Arterial Spray With BILL STEER From CARCASS

One of the beautiful things about music is its ability to transcend boundaries and expectations. Nothing can be taken for granted or thought of as a given, with each individual piece of music a different sonic representation of the people who wrote and played it.But sometimes things can surprise you out of the blue - especially collaborations - where bands from seemingly opposing sides of the musical fence combine to create something truly epic.Two bands that would generally never be considered as bedfellows - I Prevail and All Time Low - recently did just that, uniting for the just released track Hate This Song which sees both bands venture outside of their comfort zones to create something special irrespective of which band and/or genre you prefer.Hate This Song combines All Time Low's effervescent, three-chord charm and knack for melody with I Prevail's duelling vocals and riffy snarl. Essentially, Hate This Song is a modern breakup track that highlights how music is the universal love language with which we communicate.With I Prevail currently in the country as part of Parkway Drive's 20th Anniversary Tour, frontman Eric Vanlerberghe joined HEAVY to discuss both the tour and the new song, starting by asking him about the unlikely union with All Time Low."I think that was the plan and the magic of it," he smiled. "In between this last record, and before we start working on our new stuff, we had some opportunities to work with other bands, one of them being All Time Low. Our manager hit us up a while back and said 'hey, we got an email and request to do a collab with All Time Low' and it was like okay, sick, let's do the track. They sent the track over, and it's pretty much what you hear, except Brian wasn't singing the verse and the bridge was this instrumental thing. After hearing it a couple of times and listening to it and trying to get our heads around it, I knew that chorus… that chorus is a banger. It's a 10 out of 10 chorus. So we said yes, let's do it, now what do we do? Do they just want us to sing the parts they already wrote? After some talking back and forth with them, they said no, we want you to write something to it. Just take out whatever you want and put whatever you want in. So we had Brian sing the second verse and tweak some stuff up, then with the bridge we thought if they came to us, I'm sure they don't just want our poppy, melodic side. If they really wanted us, maybe they wanted to hear some riffage and our take on modern metal. So we banged our heads against the wall for a few hours and wrote this bridge part and made this abrupt left turn in the song and find a way to throw it back to the chorus. After a couple of days working on it, they were actually in our hometown of Detroit playing a show a couple of weeks later, so I ended up going to the show and getting to show them in person, and it was like, fair warning, it's pretty different. I played it for them, and they all were like, oh my God, this is sick, this is so sick. So we went back and tweaked it a little bit and here's the song. It was fun. It was a fun writing challenge to be able to really write outside the box of what typically I Prevail is. The same with our last collab with Halestorm, it was just a new tool for us to write stuff that's not typically I Prevail. Maybe it won't fit the record, but maybe we learned something on that journey. Or maybe we have a song now to feature a collab with a totally different artist. It was a lot of fun and a great experience."In the full interview Eric talks more about the unlikely marriage between I Prevail and All Time Low, how difficult it was to merge the two style and genres, their next album and how far advanced it is, the tour with Parkway Drive and how much it means to the band, how the shows will differ to when they were here last as part of Good Things last year and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

19 Sep 202419min

In just five years, Mo's Desert Clubhouse in Burleigh Heads has established itself as a leader player in the Australian music industry, providing a venue that caters to all genres of music played by bands of all levels. But it has become more than that for so many people, providing a comfortable and accessible live music outlet that has as much of a famly feel as it does a live music house.Mo's recently took out their third Live Music Venue Of The Year award at the Gold Coast Music Awards, in doing so earning themselves a place in immortality when inducted into the Hall Of Fame.To celebrate the past, present, and future, Mo's Desert Clubhouse will be hosting a special fifth birthday party at the venue on Sunday, October 6 with 8 bands playing plus games, prizes, food and a hot tub!HEAVY sat down with the man behind Mo's, Christian Tryhorn, to discuss the birthday party and more.We engaged in a detailed discussion about the planning of Mo's Desert Clubhouse's fifth birthday celebration, focusing on the event's band line-up, the inclusion of a hot tub, and the desired atmosphere to appeal to regular attendees. Christian highlighted the importance of securing tickets early due to expected high demand, while also celebrating their recent accolades, including the Gold Coast Live Music Venue of the Year Award and induction into the Hall of Fame, which underscore Mo's commitment to musicians and creating a safe environment. The conversation delved into the venue's origins, tracing its evolution from a personal space inspired by experiences at Burning Man to a significant live music venue in Australia, and reflected on the professionalism developed over the years.Christian also addressed the challenges faced by the music industry in the post-COVID era, including impacts on ticket sales and changing alcohol consumption trends among younger audiences, while promoting the Beats Cartel project aimed at supporting touring bands and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

17 Sep 202413min

Tacoma, Washington’s outfit Enumclaw released their second album Home In Another Life late last month, taking another musical step forward in their short, but promising career.Home in Another Life is the natural expansion of the high-octane rock foundation Enumclaw built with their widely-praised 2022 debut album Save The Baby, coming across as louder, faster and more confronting than their debut while also enjoying the subtle nuances of music that make it resonate on so many levels.HEAVY sat down with vocalist Aramis Johnson earlier today to discuss the album in greater detail, starting with the early reception for Home In Another Life."Really good," he smiled. "I feel like… I'm not really on the internet any more, so I don't know what people are saying on line, but in real life it's been really cool. I ran into a couple of people all over town who I don't know personally and who are saying that they really like it so that means something, right?"We ask about the album musically."We were pretty much just trying to do something that was a lot more direct," he measured, "and not over-produced. We did it in four days; we did the drums in one day, then spent two days doing guitars and bass and a day doing vocals. We were trying to… not completely replicate the Steve Albini sound… but that was definitely our North star. Big drums, well recorded guitars and the sound of the band in the room and not doing too much studio magic."In the full interview Aramis discussed the musical nature of Home In Another Life in greater detail, the singles released and how they paint a sonic picture, how it is a natural expansion of their 2022 debut album Save The Baby, the title and how it connects everything, what has changed with Enumclaw between albums, finding your musical identity and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

17 Sep 202411min

Immersing themselves in the rich tapestry of Nordic culture, groundbreaking collective Heilung are a musical force unlike any other.Entwining theatrical rituals with mesmerizing sonic undertones, Heilung have quickly powered to the upper echelon of global performers with a look and sound difficult to describe and even more difficult to behold.But try turning away from it.Utilising a unique fusion of ancient traditions and modern innovation, Heilung effectively immerse audiences into a realm of primal energy and mysticism, invoking the spirits of ancestors through haunting vocals and featuring authentic traditional instrumentation that ranges from rattles and ritual bells to human bones and throat singing.Australian and New Zealand audiences got their first taste early last year with sold out shows in Sydney and Melbourne, but this October and November people in every capital city will get the opportunity to be swept up into the visually destructive world in which Heilung is lord and master.HEAVY sat down with the three central band members Kai, Maria and Christopher to venture beyond the black curtain."It's really epic to be invited back for such a cool round trip," Maria began. "We're excited to see more of the country. We had a wonderful time in Sydney and Melbourne last time, and it felt like we came home in many ways. Some of our listeners knew us well enough to sing along to the tracks, and it was amazing to feel the energy."In the full interview, we discussed Heilung's current European tour and their excitement for the upcoming Australian tour, reminiscing about the warm reception and meaningful experiences from their previous visits, particularly their interactions with the Aboriginal community. They highlighted their strong connection with Australian audiences, noting their quick return within 18 months. The conversation shifted to the immersive and transformative nature of Heilung's performances, which are rooted in pre-Christian rituals and aim to create unique experiences influenced by venue and audience energy.The band elaborated on the spiritual and unscripted essence of their shows, detailing their initial journey from a studio poetry project to live performances, and the balance they strive to maintain between ancient traditions and modern innovations. They emphasized the physical and emotional demands of their performances, which necessitate a schedule of performing every second day, and the significance of using ancient instruments to forge a connection to humanity's roots, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

16 Sep 202415min

Melbourne metal outfit Void Of Vision have flown the flag for Australian music for over a decade; the quintessential underdog that remains humble and unassuming despite having more than enough heart to claim whatever patch of turf they, in the minds of most observers, deserved.Rather than restricting themselves and overstaying the musical welcome they built from their debut EP, 2014's Broken//Bones through to 2016's Children of Chrome, 2017's Disturbia, 2019's Hyperdaze and the amalgamated CHRONICLES series in 2023, Void Of Vision approached each new sonic cycle with the mindset of bettering themselves and their sound in the best and easiest way possible.By letting it come naturally.Each release saw the band morph into varying degrees of their growing musical psyche, refusing to allow their insatiable search for self-respect and musical growth to be harnessed in any way, shape or form.Respected by their peers and adored by an ever expanding legion of fans, Void Of Vision became an entity unto themselves with an air of invincibility around them that was inspiring and infectious. Until they almost lost vocalist Jack Bergin in early 2022 to what was later diagnosed as a "glitch" in his head.The normally outgoing and accessible frontman was forced into becoming an involuntary recluse after returning to hospital in April 2023 suffering intense headaches before being rushed into surgery for a life-saving procedure that forced him into confronting his own mortality and coming to terms with the now very real fact that tomorrow may not be as assured as he once took it for granted to be.As he has done his entire life, Bergin again turned to music, but this time it was with a different outlook on life that manifested itself through songwriting for a body of work that eventually became the genesis for Void Of Vision's new album What I'll Leave Behind that is due for release on September 20.A swirling maelstrom of massive riffs, abrasive edges and sonic bursts of intensity, What I'll Leave Behind is the product of a multitude of fear, sorrow and regret coupled with a renewed appreciation for life that could only come from the perspective of someone who has looked death in the eye but refused to accept it.HEAVY recently sat down with Bergin to discuss a tumultuous past few years and the music that recounts it."I had my first nocturnal seizure," he explained when we ask him about the initial circumstances that saw him wake up in the back of an ambulance, terrified and unsure of how he had got there. "It's basically an unavoidable moment where you are asleep in the dead of the night and your brain will just - basically due to my AVM which is constricting my blood flow - and leads to a… I can't remember the actual name of the type of seizure, but it led to me waking up in the back of an ambulance. I was very lucky to have my partner at the time there, and she was calling the ambulance before we knew it. But it was very weird because for the first time in my life that was a moment that I have zero recollection of. You can have your moments when you are on a night out, and you get drunk, but this was just completely different. It's complete blackout, with no clue of what happened or how it happened. I just went to sleep and woke up in an ambulance, and that was a really wild experience. It's the first instance of what happened. I went to the doctors, and they started beginning the plan to get rid of this AVM in the back of my brain and begin the process for radiotherapy."In the full interview, Jack opens up about the rest of the journey that nearly claimed his life, confronting the illness, how he harnessed those fears into the process of turning it into music for the new album, removing himself from the public eye in order to recover and hating every minute of it, creating an anterior persona dubbed the Angel Of Darkness to mentally adjust to the changes, how the ongoing support from his bandmates and fans in general helped him regain focus, the continued musical growth of Void Of Vision, their upcoming run of shows with Parkway Drive and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

12 Sep 202420min

So much is made of the sophomore album syndrome with bands, especially the belief that a second album can often be the making or breaking of a band in terms of longevity and success. Although personally I have never favoured that belief - good music is good music whether it's your first, second, third or fourth album - there are many bands who have dished up below-par second albums and never recovered.The answer to that is pretty simple.Attack each and every album with a wholehearted belief and trust in what has got you there in the first place. Or you could go one better and try to better yourself musically, which is exactly what emo rock outfit The Funeral Portrait have done with their second album Greetings From Suffocate City, which will be laid bare this Friday, September 13.With the full backing of their label Better Noise Music, The Funeral Portrait have poured their entire beings into their follow up to 2016's A Moment Of Silence, creating a sonic tapestry of songs that showcases the band in a powerful new light bristling with confidence and expansion.Plus, toss in the fact they have landed guest artists such as Bert McCracken of The Used, Spencer Charnas of Ice Nine Kills, Danny Worsnop of Asking Alexandria and Eva Under Fire and you suddenly have a melting pot of bristling, emotive rock music that looks set to propel The Funeral Portrait into the next wave of rock royalty that they have tirelessly been working towards.HEAVY caught up with vocalist Lee Jennings to find out more."It was a lot to do with…," he surmised. "Growing up, I was always the weird kid. I was always the loner or that kind of guy who was made fun of for being too tall or too weird or being into… I was always into anime, or musical theatre, just different from everyone else. Everyone else, especially around me, was into sports. I wanted to write a record that was kind of a love letter to the younger me, so every song has to do with some sort of experience that happened in prior years."In the full interview, Lee talks more about Greetings From Suffocation City and what to expect, his inspirations behind the music, motivating yourself to put out the best album you can, the story arc across the 14 tracks, how this album differs musically to A Moment Of Silence, what he learnt about himself and his music between albums, the guest artists and how they came to be on the record, making a statement with music, the band's blending of genres and how they come together, the theatrics within their music, touring plans and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

12 Sep 202414min

Out of all the music genres, sub-genres and classifications that, for some reason, people feel compelled to label bands with in the modern age, there is one - and one alone - that commands instant respect. One which sums up everything you want or need to know about a band in just two simple words.Old school.If a band is referred to as old school metal then you pretty much know what you are in for almost without hearing a note played in anger, and the even bigger beauty of it is that the term hasn't - yet - become trendy or fashionable. It is still used as a badge of honour and respect, away from the fresh breed of music lovers who feel compelled to follow whatever trend or fashion is popular at the time.Which is why the moment the press release for Perth death metal outfit Crypt Crawler landed on my desk with the words old school catching my wandering eye, I knew I had to take a listen.Said to "conjure an old school sound with a modern approach" Crypt Crawler didn't let me - or the person who wrote the presser - down.It turns out the boys are on the promo trail for their blistering new album The Immortal Realm, which, not surprisingly in the slightest, drops this Friday, September 13. HEAVY sat down with vocalist Marco Leritano to talk more about the release."We've tried to take a step up from the previous album," he began. "It's what you expect from Crypt Crawler, except all the songs are punchier. There's eight songs, no filler on the album and I think the album as a whole is a bit groovier with a bit more melody and a straight-up punch to the face with all eight tracks."In the full interview, Marco shares more details about The Immortal Realm, highlighting its punchier and groovier sound aimed at capturing listener attention in today's fast-paced environment. He emphasized the band's independence in decision making and strategic planning regarding song selection and target demographics, reflecting on lessons learned from previous projects. Marco also discussed the challenges of managing the band alongside full-time work, the unexpected collaboration with James Murphy (Death, Obituary), and the blend of old school metal with modern influences. He expressed enthusiasm for the upcoming Australian tour, particularly the chance to perform with Nile, underscoring the band's commitment to providing an exceptional experience for their fans.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

12 Sep 202416min

Rising Australian talent The Beautiful Monument have somehow managed to tap into that elusive reservoir of musical expression that is tantalisingly close for every band and artist, but also ever elusive to most.By blending shades of light with lashings of heaviness and combining them with enough attitude and rebelliousness to be just shy of dangerous, The Beautiful Monument have become adept at producing music that not only transcends genres, but also unites the soul.With raw, honest and confronting subject matter, the quartet manage to strike the balance between humanising emotions through music, allowing fans and followers a glimpse into the band at their most vulnerable and challenging but still striving by the moment to better themselves and their craft.Late last month, the band introduced us to new music in the form of the enchanting single Duerma - which means sleep in Spanish - laying bare vocalist Lizi McIntosh's self-doubts and inner demons that confront her as part of her chosen daily vocation. It is a powerful and confronting slab of music that encompasses a plethora of fear, emotion, hope and understanding, bound up beautifully in a maelstrom of sonic activity that reflects its subject matter.This weekend sees The Beautiful Monument wind up a national run with RedHook, with McIntosh joining HEAVY earlier today to tell us about the new track, the tour, and plans moving forward. We start by asking about Duerma and how it has been received."Really good," she enthused, "which has been nice. I didn't really know how it would go having bits of Spanish in a song, but it's been received really well. Less anxiety-inducing now that it's out in the wild (smiles) and I don't have to sit there and overthink it."We press her about the musical side of Duerma and what they were going for with it."I think we wanted to do kind of a throwback to the 2007 kind of feel," she measured. "It was inspired a little bit by Pierce The Veil and cool shit that we were into when we were younger. But the song itself, meaning wise is about my struggles being a musician, and the self-doubt and people that you think are on your team but end up letting you down. Or responding in a way you weren't expecting someone that is meant to be on your side to respond. The whole recording process or writing music is a super daunting thing for me, and it has been for years. I've been doing this for 12 years now - this band in particular - but, yeah. I guess I wasn't used to constructive criticism until I came into this band, and I understand that constructive criticism is super important now. But, at the time, I wasn't used to it because I was very used to people saying 'everything you write is amazing'. So when I was told something I wrote fucken sucked, it was definitely a punch to the ego, and it hurt. I think that whole experience traumatised me in a way because every time I have to record or write anything I am so anxious about it. Even last year, I was, like, do I even bother? Do I keep going with music? Am I even good enough to do this?"In the full interview, Lizi further discussed the recent release of single Duerme and situations throughout her life that had a lasting negative effect on her. She reflected on her struggles with self-doubt and criticism in her musical journey, revealing how these challenges have influenced her songwriting process. Lizi also shared insights into the band's recent tour experiences, the camaraderie among Australian bands, and their plans for future music releases, including an all-ages show in Melbourne.She also spoke about the changing sonic landscape of The Beautiful Monument and the importance of experimentalismation, opening up about sharing her personal thoughts and feelings through verse and how it helps her deal with these emotions.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

11 Sep 202422min