Where Legends Are Born With JOAKIM BRODEN From SABATON

Interview by Kris PetersIn case their band name wasn't enough of a hint for you, listening to their music will ram the point home that Newcastle, UK outfit Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs are a musical force unto themselves and their care factor should you disagree is a resounding zero.Since bursting onto the scene in 2014, Pigs have almost gone out of their way to ensure they drank from no-ones well of musicality other than their own, uniting normally opposing forces of music with flawless inhibition for maximum results.Essentially a rock band but with enough alter egos and personalities to conquer the world, Pigs have always quietly gone about their business, in the process drawing fans and their peers increasingly into their own sonic paradise and sweeping all before them in eclectic waves of passion.In setting their fifth musical child out into the wilderness earlier this month, Pigs also unleashed a powerhouse of musical disparity that highlighted their growing stature while simultaneously sending purists reaching for their notepads to scribble down notable forms of blasphemous intent. That album is titled Death Hilarious, an album name that says pretty much everything you need to hear about Pigs without lowering the needle to the record and setting off down another magical and whimsical adventure, destination unknown but satisfaction guaranteed.Openly touted as a body of work infinitely more hostile than previous release Land Of Sleeper, Death Hilarious evokes the same type of reaction as a person would feel standing in the mosh pit at one of Pigs notoriously frenetic live shows.It was a deliberate hardening of the arteries by Pigs, once more showing their disdain for familiarity as their journey into the abyss grows darker and more dangerous along the way.Vocalist Matt Baty kindly gave up some of his time to chat with HEAVY in what turned out to be an engaging, informative view of the music industry as a whole and Pigs place in it."We're a weird band," he shrugged when we ask what Pigs were going for musically with Death Hilarious. "In the sense that we don't all get together before we start writing an album and discuss what direction we'd like to take it in, which I think is pretty odd and probably not very efficient (laughs). We just get together in a room and everyone will have worked on different things or have different fragments of ideas for songs. And we just get together in one room and present those with each other. Some things kind of click amongst all of us, and some things don't. And those things we'll just park for a rainy day and see if it works at a later date. But we'll kind of focus on everything that people bring that all of us as a five-piece unit are all in on. From that point, once we start developing the skeletons of what the songs are, Sam - he also records and produces our albums - takes them further.""I think with this one, the songs were presenting themselves as being a bit more… maybe a bit more assertive and a little bit more aggressive," he continued. "A little bit more immediate. So that's where Sam took the production as well and maybe just pushing things a little bit harder and slamming it against the wall a little bit more than they were on Land of Sleeper."In the full interview, Matt shared insights into the positive reception of the album and the tour, describing it as their best experience yet due to enthusiastic fan engagement. He emphasized the challenges of measuring success in the current music landscape, where streaming metrics often overshadow live performance feedback. Matt elaborated on the band's collaborative songwriting process, which allows for organic song development without a predetermined direction. He noted that their latest album aims for a more straightforward sound compared to previous works, with production enhancing the music's immediacy. The title Death Hilarious, inspired by Cormac McCarthy's Blood Meridian, was chosen for its representation of the band's identity and humour.Matt highlighted the band's journey in defining their sound, showcasing a variety of styles across albums, and mentioned specific tracks that exemplify their creative exploration before admitting he still doesn't know exactly what Pigs definitive sound is, but is also happy to keep exploring the realms of musical possibility.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

23 Apr 23min

Interview by Angela CroudaceNe Obliviscaris’ clean vocalist and violinist Tim Charles sat down with HEAVY to reflect on the band’s journey, the legacy of their landmark album Citadel, and what it’s like bringing classical violin into extreme metal.Formed in 2003, the Melbourne-based band didn't reach the international stage until their second album, Citadel, released in 2014. “It was our first proper record deal,” Charles explains, “and that made all the difference. Suddenly we were in stores worldwide and able to secure booking agents and festival slots overseas.” The band’s debut, Portal of I, was self-released, and though praised by fans, lacked the reach Citadel was able to achieve with the support of Season of Mist.Celebrating its 10th anniversary, Citadel was recently remastered by Mike Lewis, who also helmed the band’s latest release, Exul. “We wanted to bring a bit of the Exul touch to Citadel,” Charles said. “It’s slightly more open, a bit heavier, and filled with little details that bring new life to the mix.”Tim also shared his excitement about returning to the stage with the epic 23-minute track Painters of the Tempest in its entirety — a feat not attempted in nearly a decade. “It’s still one of our best songs. Performing it live again was incredibly satisfying.”Known for weaving violin into every corner of Ne Obliviscaris’ sound, Charles discussed how his classical training shaped the band's musical direction. “I was always inspired by guitarists like Jeff Loomis and John Petrucci,” he said, “and I’d think — how can I do that on violin?” With few metal violinists to look up to, Charles essentially invented his own approach, blending classical, jazz, and metal into a seamless force.The band’s recent collaboration with Swedish act Imminence, whose own frontman plays violin, shows that the path Charles helped forge is inspiring a new generation. “It’s been amazing to see more non-traditional instruments in metal,” he says. “Hopefully, there’s more to come.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Apr 29min

Interview by Angela CroudaceGhostseeker may have emerged from the chaos of Melbourne's COVID lockdowns, but their momentum is anything but confined. With their debut full-length album Divergence set to drop on April 25, the band has already made waves—especially overseas.“Honestly, it’s resonated more internationally than at home,” says Daniel Breen (aka Breenie), one half of Ghostseeker’s dynamic vocal duo. YouTube and a partnership with Germany’s Reigning Phoenix Music catapulted the band beyond borders. “They gave us the reach we never could’ve had,” Daniel says, adding that a suspicious-sounding email from the label almost went ignored—until a follow-up video message proved the offer was real.Divergence takes a bold conceptual turn. “We wrote it from the perspective of conspiracy theorists,” Breenie explains. “Like, if AI really is the end of the world—what does that look like?” Seven of the ten tracks lean into that dark, fictional narrative, while the remaining three stay rooted in the raw relatability that launched Ghostseeker’s debut EP.When it comes to AI in music, Breenie is refreshingly open-minded. “One of my favourite artists right now is this guy who makes metalcore using Plankton’s voice from SpongeBob. I just like good music.”Collaboration fuels the band—especially between Daniel and co-vocalist Celeste Bojczuk. “We clicked right away. We bounce ideas off each other, pick our parts, and craft lyrics together. It’s a laid-back, fun process.”The chemistry extends to the entire band, both in the studio and on the road. “We’re best friends. No egos. Everyone contributes.” Touring isn’t always glamorous—Daniel jokes about 10-hour drives between one-night-only gigs—but he’s hungry for a full European run. “Thirty shows in thirty days? That’s the dream.”Whether he’s skateboarding, playing with his dog, or chasing the next song idea, Daniel Breen embodies Ghostseeker’s grounded-yet-forward-thinking energy. If Divergence is any sign, this is only the beginning of their global takeover.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Apr 17min

Interview by Kris PetersGuitarist/songwriter/vocalist Samantha Fish is rightfully recognized as one of the premiere guitarists of her generation. With a blending of emotion, finesse, and raw aggression, Fish encapsulates the essence of musicianship while also allowing herself creative room from which to grow and flourish.Her sonic output features, and draws from, multiple genres including rock, country, funk and bluegrass, but it is her ability to integrate genres and manipulate musical styles that has seen her forge a successful career which includes a Grammy nomination for Death Wish Blues (her 2023 collaboration with rocker Jesse Dayton) and opening for The Rolling Stones on their final 2024 U.S. tour date.Fish's upcoming album Paper Doll is the culmination of years of commitment to the music scene, delivering nine tracks with enough scope and musical disparity to appeal to lovers of many forms of music. But it's not the amount of strings to Fish's metaphorical bow. It is the way she unites each delicate moment, drifting between lashings of hard rock staunchness to softer, more intimate confines with a Delta Blues spine.It is a coming together of genres that in many hands would sound forced, or contrived, but Fish manages to find not only the balance at the core of her music but also pushes the parameters of experimentalisation over convention. Put simply, Paper Doll is Samantha Fish's most accomplished body of work to date, and something that brought her music to the attention of HEAVY on the other side of the world.We sat down with Fish recently to go over the album, starting by asking if the pressures of an album release cycle are something that affects her as the release date approaches."There's this weird feeling when you finish a record, at least for me," she smiled. "I know every artist feels this way. You walk out of the studio and this giant weight has been lifted off your shoulders. It's almost euphoric when you're done with the record and thank God, because it's always fun. But for me, it's always like this mountain that I have to climb to get through it. It feels great. But then It feels like you have this secret that you have to keep for 6-9 months to a year that you can't share with anybody. So I finally feel like I'm able to let people in on the little secret."We asked what her focus was on going into the musical side of Paper Doll."With this record, I wanted to lean into my strengths," she replied. "What are my superpowers? What makes me different? What makes me unique, leaning into my voice, my guitar, my songwriting? I wanted to make something that felt urgent, felt like rock and roll, but was still rooted in the music that I love and inspires me, which is blues music. North Hill Country blues specifically. It's a deep well of inspiration for me. I just wanted to write great songs and write and record with an urgency that people would hear and want to listen to again and again and again. Timeless records, that's my goal."In the full interview, Samantha described the completion of the album as a euphoric experience, emphasizing her aim to create timeless music that highlights her vocal and guitar skills while incorporating a hard-edged rock and roll style. She noted that this album is more aggressive than her previous works, with the opening track, I'm Done Runnin', serving as a strong introduction. Samantha also highlighted the importance of track sequencing in engaging listeners, aiming to encourage them to experience the album as a cohesive journey rather than just individual songs.She shared insights into her writing process, revealing that much of the album was created while on tour, where she draws inspiration from her experiences. This album is particularly significant as it is the first she recorded with her touring band, capturing the energy and chemistry developed on the road. The conversation also touched on her rumoured plans to visit Australia in 2026 and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Apr 19min

Interview by Angela CroudaceAustralian metalcore powerhouse Make Them Suffer are riding high in 2025 with a prestigious APRA Music Award nomination—an accolade that has vocalist and keyboardist Alex Reade feeling a well-earned sense of pride.“When we found out about the nomination, we weren’t sure what it meant at first,” Reade admits. “But once we did our research, we realized—this is something we’ve worked so hard for. After everything we’ve put into the last three years, the grind of touring, this kind of recognition really matters.”The category for Most Performed Heard Rock/Heavy Metal Work was taken out in 2024's inaugural year by Parkway Drive and is something that Reade sees as a major step forward for the genre and its diverse artists. “It’s so good to see not only heavy music being acknowledged, but also the visibility of women within it,” she says. “We’re reaching a point where it’s just normal. It’s respected.”Reade joined Make Them Suffer ahead of their 2023 self-titled album, which she calls a “dipping of toes” into the band’s true potential. “This album showed what the band is capable of, but I don’t think people have seen anything yet,” she says. “The next chapter is going to be something really special.”The band’s evolution—from COVID-era uncertainty to global tours and packed venues—has forged a new, galvanized identity. “There was a time when no one knew if we’d keep going,” Reade reflects. “But the response to Doomswitch and this new chapter has been massive. We’re solid now. We’re a team.”With an 18-date regional Australian tour lined up, including stops in less-frequented towns like Narre Warren and Forster, the band is embracing their roots. “This tour feels like a celebration of Australia,” Reade says. “We're bringing the full heavy energy but in a way that's more intimate, more connected.”With Justice for the Damned and The Gloom in the Corner joining the run, Reade promises one thing: “It’s gonna be heavy. And it’s gonna be fun.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Apr 25min

Interview by Kris PetersBrazilian thrash metal outfit Nervosa have been trailblazers for heavy metal for 15 years, playing at most of the major festivals and countries on the global touring circuit except one.Australia.But that blight has been rectified, with Nervosa currently in the country and playing the first of three shows in Sydney as we speak.Setting the world ablaze with their latest blistering full-length Jailbreak, Nervosa embark on a new chapter in the band’s history as it’s their first record featuring founding member Prika Amaral as permanent vocalist. Plus, the band enacted more exciting changes on the album, with the addition of the immensely talented and well experienced Helena Kotina as second guitarist, Hel Pyre on bass and Michaela Naydenova on drums.Kotina was nice enough to take time out to talk with HEAVY about an hour out from the first show."I really don't know why it took so long for Nervosa to come here," she almost apologised, "but it's really a huge pleasure. We have three shows, and also we celebrate the 15 years of Nervosa. So it's the first time in Australia, and it's a special time also to be in Australia with this anniversary tour. So it might have taken a bit long, but it's a really special occasion for us."In the full interview, Helena told us how long they have been here preparing, ran through what we can expect, what they are expecting from us, three songs to listen in order to know the band better, her joining the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

18 Apr 3min

Interview by Kris PetersSydney based death metal outfit Anoxia are one of the rare breed of bands who are prepared to live and die by the sword they carry.By bringing a new sound to a bygone era of heavy metal, Anoxia embraces the legacy of death metal bands that have come before them such as Morbid Angel, Suffocation and Death, but sprinkle enough of their own - more modernized - DNA through the menu to make a fresh and tasty new main course where brutality is the King.After announcing their arrival with their 2020 Demo Torturous Degradation, Anoxia hit the stage sprinting, dropping their debut EP Languish In Suffering in 2023 which has seen the band amongst the first port of call for international touring acts such as Skeletal Remains and homegrown machines Psycroptic and King Parrot.But it is with the impending arrival of their debut full-length Revel In Sin on April 17 that Anoxia looks set to launch a global assault on the metal scene. Building on the crushing devastation promised with Languish In Suffering, Revel In Sin ramps up the intent, delivering more hooks, more pace, and more intensity.HEAVY caught up with guitarist Elias and bass player James to dig deeper."We released our EP in February 2023," Elias began. "So, it's been a little while now. We've just been touring a lot, playing a lot of shows, then took some time off to write and came up with Revel in Sin, so we're very excited. We feel like it's the next level in our progression as a band and as musicians, writing and just growing by fusing our old-school death metal style with some thrash metal elements as well. James came on board last August just to in the finalization of the writing stage as well, so he'll be on deck for the album launch as well."We press them both about the musical direction on Revel In Sin."We are all about the old school, early 90s US death metal," Elias affirmed. "So we're just building on that. The EP was four songs which we're proud of, but the album is just us levelling it up a bit in terms of speed, diversity and dynamics. It's very much in the vein of the EP, but just a few notches up from where we left off. There's different dynamics - fast in some places then slow - so we're just changing it up, but focussing on those hooks and keeping it intense."In the full interview, Elias and James talk more about Revel in Sin, highlighting the band's evolution in musical complexity by merging old-school death metal with thrash elements. Elias emphasized the single Rule by Cold Steel as a key representation of their sound, while James noted the album's progression from their previous EP, incorporating classic death metal elements with new dynamics. The band is promoting the album through a series of shows in Melbourne, Canberra, and Sydney, as well as a nationwide tour with Atheist, aiming to broaden their audience. We also discussed the advantages of being managed by Your Mate Bookings for securing larger tours and enhancing the band's professional image, alongside insights into their live performances and fan interactions.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

17 Apr 14min

Interview by Kris PetersRising Australian rock outfit Vermantics are a band with a purpose.But although they might still be finding out the intricate details of just what that is as they make their way through the trappings of the music industry, one thing they are already sure of, even in their formative year,s is the need for independence. The need to forge, then follow your own path.Vermantics are at that tender stage of any band's career where they are currently hot property, and as such, people from all walks of life and expertise have an opinion on their lives, their sound, and their musical output.But they are also confident enough in their own ability and vision that, while taking any and all advice on board, stick to their own musical needs, throwing caution to the wind but doing so on their terms.This is clearly evident on the band's latest single Come Alive - with the music video premiering today, April 17 via HEAVY - a song that retains the raw elements from its birth and is delivered from the heart, complete with imperfections. It is raw, live-sounding, and infinitely better for the touches added - or left out more accurately - in the studio.HEAVY sat down with vocalist Stefan Fedele to find out more."The previous stuff we put out was a lot more produced and had a lot more effects," he affirmed. "It was just a bigger production, whereas this one is definitely more on the raw avenue, and things are played in real time. The vocals haven't been tuned anymore and the drums are played with no cutting. So yeah, all those things make a big difference, and it's heading in the way that we want it to. This is where we're at right now."In the full interview, Stefan spoke about the accompanying music video for Come Alive, which is designed to reflect the energy of the band's live performances. He explained the strategy of releasing the audio of the single ahead of the video to build anticipation and allow listeners to engage with the music directly. He also mentioned that Come Alive is the first track from their upcoming EP, The Pictures You Paint, which aims to showcase the band's artistic vision.We spoke about Vermantics' upcoming Melbourne show as well as their first international tour in May, discussing how to approach your first tour of another country and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

17 Apr 8min