Podcast
HEAVY Music Interviews
Hosted by HEAVY Magazine · EN
All the latest music interviews from the team at HEAVY Magazine.
HEAVY interviews the worlds leading rock, punk, metal and beyond musicians in the heavy universe of music.
We will upload the latest interviews regularly so before to follow our social accounts and our podcast account on www.speaker.com/user/heavy
Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
HEAVY interviews the worlds leading rock, punk, metal and beyond musicians in the heavy universe of music.
We will upload the latest interviews regularly so before to follow our social accounts and our podcast account on www.speaker.com/user/heavy
Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
105episodes
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Finding Salvation in Loss With ALPHA From GAEREA
4d ago00:14:54Tap to summarizeInterview by Kris PetersPortuguese masked metal maestros Gaerea will embark on their highly anticipated debut tour of Australia next month. Presented by Soundworks Direct, the five-date national run is officially titled the Loss Australian Tour. This run marks the very first time the cathartic extreme metal band will bring their intense live performance down under.Known for their signature black hoods and a sound that blends crushing breakdowns with soaring, emotional melodies, Gaerea has built a formidable reputation in the global heavy music scene. The upcoming shows promise to deliver immense emotional impact and raw live energy.Vocalist Alpha shared that the tour is a massive milestone for the group. While Australian promoters have shown eager interest since Gaerea's early days, the high financial barrier of international travel delayed the trip until the band reached a stable position. Now celebrating a ten-year journey, the band is thrilled to bridge the physical gap with their long-time supporters.The nightly setlists will span Gaerea’s entire discography. Audiences can expect to hear definitive tracks from earlier foundational releases like Unsettling Whispers, Limbo, and Mirage. The performance will heavily highlight material from their 2024 album Coma, alongside an immersive exploration of their newest sonic era, Loss. Supporting the band across the East Coast leg of the tour is Melbourne-based progressive tech-metal act Ironstone, adding exceptional local flavour to the brutal bill.HEAVY caught up with Alpha to find out more, asking him to run us through what fans can expect from the shows."Well, I always say that it is the best cocktail mix that we can do to make a very aggressive show," he replied, "together with minimalistic, super melodramatic emotional moments where we go through the motions of anger, but also loss, for example, or sadness. There's a bit of everything in terms of the extremes of emotions in the show. We try to be very visual with that. And yeah, I'm pretty sure it's going to be a good, striking, emotional ride.That's what we set ourselves to do 10 years ago, and we've been doing that. So again, it feels good to be able to do it for the first time in a country. But I heard the fans go completely wild in Australia, so that's always something that gets our blood running for even better shows."Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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Growing Pains With NATHAN CAVALERI
4d ago00:20:39Tap to summarizeThere are few stories in Australian rock history as heavy or as real as Nathan Cavaleri’s. We all remember the kid—the pint-sized blues prodigy who jammed with B.B. King, signed global deals, and made the guitar sing like a seasoned delta master before he was even a teenager. But as any rock fan knows, the higher the climb, the more brutal the crash. With his upcoming massive national theatre production, the Growing Pains tour, Cavaleri isn't just playing a set of tunes; he’s laying his soul bare on stage in a raw, real-time reckoning with stardom, mental health, and survival.This isn't your standard, ego-driven rock retrospective. This is an intimate, solo performance that beautifully blends heavy storytelling with the soulful, blues-infused musical prowess that made him a household name. Cavaleri is taking audiences on an emotional rollercoaster, tracking his journey from busking on the streets of Campbelltown to conquering international stages, battling leukaemia, and surviving a full-blown mental health collapse that once left him terrified to even pick up a guitar.What makes Growing Pains so essential is its unapologetic vulnerability. Cavaleri openly admits to feeling "nervous as hell" about putting his darkest moments under the theatre spotlight. Yet, it’s exactly that honesty—paired with his undeniable guitar wizardry—that leaves the crowd uplifted, inspired, and completely in awe. It is a powerful reminder of how music can serve as ultimate therapy.HEAVY sat down with Nathan to chat about the run of shows and the subject matter, asking where the idea came from."When I got back into it, I was actually just starting to share my experiences," he began, "like growing up on tour and playing with all these amazing legends, but also making sense of life along the way and some of the challenges I went through. I was getting a lot of feedback from members of the audience saying that they loved the songs, but they really loved the stories and wanted more of them, and suggested I write a book. I've lived this life, so it's not... it just feels pretty normal to me. And I thought, well, I don't want to write a book. It feels a little bit premature, but they were barking at me for a long time. So I thought, all right, well, why don't I try something different and bring it to the stage and create a live show out of it?"In the full interview, Nathan talks more about the genesis of the idea, including how he decided what subject matter to cover. He detailed the difficulties he faced confronting some of those memories and working them into a narrative, offering up some stories that made the final cut along the way.He talked about some of his best memories, how music ultimately affected his mental health and the steps he has taken to get through it. The format of the shows was discussed, as was the level of crowd interaction, as well as new music and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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THE DAMNED's CAPTAIN SENSIBLE Reflects On 50 Years Of Punk Chaos
6d ago00:22:17Tap to summarizeInterview by Angela CroudaceFifty years after helping ignite the UK punk movement, Captain Sensible still sounds pleasantly surprised that The Damned are standing strong.Speaking ahead of the band's Australian 50th Anniversary Tour this September, the guitarist reflected on a career that has taken the group from playing tiny pubs to prestigious venues that once wanted nothing to do with them."When we started, I never thought it would last more than three or four weeks," he laughed. "We were playing this uncompromising noise music and upsetting audiences. I never thought anyone would let us make an album, let alone still be doing it 50 years later."For Sensible, The Damned's longevity comes down to authenticity. Despite five decades on the road, the band continues to embrace unpredictability."You never know what's going to happen next, even we don't know," he said. "That's the great thing about proper, organic rock and roll."The celebrations arrive during what Sensible calls a "golden period" for the band. One particularly satisfying milestone has been performing at iconic venues that once rejected them."We're playing places that banned us back in the day," he said. "The Royal Albert Hall didn't want us in the late '70s, and now we're playing places like the Sydney Opera House. For a band that's always been anti-establishment, that's pretty ridiculous."The conversation also unearthed one of punk's more bizarre stories, with Sensible confirming a bit of family lore for me; a tale involving an inflatable dinosaur costume at London's Rainbow Theatre. After being dragged into the crowd by the costume's tail, he emerged without it and finished the show naked."It's why there was never a repeat performance," he joked.Fifty years on, The Damned remain rebellious, unpredictable and, somehow, still surprising themselves.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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Not Beating Around The Bush With BRENT SMITH From SHINEDOWN
6d ago00:15:50Tap to summarizeAmerican rock titans Shinedown and British alternative legends Bush are uniting for a massive co-headline tour across Australia and New Zealand in September 2026. Promoted by Destroy All Lines, this blockbuster arena run bridges two distinct eras of heavy guitar music. The highly anticipated roadshow represents Shinedown’s monumental return down under for the first time in over 15 years. Simultaneously, it marks Bush’s first full-scale headline run of the region in nearly three decades.Shinedown brings a precise, high-octane live production to the stage, fueled by a record-breaking 24 number-one rock hits and more than 8.3 billion global streams. Local audiences can expect a dense, anthemic setlist packed with their definitive mainstream radio hits like Second Chance, Sound of Madness, and Monsters. The Florida-based rockers are also using this international trek to showcase brand-new material from their eighth studio album, EI8HT, which launched recently with widespread critical acclaim.Complementing Shinedown's arena-ready energy is the raw post-grunge power of Bush, anchored by the iconic charisma of frontman Gavin Rossdale. With over three decades of global success and a billion streams, the London-born outfit remains an essential fixture of modern alternative rock. Their performance will highlight definitive mid-90s hits from their seminal, multi-platinum debut record Sixteen Stone, treating fans to live renditions of Glycerine, Comedown, and Machinehead. Additionally, Bush will perform tracks from their tenth studio album, I Beat Loneliness, demonstrating their continuing creative evolution.HEAVY sat down with Shinedown frontman Brent Smith to get his thoughts on the tour. It's been 16 years since Shinedown last toured this country, so we ask Brent what has changed with the band over that period."Just the trajectory of the band," he measured. "The albums. Life. Experience… The thing that I never take for granted is that I can look back and say to myself, I feel very, very fortunate that from the moment I could have a conscious thought… what I wanted to do with my life, I'm doing. And to still be 25 years into being in this band… You don't ever want to have this big, meteoric rise. I don't know the way I should say this, but I can only say it in the most authentic way possible. Experience is something that you need in this industry. Sometimes, when you get a big jump, there can be a heavy fall. It's a very difficult industry to navigate, the music business and however you want to look at it. But the reality is it all comes down to the audience and the artist. I've said this before, and I mean it. In Shinedown, we only have one boss. It's just everybody in the audience. And Shinedown is also everyone's band."In the full interview, Brent makes apologies for taking so long to get back to Australia, promising the band will more than make up for lost time. He spoke about the evolution of Shinedown over their musical journey and the importance of staying grounded, no matter what else is happening.He recounted how the initial discussion to pair Shinedown and Bush on tour came about, expressing his respect and love for their touring partners and how their music will compliment the other. Brent talked about Shinedown's recent album Ei8ht and its reception, highlighting the positive reaction by fans and critics alike, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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Keeping Death Metal Honest With BORISZ THE SAVAGE And BASTIAN HERZOG From FLESHCRAWL
1w ago00:17:32Tap to summarizeInterview by Ali WilliamsGerman death metal veterans FLESHCRAWL are entering a major new chapter with Epitome Of Carnage, their 10th studio album and the first to feature Borisz (The Savage) Sarafutgyinov handling all vocals and lyrics. In conversation with HEAVY’s Ali Williams, founding drummer Bastian Herzog and Borisz spoke about the refreshed lineup, the record’s old-school approach, the pressure of carrying a long-running name forward, and the small matter of trying to get the band to Australia without financially maiming everyone involved.It is a big moment for FLESHCRAWL, although neither Borisz nor Bastian seem interested in dressing it up as some grand reinvention. The feeling is more practical than theatrical. The lineup has changed, the energy has shifted, and the band have used that movement to build something that still sounds unmistakably like FLESHCRAWL. Borisz joined the band in 2021 following the passing of longtime vocalist Sven Gross, and Epitome Of Carnage marks his first album taking full control of the vocals and lyrics. That is no small handover. FLESHCRAWL have been part of the European death metal landscape since 1987, and walking into that kind of history requires more than a decent growl and a reliable calendar. For Borisz, the change in sound comes naturally from the people now in the room. “The lineup is pretty fresh,” he explained, pointing to the two newer guitar players as part of the reason this album feels different. His own voice and lyrics also helped push the material into its current shape, giving the band a new angle while keeping the core intact. Bastian sees it as a new start as well. Coming from a founding member, that carries weight. He has been there since the earliest days, long enough to make most band origin stories look like recent lunch orders. Yet there is no sense of him clinging to the past with both hands and a suspiciously labelled backup hard drive. He sounds ready for this version of FLESHCRAWL to stand on its own. The lyrical direction on Epitome Of Carnage came from a darker place, although Borisz admitted he only fully recognised the pattern once interviews for the album began. War, media doom, social decay and the world’s apparent commitment to behaving like a malfunctioning meat grinder all worked their way into the songs. When asked what drove the album, his answer was refreshingly direct. ‘Being pissed off’. Fair. Death metal has never exactly demanded a vision board and has launched entire careers on less.That anger, however, has been channelled with purpose. FLESHCRAWL were clear about wanting the album to feel organic, not manufactured into something overly slick. Borisz spoke about avoiding modern production techniques such as enhanced drums, triggers and excessive studio layering. The aim was to create a record that could connect with older fans while still making sense in 2026. Bastian contributed riffs and also wrote a short instrumental piece for the album, although he was typically understated about his role. Borisz was quicker to point out that everyone contributed across the record, with no strict divisions in the writing process. The band worked as a unit, which also means everyone had the pleasure of annoying everyone else in useful ways. Check out the full interview for much more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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Waking Up The Dead With STEVE FRANCIS From BULLETBELT
1w ago00:10:32Tap to summarizeGet ready to snap your necks, Australia, because New Zealand black-thrash titans Bulletbelt are crossing the ditch this June to tear you all a new one.The Wellington metal veterans are locked and loaded for the highly anticipated resurrection of Dead of Winter Festival. Taking place on Saturday, June 27, 2026, at its brand-new stomping ground the Mansfield Tavern, this iconic alternative counter-culture gathering is officially back after a multi-year hiatus. While Aussie heavyweights like DZ Deathrays and Mammal are ready to hold down the home front, Bulletbelt represents the absolute pinnacle of relentless, sonic savagery coming from across the Tasman.If you have ever witnessed Bulletbelt live, you know they do not just play music; they deliver a sonic assault that leaves your ears ringing and your feet bruised. Their signature blend of old-school thrash velocity and cold, uncompromising black metal atmospheric filth creates a hellish wall of sound. It is the kind of measured aggression that instantly gets your head snapping. For years, these guys have carved out a reputation as one of the hardest-working, most road-hardened extreme metal forces in the Southern Hemisphere.Dead of Winter has always been a sanctuary for the outsiders, the riff-lords, and the beautiful weirdos of the heavy music community. Moving the madness to the legendary Mansfield Tavern means 34 acts will split your skull across multiple stages. It offers the perfect, high-intensity indoor environment for Bulletbelt to do what they do best: decimate crowds. Expect sweat-soaked leather, full-throttle blast beats, and a wave of pure, unadulterated energy that hits with the subtle force of a flying brick.HEAVY caught up with drummer Steve Francis to find out more. With Dead Of Winter returning after a number of years, we ask Steve just how important festivals that nurture homegrown talent are to the continued growth of Australian and New Zealand music."They're huge," he replied instantly. "And look at Australia. Look at how many amazing heavy bands there are at the moment, and a little bit of a parallel to back here in Wellington. I think the local scene at the moment here in Wellington and the bigger New Zealand is probably better than it's ever been. There's so many bands that are getting overseas and getting signed to international labels and coming over to play Brisbane with such a really cool, diverse lineup as well.We came two years ago and played Necrosonic Festival, and that was catered a little bit more to the heavier side of the rock genre. But this one is really exciting because we're going to be presenting ourselves in front of a bunch of people who aren't just into heavy music, they're into all sorts of rock-oriented music. So, yeah, really excited."In the full interview, Steve reported that Bulletbelt has been off the road since a November 2024 15th‑anniversary show while recording a new album, which is finished and produced by U.S. producer Damien Reynard to achieve a “world‑class” sound. The record emphasizes more melody, higher tempos (including songs near 200 BPM) and power‑metal influences, and is planned for release around October; release timing is partly delayed by the postponed film Deathgasm 2, for which Bulletbelt wrote the theme.Steve characterized the band’s festival approach as high‑energy, crowd‑engaging “party band” sets and said festivals are crucial for reaching broader rock audiences beyond heavy‑music niches. He confirmed the band will perform two new songs during the Australian shows and named local bands he’s anticipating at Dead of Winter and more.Dead Of Winter will be held at the Mansfield Tavern in Brisbane on June 27, featuring Mammal, DZ Deathrays, Jay and Lindsay, Beanflipper, Toe to Toe, Slim Krusty and many more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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The Power Of Music With GREGG DEAL From DEAD PIONEERS
2w ago00:22:06Tap to summarizeDenver, Colorado punk collective Dead Pioneers return with their fierce third studio album, Wagon Burner. Set for release on 26 June 2026 via Hassle Records, the project builds upon the momentum of their 2023 self-titled debut and 2025’s acclaimed PO$T AMERICAN. Fronted by Indigenous visual performance artist and activist Gregg Deal, Dead Pioneers' continue to blend the raw fury of hardcore punk with biting spoken-word commentary, channelling the contemporary Indigenous experience, historical trauma, and political resistance.While their previous work relied heavily on targeted individual statements, Wagon Burner represents a more unified, collaborative writing effort by the full band. Musically, it is their heaviest and hardest record to date, yet it remains intensely accessible, striking a delicate balance between abrasive noise-punk melee and viciously catchy hooks.HEAVY caught up with Deal to find out more, asking him how he is feeling about the album close to release date."Honestly, there's a lot of emotions," he measured. "I kind of go through peaks and valleys. I'm excited about it, and then I'm not sure. We do these releases, and sometimes they do really well. And sometimes they're not doing as well as I'd like, and so it gets in my head. I'm excited about it, but it's been a bit of a mind F."Spoken word and narrative pieces play a major role in the feel and message of the album, with Deal agreeing that there was much thought put into getting even the smallest of details correct."Yeah, I think so," he nodded. "We actually recorded so much that we have enough for another half a record. We have enough for like an EP, and so we're trying to pick and choose. We want a narrative and a sound that can live in that space. We came into this record trying to be as articulate as possible, but also not pulling any punches from everything that has been happening, everything that is happening in the United States.And so it is meant to be political, social and cultural. We're trying to find a medium in there with that, because it's a lot of heavy stuff. So the humour that has existed in other places is a little bit more subtle on this one, but it's still there. We definitely are trying to curate something that makes sense audibly and in the information that exists lyrically."In the full interview, Gregg talks more about the musical side of Wagon Burner and how it differs to Dead Pioneers' first two albums. We run through the themes that permeate through the album and their connection to Gregg personally.The constant battle against oppression in all forms is discussed, along with the impact bands such as Dead Pioneers have on the global landscape through their music. Gregg ran us through some of the spoken word pieces and elaborated on their meaning, diving deeper into the guest artists and why they were chosen.Gregg also detailed the genesis of the band and how it has evolved over the years, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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Death Metal For The Disconnected With DIVA SATANICA From BLOODHUNTER
2w ago00:15:38Tap to summarizeInterview by Ali WilliamsSpanish melodic death metal force BLOODHUNTER returns on June 12 with their new album, Sons Of The Abandoned. It has been both a long wait and a very deliberate one for the band. Four years have passed since the band’s previous album, and while fans have been understandably circling the release date like metalheads around a merch table with limited sizes, BLOODHUNTER have not spent that time idling around waiting for inspiration to knock. “It’s been a long wait until we finally release the album,” vocalist Diva Satanica explained to HEAVY's Ali Williams, adding that the response from fans has already been overwhelming. “We are very thankful for that.”For Diva, Sons Of The Abandoned is not simply another BLOODHUNTER record with the distortion turned up and the emotional damage left to fend for itself. This time, something shifted. The music still carries that death metal edge, but the album and its inspiration step into more exposed territory lyrically. Diva admits that previously she had hidden behind the metaphors in their lyrics, but this time the writing became more direct. “It has been different this time,” she explains. “Usually, I feel like I hide myself behind the metaphors. It’s difficult when you play death metal to find this balance between speaking about things that everybody has in common, but without sounding too cheesy.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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The End Is Just The Beginning With JAKOB NOWELL From SUBLIME
2w ago00:13:27Tap to summarizeInterview by Kris PetersThirty years after the tragic loss of frontman Bradley Nowell, California’s premier ska-punk icons Sublime have defied the impossible. The band has returned with their new album Until the Sun Explodes (June 15), their first full-length studio album of entirely original material since 1996. Arriving via Atlantic Records, this highly anticipated 21-track LP is a monumental generational handoff. Stepping into the frontman role is Bradley’s son, Jakob Nowell, who unites with original founding members Eric Wilson (bass) and Bud Gaugh (drums) to create a record that feels less like a modern reboot and more like a beautifully crafted epilogue.To capture the definitive, sun-soaked identity of the band, Jakob and producer Jon Joseph meticulously catalogued every chord progression, sonic texture, and lyrical boundary of the classic Sublime discography. The result is a vibrant resurrection of their signature formula: an intoxicating blend of reggae-infused punk, dub, hip-hop, and Southern California absurdism. The rollout has already proven historically successful; the explosive lead single Ensenada spent eight weeks at No. 1 on Billboard’s Alternative Airplay chart, eclipsing the chart-topping run of their 1996 timeless hit What I Got.While the music captures the nostalgic energy of the 1990s, the thematic core of the album rests heavily on legacy, sobriety, and profound gratitude. On the poignant title track, Until the Sun Explodes, Jakob’s vocals eerily mirror his father’s chill cadence as he sings directly to Bradley's memory: “Until the sun blows up in the sky/I owe you my life”. Rather than trying to rewrite history, Jakob has explicitly framed this album as a final, heartfelt thank-you letter to his father and the fans who kept the scene alive.HEAVY sat down with Jakob to dive deeper. We ask about the difficulties he faced with making an album that represented the entire career of Sublime, while still making it sound fresh and vibrant, asking if he and the rest of the band sat down and studied past releases to get the sound they were after or if it was more of a natural process."A little bit of both," he replied. "There's a lot of study going into it for me and our producer, John. We wanted to really do our work and take this gig seriously. Every single released piece of Sublime media and all of the interviews and the bootlegs, and then going back and listening to all of their influences and all the bands that really made them excited. We wanted to factor all this in so the sounds we were using had some precedent in the Sublime release catalogue, so we weren't just pushing the sound in some random directions for no reason. Then bringing Bud and Eric in to write these songs and fleshing them out with those two, who obviously already know how to make Sublime records, that part was the most natural part."We ask Jakob if he felt much internal or external pressure to get it right on the album."Yeah, yeah," he nodded. "Pressure abounds, for sure. We all deal with pressure differently, but acknowledging it is a big part of the process. I know how many people love Sublime, and I know how much my Father's legacy and memory mean to me and how much the very idea of even doing this might be ill-advised or fraught with peril. I think I had to go into it with that amount of respect. The way that I deal with all those expectations and fears and imposter syndrome is I try to remember at the end of the day, 'okay, this is important and is deserving of my respect, and I'm gonna take this job seriously as a professional'. But at the end of the day, I always say we're not curing cancer here. We're making rock and roll music (laughs). That is something I believe I know how to do."In the full interview, Jakob talks more about the new and final Sublime album, including the musicality present and what they were going for. He tells us about the pressures of not only filling his Father's shoes as frontman, but also personal fears and expectations around doing his Dad justice.We spoke about Jakob's first time fronting Sublime in the studio and how he feels about it, the fact that this is Sublime's final album and what the future holds. The album collaborations were fleshed out, and we talked about Sublime's recent shows at Red Rock Ampitheatre and plans for the rest of the year, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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Calm Amidst The Chaos With GREG KUBACKI From CAR BOMB
2w ago00:10:58Tap to summarizeInterview by Kris PetersLet’s be honest for a second. When you hear that Karnivool is touring, your ears instantly prick up. They are the undisputed kings of Australian progressive rock, a band that makes complexity sound like second nature. But when the tour announcement dropped, the words Car Bomb and TesseracT were slapped on the bill alongside them, things suddenly took an even bigger turn for the better. This isn’t just a concert line-up; it’s an absolute musical assault on the senses.HEAVY has always loved music that challenges you—the kind of tracks that don’t just sit in the background but grab you by the throat and force you to pay attention. That is exactly what this tour is going to do. If Karnivool is the masterclass in sonic atmosphere, deep groove, and sweeping, emotional melodies, then Car Bomb is the chaotic entity sent to tear the room to pieces before the headliners even touch the stage.For the uninitiated, Car Bomb doesn’t just play metal; they weaponise time signatures. Their style is a dizzying, frantic, and claustrophobic mathcore that feels like a glitching supercomputer trying to punch its way out of your speakers. Pairing their jagged, laser-guided ferocity with Karnivool’s lush, towering soundscapes and the wizardry of TesseracT is a stroke of absolute genius. It’s a beautiful contrast between absolute, calculated chaos and pristine, progressive beauty.HEAVY sat down with Car Bomb's guitarist Greg Kubacki to find out more. One of the topics of discussion is how Car Bomb find the balance between styles and genres in the creative process."I do the majority of the writing these days," Greg replied. "Back in the day, it was all of us working together in a room, but now we all have responsibilities, so I do the majority of the stuff. When the song starts, I start with an idea and put it on the shelf for a month or two and come back to it and see if I like it. And if I like something - whether it's technical or it's knuckle-dragging, really simple stuff - I'll just start working on a song from there.When I run out of ideas, that's when I usually know a song's done. Or if I put the song again on the shelf for another month and listen to it, and I don't find anything wrong with it, then I'm like, okay, it's good. But usually we have so many ideas that we're always working on. It's not like the movie Amadeus, where we're just writing it out, and it's written in five minutes (laughs)."In the full interview, Greg explains why it has taken Car Bomb so long to make it to Australia, how he prepares to tour a country for the first time and what they are expecting. He talked about the live show and what to expect, including what three songs people going to the show should listen to in order to get to know the band and music more.Greg ran us through difficulties in transforming the musical complexities into the live arena, as well as finding the balance between styles in the creative process. We spoke about the early days of Car bomb and the musical climate that gave birth to the band, the first time he heard one of his own songs on the radio and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
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