigmatic frontman Ginger, The Wildhearts are widely recognized as one of the finest acts to come out of Britain in that time and have built a loyal and dedicated fan base with a mixture of driving, catchy tunes and memorable live performances.After releasing Renaissance Man – their first album in a decade – in 2019 The Wildhearts enjoyed their highest charting album since 1994, in the process setting off a chain of events that returned their music to the forefront and the retention of their classic line-up of Ginger, CJ, Ritchie and Danny combining to deliver the recently released 21st Century Love Songs which has again sparked renewed interest in the band.Ginger joined HEAVY for a fun and informative chat to talk about all things in the world of The Wildhearts."I dunno. it's odd,” he laughed when asked about 21st Century Love Songs. “We got back together recently, like a few years ago, with the original line-up - or what people call the classic line-up - and we did an album called Renaissance Men which felt like our first album. It felt like a statement of intent. We didn’t know what the critics would make of it but it was all about us. This feels like our second album again. Back in the '90s our second album we kind of pushed the boat out a bit and started doing music that we thought might challenge us and not be so typical. Again, we confused the critics (laughs). With this one we've basically tried to cram about ten songs into every song, so it didn’t sound like any other record that people are listening to and I think we succeeded. I think we did well with this one. I like it."In the full interview Ginger talks more about the new album, internal pressure following up a high selling album, the three songs released and how they relate to the album as a whole, allowing the songs time to grow before recording them, the musical climate that gave birth to The Wildhearts, their upcoming tour and more.
It’s no secret that the music industry and all of those – from the performers to the venues to the studios to the punters – have all been affected, and in most cases decimated, by the rules and laws governing lockdown and restrictions.While the argument will continue to rage over the rights and wrongs of the way things are being handled, one fact remains true throughout.The music industry is suffering.With no end in immediate sight and many in the industry uncertain of their futures, HEAVY has decided to start a weekly segment called FCK CRNA to highlight affected businesses and industry workers and hopefully shine a light on a different key component of the music industry each week.These businesses need our support now, more than ever, so please, read on and spread the word about not only the businesses we focus on each week but any business you know of that is or has been affected.The only way out is for the music industry and those involved to unite and support each other in any way you can.We must be here for one another.This week, FCK CRNA turns the spotlight on Melbourne EOL Studios.
Southern NSW Coast rock outfit The Vandastruts have released their latest single Guilt Shot, a slow burning rock number that takes its inspiration from a gun related homicide from the history of the USA.With a blues/rock/hard rock infused sound played to perfection, The Vandastruts have been plying their trade since early 2020 and have emerged from the initial onslaught of COVID with a renewed vigor and EP’s worth of material in tow.Vocalist Kayne Micallef and brother/drummer Bodie sat down with HEAVY to discuss the bands new material."We wrote (Guilt Shot) about a man who killed his own wife, but I don't know how I came up with the lyrics,” Kayne smiled. “It all just started with a simple chord progression and the vibe that it gave was very eerie and spine tingling and that’s how I worked out what to write the song about. It's definitely rock but it’s also got that western country vibe to it. We've got the slide guitar in there and it starts off with some nice finger picking but we've also got something special with a news report of an actual incident over in America from a fair while ago of a man killing his own wife and he actually calls up the police and dobs himself in straight after he does it. So we've based the song off that."In the full interview the pair talk more about Guilt Shot and its subject matter, the use of actual police audio and how it impacts the song, the difference between this single and previous releases, the upcoming EP, the bands unique sound and more.
After undergoing somewhat of a musical transition with last album Euthanize-Steralize, Western Australian metal outfit Kimura have now settled on their hard hitting sound and are preparing to unleash the onslaught onto the public with their upcoming album Circle The Prey, which will be out towards the end of October.To introduce fans to the new, brutal direction Kimura have unleashed the first track from the album, Sharpen The Bones, with vocalist Josh Kelly joining HEAVY to chat about the song and the album."It's fallen in line with everything we're trying to do with the whole writing process for the album,” he explained. “Sharpen The Bones was actually one of the last songs that we wrote for the album, and it just came really organically like a lot of the songs did. We wanted to highlight some of the really cool stuff that our guitarist Ian was doing with some of his riffs and some of his fret work while maintaining the melody and groove that we have. A punchy, heavy, smack in the face sound."In the full interview Josh goes into more details about the meaning behind Sharpen The Bones and its eerie film clip, the heavier direction undertaken by the band, his role as vocalist, the sound of Kimura and where it comes form and more.
It’s no secret that the music industry and all of those – from the performers to the venues to the studios to the punters – have all been affected, and in most cases decimated, by the rules and laws governing lockdown and restrictions.While the argument will continue to rage over the rights and wrongs of the way things are being handled, one fact remains true throughout.The music industry is suffering.With no end in immediate sight and many in the industry uncertain of their futures, HEAVY has decided to start a weekly segment called FCK CRNA to highlight affected businesses and industry workers and hopefully shine a light on a different key component of the music industry each week.These businesses need our support now, more than ever, so please, read on and spread the word about not only the businesses we focus on each week but any business you know of that is or has been affected.The only way out is for the music industry and those involved to unite and support each other in any way you can.We must be here for one another.This week we speak with Dave Collins from Melbourne's iconic live music venue The Bendigo Hotel.https://www.bendigohotel.com.auhttps://www.facebook.com/thebendigohotelhttps://www.gofundme.com/f/bendigo-fund-me?utm_source=customer&utm_medium=copy_link_all&utm_campaign=p_cp+share-sheet
Amyl & The Sniffers are as Australian as they come – and unapologetically so.Blending a punk rock sensibility with lashings off rebellious rock, this Melbourne four piece epitomise everything there is to love about music.No fancy gimmicks, no shits given, and not even a hint of ego, you get the feeling Amyl & The Sniffers would be just as happy performing to the posters on their jam room wall as they are playing to a capacity house.Not that they have to play to themselves after taking the Australian music scene by storm with their self titled 2019 debut album.With an intense and ball tearing live show, Amyl & The Sniffers set about dismantling stages across the nation, extending their popularity overseas with BBC Radio 1 picking up and playing their music.For some reason, bands tend to be judged more harshly on their second album, and with Amyl & The Sniffers set to release their follow up Comfort To Me guitarist Dec Martens, drummer Bryce Wilson and bassist Fergus Romer joined HEAVY to chat about the release and fill us in on what the band has been up to while the world around them went into chaos."I don’t think there was any planned direction,” Martens said of the album. “We were just sort of like trying to write as much as we could with the time we had off touring last year. So we ended up writing quite a few songs and recorded a few more and picked from them to go on the album. There wasn’t much of an idea, it was just let's write as much as we can and we recorded the best things that we wrote."Despite the fact the band recorded the album in between lockdown restrictions, Wilson stresses the whole process went as smoothly as it could given the circumstances."It was kind of nice because it gave us heaps of time,” he laughed. “There wasn't any pressure to have a new set for a show or anything. It felt pretty cruisy for me. Having on and off writing sessions was pretty easy."In the full interview the guys talk more about the songs on Comfort To Me, the selection process for selecting the final tracks, how the album differs musically from their debut, the cover image and what it represents, letting their Australianism show through in their music and more.
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