The Re-Evolution Of DEVILSKIN With PAUL MARTIN

Interview by Kris PetersTo steal a line from their bio, "ZEAL & ARDOR isn’t just a band; it’s a living and breathing entity."Since announcing their arrival with 2017's album Devil Is Fine, Zeal & Ardor have transgressed almost every musical parameter known to man, exploring sonic realms through their music that have no right being disturbed, yet somehow always combine through a submissive force of nature that is both compelling and irresistible.Founding member and main man Manuel Gagneux has long been the heart, soul and public face of this musical enigma, writing and recording everything himself in pursuit of total creative freedom and balance. It is a process which has worked beautifully over three previous albums, but for the band's fourth, Grief, which was released last Friday, Gagneux elected to change things up considerably by inviting his band - for seven years only used as touring musicians - into the studio to help start and complete the project.It was a brave move, but one which has yielded impressive dividends, with added vocal layers and differing thought patterns contributing to yet another musical evolution within Zeal & Ardor.HEAVY sat down with Gagneux earlier today to talk about Grief. We start by asking how the early reception has been for album number four."It's been pretty much what I expected," he smiled, "because it's not as… I wanna say heavy as the other records. So some people are butt hurt and other people are really into it (laughs). It's a good mix."With so much going on from so many different levels on Grief, we ask Gagneux how he would describe the album musically."Oh damn," he pondered. "I think it's just a collection of songs that I was really into. It's kind of like tapas where you have different small dishes; you can have a little bit of that and a little bit of this. It's the opposite of a concept album, I guess. There's a concept to it, but you're not gonna get Tool hours of nerding over it because there's a meaning between every single song. They're just songs, and I like them (laughs)."In the full interview Manuel discusses the musical side of Grief in more detail, how he has expanded on previous music, the continual musical evolution of Zeal & Ardor and how much growth is left in the band, the track Clawing Out and the story behind it, having his band in the studio with him and why now is the right time, relinquishing total creative control and if that was an issue, his creative side and where it comes from, having three different vocal layers on the album, self-producing your music and more.In a new interview segment, we also show Manuel some photos we dug up and asked him to explain them.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

26 Aug 202415min

Interview by Simon Russell-WhiteIt's appropriate to skip the fluff on this one, for goodness’ sake it's Steve Harris (Bass/ Keyboards) we're talking to here and the importance of his "other band" (insert laughter here) Iron Maiden needs no explanation and/or justification.The focus tonight? The band he helped put back together piece by piece... Yes, I'm talking about the one and only British Lion.After the band imploded in the 90s, the man himself couldn't bear the sight of knowing that British Lion would not be again, the reasoning he explained was simple. "The songs were just too good for it to stop". And the rest, as they say, is history.For his bandmates - Richard Taylor (vocals), David Hawkins (guitar), Grahame Leslie (guitar), and Simon Dawson (drums) - this Australian tour is the first time the boys have ever even stood on Australian soil, let alone played here. Of course, Steve has been here a billion times, and assured me that he'd point the fellas in the right direction for any site seeing!Now, we all know what sized arenas/stadiums "Maiden" has played, but as our conversation leaned into discussing British Lion playing more intimate venues, a sense of stepping back in time took hold. But not in the usual way, as Maiden skipped playing a lot of smaller venues due to their sudden rise to fame so in many respects for Steve he is playing venues for the first time all over the world!!Now, if that doesn't grab you, then I don't know what will.Enjoy listening to one of the Godfathers of the heavy metal game, ohh and go check out the almighty British Lion this August/September supported by Tony Moore’s Awake - a man that needs no introduction. A man that Steve has had a musical bond with since 1977.All Hail!Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

24 Aug 202416min

Interview by Kris PetersThe Australian music scene was undeniably strong in the 1990s, with bands like Blood Duster, Dreamkillers, Armoured Angel and Damaged just to name a few carving a name for themselves in that era.It was a time before the internet, where bands had to promote themselves in a vastly different way, pasting posters onto telegraph poles and spruiking their upcoming shows at other gigs in order to get their music heard. There was no easy way. It was pure persistence and willpower just getting your name out there.One of the bands to emerge from Brisbane in the early 90s was Crypt, an old-school death metal act who refused to take no for an answer.Quickly making themselves heard with their 1994 demo cassette Excruciating Agony, Crypt set about sonically dismantling all before them, with their 1998 album El Nino irrefutably painting their name onto a sonic landscape that may never be rivalled.Then Crypt disbanded, and, despite a couple of East Coast tours in 2016 and 2017, remained in limbo seemingly never to return.Well, return they have for Necrosonic Festival at Brisbane's Mansfield Tavern on August 31, with guitarist Nathan joining HEAVY to discuss the past, present and future of Crypt.We discussed Necrosonic Festival, where Crypt is set to perform their last show. Nathan reminisced about the thriving metal scene in Brisbane during the 90s, highlighting the camaraderie and social vibe among bands, plus provided insights into the upcoming 30th anniversary celebration of the demo cassette Excruciating Agony at Necrosonic by discussing plans to play the demo in full.He also shared details about the recording of a new song called Chilling Madness and the band's nostalgic collaboration with the original demo artwork artist for the new song's artwork. We also discussed their sound and where it came from, and dived deep into Crypt's past and more.Necrosonic Festival features Psycroptic, Lo!, Misery, Astrodeath, Crypt, Bulletbelt, Potion, Bloody Tyrant and more. Tickets from https://necrosonicfestival.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

23 Aug 202411min

Interview by Kris PetersWellington thrash metal outfit Bulletbelt have made massive inroads over their 15 year existence, supporting bands of the calibre of Municipal Waste, Napalm Death, Carcass, Dragonforce, Venom Inc and Arch Enemy to name just a few.Their brand of metal is fast, brutal and uncompromising, a welcome relief in a musical landscape that is becoming more predictable by the day.Despite numerous line-up changes over the course of their brief foray in heavy metal, Bulletbelt have delivered a string of consistently addictive albums, with their most recent, last year's Burn It Up, introducing new vocalist Diego Attinger and kicking off yet another chapter in Bulletbelt's Glossary Of Metal.That album saw the band introduce clean vocals for the first time, adding a depth and sincerity to their music that until now they had not known was missing.Later this month, Bulletbelt cross the seas for a run of three Australian shows, with their headlining spot at Brisbane's Necrosonic Festival promising to be a thing of pure metal ecstasy.HEAVY sat down with Attinger earlier this week to find out more. We spoke about the three shows and what Australian fans can expect, the response to Burn It Up, the introduction of cleans and how much it has affected the core Bulletbelt sound, his joining the band and how it came about, stepping into an established band and finding your feet, new music in the works and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

23 Aug 202414min

Interview by Kris PetersGiven the frenetic nature of the modern music industry and the avalanche of new songs and music bombarding consumers from every direction, it is of little surprise that new and emerging bands get drawn into the common misconception that more is better. More music means more opportunities means more new fans. Or so many believe.But - and perhaps because of this - it can often be more beneficial to take a bit more time and actually immerse yourself in your craft, thereby producing quality over quantity.Which is exactly what Australian post-hardcore/shoegaze outfit Regionals have done since bursting out of the gates with two EP's in early succession. Rather than saturate the market with new music, Regionals instead took another four years to produce their debut EP, using that time to fully develop their sound and grow into their music personalities in the process.The result is the album Spoonbender which has been cast out into the world today with a renewed sense of hope and confidence that only time can yield. The band used those four years to experiment and develop their sound, culminating in a body of work that best represents themselves and their world view.Born from darkness, isolation-induced agoraphobia and an unhealthy dose of self-reflection, Spoonbender marks a change of course for the Sydney band, showcasing their sound as more extreme and experimental than previous releases.HEAVY spoke with vocalist/guitarist Brett Islaub earlier this week to pry some more..We discussed the thought process going into a debut album and what sorts of things the band took into account before diving into it. Brett highlighted the sonic diversity of the music, including the shift in musical direction and where it came from. He spoke about the singles released and how they represent the full album, and how varying degrees of experimentalismation contributed to the overall sound.We discussed the album artwork and the meaning behind it, and the decision to take such a long period of time between releases and how that time benefited the process plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Aug 202419min

LA-based rock outfit All Good Things have been quiet since the breakthrough success of their 2021 album A Hope In Hell, which featured the global phenomenon For The Glory.After spending years honing their craft musically, the success of that album propelled the band into being an almost household name, setting them up for seemingly limitless possibilities and advancements in their career. But, rather than push themselves into exhaustion, All Good Things took time to pause and reflect once the dust started to settle down. It was a decision that came as a surprise to many, but was also one based on longevity within the band.Over the ensuing couple of years, All Good Things made significant changes in their musical landscape, the most notable of which was going back to being an independent artist. This allowed the band not only greater creative control in the actual content of music they planned as the next chapter in their quest but, more importantly, the ability to write, record and release new material without time restraints or pressures.In June, All Good Things returned with their first new music in over two years with The Venom, which was followed earlier this month by No Regrets. Both singles emphatically declared that All Good Things have lost none of their edge, which can only be a good thing for music in general.HEAVY had the pleasure of catching up with bass player/keyboards/vocalist Liz Hooper and vocalist Dan Murphy to find out more.We discussed new songs The Venom and No Regrets, and the success of their 2021 album A Hope In Hell. The band reflected on their decision to take a break after the album cycle, describing it as a period of less pressure and more relaxed writing. They also discussed their shift to being independent and the focus on creating music that resonates with their core fan base, free from the constraints of record companies and radio. The band emphasized the importance of staying true to their musical direction rather than conforming to industry expectations.Dan and Liz discussed their decision to break away from the traditional album release model and opt for releasing singles at a faster pace. They expressed their excitement about the creative freedom and the ability to connect more organically with their audience. They also discussed their willingness to take risks and explore uncharted territory in their creative evolution for the new album, highlighting their collaborative songwriting process and deliberate effort to infuse the music with fresh energy and unconventional themes plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Aug 202422min

Interview by Kris PetersCanberra metal outfit St. Sinner are amongst the emerging breed of acts who are increasingly shunning expectation in favour of growth and expression.With a sound that is constantly morphing into a hybrid of styles and genres, St. Sinner recently showcased their intentions with the EP Identity Crisis, containing eight songs that exemplify the band's refusal to paint within the lines while blurring the conventional perception of reality.It is an EP that signifies musical evolution of the highest degree, setting St. Sinner on a path with destiny that is now firmly in their grasp, with one eye firmly planted in reality, in direct contrast to the wandering eye that refuses to yield.HEAVY caught up with frontman Rory Maclean to dive deeper into Identity Crisis and the immediate future of the band.We discussed Identity Crisis from a sonic viewpoint, with Rory emphasising St. Sinner's vision to create a narrative story with their releases, exploring a diverse musical approach each time. He provided insights into the creation of the opening title track and the evolution of the song Devil Boy and also delved into the inspiration, production, and themes of their songs Headcase, Villain, and Dysphoria.Rory elaborated on his strategy of associating different colours with the singles and chapters within Identity Crisis to enhance memorability for marketing and aesthetic purposes. He emphasized the importance of using them to create a cohesive visual identity and discussed the specific colours associated with each single. The conversation also discussed the inspiration behind the song Lost It and the decision to create an animated lyric video for the music clip, also talking about the guest artists who performed on the EP and what they brought musically.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

21 Aug 202436min

Interview by Kris PetersQueensland hard hitters Goatzilla have managed to strike that elusive chord that blends thrash metal and punk together in an almost cohesive summoning of the forces of music that is almost irresistible when done right.It is hard to believe the band are approaching their ten-year anniversary of life on this planet, with their infectious and witty brand of music infecting the masses ever since the surprise success of the single Drop Bear back in 2019.That song and the album it came from, Muthafukarsaurus, cemented Goatzilla as one of the bands to watch from the emerging pile of contenders, and the ensuing groundswell it created gave the band renewed focus and vision.So much so that it has been 5 long years since that album came out with Goatzilla opting not to rush things in the hope of quick success, instead deciding to take their time honing a sonic body of work that would linger long in the memories of those who bared their ears to it.The result is Alien Nation, which will be unleashed on August 16.Already, Goatzilla have proved the wait will be worth it on the back of lead singles Secret Agent Man and Alien Nation, but they provide only a glimpse into the musical psyche of Goatzilla 2024.Bass player Ben Zilla joined HEAVY to tell us more."The sound is always evolving and growing," he replied when asked if Alien Nation captures the complete Goatzilla sound. "This one is different from Muthafukarsaurus. It's still certainly heavy. It's got that heavy background; it's still got the punk roots - very much so. We're still very much a punk rock band, but bringing in more elements of metal as we're evolving. This is all stuff that's been written through COVID with the two Pete's coming in and throwing their stuff in, as well as Mick, our drummer, who brought the real… he's a good 15 years younger than us, and he brought some more modern metal vibes and sensibilities to it. We're really excited. It took a lot longer than we initially thought because of COVID and everything that went along with it. All the guitars, all the drums, and all the bass we recorded in home studios and Pete Jansen mixed and mastered everything himself. It was a big learning curve, but the results speak for themselves. We're really excited with what we've put together, especially having it on vinyl too."In the full interview, Ben discusses the musical direction of Alien Nation, the singles released and how they represent the album as a whole, how Alien Nation differs to Muthafukarsaurus, the themes explored, finding the balance between genres and how they know if they have gone too far, their current tour and remaining dates, what to expect from Goatzilla live and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

15 Aug 202422min