Words by Angela Croudace
After decades since their last show in Australia, Brad Roberts of Crash Test Dummies is excited to return. The Canadian band’s first Australian tour, back in the early 90s, was met with poor attendance as they were relatively unknown at the time. “When we played our first tour in Australia, we were promoting our very first record, Ghosts That Haunt Me. We had a hit in Canada, but hardly anyone knew us there,” Brad recalls. However, the situation has drastically changed, and this time, with a larger fan base, the band is eager for a more successful reception.
Reflecting on the impact of God Shuffled His Feet, the album that defined the band’s career, Brad shares his pride. “It means a lot to me that God Shuffled His Feet holds such a special place in people's hearts after 30 years,” he says. The album, featuring iconic tracks like Superman's Song, still resonates with fans around the world. The band's success skyrocketed early on, with invitations to perform on Saturday Night Live and The David Letterman Show.
Despite the early fame, Brad’s musical journey didn’t begin until after his university years at the University of Winnipeg. “I didn’t spend much time in music until after graduation. Success on the second record was overwhelming,” he admits. The Crash Test Dummies’ rise to fame is a testament to their unique sound and Brad’s distinct low voice, which became an unexpected asset.
The reunion of the original line up in 2017 was a poignant moment for Brad and the band, marking a new chapter in their journey. “We decided we wanted to keep going because we had such a good time,” he reflects.
As the band gears up for their upcoming tour, Brad’s passion for music remains strong. “I still love touring and playing,” he says. And with the ongoing evolution of music, Brad continues to study classical composition, including the works of Bach, proving that music is a lifelong constant.

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Interview by Angela Croudace
In an interview with Simone Simons, lead vocalist of the symphonic metal band Epica, we dive into the band’s upcoming album Aspiral—a powerful reflection of their growth, both musically and personally. Simone describes Aspiral as a fresh start, where the band’s continuous evolution is highlighted through their music and lyrics.
The title of the album was inspired by a Stanislaw Szukalski bronze sculpture, a piece of art that left a profound impact on the band after a visit in 2022. Simone explains that the album’s theme of rebirth, renewal, and self-discovery resonates deeply with the band members, as they navigate their individual struggles and experiences. The synergy between art and music is a key theme, with Szukalski’s sculpture influencing not just the visuals but the emotional core of the album.
The band embraced a unique writing process through isolated writing camps, allowing them to fully immerse in creating without distractions. Simone shared how the intimacy and collaboration during these camps fostered a stronger bond between the band members, helping them achieve creative heights while crafting songs with emotional depth.
Simone also reflected on the emotional power of Epica’s music, recalling poignant fan inter


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Interview by Kris Peters
Within Destruction, Slovenia’s most awesomely audacious, genre-defying metal pioneers, have officially announced their next chapter with the reveal of their upcoming album Animetal set for release on April 11, 2025, via Sumerian Records.
To mark the news, the band has dropped their electrifying new single Cybergirl, accompanied by an official music video that plunges listeners into a dystopian world where the lines of reality are blurred. Packed with relentless riffs, soaring melodies, and their signature, anime-inspired electronic elements, Cybergirl epitomises Within Destruction’s ability to innovate and push boundaries while staying rooted in the chaos of modern metal.
In more good news, the Slovenian futurists have also announced their return to Australia on the eve of Animetal. Having truly transcended their deathcore origins, the band’s once relentlessly brutal sound has flourished into a cyberized, anime-inspired, and unpredictable concoction. Fans of sheer guttural force fear not, however - as fellow Europeans Distant will be tagging along to bring their downtempo slams to Australia for the first time ever. With Melbourne’s Gravemind rounding out the bill, this is a psychotic trio of modern metal sure to dazzle and pulverise.
HEAVY caught up with Within Destruction's frontman Rok Rupkin recently to discuss the album and tour.
"If you listen to our other records and then listen to Animetal there is quite a bit of sound difference," he measured when asked to describe the new album musically. "The reason why that is the case is because we have decided to stray our own path to set ourselves away from the industry. Not only through the sound but also visually through art, through music videos and band members as well. So any time someone would listen to our song or see our album, they would immediately say I know this is Within Destruction. We wanted to build our own brand, in a way."
In the full interview, Rok talks more about Animetal and what Within Destruction were going for musically, how their sound has changed since their previous release, the anime aspect to the album and how they fit in together, the early days of the band and where they fit in, musical growth and how much Within Destruction have left in them, their upcoming shows in Australia and more.


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Interview by Kris Peters
With the modern world embracing technology like never before, it was only a matter of time before the metal scene and metal music became caught up in its web. Don't get me wrong, technology and the wonders of modern advancement have long been a part of the music industry - everywhere from live sound to studio tricks to programmed drums - but it is the concept of AI that has been more divisive and controversial than anything else.
But it has always been inevitable. Like it or loathe it, AI is not only here, it is also integrating into more of life and music than some of us care to admit.
Until now, heavy metal has been unchartered territory for anything AI-generated. Musically there have been many advancements but when it came time to replicating hard rock/metal vocals the challenge seemed to always be insurmountable. But not any more.
In conjunction with AI vocal synthesis company Eclipsed Sounds, Seann Nicols (Westfield Massacre, Adler's Appetite, Quiet Riot) has been working on something new and exciting called HXVOC, the first-ever AI rock/metal vocalist for Synthesizer V Studio 2. This is an entirely new technology that allows producers to generate fully realistic rock and metal vocals, complete with rasp, grit, and even full-on screams.
HXVOC is a first-of-its-kind AI vocal instrument that gives musicians and producers unprecedented access to a professional rock/metal vocalist without needing a real singer. It’s powered by Synthesizer V Studio 2, the most advanced vocal synthesis engine available today. The key breakthrough is that HXVOC can accurately perform aggressive rock and metal vocal techniques, including rasp, grit, belting, growls, and screams—which have never been done at this level in a vocal synth before.
Rather than replacing singers, HXVOC is an instrument for musicians - just like drum machines and amp sims. It empowers producers, bands, and solo artists by letting them create fully produced songs with high-quality rock vocals. This is a major first for the vocal synthesis world, and it’s already making waves. Two official showcase videos have been released, original songs demonstrating HXVOC’s capabilities in both a Sleep Token - style track and a modern rock song created specifically to highlight its vocal modes.
This technology is about to change music production in a big way, especially for rock and metal. Now, any producer in the world can access a professional-quality rock vocal without needing to record a singer. With AI-powered vocals becoming more advanced, this could be a turning point for the industry.
A known and respected hard rock/metal vocalist, Nicols has approached things from the perspective of a working musician and is adamant HXVOC will only benefit the music industry, not destroy it. HEAVY sat down with him for a chat to find out more about HXVOC and ask a few questions that we think may pose a concern.
"It's got a lot of moving parts," he began. "And I'm new to the space, so I'm by no means an expert. But I'll give you the best to my knowledge. Basically, AI vocal synths have existed for a long time. Apparently this has been like 25 years in the making. I guess it started with a thing called Vocaloid, which is a company that Yamaha founded. And it started out as a Japanese-based company, and they did like a lot of anime, and it went into pop and electronic.
And that's mainly where the AI voices have found most of their traction. But to get a voice that worked for rock was really hard and challenging. Because they couldn't get the grit, they couldn't get the… they couldn't get the aggression to come out of the voice. It just sounded very robotic, and they could produce clean tones, but they couldn't produce that like guttural, like raw that you need for rock, right?
So basically this is the first time that we've had those intense techniques captured and reproduced with an AI. And it took us about, well, two years in development. And it was actually just a meeting of technology and the engineering behind it and the team and the training and special techniques that all had to go into capturing and being able to create this voice that people can get like a real rock metal vocalist right out of the computer with the AI."
We hit him with the question many are wanting to know: Is HXVOC designed to actually replace a vocalist in a band?
"Not at all," he stressed. "No. It's an instrument. It's not a replacement. And I realize that's a concern, but, you know, I was toying around with this technology for a long time. I mean, it started with drums, and then it turned out you could do your drums and program your bass, and then they created guitars and synthesizers, and there's orchestral libraries and everything. And this is just an extension of that, but now for the human voice. And now when we listen to demos that are made by musicians on their computers, the drums sound pretty killer. And it's because of guys like Stephen Slate that made the really complicated process of recording drums in a big studio, and you need all these microphones and these crazy consoles and engineers. I mean, it's super complicated to get a good drum sound, but he just made it so it was really easy so you could just load it up on your computer put your beats in and voila it's like sounds like it was recorded in a million dollar studio and uh that's what we've done essentially with a rock voice now."
In the full interview, we engaged in a detailed discussion about the evolving role of technology in the music industry, particularly focusing on Seann's collaboration with Eclipse Sounds and the introduction of their AI vocal instrument, HXVOC. Seann emphasized the potential of AI vocal technology to enhance songwriting and studio work, viewing it as a valuable tool rather than a threat to jobs in the industry.
Seann elaborated on the capabilities of HXVOC, highlighting its ability to capture the nuances of rock and metal vocal techniques, which have historically been challenging to record. He reassured that the software is intended as an instrument to empower musicians rather than replace live vocalists. We addressed some of the concerns that invariably come with new innovations, his role in HXVOC, how it will benefit the heavy metal industry and plenty more.

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Interview by Kris Peters
Sydney hard rock/metal outfit Bare Bones are the gift that keep on giving musically.
Over more than a decade in the Australian music scene, the band have never shied away from their beliefs, maintaining a DIY approach to life and music that has seen them win the respect of their peers as well as the adulation of a quickly growing fan base that pretty much doubles every time Bare Bones play at a music festival or to people that might not have heard of them before.
Ferociously uncompromising on stage, Bare Bones have carried that intent into the studio with their latest EP, Ceremonial Rage (out now). Proudly - and rightfully - anointed as the band's heaviest, most aggressive slab of music to date, the five-track Ceremonial Rage sees Bare Bones more embracing their earlier and heavier musical influences, experimenting with the past just enough to put a fresh, exciting spin on their future.
HEAVY caught up with vocalist Tom Kennedy this morning to chat about the EP and Bare Bones' special EP launch at Chuck Trailers in Sydney tonight. Naturally, we lead with the assessment that this is the heaviest material yet released by the band.
"100%, yeah," Kennedy replied without hesitation. "I think it's kind of a natural progression from where we've been going. Our music seems to get heavier each time. We put out our first full-length album, Bad Habits, and then when we went and did our second full-length, Rival Minds, people were like, this is definitely heavier and darker. And then it's just kind of been going more and more that way ever since. So kind of a natural progression. This is where we've ended up."
Which leads to us asking Kennedy if the heavier direction was something they spoke about as a band during the creative process.
"You know what man, we've been around for like 12-13 years at this point and this EP is the first time we've ever had that conversation," he replied. "It's always kind of been like this unconscious vibe thing going into writing. It's just like, well, let's just do what we always do and get together and come up with some riffs and stuff. But this time before we started, we had that chat like, what direction do we want to take this? And for us, it's getting back to the stuff that we grew up on. Being in a band with unique, distinct personalities, you all have pretty different tastes when it comes to music and art and all that kind of stuff. But I guess the one thing that we've always loved and agreed on is bands like Slipknot, Korn and Limp Bizkit. And so we just kind of thought, let's lean into that. Let's try and give a modern take on that kind of thing and put our spin on it."
In the full interview, we explored the creative journey behind each track, with Tom explaining that Cobra Clutch evolved from an industrial metal demo to a dynamic song featuring rapping, with Vertebreaker showcasing a catchy chorus and heavy breakdown.
The rapid writing process for Tiger Driver was influenced by hip-hop, while Burning Hammer addresses serious global issues. Tom expressed satisfaction with the EP's direction and the reinvigoration of their passion for music, hinting at future explorations. He also provided an overview of the Chuck Trailers venue in Sydney, emphasizing the importance of free entry for fans to their EP launch on March 20 and the addition of several bands to the opening gig line up, reflecting on the community aspect of live music and the band's commitment to staying active in the scene.


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Interview by Angela Croudace
Cradle of Filth’s frontman, Dani Filth, sat down with HEAVY to discuss the band’s 14th studio album, The Screaming of the Valkyries, their evolution over the years, and the provocative themes they've explored in their music.
Dani shared that the new album brings a modern sound while still nodding to Cradle of Filth’s roots, with a blend of fresh ideas and older influences. "It's a modern sound record, one step forward, but it also has a passing nod back to previous incarnations," he explained. This new direction is, in part, thanks to new members Donnie and Zoe, and the band's increased playtime during the pandemic, which helped refine their sound.
Although the album doesn’t have a central concept, Dani describes it as a celebration of escapism, rituals, and vampirism. He elaborated on the inspiration behind the album’s title, revealing that it stems from the final track, When Misery Was a Stranger. The title The Screaming of the Valkyries was inspired by the impending doom of the Doomsday Clock, likening the sound of Valkyries’ screams during Ragnarok to the existential realisation of impending disaster.
On the subject of religion, Dani was candid about his views, stating that while he respects others’ beliefs, he finds the notion of religion’s validity in the modern age absurd. “I think time has just worn out the message,” he said, pointing to the age of science and the contradictions he sees within religious teachings. However, he emphasised that it’s the belief itself, not the dogma, that holds value.
Over the years, the band’s dynamic has evolved significantly, with Dani noting that the band and crew have become a tight-knit family. He shared a personal moment, reflecting on a recent wedding within the band, symbolising the strong bond they now share. The influence of the band's longevity and experience shows through in the new album, which recalls elements of their older works.
When asked about his favourite track from the new album, Dani pointed to Ex Sanguine Draculae, a song that takes him back to the band’s earlier work in the ‘90s. “It just reminds me of the era that we did the Dusk and Her Embrace record,” he said. He also revealed the band’s collaboration with renowned producer Scott Atkins, praising his approach to refining the band’s sound and ensuring the production was sharp and true to their vision.
Dani also shared that, if given the chance, he'd love to collaborate with Lana Del Rey, citing her gothic sensibilities and haunting voice as a perfect fit for Cradle of Filth's style. Fans of both artists may just get lucky one day.
As for the fan experience, Dani recalled a bizarre moment in Australia when a fan gave the band a prosthetic leg as a gift, only for it to later be tossed onto the stage during a performance. "I don’t know whether it was a gift or whether we should have given it back," he mused, "We did give it back though" he confirmed.
With The Screaming of the Valkyries out this week, Cradle of Filth continues to push boundaries while honoring their legacy in the metal world. Fans can expect a thrilling mix of old and new, with Dani and his bandmates at the forefront, creating music that’s as unpredictable and darkly captivating as ever.


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Interview by Angela Croudace
Letlive’s reunion isn’t just a return to the stage—it’s an emotional and spiritual journey for the band. After a seven-year break, the group, which originally formed in 2002, has reconnected, sharing stories of their lives and realising they were all in similar places. This realisation, combined with their shared love for music and each other, sparked the decision to hit the road again. Initially, they planned a few shows, but the idea grew into a full tour that includes Australia this September.
Jason Aalon Butler, the band’s frontman and son of soul artist Aalon Butler, explains that their decision to reunite wasn’t merely about nostalgia—it was a deeper spiritual alignment. The members of Letlive have evolved individually, and as a result, their relationships have become stronger. “We understand ourselves much better than when we were younger,” Jason reflects, noting how life experiences have brought them closer.
The band's line up now includes new faces, like Sage Weber on drums and Skyler Accord on bass. “They just fit again because they get it,” Jason says. Their talent and energy bring something fresh to the band, creating a perfect synergy with the original members.
Letlive’s sound has also evolved over the years, expanding from the punk roots of their early albums like Fake History to incorporate diverse influences, from jazz fusion to hip-hop. Jason explains that the band's goal has always been to expand their reach while remaining authentic to themselves. “We try to be as honest as we can with the art we create,” he says.
After playing massive festivals like Warped Tour and Louder Than Life, Letlive is excited to return to the stage with their renewed energy. The band's live shows have always resonated deeply with fans, largely due to their raw transparency and passion. Jason emphasises, “We’re just fans of the art, and we perform as fans first.”
As the band prepares to return to Australia, Jason recalls his first trip there as a pivotal moment in his career. “It felt like I had arrived,” he says. For Letlive, this September marks not jus


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Interview by Kris Peters
Adelaide thrash metal outfit Hidden Intent have never tried to hide their influences. In fact, they have always worn them more as a badge of honour, an unmistakable pointer to their roots past, present and future.
Playing a brand of 80s-throwback thrash metal - a form of music that wholly embraces its American and European roots in the Bay Area, Scandinavian and Teutonic thrash scenes - Hidden Intent have sprinkled just enough Australian flavour into the mix to cast very much their own DNA through a genre of music that is notoriously known for shunning any deviation from the normal.
After years of toiling on the live circuit here in Australia, the rest of the world has finally succumbed to the brutality of Hidden Intent, earning the band a spot at Wacken Open Air on top of countless shows on foreign soil. And if you think their last album Dead End Destiny was the one that firmly swept the door ajar, then wait until you see what their next offering, Terrorform, will deliver when released on Friday, March 21.
HEAVY caught up with drummer Paul Lewis to talk more.
"I think every album's a little bit different overall," he measured. "And this one's certainly different from the previous ones. I think there was a lot of anger on this album. It's certainly a darker one for us, and it comes through with the tunes. The process was a little bit different overall, but we've been flat out, and it's been a mad rush to get it done. We're a band that needs deadlines, so we kind of booked everything in. It's like 'you have to be done by this time or else it's not going to make it'. So we've just got over that mad rush, and now we're doing the launch on Friday."
"It's definitely our most broad album we've ever done," he continued. "And, like I said, there's a lot of anger on this album. It's faster. It's heavier, but it's also lighter as well. There's a couple of acoustic things in there, which we have done a little bit of before, but not, I guess, to this extent. So on every album, we like to sort of widen our lane a little bit more. We're always going to be a thrash band. We're never going to veer away from that. It seems like every album, we like to just push that boundary just a little bit more to grow and to keep our fans guessing as well. Which is pretty hard."
In the full interview, Paul explained that the writing process was shaped by both positive and negative experiences, including personal losses within the band. He went into more detail about the title track, Terrorform, which features a guest appearance from Guillermo Izquierdo, the temptations of rehashing Dead End Destiny because they know it worked, the play on words that makes up the album title, this weekend's double album launch with Headbore and more.


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Interview by Kris Peters
Known for their raw and stripped-back sound, Death From Above 1979 have been described as everything from noise punk to dance punk, embodying a DIY ethos that Rolling Stone described as “noisy hardcore, gritty synths, and earnest screams.” The duo’s relentless beats, searing guitars, and ferocious energy practically summon you to the dance floor.
Death From Above 1979 return to Australia for a run of shows this April, marking the first time the band have visited this country in almost a decade and a half, first coming in 2005 and then again in 2011 for Parklife. Don’t miss your chance to experience the explosive energy and sheer power of Death From Above 1979 live on their 20th Anniversary tour for their debut album You’re a Woman, I’m a Machine. It promises to be an unforgettable salute to a record that still pulses with the same intensity as it did when it first detonated in 2004.
You’re a Woman, I’m a Machine contained edge-of-your-seat classics including Romantic Rights, Blood On Our Hands, Black History Month and Little Girls, but let’s face it, every track is killer. A perfect, 10 out of 10 review from back in the day via Drowned In Sound, stated "It’s not just music you’re hearing - sweat, blood, spunk and beer are all audible, splattering these 11 tracks like a Pollock…. It’s so simple, just two dudes making a right ol’ racket, done with such spirit and delivered with such a purity - magnificently filthy.” 
HEAVY spoke with drummer/vocals Sebastien Grainger ahead of the tour to get the rundown, at one point asking what had changed with the band since they were here last 14 years ago.
"We had just started playing again after being broken up for five years or so," he recalled. "So that was like a reunion tour for us. And we didn't have a new record, we only had that first record - and we didn't make a new record until 2014. So in that time, in those 14 years, that's basically the… It's this whole second phase of the band, you know, the whole second period of the band was between 2011 and now. So, yeah, I mean, we made three LPs and toured around the world and, you know, had families and more children and all kinds of stuff."
In the full interview, Sebastien discussed the band's upcoming tour in Australia, emphasizing the importance of celebrating the 20th anniversary of their debut album You're a Woman, I'm a Machine. He reflected on the band's evolution, including the release of three additional LPs, and the challenges of adapting their music for live performances, highlighting the unique energy generated through audience interaction rather than a traditional frontman approach. The conversation included insights into the album title's origin, inspired by a misheard phrase from his girlfriend.
We also ran through the creative aspect of writing and recording You're A Woman, I'm a Machine free from expectation or pressures and how it set Death From Above 1979 on the path to which they find themselves today and more.

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Interview by Kris Peters
The Superjesus have been a mainstay on the Australian rock scene for more than three decades.
Their infectious music coupled with arguably one of the best live shows in the country have endeared the band to generations of music lovers since their inception in the late 1990s, with the band's debut album Sumo in 1998 spawning fan favourites such as Down Again, Saturation and Now and Then.
The follow-up, Jet Age, magnified the growing popularity of The Superjesus, delivering the smash hit Gravity as well as Secret Agent Man before Rock Music rounded out the trifecta in 2003.
A brief hiatus from the mid 2000s gave the band members time to reflect on their personal music ambitions before deciding the world needed more of their music in 2013. This produced an EP, Love and Violence (2016), as well as a double live album but despite The Superjesus quickly reclaiming their status amongst Australia's elite touring band's, no new music has been forthcoming.
That changes this Friday, March 21, when The Superjesus (self-titled) comes out, fuelled by the success of six previous singles Money (We’re Only In It For Love), Lights Out, We Won’t Let Go Until It’s Over, Something Good, a cover of Generation X’s Dancing With Myself and beautiful ballad Diamonds. This is the new Superjesus, a more soulful, engaging version of the band we know and love where song writing is king.
HEAVY caught up with frontwoman Sarah McLeod to find out more. We bring up a quote she made to HEAVY in October last year where she proclaimed "I shit you not, but it's the best stuff we've ever written", and ask if she still feels that way after the album has had more time to digest. A smile swept across her face before replying with a simple "yeah".
"I guess maybe that's why I love it so much," she continued, "because I'm so connected to it. And I just feel like we've got better. I feel like we did a great job in the 90s, and we were happy with those records, but we had 10 years off, and we all went and did different music. We learnt stuff. Ruddy (Stuart, bass) was in all these different bands, and he came back with a whole library of new influences and so did I. And we're like, okay, we're the same people, but we're not really because we've learnt all this stuff. So why don't we bring in the cool shit that we've learned and make something different, but paying homage to who we were. And that's where we're at. And I think it's been really good for us. And I love it."
In the full interview, Sarah expressed her excitement about the album, which has seen the release of six singles over the past 18 months. She highlighted her favourite track, Gangbusters, and explained the strategic decision to hold back some songs to build anticipation. She emphasized that while there is no external pressure, she feels a personal drive to deliver quality music, reflecting the band's evolution and commitment to their craft.
Sarah shared insights into her songwriting process, noting a shift towards creating cohesive narratives rather than standalone lyrics. She discussed the challenges of balancing her solo work with that of The Superjesus, particularly in terms of lyrical content and audience resonance. The conversation also touched on the creative process, where Sarah likened songwriting to an alchemical journey that requires refinement to achieve simplicity. She said she believes that effective songs often stem from straightforward lyrics that engage audiences, a principle she strives to uphold in her work. We discussed the band's upcoming tour and what to expect musically, as well as the opportunity for local band's to open in each city and more.


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