HEAVY Music Interviews

Interview by Angela CroudaceHeavy metal legend Ross The Boss is set to electrify Australia next week, and he couldn't be more excited. Reflecting on his previous visit, Ross recalls the overwhelming love he received from Aussie fans. "The reaction nerfed me," he laughed. "The intensity, especially in Melbourne, was unbelievable."Ross, a founding member of Manowar, spoke passionately about the creation of Sign of the Hammer, revealing that the band often recorded more tracks than needed, seizing every opportunity in the studio. A highlight was recording at Richard Branson's famed Manor Studio — a surreal experience that included sleeping in rooms once occupied by historical figures like William the Conqueror.This upcoming tour features what Ross calls the best version of the RTB band yet, boasting powerhouse musicians like Dirk Schlächter (Gamma Ray) and drummer Sean Elg. “We’re coming to melt faces,” Ross promises, highlighting the group’s precision and raw power.When asked about his time in Manowar, Ross candidly shared that he wished he'd been firmer with his bandmate Joey DeMaio. "Sometimes I should’ve put my foot down more," he admitted. Despite past challenges, he now channels his passion purely through his guitar, still rooted in the soulful blues influences of B.B. King and Albert King.Ross also touched on the emotional impact his music has had. "People tell me it saved their lives," he said, visibly moved. "It’s an honour I don't take lightly."As Ross prepares to unleash a storm of classic anthems down under, he leaves fans with one promise: “We’ll give you 150%. When the final note rings out, we want you to feel it in your soul — and want us back.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

27 Apr 20min

Interview by Kris PetersSince their inception, OK Go has been something more than a band and something different from an art project.With a career that includes award-winning videos, New York Times op-eds, collaborations with pioneering dance companies, tech giants, NASA, animators and Muppets, and an experiment that encoded their music on actual strands of DNA, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Timothy Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation and continue to add to a curriculum vitae filled with experimentation in a variety of mediums. Their work is in the permanent collection of MoMA, and their achievements have been recognized with twenty-one Cannes Lions, twelve CLIOs, three VMAS, two Webbys, The Smithsonian Ingenuity Award, and a Grammy. The band has also partnered with the Playful Learning Lab at the University of St. Thomas to create OK Go Sandbox, an educational non-profit that provides free resources to teachers that use OK Go's videos as starting points to teach STEAM concepts.The band last week released their first album in over a decade, And The Adjacent Possible, with Kulash stopping by HEAVY HQ for a chat."It's been fantastic," he smiled when we ask how the early reception has been for And The Adjacent Possible. "It's wonderful to get the music into people's brains. It's swimming around there in the ether somewhere, and when you pull it out… you don't write the songs. You find them. You define them from the world, then work so hard to get them into shape. You can share them with people, but then there's this arduous period where you do the business stuff, and I'm just so happy that it's finally out and people can listen to it and feel the emotion. The only point of music is that sense of human connection, and it's so wonderful to be getting real reactions from real humans now."We ask Damian to dive deeper into the album musically."It feels like this is the first time that we weren't going for anything," he measured. "We actually felt comfortable enough with what and who we are that we were able to say these are the things we like. Since the last album our guitarist had kids, I had kids, then there was the pandemic, then I directed a film and that put several years between the records, and before we knew it even though we had never officially shut down the band or gone on a hiatus, we'd taken enough of a step back that instead of feeling like our foot had to be on the pedals with 'what do we do next' we could just come back to and recognize who we are and that our flag was planted a long time ago, and we don't have to plant a flag."In the full interview, Damian discussed And The Adjacent Possible in greater detail, including the singles released and how they summarise the album as a whole. We talked about the music video for A Stone Only Rolls Downhill, which was shot on 64 phones with 64 different videos placed over a moving mosaic, which led to discussion about their elaborate music videos and the process behind them.We spoke about musical ideas and converting them to reality, any extra pressures coming back from a ten-year lay off, the meaning behind the album title and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

26 Apr 16min

Interview by Kris PetersBrisbane rock outfit Sound Affliction are the latest signing to Australia’s fastest growing rock label XMusic, and they have made an immediate impact with their powerful, emotionally charged new single, Sober. Blending huge riffs and driving rhythms with deeply emotive lyrics, Sound Affliction will soon be your new favourite rock n roll band.The band's latest single and first for XMusic, Sober, is a haunting reflection on loss and resilience, exploring the pain of losing someone dear and the challenge of moving forward alone. With its universal themes and raw emotion, the track is the perfect introduction to Sound Affliction and with plenty more singles in the pipeline, the bands' versatility will soon be on display.Though Sound Affliction might be unfamiliar, the band’s line-up is stacked with seasoned talent. Frontman Matt, previously of Scandal Tree and Don’t Come Monday, commands your attention with a vocal range that shifts effortlessly from raw intensity to soaring majesty. Guitarists Dan (Black Whiskey) and Wayne (Scandal Tree, Cactus Dill Dos) are a dual-edged harmonious sword, weaving shredding riffage with melodic beauty to create songs that sound instantly familiar but also completely new while drummer Travis, also from Don’t Come Monday, drives the band’s engine and can take it from zero to a hundred in an instant. On bass Kev Brown (Pyre & Ice), brings a massive low-end anchor to the band's massive sound.HEAVY spent some time recently with Dan and Wayne to find out more."We came up with a bit of a demo track a while ago on it," Dan began when asked about Sober, "and we all thought, you know, it's not a complicated song, but it's nice and simple, and it's got that real catchy drive to it. It was one of those that knocked together quite quickly so we flicked it over to Matty, who does all the lyrics, and he was going through a bit of a rough patch at the time and sort of poured his heart on the vocals, which gives it its own sort of haunting melody. It's one of those songs we thought could be good for us because it's got a good feel to it."In the full interview, Dan and Wayne spoke more about the sonic impact of Sober, the personal feelings of sorrow at its core and the relatability of the subject matter. They revealed the song is the first taken from a future album, but doesn't necessarily provide a complete representation of what to expect.We discussed Sound Affliction signing to XMusic and what it means for the band moving forward, upcoming shows and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

24 Apr 15min

Interview by Kris PetersWednesday 13 is arguably one of the hardest-working musicians out there. From his solo project to celebration tours featuring Murderdolls songs, Wednesday not only lives the excesses of rock and roll debauchery; he sets the bar as well.Each of his musical undertakings, including Frankenstein Drag Queens From Planet 13 as well as Murderdolls and Wednesday 13, have the same menacing undertones of gore, horror and theatrics, but despite the obvious similarities, Wednesday 13 is much more than a one-trick pony.Blending the above elements with punk, humour and a ghostly sense of the macabre, Wednesday 13 has his roots deeply embedded in hard rock but transcends the barriers of a plethora of styles and genres that combine to make his music a necessary evil in a world growing increasingly sterile.2022's Horrifier was met with widespread media and public adulation, but these two things have never mattered when it comes to Wednesday's musical output. It is more about the sense of ambivalence and the irresistible thread that binds everything together that keeps the fire in Wednesday's cauldron burning.Such is his contribution to music that Wednesday could easily be forgiven for playing it safe with each new album cycle, but in true Wednesday 13 style, safe was the furthest thing on his mind with his new album Mid Death Crisis, which will be unleashed on April 25.More a step back into the things and a time that gave birth to Wednesday's musical psyche, Mid Death Crisis benefits from production by Alex Kane (Life, Sex & Death, Enuff Z'Nuff, Antiproduct) and a mix courtesy of Steve Evetts (The Dillinger Escape Plan, Prong, DevilDriver) that devilishly encapsulates the musical strengths of both while remaining quintessentially the afterbirth of Wednesday 13.Wednesday spent some time with HEAVY to discuss the album in greater detail. We started by asking if he is confident heading into the album release date."Very confident," he replied without hesitation. "With my last few albums I put out, I didn't know if the audience was going to like it as much as I did. And when I was experimenting from albums like  Condolences and Necrophaze and all those records, I look back now and those are the experimental records because I did some different things with them. And those were ones I took some chances with, and I wasn't sure if the audience would like them. But they did. This is the one record where I feel pretty confident that they're going to like it. I know it's hit all the bases with what I was trying to go for."The album is widely touted as a return to Wednesday 13's musical roots, an opinion we put to the man himself."I think so," he measured. "After COVID and everything, I had a little time to look back on my career and 20 years of doing Wednesday 13. And I just kind of looked at the whole career and went, well, what do you like best of all this? I started looking at it all, and I went, well, where I started was the most honest and real place for me. And that seemed natural. And I kind of went back to that look, and I went back to that sound, and it was easy to do. It just felt right, and this is more of a hard rock record than it is a metal record, but it's not just like I tried to imitate my first record or anything. It's just in the same spirit, and I feel good about it, like I did on that first record."In the full interview, Wednesday 13 described Mid Death Crisis as an energetic experience, carefully structured to reflect a live performance, and emphasized that sonically it encapsulates his career and aligns with fan expectations.He highlighted the song When the Devil Commands as the lead single, crafted to appeal to both existing fans and new listeners, with lyrics inspired by his childhood experiences during the Satanic Panic. He discussed his songwriting philosophy, focusing on natural inspiration from classic horror and pop culture. Additionally, he spoke about his collaboration with Taime Downe, noting its significance due to his admiration for Faster Pussycat. We spoke about his song titles and where they come from, coming up with fresh sounding material the more you write, future and current tours and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

23 Apr 23min

Interview by Angela CroudaceRivers of Nihil’s self-titled album marks more than just another release in their discography—it signals a rebirth. Bassist and vocalist Adam Biggs, one of the band’s founding members, sat down to talk about the evolution of the group, the challenges of stepping into a new vocal role, and crafting an album that captures both urgency and introspection.Following their conceptual four-album seasonal cycle, the band viewed Rivers of Nihil as a way to define who they are now. “It almost feels like our first record again,” Biggs explains. “We looked back at all the eras of the band and pulled what worked best. This is Rivers of Nihil as it stands now.”A major shift came with Biggs taking on full-time vocal duties after the departure of their previous frontman. It’s been a challenging transition. “It took a lot of practice and trial and error with my voice,” he admits. Balancing demanding vocals with intricate bass lines required intense focus and routine—but now, he says, “it’s starting to feel more natural.”New blood also brought fresh energy. Guitarist and vocalist Andy Thomas officially joined the line up, contributing not just riffs, but his distinct voice. “I wanted to rise to the challenge,” Biggs says. “I wanted him to do awesome work with us.”The new album is both heavy and hauntingly relevant. “The theme is sort of this macro danger of modern life,” Biggs explains. “Fear of war, pandemics, political unrest. But we try to approach it from a human perspective—there’s paranoia, yes, but also a thread of hope.”Instrumentation expands too, with banjo, cello, and a new saxophonist adding depth. But unlike previous records, the band prioritised how the songs would hit live. “We wanted this to go over in a room full of excited, sweaty people,” Biggs laughs.At its heart, Rivers of Nihil is an album born of evolution, resilience, and reflection—a fitting fresh start for a band that refuses to stand still.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

23 Apr 25min

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