The Right Time To Celebrate With SCOTT ANDERSON From FINGER ELEVEN

Interview by Kris PetersKnown for their raw and stripped-back sound, Death From Above 1979 have been described as everything from noise punk to dance punk, embodying a DIY ethos that Rolling Stone described as “noisy hardcore, gritty synths, and earnest screams.” The duo’s relentless beats, searing guitars, and ferocious energy practically summon you to the dance floor.Death From Above 1979 return to Australia for a run of shows this April, marking the first time the band have visited this country in almost a decade and a half, first coming in 2005 and then again in 2011 for Parklife. Don’t miss your chance to experience the explosive energy and sheer power of Death From Above 1979 live on their 20th Anniversary tour for their debut album You’re a Woman, I’m a Machine. It promises to be an unforgettable salute to a record that still pulses with the same intensity as it did when it first detonated in 2004.You’re a Woman, I’m a Machine contained edge-of-your-seat classics including Romantic Rights, Blood On Our Hands, Black History Month and Little Girls, but let’s face it, every track is killer. A perfect, 10 out of 10 review from back in the day via Drowned In Sound, stated "It’s not just music you’re hearing - sweat, blood, spunk and beer are all audible, splattering these 11 tracks like a Pollock…. It’s so simple, just two dudes making a right ol’ racket, done with such spirit and delivered with such a purity - magnificently filthy.” HEAVY spoke with drummer/vocals Sebastien Grainger ahead of the tour to get the rundown, at one point asking what had changed with the band since they were here last 14 years ago."We had just started playing again after being broken up for five years or so," he recalled. "So that was like a reunion tour for us. And we didn't have a new record, we only had that first record - and we didn't make a new record until 2014. So in that time, in those 14 years, that's basically the… It's this whole second phase of the band, you know, the whole second period of the band was between 2011 and now. So, yeah, I mean, we made three LPs and toured around the world and, you know, had families and more children and all kinds of stuff."In the full interview, Sebastien discussed the band's upcoming tour in Australia, emphasizing the importance of celebrating the 20th anniversary of their debut album You're a Woman, I'm a Machine. He reflected on the band's evolution, including the release of three additional LPs, and the challenges of adapting their music for live performances, highlighting the unique energy generated through audience interaction rather than a traditional frontman approach. The conversation included insights into the album title's origin, inspired by a misheard phrase from his girlfriend.We also ran through the creative aspect of writing and recording You're A Woman, I'm a Machine free from expectation or pressures and how it set Death From Above 1979 on the path to which they find themselves today and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

17 Maalis 19min

Interview by Kris PetersThe Superjesus have been a mainstay on the Australian rock scene for more than three decades.Their infectious music coupled with arguably one of the best live shows in the country have endeared the band to generations of music lovers since their inception in the late 1990s, with the band's debut album Sumo in 1998 spawning fan favourites such as Down Again, Saturation and Now and Then.The follow-up, Jet Age, magnified the growing popularity of The Superjesus, delivering the smash hit Gravity as well as Secret Agent Man before Rock Music rounded out the trifecta in 2003.A brief hiatus from the mid 2000s gave the band members time to reflect on their personal music ambitions before deciding the world needed more of their music in 2013. This produced an EP, Love and Violence (2016), as well as a double live album but despite The Superjesus quickly reclaiming their status amongst Australia's elite touring band's, no new music has been forthcoming.That changes this Friday, March 21, when The Superjesus (self-titled) comes out, fuelled by the success of six previous singles Money (We’re Only In It For Love), Lights Out, We Won’t Let Go Until It’s Over, Something Good, a cover of Generation X’s Dancing With Myself and beautiful ballad Diamonds. This is the new Superjesus, a more soulful, engaging version of the band we know and love where song writing is king.HEAVY caught up with frontwoman Sarah McLeod to find out more. We bring up a quote she made to HEAVY in October last year where she proclaimed "I shit you not, but it's the best stuff we've ever written", and ask if she still feels that way after the album has had more time to digest. A smile swept across her face before replying with a simple "yeah"."I guess maybe that's why I love it so much," she continued, "because I'm so connected to it. And I just feel like we've got better. I feel like we did a great job in the 90s, and we were happy with those records, but we had 10 years off, and we all went and did different music. We learnt stuff. Ruddy (Stuart, bass) was in all these different bands, and he came back with a whole library of new influences and so did I. And we're like, okay, we're the same people, but we're not really because we've learnt all this stuff. So why don't we bring in the cool shit that we've learned and make something different, but paying homage to who we were. And that's where we're at. And I think it's been really good for us. And I love it."In the full interview, Sarah expressed her excitement about the album, which has seen the release of six singles over the past 18 months. She highlighted her favourite track, Gangbusters, and explained the strategic decision to hold back some songs to build anticipation. She emphasized that while there is no external pressure, she feels a personal drive to deliver quality music, reflecting the band's evolution and commitment to their craft.Sarah shared insights into her songwriting process, noting a shift towards creating cohesive narratives rather than standalone lyrics. She discussed the challenges of balancing her solo work with that of The Superjesus, particularly in terms of lyrical content and audience resonance. The conversation also touched on the creative process, where Sarah likened songwriting to an alchemical journey that requires refinement to achieve simplicity. She said she believes that effective songs often stem from straightforward lyrics that engage audiences, a principle she strives to uphold in her work. We discussed the band's upcoming tour and what to expect musically, as well as the opportunity for local band's to open in each city and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

17 Maalis 18min

Interview by Angela CroudaceBarry Johnson, vocalist and guitarist from Joyce Manor, sat down with HEAVY for a conversation about the band's upcoming Australian tour with The Wonder Years, their creative process, and life on the road. The Californian punk rockers are gearing up for a return to Australia, a place they’ve always enjoyed performing and connecting with passionate fans. With a long-standing relationship with the country, Barry shared his excitement about the tour and reflected on the band's journey.When asked what he was most excited about for this round of shows, Barry’s enthusiasm was evident. "I'm excited to be back in Australia. It’s been a while, and I love it there. The crowds are great, and the people are really easy to talk to," he said. He also highlighted the similarities between California and Australia, particularly the laid-back vibe that makes him feel at home. "Being from California, I feel like Australia is a sweet spot. It's got the surfer culture, but the humour aligns with English humour, which is something I can really relate to."Barry’s memories of past shows in Australia are fond ones, though he admitted that some moments tend to blur together. However, one standout memory remains a show at The Gasometer in Melbourne, which he described as one of the best they’ve ever played. "That show was definitely one of my favourites. It was such an amazing night, and it’s always stuck with me," he shared. Even after all these years, that performance holds a special place for Barry, ranking among the top shows of his career.The conversation then shifted to the creative side of Joyce Manor. Barry reflected on the making of Last You Heard of Me, from their 2016 album Cody, a track that went through numerous revisions before it came together. "It was one of those songs that we worked on for so long, making small adjustments until it finally clicked," Barry explained. The process was challenging, but the outcome was something the band is incredibly proud of. "It’s hard to imagine it any other way now. All the hard work paid off, and I’m really proud of how it turned out," he added.In terms of songwriting, Joyce Manor’s process has evolved over the years. Initially, Barry wrote nearly everything for the band, but as time went on, it became more collaborative. "On Cody, it was myself, Chase, and our producer Rob Schnapf working together. It’s really become a group effort," Barry explained. The band's dynamic allows them to balance creativity, ensuring that no one voice dominates while still pushing each other to create their best work.As for Barry's personal musical tastes, he admitted that while his preferences have evolved slightly over time, they remain grounded in the pop-punk and indie realms. Bands like Weezer, The Gin Blossoms, and The Smiths continue to inspire him. "I like a mix of '90s pop-punk, power pop, and '60s music. I’ve always loved a good song with strong melodies," he said. His love for the craft of songwriting shines through, and it’s clear that melody and structure remain at the heart of his musical identity.When asked about the band's daily routine on tour, Barry joked about how annoying they can be. "We speak our own weird language, and it’s a bit insufferable at times," he laughed. Despite the inside jokes and constant banter, Barry explained that the hardest part of touring is finding time for himself. "Being around people constantly can be tough. I need a little alone time, but it's hard to get that on tour," he shared, offering a glimpse into the reality of life on the road.Despite the challenges, touring remains one of the most exciting parts of being in Joyce Manor. When asked whether the band still parties on tour, Barry was quick to respond. "Oh, we definitely party. It’s one of the best parts, but it can make it hard to keep up the energy for the long haul," he admitted. Still, he’s not planning to slow down anytime soon. "I’m going to milk it for all it’s worth," he laughed.Finally, when asked about new music, Barry confirmed that the band is working on a new record, though there’s no release date just yet. "We’re about halfway through writing and recording it. It’s coming along slowly, but we’re making sure it lives up to the standards we’ve set for ourselves," he teased.As Joyce Manor gets ready to hit the road with The Wonder Years in Australia, fans can look forward to more unforgettable shows, new music on the horizon, and a band that continues to evolve while staying true to its roots. Catch Joyce Manor opening for The Wonder Years with Aussie band Suzi in March and April.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

16 Maalis 16min

Interview by Kris PetersNew York trio SANHEDRIN released their long-awaited new full-length, Heat Lightning, last Friday via Metal Blade Records.SANHEDRIN has spent the last decade at the forefront of the American heavy metal scene blending traditional metal and hard rock sounds with a fresh modern energy and perspective. With 2022’s critically lauded Lights On full-length, the band had created their most complete work to date. With their follow-up, Heat Lightning, the band delivers a diverse collection of songs that wholly captures their wide array of influences with an elevated level of production.“Sonically, there’s no comparison,” notes drummer Nathan Honor when asked how Heat Lightning compares to the band’s previous efforts. “Heat Lightning is the fullest representation of the power of this band. When you take three seasoned musicians with their favourite handpicked instruments, put them in front of two brilliant producer/engineers in a studio stacked with incredible equipment and no outside distractions, this is what you get.”Unlike the previous three albums, which were all tracked and mixed by ColinMarston, for Heat Lightning SANHEDRIN opted to work with a fresh set of ears in a new environment. In doing so, the band landed at the legendary Utopia Bearsville studio in Woodstock, New York. At the helm for recording and co-producing were Matt Brown (Life of Agony, A Pale Horse Named Death) and Jerry Farley (Sick Of It All, Madball).Heat Lightning gets its title from the second track of the same name. “Heat lightning is a flash of lightning from very far away, sometimes seen in a clear sky,” says vocalist/bassist Erica Stoltz. “It is used as a metaphor for where we see ourselves at the moment in relation to climate change. Collectively, we have moved further away from our direct relationship to nature and have adopted a paternal relationship with the natural world, as if we have control. It was one of the first songs written for the album, and one of the most dynamic tracks the band has ever written."Elsewhere, The Fight Of Your Life is a tribute to those we call “lifers” in the music business. “It’s about the compulsion to play music no matter what. When you get the bug, and you have it for life, it is your north star, your reason to be,” says Stoltz. Franklin County Line is the fastest song on the record, and inspired guitarist Jeremy Sosville’s hometown and surrounding area in northern New York state. Sosville recounts, “Erica and Nathan came up to visit me and work on new music. In the process, we wrote a song inspired by the local Amish population but with a naughty twist.”The record commences with Blind Wolf, a hard-rocking, heavy metal stomper and the record’s lead single. Lyrically, the song is inspired by the band’s shared fascination with cults. According to Stoltz, “The blind wolf symbolizes losing your animal instincts as a result of adopting someone else's belief system.” The song is straightforward, pounding, and delivered with ill intent. “We knew as soon as the song was complete that it should open the record,” says Sosville. “It really sets the tone for the journey the listener is about to take with this album.”HEAVY caught up with Sosville to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

15 Maalis 11min

Interview by Kris PetersWhen The Dillinger Escape Plan bid their fans farewell at the end of 2017 the resulting ripples in the live community could be felt around the world. Despite leaving at the top of their game, DEP still left more than a few fans with an overwhelming sense of loss, especially those who had heard about the band's legendary, aggressive and all encapsulating live performances, but never got to witness it first hand.Formed in 1997 by guitarist Ben Weinman and vocalist Dimitri Minakakis, DEP soon forged a name for themselves on the back of their high intensity, often violent live, reckless shows, the band had an immediate impact with their 1999 debut full-length Calculating Infinity. Among the first people to jump on board was Mike Patton, who invited DEP out on the road for two months with Mr. Bungle, further strengthening their claims as eclectic and tumultuous trailblazers on the metal scene.Minakakis left the group after that album, with Patton providing vocals on an EP before Greg Puciato submitted a recording which led to him being asked to audition, and the rest is metal history.After five more albums, DEP officially disbanded in 2017, with Minakakis joining the line-up on stage over the last two performances on December 27 and 28. It seemed a fitting finale for the band who had turned heavy metal on its head over the course of their career, and despite everyone's obvious disappointment, the legacy of DEP would live on forever.Now, following an 8-year hiatus, The Dillinger Escape Plan return for a very limited number of live shows to commemorate their groundbreaking album Calculating Infinity and so much more, hitting Australia this August for a run of shows. HEAVY caught up with Ben Weinman to find out more."We never, ever think about performance, or things like that," he mentioned during the interview. "We always try and be completely uninhibited expression, and that's very important to us. Sometimes I don't even really wanna look out at the crowd, even at soundcheck or anything. I don't wanna have any indication of what to expect, and it's continued to be that way. Although, I think back in the day when we were first writing these songs we had a lot more people looking at us with disgust (laughs), than with enjoyment."We ask if he has to put himself in a mindset before getting on stage."For me, I can say one of the main aspects of turning on the Dillinger performance is that I'm always nervous," he revealed. "I'm never not nervous. I've never stepped on stage un-nervous. I still feel to this day everyone out there's gonna hate us. We're playing to a pack of wild wolves, and it's just stayed with us. Maybe it's just trauma from when we were younger, but I feel like we wrote music that wasn't supposed to be enjoyed (laughs). And we really wrote an album that was just for us, and it ended up working. I really feel that the fact that we're going out there still not even knowing what the reception will be to some degree - at least mentally - and the nerves is what turns it on. Because you either get up on stage and unleash the beast or you turn around and huddle into a ball and play facing the drums."In the full interview, Ben talks more about what we can expect from the run of shows, revisiting Calculating Infinity, what the album means to him 25 years on, their live intensity and how they sustain it, the early days of The Dillinger Escape Plan, having Mike Patton contribute vocals for an EP after Minakakis left, getting Greg Puciato in the band and what they expected from him, their final 1997 shows with both singers, how that planted the seeds for these reunion shows, the possibility of making the comeback permanent and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

15 Maalis 20min

Interview by Kris PetersIndian heavy outfit Zygnema have spent the past 18 years honing and refining their sounds from their home base of Mumbai, releasing two full length albums, one EP and a handful of singles. The band won the Rolling Stone Metal Awards in 2011, 2014 and 2016 and have performed at Wacken Open Air, Inferno Metal Festival, Osna Metal Fest as well as a few independent shows/tours in Europe.Zygnema recently unveiled their five track EP Iconic which came with two singles, but the band are hoping the sustained success of their music as well as the positive reception for Iconic will see them crack wider markets including Australia.HEAVY spoke with guitarist Sidharth Kadadi to find out more.We discussed the reception to Iconic, found out more about Zygnema and their history, the musical nature of the EP, a more in depth look at each of the five songs, how their music has taken them around the world, winning prestigious awards along the way and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

15 Maalis 21min

For the past 40 years, the venerated Thrash Metal outfit HEATHEN have abided by their never-say-die attitude.Formed in 1984 in San Francisco’s Bay Area—home to EXODUS, METALLICA, TESTAMENT, and DEATH ANGEL HEATHEN quickly separated themselves from the pack by expertly fusing David White’s distinctive vocals with a melody-driven and forward-thinking musical style. The band’s first two albums, Breaking the Silence and Victims of Deception, are widely regarded as Bay Area Thrash classics. The HEATHEN brand of intelligent yet aggressive Thrash appealed not only to the genre’s core demographic, but also Metal fans looking for brains behind the brawn. The most recent full-length album, Empire of the Blind, continued to push the boundaries of the genre, expanding their audience while restoring faith in vicious yet brainy Thrash Metal, the very kind that put HEATHEN on the map.Since the release of their last album, Empire of the Blind, HEATHEN has toured nonstop, playing hundreds of shows across five continents. From the moment that the COVID restrictions lifted in 2022, the band hit the ground running, touring with contemporaries such as TESTAMENT, EXODUS, OVERKILL, and SYMPHONY X over the last three years. Recorded in several cities across the United States during the 2023 Bleed the World Tour, Bleed the World: Live is the perfect audio representation of the HEATHEN live show. Featuring songs from each of the band’s albums, including recent tracks such as Sun in My Hand and The Blight as well as classics such as Hypnotized and Goblin’s Blade, the live album mirrors the band’s crushing live set list. The cover artwork by Travis Smith depicts a steel HEATHEN logo piercing the bleeding Earth, held by a hand that encapsulates the world tour as a moment in time. Produced by guitarist Kragen Lum and mixed by Zeuss, Bleed the World: Live transports the listener into the concert hall with a crystal-clear yet heavy production and captures the interaction between band and audience that makes every HEATHEN live show special.HEAVY caught up with Lum for a chat earlier today, starting with the early response to the album."All the feedback that we've gotten so far has been great," he smiled. "One person mentioned that it was like, if you closed your eyes, you were there at the show. And that was exactly what we were trying to do. We made sure that when we were recording, we recorded not just the band, but also the audience at every show so we could really get the live album feel. Those classic live albums that we used to love - Live After Death and many other ones - you feel like you're there because the audience is so prominent. The feedback from the crowd and everything in the song. And I think modern live albums are missing that because a lot of bands record the show, but they don't record the audience, and you're kind of missing an important element to the live show."In the full interview, Kragem spoke more about what to expect from Bleed The World: Live, the early feedback, if the band approached the concerts any differently knowing they were being recorded for an album, the process of putting together the tracks and selecting them, how critical the band members were of themselves when they listened back through, how they made every effort to replicate the live sound on the album, his early experiences with Heathen before joining, if there was any pressure on him coming into an established band and how long it took him to feel comfortable, their strike record of one album every ten years and if they plan to speed up that process moving forward, the possibilities of coming to Australia and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

14 Maalis 12min

Interview by Angela CroudaceTravis Stever, guitarist for both Coheed and Cambria and L.S. Dunes, is a musician who thrives on creative challenges. In an interview with HEAVY, Stever reflects on the evolution of Coheed’s sound, the ongoing exploration of new musical landscapes, and the balance between his two distinct musical worlds.When asked about Coheed and Cambria’s latest release, The Father Of Make Believe (released today), Stever notes that while the band always experiments with new sounds, what sets this album apart is the expansive exploration of styles within a familiar framework. "The box is so massive that we allow ourselves to create within it. We go outside of it, but not so far that fans will be left wondering what we’re doing,” he explains. The band continues to evolve, but as Stever points out, their willingness to experiment has been a constant, leading to albums that always surprise, yet never stray too far from their core sound.At the heart of the new album lies a theme of internal conflict, a wall within oneself. Stever shares that this theme resonates deeply within the band, particularly in how personal growth and struggles are reflected in the music. He describes the songwriting process as a journey of self-acceptance, where overthinking gives way to simplicity and beauty. "You realise life doesn’t need to be so complicated," he muses, pointing to the sense of peace the band has found in their evolution as both artists and individuals.Stever's dual role in Coheed and Cambria and L.S. Dunes, another band that offers a more collaborative and raw sound, presents an interesting dynamic. The contrast in approach is striking. "In Coheed, it’s Claudio’s songs, and I add my identity to them," Stever explains, noting that his role is often about enhancing Claudio Sanchez’s vision. However, with L.S. Dunes, the creative process is more democratic, with everyone contributing equally. "It’s more of a group consciousness," Stever discusses the band's writing approach, highlighting how the collaborative effort—where he adds his own contributions to the ideas brought forward by fellow guitarist Frank Iero—injects a unique energy into their music.Touring is another key topic, and Stever is excited about the possibility of returning to Australia. Reflecting on his previous experiences, including Coheed's headlining spot at Australia’s Monolith Festival, Stever fondly recalls the intimate connection the band had with the audience. "Tasmania was mind-blowing," he says, sharing his appreciation for the passionate Australian fans. With talks of a 2025 Australian tour, Stever hopes the band can return and continue fostering that special connection.Finally, Stever offers insight into the evolution of L.S. Dunes' sound, specifically the band’s latest record, Violet. The song's optimistic tone marks a departure from the darker, more confined themes explored in Past Lives. Stever attributes this shift to the personal growth of the band’s members, especially lead vocalist Anthony Green, whose newfound sense of balance and self-awareness has directly influenced the band's sound and lyrical direction.Stever reflects on the growth of both Coheed and Cambria and L.S. Dunes, emphasising that the journey of artistic expression is always ongoing—full of challenges, rewards, and an ever-expanding soundscape.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

13 Maalis 16min