Interview by Angela Croudace
Barry Johnson, vocalist and guitarist from Joyce Manor, sat down with HEAVY for a conversation about the band's upcoming Australian tour with The Wonder Years, their creative process, and life on the road. The Californian punk rockers are gearing up for a return to Australia, a place they’ve always enjoyed performing and connecting with passionate fans. With a long-standing relationship with the country, Barry shared his excitement about the tour and reflected on the band's journey.
When asked what he was most excited about for this round of shows, Barry’s enthusiasm was evident. "I'm excited to be back in Australia. It’s been a while, and I love it there. The crowds are great, and the people are really easy to talk to," he said. He also highlighted the similarities between California and Australia, particularly the laid-back vibe that makes him feel at home. "Being from California, I feel like Australia is a sweet spot. It's got the surfer culture, but the humour aligns with English humour, which is something I can really relate to."
Barry’s memories of past shows in Australia are fond ones, though he admitted that some moments tend to blur together. However, one standout memory remains a show at The Gasometer in Melbourne, which he described as one of the best they’ve ever played. "That show was definitely one of my favourites. It was such an amazing night, and it’s always stuck with me," he shared. Even after all these years, that performance holds a special place for Barry, ranking among the top shows of his career.
The conversation then shifted to the creative side of Joyce Manor. Barry reflected on the making of Last You Heard of Me, from their 2016 album Cody, a track that went through numerous revisions before it came together. "It was one of those songs that we worked on for so long, making small adjustments until it finally clicked," Barry explained. The process was challenging, but the outcome was something the band is incredibly proud of. "It’s hard to imagine it any other way now. All the hard work paid off, and I’m really proud of how it turned out," he added.
In terms of songwriting, Joyce Manor’s process has evolved over the years. Initially, Barry wrote nearly everything for the band, but as time went on, it became more collaborative. "On Cody, it was myself, Chase, and our producer Rob Schnapf working together. It’s really become a group effort," Barry explained. The band's dynamic allows them to balance creativity, ensuring that no one voice dominates while still pushing each other to create their best work.
As for Barry's personal musical tastes, he admitted that while his preferences have evolved slightly over time, they remain grounded in the pop-punk and indie realms. Bands like Weezer, The Gin Blossoms, and The Smiths continue to inspire him. "I like a mix of '90s pop-punk, power pop, and '60s music. I’ve always loved a good song with strong melodies," he said. His love for the craft of songwriting shines through, and it’s clear that melody and structure remain at the heart of his musical identity.
When asked about the band's daily routine on tour, Barry joked about how annoying they can be. "We speak our own weird language, and it’s a bit insufferable at times," he laughed. Despite the inside jokes and constant banter, Barry explained that the hardest part of touring is finding time for himself. "Being around people constantly can be tough. I need a little alone time, but it's hard to get that on tour," he shared, offering a glimpse into the reality of life on the road.
Despite the challenges, touring remains one of the most exciting parts of being in Joyce Manor. When asked whether the band still parties on tour, Barry was quick to respond. "Oh, we definitely party. It’s one of the best parts, but it can make it hard to keep up the energy for the long haul," he admitted. Still, he’s not planning to slow down anytime soon. "I’m going to milk it for all it’s worth," he laughed.
Finally, when asked about new music, Barry confirmed that the band is working on a new record, though there’s no release date just yet. "We’re about halfway through writing and recording it. It’s coming along slowly, but we’re making sure it lives up to the standards we’ve set for ourselves," he teased.
As Joyce Manor gets ready to hit the road with The Wonder Years in Australia, fans can look forward to more unforgettable shows, new music on the horizon, and a band that continues to evolve while staying true to its roots. Catch Joyce Manor opening for The Wonder Years with Aussie band Suzi in March and April.

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Interview by Kris Peters
New York trio SANHEDRIN released their long-awaited new full-length, Heat Lightning, last Friday via Metal Blade Records.
SANHEDRIN has spent the last decade at the forefront of the American heavy metal scene blending traditional metal and hard rock sounds with a fresh modern energy and perspective. With 2022’s critically lauded Lights On full-length, the band had created their most complete work to date. With their follow-up, Heat Lightning, the band delivers a diverse collection of songs that wholly captures their wide array of influences with an elevated level of production.
“Sonically, there’s no comparison,” notes drummer Nathan Honor when asked how Heat Lightning compares to the band’s previous efforts. “Heat Lightning is the fullest representation of the power of this band. When you take three seasoned musicians with their favourite handpicked instruments, put them in front of two brilliant producer/engineers in a studio stacked with incredible equipment and no outside distractions, this is what you get.”
Unlike the previous three albums, which were all tracked and mixed by Colin
Marston, for Heat Lightning SANHEDRIN opted to work with a fresh set of ears in a new environment. In doing so, the band landed at the legendary Utopia Bearsville studio in Woodstock, New York. At the helm for recording and co-producing were Matt Brown (Life of Agony, A Pale Horse Named Death) and Jerry Farley (Sick Of It All, Madball).
Heat Lightning gets its title from the second track of the same name. “Heat lightning is a flash of lightning from very far away, sometimes seen in a clear sky,” says vocalist/bassist Erica Stoltz. “It is used as a metaphor for where we see ourselves at the moment in relation to climate change. Collectively, we have moved further away from our direct relationship to nature and have adopted a paternal relationship with the natural world, as if we have control. It was one of the first songs written for the album, and one of the most dynamic tracks the band has ever written."
Elsewhere, The Fight Of Your Life is a tribute to those we call “lifers” in the music business. “It’s about the compulsion to play music no matter what. When you get the bug, and you have it for life, it is your north star, your reason to be,” says Stoltz. Franklin County Line is the fastest song on the record, and inspired guitarist Jeremy Sosville’s hometown and surrounding area in northern New York state. Sosville recounts, “Erica and Nathan came up to visit me and work on new music. In the process, we wrote a song inspired by the local Amish population but with a naughty twist.”
The record commences with Blind Wolf, a hard-rocking, heavy metal stomper and the record’s lead single. Lyrically, the song is inspired by the band’s shared fascination with cults. According to Stoltz, “The blind wolf symbolizes losing your animal instincts as a result of adopting someone else's belief system.” The song is straightforward, pounding, and delivered with ill intent. “We knew as soon as the song was complete that it should open the record,” says Sosville. “It really sets the tone for the journey the listener is about to take with this album.”
HEAVY caught up with Sosville to find out more.

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Interview by Kris Peters
When The Dillinger Escape Plan bid their fans farewell at the end of 2017 the resulting ripples in the live community could be felt around the world. Despite leaving at the top of their game, DEP still left more than a few fans with an overwhelming sense of loss, especially those who had heard about the band's legendary, aggressive and all encapsulating live performances, but never got to witness it first hand.
Formed in 1997 by guitarist Ben Weinman and vocalist Dimitri Minakakis, DEP soon forged a name for themselves on the back of their high intensity, often violent live, reckless shows, the band had an immediate impact with their 1999 debut full-length Calculating Infinity. Among the first people to jump on board was Mike Patton, who invited DEP out on the road for two months with Mr. Bungle, further strengthening their claims as eclectic and tumultuous trailblazers on the metal scene.
Minakakis left the group after that album, with Patton providing vocals on an EP before Greg Puciato submitted a recording which led to him being asked to audition, and the rest is metal history.
After five more albums, DEP officially disbanded in 2017, with Minakakis joining the line-up on stage over the last two performances on December 27 and 28. It seemed a fitting finale for the band who had turned heavy metal on its head over the course of their career, and despite everyone's obvious disappointment, the legacy of DEP would live on forever.
Now, following an 8-year hiatus, The Dillinger Escape Plan return for a very limited number of live shows to commemorate their groundbreaking album Calculating Infinity and so much more, hitting Australia this August for a run of shows. HEAVY caught up with Ben Weinman to find out more.
"We never, ever think about performance, or things like that," he mentioned during the interview. "We always try and be completely uninhibited expression, and that's very important to us. Sometimes I don't even really wanna look out at the crowd, even at soundcheck or anything. I don't wanna have any indication of what to expect, and it's continued to be that way. Although, I think back in the day when we were first writing these songs we had a lot more people looking at us with disgust (laughs), than with enjoyment."
We ask if he has to put himself in a mindset before getting on stage.
"For me, I can say one of the main aspects of turning on the Dillinger performance is that I'm always nervous," he revealed. "I'm never not nervous. I've never stepped on stage un-nervous. I still feel to this day everyone out there's gonna hate us. We're playing to a pack of wild wolves, and it's just stayed with us. Maybe it's just trauma from when we were younger, but I feel like we wrote music that wasn't supposed to be enjoyed (laughs). And we really wrote an album that was just for us, and it ended up working. I really feel that the fact that we're going out there still not even knowing what the reception will be to some degree - at least mentally - and the nerves is what turns it on. Because you either get up on stage and unleash the beast or you turn around and huddle into a ball and play facing the drums."
In the full interview, Ben talks more about what we can expect from the run of shows, revisiting Calculating Infinity, what the album means to him 25 years on, their live intensity and how they sustain it, the early days of The Dillinger Escape Plan, having Mike Patton contribute vocals for an EP after Minakakis left, getting Greg Puciato in the band and what they expected from him, their final 1997 shows with both singers, how that planted the seeds for these reunion shows, the possibility of making the comeback permanent and more.


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Interview by Kris Peters
Indian heavy outfit Zygnema have spent the past 18 years honing and refining their sounds from their home base of Mumbai, releasing two full length albums, one EP and a handful of singles. The band won the Rolling Stone Metal Awards in 2011, 2014 and 2016 and have performed at Wacken Open Air, Inferno Metal Festival, Osna Metal Fest as well as a few independent shows/tours in Europe.
Zygnema recently unveiled their five track EP Iconic which came with two singles, but the band are hoping the sustained success of their music as well as the positive reception for Iconic will see them crack wider markets including Australia.
HEAVY spoke with guitarist Sidharth Kadadi to find out more.
We discussed the reception to Iconic, found out more about Zygnema and their history, the musical nature of the EP, a more in depth look at each of the five songs, how their music has taken them around the world, winning prestigious awards along the way and more.

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For the past 40 years, the venerated Thrash Metal outfit HEATHEN have abided by their never-say-die attitude.
Formed in 1984 in San Francisco’s Bay Area—home to EXODUS, METALLICA, TESTAMENT, and DEATH ANGEL HEATHEN quickly separated themselves from the pack by expertly fusing David White’s distinctive vocals with a melody-driven and forward-thinking musical style. The band’s first two albums, Breaking the Silence and Victims of Deception, are widely regarded as Bay Area Thrash classics. The HEATHEN brand of intelligent yet aggressive Thrash appealed not only to the genre’s core demographic, but also Metal fans looking for brains behind the brawn. The most recent full-length album, Empire of the Blind, continued to push the boundaries of the genre, expanding their audience while restoring faith in vicious yet brainy Thrash Metal, the very kind that put HEATHEN on the map.
Since the release of their last album, Empire of the Blind, HEATHEN has toured nonstop, playing hundreds of shows across five continents. From the moment that the COVID restrictions lifted in 2022, the band hit the ground running, touring with contemporaries such as TESTAMENT, EXODUS, OVERKILL, and SYMPHONY X over the last three years. Recorded in several cities across the United States during the 2023 Bleed the World Tour, Bleed the World: Live is the perfect audio representation of the HEATHEN live show. Featuring songs from each of the band’s albums, including recent tracks such as Sun in My Hand and The Blight as well as classics such as Hypnotized and Goblin’s Blade, the live album mirrors the band’s crushing live set list. The cover artwork by Travis Smith depicts a steel HEATHEN logo piercing the bleeding Earth, held by a hand that encapsulates the world tour as a moment in time. 
Produced by guitarist Kragen Lum and mixed by Zeuss, Bleed the World: Live transports the listener into the concert hall with a crystal-clear yet heavy production and captures the interaction between band and audience that makes every HEATHEN live show special.
HEAVY caught up with Lum for a chat earlier today, starting with the early response to the album.
"All the feedback that we've gotten so far has been great," he smiled. "One person mentioned that it was like, if you closed your eyes, you were there at the show. And that was exactly what we were trying to do. We made sure that when we were recording, we recorded not just the band, but also the audience at every show so we could really get the live album feel. Those classic live albums that we used to love - Live After Death and many other ones - you feel like you're there because the audience is so prominent. The feedback from the crowd and everything in the song. And I think modern live albums are missing that because a lot of bands record the show, but they don't record the audience, and you're kind of missing an important element to the live show."
In the full interview, Kragem spoke more about what to expect from Bleed The World: Live, the early feedback, if the band approached the concerts any differently knowing they were being recorded for an album, the process of putting together the tracks and selecting them, how critical the band members were of themselves when they listened back through, how they made every effort to replicate the live sound on the album, his early experiences with Heathen before joining, if there was any pressure on him coming into an established band and how long it took him to feel comfortable, their strike record of one album every ten years and if they plan to speed up that process moving forward, the possibilities of coming to Australia and more.


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Interview by Angela Croudace
Travis Stever, guitarist for both Coheed and Cambria and L.S. Dunes, is a musician who thrives on creative challenges. In an interview with HEAVY, Stever reflects on the evolution of Coheed’s sound, the ongoing exploration of new musical landscapes, and the balance between his two distinct musical worlds.
When asked about Coheed and Cambria’s latest release, The Father Of Make Believe (released today), Stever notes that while the band always experiments with new sounds, what sets this album apart is the expansive exploration of styles within a familiar framework. "The box is so massive that we allow ourselves to create within it. We go outside of it, but not so far that fans will be left wondering what we’re doing,” he explains. The band continues to evolve, but as Stever points out, their willingness to experiment has been a constant, leading to albums that always surprise, yet never stray too far from their core sound.
At the heart of the new album lies a theme of internal conflict, a wall within oneself. Stever shares that this theme resonates deeply within the band, particularly in how personal growth and struggles are reflected in the music. He describes the songwriting process as a journey of self-acceptance, where overthinking gives way to simplicity and beauty. "You realise life doesn’t need to be so complicated," he muses, pointing to the sense of peace the band has found in their evolution as both artists and individuals.
Stever's dual role in Coheed and Cambria and L.S. Dunes, another band that offers a more collaborative and raw sound, presents an interesting dynamic. The contrast in approach is striking. "In Coheed, it’s Claudio’s songs, and I add my identity to them," Stever explains, noting that his role is often about enhancing Claudio Sanchez’s vision. However, with L.S. Dunes, the creative process is more democratic, with everyone contributing equally. "It’s more of a group consciousness," Stever discusses the band's writing approach, highlighting how the collaborative effort—where he adds his own contributions to the ideas brought forward by fellow guitarist Frank Iero—injects a unique energy into their music.
Touring is another key topic, and Stever is excited about the possibility of returning to Australia. Reflecting on his previous experiences, including Coheed's headlining spot at Australia’s Monolith Festival, Stever fondly recalls the intimate connection the band had with the audience. "Tasmania was mind-blowing," he says, sharing his appreciation for the passionate Australian fans. With talks of a 2025 Australian tour, Stever hopes the band can return and continue fostering that special connection.
Finally, Stever offers insight into the evolution of L.S. Dunes' sound, specifically the band’s latest record, Violet. The song's optimistic tone marks a departure from the darker, more confined themes explored in Past Lives. Stever attributes this shift to the personal growth of the band’s members, especially lead vocalist Anthony Green, whose newfound sense of balance and self-awareness has directly influenced the band's sound and lyrical direction.
Stever reflects on the growth of both Coheed and Cambria and L.S. Dunes, emphasising that the journey of artistic expression is always ongoing—full of challenges, rewards, and an ever-expanding soundscape.


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Interview by Kris Peters
When Adrian Smith (Iron Maiden) and Richie Kotzen (The Winery Dogs) first joined forces for their debut self-titled album in 2021 it was as though the music Gods had finally listened to our prayers. Here were two of possibly the greatest guitarists of the modern era in their preferred genres, forming a sonically unlikely union that most feared would be a one-time merging of passions that dissipated once both parties overcame yet another musical challenge to emerge triumphant.
Blending both guitarists' loves of music, that first release was a smouldering mix of hard rock, blues, groove and R & B with splashings of metal and attitude where it mattered. The fact that both Kotzen and Smith shared guitar, bass, vocals, composing and production duties on the album added to the allure of their music, each contributing different sides of their musical psyche while experimenting with sides that were either dormant or previously non-existent.
It was that good.
But, as is their right, Smith and Kotzen played their cards close to their chest over the ensuing years, neither fully committed or non-committal to a second helping. As the years ticked over it seemed less likely that we would hear another record from Smith/Kotzen before the announcement came late last year that round two was certainly on the cards and that the friends and celebrated musicians had each found time in their busy schedules to start on the next whirlwind of expectation that a new album inevitably brings.
Thus Black Light/White Noise was introduced to the world, and after being teased with two singles that bear the names of each individual component of the album title, we are fast approaching the finish line when album number two is set free in the world on April 4. Black Light/White Noise is a truly magnificent collection of songs that stands shoulder to shoulder with some of Smith and Kotzen's finest work to date. Atmospheric, ambitious, diverse and brilliant, it not only features stratospheric guitar solos and phenomenal rock vocals but soulful touches, intricate playing, beautiful songwriting and an assured poise and style that brings to mind a host of legendary bands and musicians (Thin Lizzy, Jimi Hendrix, Prince, Cream, Free, Deep Purple) yet is undeniably the work of Adrian Smith and Richie Kotzen in perfect harmony.
With the release date rapidly approaching, HEAVY jumped at the chance to spend some time with Adrian Smith, after we had the pleasure of speaking with Kotzen the first time around. We get straight to the point, reiterating claims from most who have heard the new album, who say it is quite possibly the best slab of music either of them has done individually or together. Then follow up by asking if they are right.
"Well…" he measured. "You write the songs the best you can, and you play them the best you can. I think… I think this is a more consistent album than the first one. It's probably a little more up-tempo. Obviously over time, Richie and I developed our writing relationship. Our playing relationship, I think, has gone from strength to strength."
Black Light/White Noise ticks all of the boxes you would expect and more. There's guitar solos, funk, groove, blues, hard rock and more guitar solos but the overriding thing HEAVY took out of our listen was that it sounds like Smith and Kotzen genuinely had fun and enjoyed the process.
"I play music because I wanna do it, anyway," Smith replied. "But yeah, it's fun. Richie and I are friends and have been for the best part of ten years. I live part time in America. I'm over there usually around Christmas, and we met up one year - I had a party at my house - and we started jamming Bad Company and Stevie Ray Vaughan and all that blues and someone said you guys should write together so that's what we ended up doing. And we did it because it was fun and we thought we had something to say as well. I take a lot of inspiration from 70s music. I grew up and that music had a massive effect on me when I was a kid - it changed my life - so I take that as my basic inspiration. Then you try and take that to another level. You try and use it as an ingredient and write songs that stand up on their own."
In the full interview, Adrian discusses the singles released and how they represent the overall album, their extra emphasis on collaboration this time around and how it impacted the finished result, the album title and how it combines two album tracks to create a mental image, the creative process and how they harnessed their individual talents into a cohesive unit, his favourite tracks on the album, taking Smith/Kotzen into a live setting and more.

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Interview by Angela Croudace
HEAVY had a chat with Austin Mileto, lead guitarist of Sisters Doll; the band's journey and their latest album Scars were explored in detail. From their glam rock beginnings to their evolution as a band, Sisters Doll's unique sound and captivating stage presence have resonated with audiences worldwide.
The name, Sisters Doll, was inspired by the glam rock aesthetic they sought to embrace. Austin shared that they were drawn to the bold, colourful looks of bands like Twisted Sister and New York Dolls. Their name, created by the band’s singer Brennan Mileto, stuck because of its catchy syllables and the visual impact it invoked.
Scars marks a significant chapter in the band’s story; after a long hiatus since their 2017 release All Dolled Up, the band poured their personal experiences into the album, with each track symbolising a different scar from their lives. Austin explained that the inspiration came naturally, shaped by the challenges they faced both personally and professionally. The band worked remotely during COVID to demo and refine their songs, collaborating with producer Ricki Rae to shape their latest sound.
Sisters Doll's musical influences are diverse, ranging from classic rock icons like Kiss and Van Halen to contemporary artists like Machine Gun Kelly and Olivia Rodrigo. Austin revealed that while their core sound remains rock and roll, the band's individual tastes—ranging from country to flamenco—bring unique textures to their music.
Austin also shared stories from the band's early days, including a memorable tour experience where the band’s van broke down multiple times, testing their endurance. But with persistence and support from their family (especially their sweet mother who rescued them roadside), they powered through, learning valuable lessons along the way.
Looking ahead, the band is gearing up for an exciting USA tour, including a performance on the Monsters of Rock Cruise, where they’ll share the stage with some of their heroes, such as Extreme and George Lynch. An incredible achievement for this band of brothers—quite literally, all four members are siblings! Hailing from Western Australia, they were propelled to musical success at an impressively young age. Despite their rising fame, they continue to reach new heights while maintaining a refreshingly down-to-earth charm that resonates with fans worldwide.


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Interview by Kris Peters
Driven by a desire to rise beyond their surroundings in the picturesque yet isolated region of Victoria, British Columbia, Canada, vocalist Courtney Laplante and guitarist Mike Stringer combined to form Spiritbox in 2017.
Little did they know their musical trajectory from there would be swift and monumental, cementing themselves as a household name in the Summer of 2020 with the release of their blistering breakout single Holy Roller, along with a host of other captivating singles shortly after resulting in a media firestorm of hype.
The following year Spiritbox released their debut album Eternal Blue, kicking open the doors of the heavy metal scene and rewriting the genre's playbook with 12 stunning tracks that incorporated everything from djent and post-metal to infectious synth-laden pop sensibilities and cinematic arrangements, brought fully to life by the inimitable Laplante's ethereal and commanding vocal performances.
After furthering their sonic expansion over two more EPs Spiritbox have now unleashed their sophomore album, the mesmerizing and ferociously beautiful Tsunami Sea, once more pushing the boundaries of acceptance in a genre that is often restricting by nature. It is an album of contrasting styles and emotions, majestically entwined with the DNA from which Spiritbox have built their empire.
There is a storm coming indeed, and that storm is called Tsunami Sea.
HEAVY spoke with Laplante to discuss things in more detail.
"A lot of work went into it with the planning," she mused. "When we do a full-length album it's usually - if you do it more traditionally like how we are doing this one - a whole dramatic, climactic roll out. You start promoting it. You want to give it a fair shot. So you start promoting it early, and it's just this huge big climactic thing. Like you said, it's like D Day."
We ask Courtney to dive into the musical side of Tsunami Sea and what the band were going for with it.
"I don't normally say this until after the album comes out, but all of our work… everything. Everything we've ever made, any body of work is actually a concept album but we don't market it as a concept album," she revealed."This one is no different. Each body of work has its own little story and the story of this one is… it's just representing, lyrically, myself, and then instrumentally Michael expressing the push and pull that we feel being from an island off the West coast of Canada. It's interesting living there if your goal is to leave the island and go play your music to other people. As you guys know too. it's the same that a lot of Australian bands think sometimes as well when they're trying to leave. You feel so remote and isolated and it feels impossible to leave. And then you leave and you miss it. That really intertwines with me with depression. Like, deteriorating mental health. There's the deep depression and then there can be mania then deep depression, and it's so polarizing. It reminded me of the ocan and it reminded me of growing up surrounded by water and it reminded me of how where are from… whre we are at sea level if the big earthquake - everyone here calls it The Big One - ever happens, our whole island will either completely be submerged by water and we'll all die, or at least we'' be more cut off and no-one could get us any food or anything. It's kind of like that existential dread under the surface that you push down and suppress and to live your life you have to push it all the way down, and not every day wake up and hope it's not today."
In the full interview, Courtney opens up more about Tsunami Sea, the temptations of rehashing the same winning formula that worked so well with Eternal Blue, why it was important to not do that, album opener Fata Morgana and why it was chosen as first point of contact, how Tsunami Sea represents Spiritbox moving forward, the early days of the band and the climate that spawned them, their early success and how they dealt with it, touring plans and more.


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Interview by Kris Peters
Renowned doom metal merchants PALLBEARER make their return to Australia in March 2025 for an electrifying tour, promising to deliver their signature blend of haunting melodies and crushing riffs. Joining them on all dates will be special guests UK doom metal titans CONAN.
The 2024 release of Mind Burns Alive finds Pallbearer navigating the space between disquiet and serenity with a singular intensity. At times poetic and blistering, their fifth full length is a heartfelt meditation on isolation, trauma and mental breakdown, framed by the possibility of redemption and the quiet aching beauty of escape.
Known for their colossal riffs and unrelenting heaviness, Conan has carved a unique niche in the metal scene, drawing fans with their atmospheric yet punishing sound. This tour comes on the heels of their critically acclaimed album, Evidence of Immortality, which showcases their evolution while staying true to their doom-laden roots.
HEAVY spoke with Pallbearer frontman Brett Campbell before he boarded the flight to find out what we can expect..
In the interview Brett told us what has changed with the band since their last visit eight years ago, what to expect from their live show, choosing Conan as touring partners and why, their recent album Mind Burns Alive and how much of that they will be p[laying, the reaction to that album, gauging an albums' success in the modern era, the early days of the band, future plans and more.


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