More Rock Waiter Please With GAVIN HANSEN From THE POOR

Brisbane hard rock outfit PistonFist are capping off a stellar 2024 with the release of the first single in a new album cycle, Repent.After a year that has seen the Brisbane hard rocking outfit complete their first international tour as well as sign with rising Australian label XMusic, PistonFist invites you to Repent all of your sins and join them on the next leg of their musical journey, which starts now.HEAVY caught up with frontman Geoff O'Leary to find out more.We discussed their new track, Repent, with Geoff explaining the heavier direction of the new music as opposed to their debut album, Redline, which was well-received in Europe. He expressed excitement for the next album cycle, sharing his transition from being a full-time rhythm guitarist to focusing on vocals during studio sessions, highlighting the benefits of having a dedicated rhythm guitarist.We spoke about PistonFist's recent international tour through the UK and Europe with SinSoto and Kaosis. Geoff expressed his amazement at the professionalism and organization of the European live shows, contrasting it with the situation in Australia. He shared that the tour was financially challenging but well worth it, and he is eager to return. Geoff also shared a memorable story about a particularly well-received show at a venue in Norway, where they were exceptionally well looked after. He expressed his desire to return to this venue if their music reaches a certain level of success.We discussed their recent partnership with XMusic, an Australian label, and their upcoming shows. Talk turned to their upcoming shows, including the DimeBag Memorial show and the Munk and Petal festival, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

13 Okt 202416min

Myles Kennedy is fast becoming a living legend of the rock scene.If not alone for the fact he sings for two of the world's most recognisable bands in Alter Bridge and Slash Ft Myles Kennedy & The Conspirators just add in his solo material which is a different beast entirely showcasing just how good a power trio can sound when in the studio. That trio is on the cusp of releasing their third album, The Art Of Letting Go, on October 11, an album that sees Kennedy embracing the rock side of his persona with more riffs, more spice, more everything.HEAVY was fortunate enough to spend some time with Kennedy earlier this week to run through The Art Of Letting Go. We start by asking how he is feeling as release date approaches."Good," he smiled. "It's getting close enough now - just a few days - and it's kind of a trip, you know, in a way that your little sonic baby is about to be unleashed into the world. It's kind of an excuse to just get out and tour. I love making records, I love creating. I also love getting to perform and hang with my mates."We ask about the musical direction on The Art Of Letting Go and what he set out to achieve."I wanted this record to be more of a rock record," he replied. "With the solo records, when I first started doing it, it was more about acoustic-based music. The second record, The Ides of March, was a little bit of the acoustic element, but also more Americana and Southern rock and country at times. And this one, I just wanted to rock, you know? I wanted to have it be based on riffs and have a certain pocket and a certain groove and build that way."In the full interview, Myles emphasized The Art Of Letting Go's rock-centric direction compared to his previous acoustic and Americana influences. He highlighted the importance of the opening track for capturing listener attention in today's fast-paced music landscape and shared his creative process, which focuses on moving forward rather than reflecting on past projects, as he prepares for touring. The discussion also touched on the influence of Slash on Kennedy's guitar skills and work ethic, with Kennedy explaining the different writing processes he employs for his solo work versus collaborations.He expressed the album's theme of enjoying life without stress, the different joys he gets out of different projects, and more.Pre-Order The Art Of Letting Go: https://lnk.to/MK-TheArtOfLettingGoBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

11 Okt 202416min

Heavy metal music is alive and well in Japan.For a country more recognised for being conservative and polite when it comes to social interactions, the amount of talented, unrecognised and socially unacceptable bands doing the rounds is almost unfathomable.Over six previous visits to Japan with different touring bands I have witnessed everything from jazz to metal to rock to acoustic, but if there is one common denominator it is the universal wealth of talent that seems to be dripping from the corners of every live house you visit. A quick tally comes to around 120 live Japanese bands I have seen and/or played with over the years, and I would be lying if I said at least 110 of them were worthy of paying to see again.One of those bands is Osaka metal maniacs kitsunevi, who I had the pleasure of meeting at a recent trip to Gattaca Live House. This band had everything. The wow factor, a shredding guitarist/vocalist, a drummer who hits harder and faster than Sonic The Hedgehog, and a bass player with dreadlocks down to her legs with a finger-picking/slap style of funk metal that can only be compared to the great Fieldy from KORN.As much as I hate labels, if I had to describe kitsunevi's sound it would be a cross between Bullet For My Valentine, Trivium, and Primus, but even that wouldn't be doing this trio justice. After already releasing two cracking EP's since forming only last year and putting serious miles in on the touring circuit, one gets the feeling that kitsunevi are destined for bigger things. And soon.HEAVY caught up with Summer (drums) to find out more.We engaged in a detailed discussion around the band's music, upcoming tours, and potential collaborations. Summer shared the band's formation story and the inspiration behind their name, which is rooted in an ancient Japanese tale. The conversation highlighted their commitment to regular practice sessions in Osaka, aiming to refine their unique sound and performance style. We also explored kitsunevi's individual musical influences and how these contribute to their cohesive group dynamic, emphasizing the importance of friendship in their creative process.The chat further delved into kitsunami's recent EP releases, Embers Will Rise and Smell the Coffee, with Summer detailing the themes and musical elements of each project. He expressed excitement about their upcoming shows in Tokyo and Taiwan, as well as the possibility of touring Australia next year. We discussed the vibrant music culture in Japan and the collaborative opportunities it presents for both local and international bands. As the interview concluded, Summer recommended three songs for new listeners to get to know the band, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

7 Okt 202420min

Musical evolution is a beautiful thing when allowed to flourish, cast free of modern constraints and expectations to let the metaphorical wings rise and sweep the band and their music into unchartered, exciting territory.So it is for Swiss/German metal outfit AD Infinitum as they prepare to unveil their new album, Abyss, on October 11.Since setting the tone with their debut album Chapter I: Monarchy in 2020, AD Infinitum have allowed their creativity to dictate terms, following that album up with Chapter I: Revisited, which was an acoustic take on their debut.While favouring symphonic undertones throughout their career, AD Infinitum have maintained a steady attraction towards the harder side of the spectrum, culminating in Abyss which reveals a whole new side to AD Infinitum's sonic arsenal, refining their sound and expectations to create what is said to be their most dynamic, modern and progressive record to date.HEAVY caught up with drummer Niklas Muller to find out more."First of all, I think the most important part about this album is we stepped away from the symphonic side of things," he measured. "That was a huge part of our music for the first three albums. It was not an initial choice where we said no, we don't want to do it any more, and we will do it with an entire other production, it was more we said we don't wanna have it just for the sake of having it. We just want to see where the music leads us, and it just so happened when we wrote the first songs in our song camp we realised there was not really the need for orchestral elements. We managed to create soundscapes and nice atmospheres without those instruments. We thought it would be too much and over the top to now add the orchestral elements. It was not an initial choice that we step away from symphonic metal, it just happened in the writing process. This is the biggest musical part that changed. On the other hand, I have a feeling that we grew up a little bit (laughs). It's like, when you continue to write music, you change. It feels like we think way, way more about every little part of a song than we did on previous albums. I'm not saying that we didn't think at all about the early music (laughs). It's like we are questioning more on this album. We already did that with Chapter III when we had the songwriting camp… I think this is also the biggest part why we are questioning that much, because we were all in the same room together writing songs, which wasn't the case with Chapter I and Chapter II because we were living so far apart. I think this just led to the next steps."In the full interview, Niklas expressed excitement about sharing the album with their fans and playing it live in Europe and the US, with hopes of eventually performing in Australia. Niklas also discussed the evolution of AD Infinitum's music, particularly the shift away from symphonic elements.We discussed the concept behind the next album trilogy, with Abyss representing a dark state of mind as opposed to the next two, Surface and Elysium, which symbolise healing and happiness. He also discussed the band's creative process, future direction, and the shift away from symphonic metal, but he remained non-committal as to whether the band would travel that path again in the future.Niklas talked about their upcoming tour with Kamelot, Blackbriar and Frozen Crown as well as next year's tour with Eluveitie and Infected Rain, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

7 Okt 202416min

Interview by Angela CroudaceGather your Viking drinking horns and war paint! Finnish folk-metal melodeath band Ensiferum is set to release their new album, Winter Storm, on October 18. Guitarist and vocalist Petri Lindroos spoke with HEAVY about the creative journey behind Winter Storm and even shared a Finnish saying with us.Having joined Ensiferum in 2004, Petri still thrives on the electrifying energy of their live audiences. He doesn’t need any warm-up before hitting the stage, as harsh vocals come naturally to him. The band aimed for Winter Storm to truly resonate with listeners, claiming it to be their most serious work to date.“If it’s not ready, we weren’t going to go into the studio, so Markus really wanted to make sure this one hit the spot," he told us. "I think there’s something in it (the band) that pulls me into it. You can hear the impact of the music from different situations in life. That gives a good feeling.”Petri describes Winter Storm as a notably serious album, with Ensiferum achieving this depth through heavier instrumentals and a harmonious blend of melodic vocals, complemented by a few growls for added intensity.Visually, Winter Storm embraces a Game of Thrones aesthetic in the latest music videos for Long Cold Winter of Sorrow and Winter Storm Vigilantes. Petri elaborates on the lyrical process that his bandmate Sami Hinkka employs, detailing how Sami's concepts evolve into the rich, narrative-driven folk metal songs that characterize their sound. This fusion of striking visuals and evocative lyrics creates an immersive experience that transports listeners to a world of epic tales and emotional depth.We get through heaps more, so check out the full interview to get the whole picture.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

7 Okt 202424min

As fans expectations for live performances grow, so do the elaborate stages and set pieces that bands are increasingly using in order to gain even the slightest of edges. While LED screens are the general go-to for bands, some - those with spare cash in the kitty - have been stepping out of that comfort zone, creating specific set designs and themes to go with the musical side of the performance.When Parkway Drive started planning their recent 20th Anniversary Tour, the band came to the table with some wildly extravagant ideas. Ideas that if brought to life would be spectacular, but also ideas which would require more than the range of stage and lighting supplied by venues.Put simply, Parkway Drive wanted to create - every night - an apocalyptic world inspired by dystopian and retro-futuristic themes. Of course, there was much more involved, but that was as good a starting point as any.The band approached UK-based company Vision Factory, armed with a wish list that would require a great deal of planning and expertise, but one which Vision Factory quickly embraced, and thus the stage was set - quite literally.By taking a bold new direction, Vision Factory transformed Parkway Drive's live shows into a dynamic, theatrical experience. Under the direction of show designer and founder of Vision Factory, Sam Tozer, the tour marked a shift from the traditional metal concert setup, instead focussing on an immersive physical performance that combined the band's music with powerful stage design theatrics.The tour’s set design was deeply rooted in natural forces, incorporating the four elements - fire, wind, water, and earth - to create a dynamic storytelling arc throughout the show. At different points during the performance, the mammoth bridge catches fire, and rain hails onto the band. This elemental-driven approach transforms the performance into a visceral experience, enhancing the energy that Parkway Drive is known for whilst pushing the boundaries of what a live metal show can be.In a rare look behind the curtain, HEAVY caught up with Tozer to find out just how the concept grew from an idea to reality.We discussed the creative process behind Parkway Drive's unique live show concept, emphasizing the importance of collaboration and the desire to create something different from the usual big screen backdrop. The show, which took six months to develop from initial ideas to completion, features a metal-framed scenic set piece designed to resemble a bridge. Sam also shared his reluctance to include screens in live shows, preferring to focus on lighting and the depth of the stage to create a dynamic performance. The band was heavily involved in the creative process, contributing ideas and ensuring alignment with Sam's aesthetic.Sam also discussed the success of the recent tour, expressing his enjoyment and the positive feedback received. He highlighted the use of natural elements, such as fire, water, wind, and earth, to accentuate the music, and the challenges of incorporating these elements into a touring environment.We discussed the complexities of producing a live show, particularly the lighting and stage setup for Parkway Drive. Sam explained that the show was a collaborative effort, with adjustments made daily based on feedback from the band. HEAVY asked about any last-minute adjustments, to which Sam responded that they had rehearsed extensively in a warehouse before the actual show, and plenty more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

5 Okt 202414min

With the world, and, more importantly, their attention spans, getting smaller almost by the day, it has become increasingly important for bands to maintain a high standard of productivity.Gone are the days where a band would put out an album, tour on the back of it for the next two years, spend 12 to 18 months writing and recording the next one before repeating the cycle. Most people - even hardcore fans - would have like;y moved on to another band or another fad long before the first half of the touring cycle was completed.In the modern age it's pretty basic in the sense that if you aren't offering the musical landscape something fresh and new every six months or so, then you may as well become a DJ.Knowing this, Melbourne-based rock outfit Sordid Ordeal have wasted little time following up on last year's debut album When I Left Town, releasing the first single from the next album just eight months later.Tigress is the first sonic introduction to Sordid Ordeal's second album Nothing Was The Same Again - which is the companion piece to When I Left Town and will be unleashed early next year.So diverse with their sound, the term Stout Rock has been coined just to try to simplify things for the fans, but there is little need to simplify things for Sordid Ordeal any more than they already are.What you see is what you get. And hear.A refreshing breath of flippant fresh air in an increasingly sanitised music industry, Sordid Ordeal refuse to yield, playing music for the enjoyment rather than potential adulation. Their sound is an amalgamation of folkish story-telling and ballads with blistering, mangy rock and epic anthems. They weld together the abrasive and heavy with the gentle & intimate, creating an incendiary mix of subversion and hedonism.See. Stout Rock.With several live appearances in the bands near future, including a headline spot at Metal In The Mountains in Beechworth on November 30 alongside DarkHorse, Mammon's Throne, Munitions and more, frontman Laurence, guitarist Jake and bass player Joe sat down with HEAVY for an entertaining chat about anything and everything.We start things off in the relatively safe place of talking about the new single Tigress."The song is about a woman who breaks out of the expectations of conservative rule in Australia and decides to move to the city and live her own life," Laurence explained. "She left Wagga in the 80s - it is a woman I know, but I can't elaborate too much more on the details - but it was a direct inspiration. I drew a lot of comparison to what my journey was like. Although it wasn't that of a woman growing up in a country with quite a problem with misogyny and chauvinism, my personal journey was breaking out of a militantly religious family and going to the city to find myself. Although there's different versions of the message, the result is very much the same. That song falling out of me was quite an easy one to write. As for the video… not everybody gets a band full of so many good-looking roosters, so I think I just wanted to feature everyone in our video clip. The last two video clips with the previous line-up I wanted the next clip I was gonna record - although there's gonna be a narrative aspect to it which is where the burlesque dancer comes into it - first and foremost just putting the current line-up of the band in there. I just wanted people to see this is what it is now. This is how much better it is. Look at the beard on that man over there and how good it is (laughs). There was actually a bit of a conundrum in deciding how to portray the narrative of the character that I created for this, Alistrina, because you wanna portray that liberation, that breaking out of the mould in an exciting way but if you did it in a business corporate sense, there's not a lot to that. I think it was a matter of trying to find something that represented it in a dignified way."Listen/watch the full interview to get a full rundown on what Sordid Ordeal have been doing, what they should be doing, and what they plan to be doing.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

5 Okt 202446min

Few people in music command as much respect as Jerry Cantrell.Initially courtesy of his work with Alice In Chains through to his solo material, Cantrell has inspired generations of musicians and guitarists, being massively influential in shaping the very fabric of modern rock music. Over his career, he has released six studio albums with Alice in Chains, three solo full-lengths, had his music featured in films from Cameron Crowe, Judd Apatow and Ben Stiller and made cameos in Deadwood and Jerry Maguire.Like I say, the full package.Cantrell returns with his new album I Want Blood, out on October 18, featuring contributions from bass heavyweights Duff McKagan (Guns N’Roses) and Robert Trujillo (Metallica), drummers Gil Sharone (Team Sleep, Stolen Babies) and Mike Bordin (Faith No More), and backing vocals from Lola Colette and Greg Puciato (Better Lovers, ex-Dillinger Escape Plan).Not that he needs big names as guest artists to entice people to his music, it's more a case of because he can.Cantrell spared some time for a chat with HEAVY a couple of weeks out from the release date to talk more about I Want Blood. We start by asking how he is feeling about the new release."Yeah, you know, it's the last couple of days of it being kind of semi-secret," he replied. "We've got a couple of songs that have been out already. Vilified, the first single and also Afterglow, so we've got a couple out there that have been living in the world and people have been responding to, and we've been playing them in the sets too. We did a couple of months on the road with Bush a couple of weeks ago, and it's that last little bit where it hasn't quite left the nest, you know what I mean? So it's still got that kind of special feel to it. And when it gets launched, then it's not just mine anymore. It's anybody's who wants to make a relationship with it."We press on the musical nature of I Want Blood."I never really sit down and start a record with some sort of intent in mind of like what kind of record I'm going to make," he replied. "Luckily, I've made a lot of different rock and acoustic stuff in my career, so there's a lot of places you can go. You just want to follow where the music takes you naturally. And on this one, it seemed like I wanted to go heavy."In the full interview, we spoke more about the album's musical direction and Cantrell's confidence in the project. We discussed the significance of the album cover, the notable guest musicians involved, and the unique spoken word version available on vinyl. Cantrell provided insights into the creative process and the collaborative nature of the album, emphasizing a special approach to presenting the lyrics to fans, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

5 Okt 202419min