Both Sides Of The Coin With GLADIOLUS

Suicidal Tendencies have a love affair with Australia, touring regularly and bringing their infectious brand of skate punk metal to our tender ears with the same intensity and conviction time and time again.It has been two years now since their last visit, but this time they come bearing gifts. Musical gifts, that is, in the form of Metallica and Evanescence as part of Metallica's massive global M72 Tour. But this will be Suicidal Tendencies' first tour with drummer Jay Weinberg on deck, rounding the band out now to include Mike Muir alongside guitarists Ben Weinman (The Dillinger Escape Plan) and Dean Pleasants and bassist Tye Trujillo (son of Metallica's Robert Trujillo).HEAVY recently had the pleasure of speaking with Muir and, knowing his genuine love of chatting in interviews, got straight down to business as Mike walked through the sunny streets of California. One of the topics of discussion was the enduring legacy of Suicidal Tendencies, even after five decades in the music industry."It's great because even when we go to Australia…," he began. "I lived out there for a bit and there's so many people that I met over the years from when we first went there in 93 when we were opening up for All This Change and no one knew who we were, to 99 when we did the Warped Tour and on and on where you meet people, and then they start to have kids, and you see their little kid, and you got pictures of the little kid, and you come back and now they're six foot four, and you're looking up to them (laughs). I'm glad I was nice to them. But you see that generational thing and how quickly time does fly, but how much it means to people."In the full interview, Mike reflects more on Suicidal Tendencies and their upcoming tour with Metallica, emphasizing the band's deep personal connections and legacy. Muir highlighted the significance of family within the band, mentioning Ty, the son of a former member, and shared his enthusiasm for creating new music that resonates with both long-time fans and the next generation. He also expressed excitement about performing new songs live, praising drummer Jay Weinberg for his adaptability in large venues, noting the positive impact on their performances.We spoke about the band's new song Adrenaline Addict, marking their first release in seven years. Muir described the collaborative process behind the song and its themes of personal expression and self-reflection. He discussed the dynamics of music collaboration, including the challenges of being recognized as a contributor, and emphasized the importance of authenticity in relationships and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Sep 22min

When The Living End burst onto the Australian musical landscape with their self-titled debut album in 1994, the blurred lines between rock, punk and metal were suddenly more accessible, introducing a wide network of music lovers to genres they might otherwise have avoided.Their rebellious spirit, emphasised through songs like Prisoner Of Society and Second Solution, suddenly made punk cool, with adolescents everywhere jumping on board The Living End freight train. It was the turning point for Australian music, seamlessly blending rockabilly and punk with metal stylings to create a musical force rarely seen on these shores.Fast-forward 25 years and The Living End are still pumping out the same infectious brand of punk n roll, albeit with a maturer edge and slightly different viewpoint on the world around them.The Living End are set to release their ninth studio album, I Only Trust Rock N Roll, this Friday, September 26, with frontman/guitarist Chris Cheney proclaiming, "This one had to sound like a slick machine. Trim the fat." And that is exactly what The Living End have done with this new album. It is truly an album of all killer, no filler across its 11 tracks, each one with a lifeblood of its own that shows just how far, but also so little The Living End have come in the last quarter of a century.HEAVY sat down recently with bass player Scott Owen to dig deeper."Yeah, it's been a slow process," he sighed, alluding to the fact that this is the band's first album in eight years, "but it's given us the chance to give it everything we possibly can. Every idea we have, every thought we have, has gone into it. We didn't want to rush it. We wanted to make sure we got it right, and I think we did. I think it's ready to be born and to get out there."We ask if he is feeling confident going into the release date."Yes, I do," he affirmed. "I speak for the three of us. Yes, there is confidence, and it's because we definitely feel like we should be feeling, put it that way. We really did concentrate on keeping it simple and keeping the message simple; keeping the music simple, staying in our own lane and knowing what we do good and not trying to reach beyond that. Just doing our thing. Doing the thing that we really like. We've worked on all these songs with the thought that we're going to go out and play them on stage, so we need to make sure that they're just lean, and they're built for a three-piece band on stage. Not too many overdubs and not too many… Not too many studio things, you know, just good rock music. So yeah, to answer your question, very, very confident and very, very proud."In the full interview, Scott shared insights into the album's creative process, emphasising a cohesive vision that prioritises a simple, energetic rock sound suitable for live performances, while aiming to capture a raw, live feel through minimal overdubs. They also talked about upcoming Q&A sessions in Melbourne, Brisbane, and Sydney, inspired by a successful art installation related to their single Strange Place, designed to create an immersive experience for fans.Additionally, Scott highlighted the unique tour format featuring two different sets each night, showcasing both new tracks and songs from their first album, and mentioned their performance at the Wanderer Festival in New South Wales on October 4 and 5. We talked more about keeping it simple with fans and maintaining a connection with your fan base and music to appease the cross-section of listeners over the years and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

22 Sep 14min

Starting life in 2005 more influenced by deathcore sensibilities than their current, more accessible mixture of styles, Glasgow metal outfit Bleed From Within have gradually morphed into a style of their own over seven studio albums, the most recent of which being last month's irresistible offering, Zenith.Representing the past, present and future of Bleed From Within, Zenith captured the band at the peak of their prowess to date, solidifying their reputation for thinking outside of the metaphorical box and confirming their place amongst metal's elite. From incorporating bagpipes into their beautiful brutality through to commanding stages alongside Slipknot, Bullet For My Valentine and Trivium, Bleed From Within also stormed the main stage at the UK's Download festival in 2024, further cementing their stake as a must-see act for the ages.Now, it's Australia's turn as Bleed From Within join forces with The Ghost Inside for October's Going Down Under Tour, which got even bigger last week when Bleed From Within announced a one-off headlining show in Melbourne.HEAVY sat down with frontman Scott Kennedy to dive deeper."We're doing a headline tour of Europe at the moment," he began, "and we get back from this tour five days before we leave to come to Australia. We're proper excited about it. Australia has been on the cards for our 21 years as a band. It's one of those places we've been desperate to get to."We point out that Australian fans love the band, with Sydney featuring at #2 on Bleed From Within's Spotify Playlist and Brisbane at #4."I didn't know that, but that's amazing," he smiled. "We sort of did the same thing in America. We waited so long to go, and for no other reason than the fact we just didn't get the opportunity. We didn't get the right tour offer, but when it came, and we finally went there, it was just… it felt like people were hungry for it. It's almost like we starved the market for so long that when we went there, it was nuts, so I'm hoping that the same thing happens when we get to Australia."In the full interview, Scott talks more about the tour and what we can expect, touring with The Ghost Inside, their one-off side show and why there isn't more, plus their latest album Zenith and how it was received.We spoke about the band's comments at the time of Zenith's release that it represented Bleed From Within at the peak of their career and where they will go from here, the direction future music may take, how much musical growth is left in the band and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

21 Sep 12min

Australia’s own BE’LAKOR finally return for a powerhouse run of home shows this October, bringing their signature blend of melodic death metal and progressive depth to stages across the East Coast to celebrate 20 YEARS OF LIVE BE’LAKOR. Renowned for their immersive soundscapes and acclaimed releases such as their most recent and much lauded effort, Coherence, the Melbourne five-piece continues to push themselves and captivate audiences worldwide.Joining them on this monumental run are progressive metal masters PERSEFONE, for their very first time on Australian soil. Hailing from the picturesque lands of Andorra, they have been a formidable presence in the progressive death metal scene since their inception in 2001. Renowned for their intricate compositions and thematic depth, the band masterfully blends technical prowess with melodic sensibility.Complimenting an already stellar lineup is ORPHEUS OMEGA, who will be celebrating the 10-year anniversary of their landmark album Partum Vita Mortem. A cornerstone of Australia's melodic death metal scene, they are well known for their dynamic blend of aggressive riffs, atmospheric keyboards, introspective lyrics and have consistently pushed the boundaries of the genre.With the tour set to start in just a few short weeks, HEAVY caught up with keyboard player Steve Merry to find out more. One of the topics of discussion was Be'Lakor's live show and what we can expect."Well, to be honest, it's just going to be a lot of riffs, a lot of melodies, a lot of harmonies, and not much else," Steve replied. "Not much chit-chat. We get up there, and we play our songs, and that's the way we like to do it. We're there for the music. What drives us is writing the music and then playing it so it'll be good fun."The term "immersive" is often used to describe Be'Lakor's sonic output, so we ask Steve just what that means."I think what that whole bit is talking about is a combination that the songs are long, and they go in all directions, and they often don't return to riffs," he measured. "So there's sort of a journey feeling to the music. We use a lot of atmospherics and a lot of spacious sounds around the actual guitars and drums and the core of the song. We'll chuck a lot of atmospheric stuff in as well. And I guess the lyrics, we do tell a story with the lyrics. So I think those three things together would be maybe what makes people say it's a bit immersive."In the full interview, Steve shared more details about their upcoming tour, 20 Years of Live Be'Lakor, highlighting the band's extensive rehearsal efforts and the inclusion of supporting acts Persefone and Orpheus Omega. He described the live performances as immersive experiences focused on music rather than audience interaction.We further discussed the evolution of BE’LAKOR's sound from their debut album, The Frail Tide, to their latest release, Coherence, noting a shift towards longer songs and a more mature style. Despite the success of Coherence, the band is dedicated to writing new material that resonates personally, currently being 60% through the writing process for their next album, while opting not to perform new songs on the tour to allow for further refinement, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

19 Sep 10min

If you look at their musical journey, it might appear that SoCal pop/punk/rapcore outfit Zebrahead have led somewhat of a charmed life. From their very inception through meeting at a practice room to playing to a handful of people, where 12 of them were scouting from record labels, a sceptical person could claim things have fallen into place for the band. But if you know the band and know their music, you would know that while luck - in any incarnation - is always welcome, there is one core ingredient of Zebrahead's collective musical psyche that has had more influence on their trajectory than anything else.Fun with a sense of humour. Listening to co-founding member and vocalist Ali Tabatabaee run through Zebrahead's history, the one common thread is their ability to laugh in the face of potential adversity and brush any setbacks off with a shrug of the shoulders and the knowledge of what to do better next time.Their musical style is offbeat and eclectic, mixing a fusion of pop/punk with hip hop and punk sensibilities to create an ever-evolving and expansive sonic universe that is as endless as it is unique. But there is one factor that has been essential to the continued growth of Zebrahead, and that is their live performances. Known and loved for their energetic output and on-stage banter, Zebrahead bridge the gap between intensity and frivolity with boundless energy, approaching each gig like a party with new best friends that just haven't been met yet.This October, after seven long years, Australian fans get to witness this first hand when Zebrahead make their triumphant return for five shows starting in Perth on October 7. Having heard the hype but never speaking with the band, HEAVY jumped at the chance to spend some quality time with Ali, and we're glad we did! We started by asking what has changed with Zebrahead in the seven years since their last visit."Man, I feel like the main thing is Adrian (Estrella) is in the band now," he replied. "He's the other vocalist. We haven't been back since before the pandemic, dude, so it's been a minute. We have released three EPs since then - III, II, I - with Adrian, and we're going to be playing some of those songs when we come over. But also when we're not touring, we've been working on new music. So we're excited to get back home after Australia and get into the studio and record the songs that we've been working on. So that's mainly it, man. And then once that's done, hopefully next summer, start touring again."Talk later turns to the early days of Zebrahead and the musical climate that spawned the band."Man, at that time, Orange County was kind of popping off," he recalled. "You know, we had bands like Offspring. We had bands like No Doubt that were doing really well, so the record labels were really focused on Orange County. We actually got very lucky because of that. Our first show we played this Christmas show, and it was just our girlfriends and the guy who ran the club who gave us the show. He'd never heard of us. He came in to get the money from the cash register or something, and he heard a song. Then after we were done, nobody was there. It was empty. And he goes, 'Hey, I have a friend who's a manager, and you guys are interesting because you have hip hop and punk and stuff. I kind of want him to come and watch you play. Is that something you'd be into?' And we're like, sure, of course, who's gonna say no?"In the full interview, Ali talks more about the Australian tour and what to expect, their energetic live shows and how they will translate to our crowds, having Thomas Nicolas Band as national support, plus the early days of Zebrahead and where they fit in.We talked about Zebrahead getting signed and how their career grew from there, the blending of genres in their music and how they came about, musical experimentalisation and how they regulate it, future music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

18 Sep 16min

The story of Spiderbait is an unlikely but heart-warming one – three friends from a small Australian country town taking on the music scene, and emerging triumphantly thirty years later, friendship intact, and now one of the biggest and best rock bands on the national landscape.The trio’s popularity spans three decades and shows no signs of abating. They’ve released seven acclaimed albums, all of which have racked up Gold, Platinum or Double Platinum status, and have combined Australian sales of over a million units. Spiderbait have also chalked up almost every Australian accolade possible, taking home multiple ARIA Awards, topping charts and becoming the first Australian band to take the crown in triple j’s prestigious Hottest 100 of 1996 with Buy Me A Pony.Australian rock ‘n roll royalty, and with a catalogue of music that’s distinctive and uncompromising, Spiderbait will be a part of The Croxton Block Party, a huge two-day festival celebrating 10 years of the venue, to be held in the carpark across from The Croxton Bandroom on November 1 and 2. The stacked line-up includes Tropical Fuck Storm, Cash Savage and the Last Drinks, Spiderbait, Ratcat, Floodlights, Party Dozen, Grace Cummings, and more.To celebrate the occasion, HEAVY sat down with Spiderbait's Kram to find out how more about the show."It's going to be great," he enthused "I think we've played at Croxton… I can't remember when we played it last. I know King Gizzard played there, and I remember getting up with Wolfmother as well. And yeah, it's just gonna be great for us to actually play there and be part of this great show. And there's a great line-up of acts over the two days."We ask if Spiderbait have any special plans to mark the occasion, to which Kram offered. "Well, we're just about to release the reissue of The Unfinished Spanish Galleon of Finley Lake, and we've pressed it on vinyl because I think it's the anniversary of that record's release. So we might try and do a fair few songs off that record for this show. It's gonna be sick. The Croxton Bandroom has been a great live music venue for the last 10 years, and it's such an iconic room. I'm happy that they're doing the show outdoors to make it like a block party, which obviously is what it's called. It's also celebrating that part of Melbourne, the North side. So many bands have come from there, including us."In the full interview, Kram further highlighted the significance of community support for live music venues and suggested that government incentives could help preserve these cultural spaces. He reflected on the transition of music from underground to mainstream, noting the enduring popularity of bands from his era and the challenges of replacing iconic venues. He announced the release of the 30th anniversary vinyl edition of The Unfinished Spanish Galleon of Finley Lake, highlighting its importance in marking Spiderbait's evolution and confirming that pre-sales will start on September 25 plus more.Tickets for The Croxton Block Party HEREBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

16 Sep 11min

Interview by Ali WilliamsTeenage Joans members Tahlia Borg and Cahli Blakers took time out to chat with HEAVY about their new track, My Hearts Dead, and their current tour with Slowly Slowly.Hailing from Radelaide, Teenage Joans were winners of JJJs Unearthed High back in 2020, and since then they have flooded the air waves with a string of melanchol,y pretty punk rock hits. In their short time on stages, they have racked up some impressive achievements from playing the same stage with Foo Fighters to rocking it on the festival runs at Laneway, Good Things, Groovin the Moo, Unify and more.The girls are excited to be touring with fellow Aussies Slowly Slowly, being huge fans of the band themselves, and are looking forward to warming up the crowds for the shows. Their music resonates with fans as they aim to give their punters the full homegrown experience, being very hands-on with all they produce from their music to videos and even their merch. Not only do Teenage Joans enjoy the DIY aspect, they also feel that part is integral to their image and what they want to pass on to their audience to feel connected. Their most recent track was filmed and produced themselves, mainly due to a lack of funds after returning from a US tour, but that aside, they feel it matched well with the essence of the track and conveys synchronicity.Tahlia plays drums and vocals, and Cahli does vocals and guitar and plays bass in the studio, keeping true to their theme of being hands-on and independent artists. They’ve described their sound as being as if Blink-182 played Kesha, which is fairly accurate on all levels. The girls have also done a session of JJJs Like a Version where they wanted to cover a Kesha track that didn’t make the cut, but was the drive and inspiration behind their latest song, My Hearts Dead, which is a compilation of who they are musically and personally.Being just schoolgirls when they started out, they talk about doing gigs on school nights, having their parents as roadies and manning the merch stands for them, saying it has helped them navigate growing up in the spotlight as young females in the music industry. They also discussed playing with their idols, new music, future direction and their hometown gig on October 31 plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

16 Sep 24min

Interview by Kris PetersSince the Australian Women in Music Awards (AWMA) inception in 2018 almost 2000 individuals have been recognised with a nomination, with 1946 nominations from 2018 to 2024. Designed to provide an outlet to celebrate and reward women in the Australian music industry, AWMA has become a vital platform for recognising the vast contributions of First Nations and culturally diverse artists, musicians, technicians, photographers, journalists, leaders, artists with a disability and music practitioners from every corner of the sector.To be held on October 9 at Fortitude Music Hall in Brisbane, this year's ceremony features a spectacular line-up, including KATIE MILLER HEIDKE, MISSY HIGGINS, BABYSHAKES DILLON, and recently appointed AWM Chair SARAH MCLEOD.Founding Executive Producer and Program Director Vicki Gordon explains: "Our inaugural AWMA in 2018 paved the way for some of the most important change the industry has ever seen, igniting collaboration and support nationally for female and gender-diverse artists and music practitioners, First Nations and Multicultural artists and artists living in remote and regional areas. As we head into our sixth year, we are proud of the change and the shift AWMA has enabled - but there is so much more work to be done.”With the AWMA's drawing near, HEAVY sat down with Vicki to discuss the Awards, covering everything from the past, present and future of this wonderful initiative."Things are pretty intense at the moment," she smiled when we asked how preparations were going. "We're just under four weeks out from delivering the conference and the awards ceremony, and there are a lot of moving parts. It's become massive; a really, really big event. There's a lot going on with organising the artists and the programming for the awards ceremony. (Things like) the finalists, the conference programme, the speakers and the facilitators."We ask Vicki to go into more detail about the AMWAs, including what motivated her to establish the awards in 2018."I've worked in the music industry for a long time," she measured. "I've been a label manager, an artist manager. I've had the extraordinary opportunities to work with First Nations artists for the last three decades, right across this entire country, and I've been a video producer. I've worked in lots of areas, and in my time in the industry, it was always so obvious to me that women were really absent, particularly in a lot of the technical and production areas. I have been observing that for a long, long time. In the early 90s I established the Australian Women's Rock Institute, and that was way before Australian Women in Music Awards. I set that up primarily to address the status of women in the music industry, which was pretty appalling at that time."In the full interview, Vicki outlined the extensive preparations for the event, involving a large team focused on artist programming and conference logistics. As a not-for-profit charity, the event relies heavily on ongoing fundraising efforts and collaboration between a number of sectors, which she explained in greater detail.Vicki also mentioned her proactive approach to planning for the 2026 awards, highlighting the cyclical nature of organising such events. She shared her long-standing commitment to addressing the underrepresentation of women in technical and production roles within the music industry, which led her to establish the Australian Women's Rock Institute and the awards themselves.The conversation also touched on the importance of gender equality in the music sector, with Vicki emphasising the need for continued advocacy and research. She introduced the Women in Tech forum, featuring Brittany Long as a speaker, and addressed concerns about inclusivity for male attendees, affirming that their participation is welcome. The inclusion of heavy metal and associated genres in AWMA was discussed as well as Vicki's vision for the future of the awards. The discussion included details about ticketing for the awards and conference, as well as highlights of the event, such as the unique black carpet event and the awards ceremony featuring notable performers and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

15 Sep 20min