Guitars, Riffs, And A Little Bit Of Aussie Heat: RICK SCHNEIDER On Polaris And Knotfest

After spending their first couple of years refining their sound and learning their craft better, Gold Coast rock outfit Chavez Cartel are finally starting to bear the fruits of that labour, having also managed to conquer the UK and USA in recent years.With a classic rock sound embedded with elements of grunge, Chavez Cartel found pieces falling into place earlier this year with an appearance at Big Sound 24 introducing the band to a wider range of possibilities and contacts than ever before.Harnessing this renewed vigour, the band headed for the studio to begin the next phase of their musical journey, with the result being new single All I Know, which showcases the evolving sonic world in which Chavez Cartel find themselves gravitating toward.HEAVY caught up with frontman Ben Simpson to get more details."It's a little bit 90s sounding - like a lot of our stuff is, I think," he explained of All I Know. "It's got some 90s elements in there. It sounds like a dirty Oasis track to me, if I strip it back. A punky, dirtier Brit-Pop song. The song itself is about grinding, day-to-day life. Stuck in traffic. Back and forth from work, feeling like you're wasting away. It's a bit of a miserable approach to working class life, but it's got a bit of life in it, so it's not a miserable song. It just touches on the misery of some days."In the full interview, we discussed All I Know in greater detail and its potential inclusion in their upcoming album. Ben described the song as a bit of a miserable approach to working-class life, but with a bit of life in it. We also discussed the concept of the film clip that reflects this theme.We spoke about the band's transition from releasing smaller EPs to an album. Ben expressed his dissatisfaction with EPs, stating that they are not as valued as albums. He mentioned that the band is now ready to release a full album, having accumulated a body of work. Ben also shared that they have learned more about production, including vocal layering and counter melodies, which will be incorporated into their new album. The conversation also touched on the changing attention spans of people due to social media and the internet, with Ben expressing his preference for longer, more immersive music experiences.Ben touched on the band's continued musical growth and clarified that the changes were natural and not a deliberate strategy to veer off into different genres. He explained that the band started as purely grunge, but over time, they added elements from punk and Britpop, while maintaining their grungy sound. Ben confirmed that the singles they released were a good representation of their current and future sound.We also spoke about upcoming shows and plenty more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

12 Marras 202413min

ALARUM have nothing to prove in sheer technical prowess on their instruments, or superlative proficiency in progressive metal songwriting. They've demonstrated for over 25 years that they are masters in complex time signatures, virtuoso guitar and bass chops, and layered sonic landscapes. Their music can be deliciously delicate and lovely, cheeky jazz fusion fun, or brutal death metal heavy.Their new album Recontinue gives you all of those elements that you know and love about ALARUM, with the addition of the weight of an anvil. It is a brutally uncompromising album, with enough in the way of finesse to appeal to metal lovers of all tastes.HEAVY caught up with Mark Palfreyman to find out more.We discussed the band's new album, with Mark explaining it is a continuation of their previous work, with a focus on heavier and cleaner parts, as well as incorporating new ideas and influences. He also mentioned that the album was influenced by the band's experiences during the Covid-19 pandemic.HEAVY praised the album's eclectic mix of styles, from progressive metal to jazz fusion, and asked about the creative process. Mark explained that they write different styles of music simultaneously, blending them together to create a cohesive album. He also noted that the band's approach has evolved over time, from simply writing songs to having a more planned and focused approach to their music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

10 Marras 202418min

The only thing better as a band than hitting the road after releasing an album is hitting the road with your mates, so it was a no-brainer really when Melodic Death metal powerhouse ORPHEUS OMEGA (VIC) and Symphonic Gothic Metal masters CARMERIA (NSW) announced they would be touring together to promote recent albums.Dubbed the Embers Of Tragedy Australian Tour, the run of shows celebrates Orpheus Omega's Emberglow album and Carmeria's Tragedie D'amour, with both releases considered as pivotal in the blossoming futures of both bands. Emberglow sonically marrie sOrpheus Omega's classic melodic death metal roots while taking their largest leaps yet into uncharted territory including moments of progressive metal, metalcore, doom metal and more. It is a brave and typically bold step forward for the band, who over five albums and three EP's have continually pushed themselves and their boundaries, despite gathering a loyal fanbase that would be satisfied with their music changing only minimally.HEAVY sat down with the whole band recently to discuss the tour and whatever else seemed appropriate at the time.We discussed the Emberglow in greater detail and how ambitious the band actually considers their sonic shift. The band mentioned that the album has a strong personal element, with each band member contributing their own unique influences. They emphasized the importance of the pre-production process in shaping the album's cohesive sound and talked about the balance between different genres in the album and how difficult it was to get right.They also discussed their upcoming tour and the effort they put into creating a memorable live show experience, just what to expect and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

7 Marras 202421min

Interview by Angela CroudaceThe music world is often dominated by Western narratives, but Botswana’s Skinflint is challenging those narratives by carving out a unique space for African metal. Founded in late 2006, the band emerged with a vision to blend heavy metal with the richness of African culture and mythology. HEAVY spoke to the band’s core members - Giuseppe Sbrana (guitar, vocals), Kebonye (bass), and Cosmos (drums) - to discuss their musical journey, influences, and the themes behind their latest album, Baloi.“Skinflint started with a simple idea: to tell the stories of Botswana and Africa, particularly the darker sides of our mythology that aren’t often covered by Western media,” Giuseppe explained. “Africa is rich in history and tales, and we wanted to bring those narratives to life through metal.”The band’s name, while catchy, lacks deep meaning. “It just sounded good,” Kebonye said with a chuckle. However, their mission is far from superficial. With a growing fan base across the globe, they have become a significant voice in the underground metal scene, sharing stories steeped in African folklore.Despite their passion, Skinflint has faced significant challenges in promoting their music in Africa. “In the beginning, many people didn’t understand what we were trying to do,” Giuseppe admitted. “The metal scene here is small, and venues that support our music are rare. We’ve had to create our own opportunities.”They emphasize the necessity of collaboration among bands in Botswana, sharing resources to build their own stages and sound systems. “It’s a DIY punk attitude,” Giuseppe noted, reflecting on the resilience of local artists. “But the hard work is worth it when we get on stage and share our stories.”Their latest album, Baloi, which translates to "witches" in Setswana, delves deep into Botswana’s rich mythology. The title track addresses themes of love and betrayal, inspired by the legend of Lenswala Baratani - a tale of two lovers shunned by their tribe. “These stories are part of who we are,” Giuseppe stated. “We want to share them, even if they can be dark and unsettling.”Another standout track, Sangoma, explores the concept of blood magic and witchcraft. Kebonye explained, “We want to showcase our culture, the good and the bad. People fear what they don’t understand, but we believe in the importance of telling these stories.”As Skinflint continues to gain traction internationally, they are often dubbed "Africa's heavy metal Gods." However, the band is quick to redirect the spotlight. “While we appreciate the recognition, there are so many great bands in Africa,” Giuseppe urged. “It’s important for people to explore the diversity of African metal and the stories it has to offer.”Their dedication has resulted in a loyal following not just in Africa but worldwide. When I asked about future tours, the excitement was palpable. “We’d love to play in Australia,” Guiseppe exclaimed. “Just connect us with a promoter, and we’ll be on the next plane!”At the heart of Skinflint's ethos is collaboration. Each member contributes to the songwriting process, with Giuseppe penning the lyrics while drawing on ideas from the band. “It’s a family atmosphere,” he described. “We want to push each other to new heights, incorporating each member’s strengths into our music.”As our conversation drew to a close, it was clear that Skinflint is more than just a band. They are storytellers, cultural ambassadors, and innovators in the heavy metal genre, determined to break boundaries and share the untold stories of Africa with the world. Their journey continues, one heavy riff at a time.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

6 Marras 202424min

Interview by Angela CroudaceIn the ever-evolving world of metal, League of Distortion is carving out its own niche, led by the dynamic Anna Brunner, also known as Ace. Fresh off the release of their new album Galvanize, Anna’s passion for music and empowering messages shines through in every note. We caught up with her to discuss the band’s journey, the inspiration behind their latest work, and the significance of representation in the metal scene.With the self-titled debut album released in 2022, fans are eager for more. Anna shares that Galvanized features entirely new material, except for a couple of reworked tracks. “There’s one song that didn’t fit on the first album, and we took that again and redid it,” she explains. “But I always have so many new ideas, so it felt natural to create new content.” The evolution in her songwriting reflects a shift in mindset, allowing her to explore themes that resonate with her current experiences.As a relatively new band, League of Distortion have already taken the stage at major festivals, a daunting task for any artist. Anna recalls her first show after the release of their single Wolf or Lamb. “It felt so natural. I’ve played gigs before, but this was something special. I was pretty fucking nervous,” she admits, laughing. “But I appreciate my nervousness; it makes me focus.” It’s clear that while the pressure of performing can be overwhelming, it also fuels her passion and drive.In a genre often dominated by male voices, Anna is proud to be part of a growing movement of female metal vocalists. “I don’t seek to be different; I just want to be an example for women and everyone to show them that if you work hard, you can reach your goals,” she states. Her commitment to empowerment is not just about gender but about inspiring anyone who feels marginalized to pursue their dreams. “I want to show that we can do this together.”The songwriting process for League of Distortion is a collaborative effort. Anna works closely with producers Hannes Braun and Julien Breuker, bouncing ideas back and forth to create a sound that blends various influences, from hard rock to hip-hop. “We mix styles, and I never really thought about it; I just throw loops and sounds together,” she shares. This approach allows the band to stay innovative and fresh, capturing the essence of their diverse musical backgrounds.With the world facing significant challenges, Anna emphasizes the importance of using music as a platform for hope and positivity. “There’s so much fighting and envy, and I want to use our music to give energy back,” she explains. “We are more, and together we can create a movement for change.” Her vision is clear: to rally listeners around a shared sense of purpose, encouraging them to rise above negativity.League of Distortion boasts an impressive line-up that showcases a wealth of talent and diverse musical backgrounds. At the forefront is Anna Brunner, a dynamic vocalist renowned for her powerful voice and her work with the band Exit Eden. Joining her is Jim Muller, also known as Arro, from the celebrated group Kissin' Dynamite. Adding to the band's depth are drummer Tino Calmbach and bassist Felix Rehmann, both of whom bring their own unique flair to the ensemble. Together, this powerhouse combination creates a dynamic that not only enhances the band's distinctive sound but also reflects their individual experiences in the music industry.As the band looks to the future, Anna expresses a desire to tour in Australia, a dream that resonates with fans down under. “That would be one of my bucket list dreams,” she enthuses. With plans to continue spreading their message through powerful performances and engaging music, League of Distortion is poised to make a lasting impact in the metal scene.In a world where representation matters more than ever, Anna Brunner and League of Distortion are not just making music—they’re making waves. With their unique sound and powerful message, they are set to inspire a new generation of fans and musicians alike. As Anna puts it, “We still have a long way to go, but together, we can reach more people and create something beautiful.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

6 Marras 202418min

It is hard to believe that a band could have been around for over ten years and released two EPs, but are still to play their first live show. Especially in the modern age of music.But that's exactly the situation Gold Coast rock outfit Derail find themselves in as they prepare to make their live debut amongst esteemed company when they perform at the End Of Year Bash at Mo's Desert Clubhouse alongside The Whiskeys and The Poor on December 13.Starting as a studio project towards the start of the last decade, Derail were initially comprised of Stewart Williams (Lump, Electric Horse) and Adam 'Tex' Burnell, both playing guitars, bass and programming drums. They soon enlisted Jan Nicholas Blom (Ex- In-Cyde, The Silencio) on vocals and the Burn It Down EP was finalised. The EP was released digitally in 2017 and the boys got to work on a follow-up right away without performing any live shows. The Low Tide EP was released the following year, one track at a time, before everyone got tied up with their other projects.In 2024, Stewart and JNB decided to put together a live band to play a show and give the songs their due. Tex continued on guitar and Stewart moved to his primary instrument, the bass. Dylan Brann and Kurt Winter, both of The Silencio, were recruited to take on guitars and drums to complete the line-up and the rest will soon be history.HEAVY caught up with Blom to find out more.We discussed the upcoming gig at Mo's Desert Clubhouse on December 13. Blom, a seasoned musician, expressed confidence in the band's performance despite limited rehearsals. He also mentioned that the band members were excited to showcase their music to a wider audience. We spoke about why now is the right time for Derail to hit the stage and why this could possibly be the band's first and last show.Talk turned to nerves on the night despite the experience of each band member, how Blom got involved in the project initially, bringing the sound of Derail together, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

6 Marras 20248min

When Melbourne metal outfit Frankenbok played their first note in anger back in 1997 the musical landscape was a much different beast. For starters, it wasn't deemed necessary to label genres and subgenres of music to appeal to particular markets, meaning bands were more willing to mix a plethora of loves and influences without fear of alienating certain sections of their target audience.Which was fortunate because the early days of Frankenbok were a war of attrition, mixing Faith No More inspired bouts of eclectic funk metal with ferocious growls and moments of subtlety that would send the heads of many in the modern music climate spinning out of control.Frankenbok's attitude towards colouring outside of the metaphorical lines was never more evident than when they decided to cover Madison Avenue's hit Don't Call Me Baby.In their own image, of course.That one song ensured Frankenbok's music transcended not just barriers, but lifestyles as well, bridging the gap between metalheads and the rest of the music loving public in such a way that it momentarily became cool to be metal.Debut album Greetings & Salutations was groundbreaking and dangerous for its time, and the future looked suddenly bright for a bunch of self-confessed lunatics who just happened to play music.Before reaching that elusive light at the end of the tunnel, Frankenbok underwent the first of many vocalist changes, when original singer Hutchy moved on to other projects, taking with him a large chunk of Frankenbok's DNA that got increasingly more lost from their sound as the procession of singers came and went and Frankenbok's sound ran more parallel with heavy metal with each album release.With the band set to celebrate their 25th year in 2023, sole original member and guitarist Azza Bok came up with the ambitious idea of inviting every past and present member of Frankenbok from their inception to help celebrate by reassembling on stage through a night of live entertainment.It was an idea that could have gone in a number of varying directions, with some past grievances still laying dormant and unresolved. But music is and always has been the great healer of wounds, and what started as a cool idea quickly transformed into an excellent one that opened up a number of potential new happenings and music that reignited the sense of danger that Frankenbok have always thrived on.As happens with life, opportunities outside of Frankenbok presented themselves, with vocalist Dan McDougall torn between his love for the band and music and a growing need to solidify and consolidate his future. But instead of sweeping things under the carpet and causing inner turmoil and unrest, a band meeting led to a unanimous and amicable decision that would result in McDougall focussing on his business ventures, paving the way for a fairytale reunion that saw Hutchy returning to the band who he helped shape and mould more than 20 years ago.With his return came the eclectic and experimental musical experiences that punctuated Frankenbok Mark I, but, most importantly, he also rekindled the fun, flippant side of Frankenbok's music that had all but evaporated over the last two decades. Things suddenly became unpredictable again, which in turn unleashed the blatant disregard for acceptable genre-specific music that was a feature of early Frankenbok.But, as they say, the proof is in the pudding and today Frankenbok fans past, present and future get the chance to judge for themselves with the release of the first single with the newly old line-up, Demon Tantrum. An amalgamation of styles and genres that has more schizophrenic tendencies than a sanitarium, Demon Tantrum is a welcome step back to a time where there were no rules, no expectations, and no fucks given.Which was Frankenbok's initial life mantra.HEAVY sat down with Azza Bok to run the whole gauntlet of recent happenings and came out the other side still confused, but even more excited.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

2 Marras 202438min

Misha Mansoor and Spencer Sotelo of Periphery spoke to HEAVY recently about their creative journey, the evolution of their music, and the unexpected fate that led to their latest release, 2 Song Acoustic Single.The discussion kicked off with an intriguing insight into the band's new acoustic single. Spencer shared how the project was born from a casual jam session during a U.S. tour with guitarist Mike Dawes. "It kind of came about as an accident really," he explained. "We were practising in a warehouse in Las Vegas and just started running over these acoustic versions of our songs. They turned out awesome!"Misha highlighted his role in the project, "I contributed some layers and backing vocals, but it was really Spencer and Mike's baby. It was cool to take a back seat for a change."The collaboration proved fruitful, as they received positive crowd responses during live performances. "After the tour, we decided to actually sit down and put together acoustic versions," Spencer said, emphasizing the organic nature of their creative process.Reflecting on the band's beginnings, Misha discussed the challenges of forming a cohesive group. "Spencer is our fourth singer, but he's the only one who survived," he joked before adding, "Bands are tough. It's like being married to five people, and you have to get along."Spencer acknowledged the tough early days, noting, "I wasn't the best singer in the world back then. We got a bit of hate online, but we never worried about it. If we were happy, that's what mattered." Misha admired Spencer's growth, stating, "He was very green at the time, but I saw immense potential. He always had the fire to improve."The songwriting process in Periphery has evolved significantly over the years. "Every album has gotten more collaborative," Spencer noted, particularly referencing their latest work, PV: Djent is Not a Genre. "It was a huge group effort in music, vocals, and lyrics. We cut entire songs if someone wasn't happy with them."Misha added, "It's about problem-solving and creating something we're all stoked about. The process is very sacred to us, and we've learned to follow the creative thread wherever it leads."While Periphery's sound is rooted in metal, the band members draw inspiration from various genres. Misha admitted, "Metal music is the last thing I choose to listen to. I find inspiration in classical and jazz music, which allows me to focus without invading my analytical brain." Spencer echoed this sentiment, emphasizing the importance of creative freedom. "Our music feels very honest. We write for ourselves, and it's amazing that it resonates with others."As the conversation drew to a close, excitement bubbled over their upcoming tour, particularly the long-awaited return to Australia for Monolith Festival. "It's been seven years since we've been there, and I genuinely love it," Spencer said, looking forward to the beach and the summer vibes.Misha humorously added, "I would enjoy Australia if it was real, but we all know it's not - just crisis actors!" This light-hearted banter showcased their camaraderie and passion for performing.Periphery remains committed to their authentic vision in a world of ever-changing sounds and styles, continually evolving while honouring its roots. Their journey, marked by collaboration, experimentation, and a shared love for music, promises fans an exciting future filled with sonic exploration.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

31 Loka 202424min