Episodios

  • Prepare For Take Off With RYAN And ALEXANDER From CRYPTIC SHIFT

    Prepare For Take Off With RYAN And ALEXANDER From CRYPTIC SHIFT
    Mar 2 2026
    UK progressive death metal outfit CRYPTIC SHIFT released their Overspace & Supertime full-length on February 27 through Metal Blade Records.
    While not commonly known as an extraterrestrial hotspot, Leeds faced an encounter of another kind in 2015 when vocalist/guitarist Alexander Bradley and drummer Ryan Sheperson set out to accomplish a project embodying their joint passion for the art of science fiction and heavy metal music. With CRYPTIC SHIFT taking form as a crossover between the worlds of technical thrash/death metal and all things sci-fi, the two set out to spread their influence across the UK and soon ventured across the globe.
    CRYPTIC SHIFT unveiled their debut full-length, Visitations From Enceladus, in 2020. The offering helped bring the band to the worldwide playing-field, receiving critical acclaim for its adventurous, progressive technical death thrash compositions, a twisted form of extreme metal simply referred to as the “Phenomenal Technological Astrodeath.”
    This year’s Overspace & Supertime continues the conceptual and musical themes of their debut and delivers a new standard of technical thrash/death metal showmanship, including returning influences of progressive writing, harmonized with their fantastical storytelling.
    “The concept of Overspace & Supertime plays as an alternative reality to the happenings of Visitations From Enceladus, taking our character into new dimensions filled with both greater adventures and more bizarre encounters,” notes drummer Ryan Sheperson. “Whilst the concept themes of our sci-fi tale have grown, so have our efforts in synthesizing it with the ultimate Astrodeath soundscape. The record takes the listener on a deeper journey through the fusion of our influences, with some exciting twists and turns along the way.”
    HEAVY sat down with both Ryan and Alexander to get more information.


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    12 m
  • From Dark Rooms To Loud Truths: LOST SOCIETY Are Still Standing

    From Dark Rooms To Loud Truths: LOST SOCIETY Are Still Standing
    Mar 2 2026
    Interview by Ali Williams
    Samy Elbanna of Lost Society caught up with HEAVY's Ali Williams to talk about all things dark and the journey of coming out the other side. Their chat feels less like a promo interview and more like a long, honest exhale. There’s humour, perspective, and the unmistakable tone of someone who’s been through the grinder, come out the other side, and is now enjoying the simple pleasure of writing loud music without staring into the void between riffs.
    Lost Society’s sixth album, Hell Is a State of Mind, arrives March 6, and Elbanna doesn’t sugarcoat how close it came to not existing at all. The band’s previous record was written during an extremely dark period in his life, one where the idea of a future album felt wildly optimistic at best. That’s what makes this release feel different. It’s not fuelled by misery or desperation, but by rediscovering the fun of being in a studio and remembering why making music mattered in the first place.
    Rather than chasing trends or trying to outsmart algorithms, Elbanna talks about returning to instinct. Writing music he actually likes. Melodies that feel good to sing. Lyrics that say something without needing to be cryptic for the sake of it. He’s visibly proud of this record, and not in the chest-beating way, more in the “I can finally enjoy this again” sense. Hell Is a State of Mind is heavy, unapologetically so, but lyrically it leans toward empowerment and self-acceptance, which is a pretty solid bait-and-switch for a metal album in 2026.
    The conversation drifts back to Lost Society’s early days, which read less like a fairytale and more like a DIY survival manual. Underage, unable to play bars, the band organised their own shows, youth centre gigs, and mini-festivals, entered every competition they could find, and sold homemade demo CDs the old-fashioned way: face to face. No viral clips, no shortcuts, just persistence and a worrying amount of faith. Eventually, a televised performance landed in front of a Nuclear Blast A&R, and things slowly started to snowball. Slowly being the key word.
    Elbanna is refreshingly realistic about the modern music industry. He’s not anti-streaming or anti-TikTok, just anti-bullshit. He points out that “overnight success” usually follows years of unseen work, and that skipping those years doesn’t exactly prepare artists for pressure, touring life, or longevity. Social platforms, he says, are tools, not commandments. Not every metal band needs to dance for clicks, and not every promotion strategy has to look identical. Radical concept, apparently.
    Finland, unsurprisingly, gets its moment in the spotlight. Elbanna credits the country as one of the best places on earth to start a metal band, thanks to accessible venues, youth programs, and a culture that doesn’t clutch its pearls when teenagers plug in guitars. Born and raised there, with Egyptian heritage and English as his first language, he’s grown up in a musical environment that encourages experimentation rather than punishing it, which helps explain Lost Society’s longevity.
    Looking ahead, the band aren’t easing into anything. The album release is immediately followed by a three-week European headline tour, a major Helsinki show, and then straight into festival season. Touring remains the heartbeat of the band, not just for exposure or income, but because that’s where the music actually comes alive. Bus life, inside jokes, and temporary escape from normal reality included.
    Australian fans also get a nod. Elbanna recently toured Australia and New Zealand as a fill-in member for Amaranthe and fell hard for the place, despite being deeply disappointed by the lack of constant spider attacks promised by the internet. Lost Society haven’t toured here yet, but it’s firmly on the wish list, with this album shaping up as the one that could finally bring them Down Under.
    At its core, Hell Is a State of Mind isn’t a comeback story or a carefully packaged redemption arc. It’s a heavy record made by someone who didn’t expect to still be doing this, now offering listeners half an hour of noise, catharsis, and a brief sense that things might not be completely cooked after all. Loud therapy, if you will.
    And honestly, that’s a pretty decent reason to press play.

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    25 m
  • Fun After Dark With MAGNOLIA PARK

    Fun After Dark With MAGNOLIA PARK
    Mar 2 2026
    Since forming in Orlando, FL in 2018, Magnolia Park - vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, drummer Joe Horsham and bassist Vincent Ernst - have repeatedly proven themselves to be one of the most exciting and forward-thinking groups in the underground. Spinning a chameleonic, genre-spanning sound that incorporates punk, hard rock, hip-hop and metalcore into a dizzying, multi-sensory experience, the prolific band has dropped a mixtape, 4 EP’s, a slew of singles and two full length albums totalling an impressive 510 Million catalog streams to date.
    The heavy genre-bending five-piece have announced NIGHTS AFTER VAMP, the deluxe version of their ambitious concept album VAMP released last year. Out on March 13 via Epitaph, the band picks up where they left off with six explosive bonus tracks that expand the soundscape of their dystopian universe.
    With NIGHTS AFTER VAMP, Magnolia Park have spun an electrifying mix of hard rock, punk, nu-metal, hip-hop and metalcore into a dizzying, multi-sensory experience. Throughout its 17 songs, the record soundtracks an ominous journey through the fictional world of Nocturne Nexus; where rulers and rebels battle with the future hanging in the balance. Heavily inspired by the band’s love of anime, horror and fantasy, the album’s narrative was spurred by the long-running Vampire Hunter D, iconic works like Star Wars, Dracula and Joseph Campbell’s legendary monomyth.
    Magnolia Park will be in Australia this March supporting BABYMETAL, so to bring us up to speed HEAVY sat down for a chat with the whole band.


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    11 m
  • NECROFIER Transcend Into Oblivion: And Take Their Loyal Fans With Them

    NECROFIER Transcend Into Oblivion: And Take Their Loyal Fans With Them
    Mar 2 2026
    Interview by Ali Williams
    Necrofier are in that familiar pre-release purgatory where everything important is finished and everything annoying begins. When HEAVY caught up with Christian Larson (guitar, vocals), it was early, coffee was scarce on both sides of the planet, and the band’s third full-length was suddenly two weeks from release. No drama, no manufactured hype. Just the calm chaos of a band doing the work.
    The bands latest record Transcend Into Oblivion -out now - , marks Necrofier’s first release on Metal Blade Records, following earlier releases with Season of Mist. Larson talks about it like someone who’s already emotionally moved on, not because it fell short, but because it was finished nearly a year ago. That distance has given the band clarity and allowed them to be confident in the songs, the mix, and the overall execution, even if revisiting the material now feels like reopening a time capsule from a previous headspace.
    Originally conceived as a non-live studio project, Necrofier evolved quickly into a full touring entity, and the resume reflects it. US tours, major festivals, and shared stages with the likes of UADA and 1349 haven’t shifted the band’s core focus. They’re still firmly rooted in black metal, without getting distracted by the endless micro-labels that seem to appear every six months. Larson is refreshingly blunt about it. They know what they are, they know what they play, and they’re not interested in inventing a new genre name just to keep up with internet trends.
    The album itself took a more layered approach than previous releases. Songs were written in advance, tracked across multiple studios, and refined with more breathing room than the band had previously allowed themselves. That extra time wasn’t about over-polishing, but control. It gave Necrofier the ability to think, adjust, and add texture without the pressure cooker environment of a single studio lock-in. The result, by Larson’s account, is a record that feels deliberate rather than rushed.
    Visuals played a larger role this time too. Multiple music videos were shot with both long-time collaborators and new creatives, blending live performance footage with subtle narrative and animated elements. Nothing overcooked. Just enough to complement the songs without distracting from them.
    Away from the album cycle, Larson comes across as a lifer. Someone who’s been in doom bands, punk bands, death metal bands, and everything in between. His vinyl collection, stacked somewhere behind him on the call, mirrors that history. Old punk, classic metal, country records, black metal staples. Records he’s owned since he was fifteen and still spins, not museum pieces collecting dust.
    Touring plans are in motion but intentionally unannounced. Europe is on the horizon, the US will follow, and Australia has been discussed, if not yet mapped. There’s no false certainty offered, just the quiet confidence of a band that knows momentum doesn’t need to be shouted about to be real.
    Necrofier sound like a band comfortable in their lane, uninterested in chasing novelty, and focused on longevity rather than noise. With their third album about to land and a bigger platform beneath them, they’re not reinventing themselves. They’re sharpening what already works.
    And honestly, that restraint might be the most telling thing of all.


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    13 m
  • The Blossoming Tides Of Change With DAMIEN KECHAGIAS From DREAMKILLERS

    The Blossoming Tides Of Change With DAMIEN KECHAGIAS From DREAMKILLERS
    Feb 27 2026
    A relentless force in the underground scene, Brisbane metal outfit Dreamkillers are known for their raw intensity, genre-defying sound, and fiercely DIY ethos. Fusing thrash, English punk and melodic metal into a sonic assault that is both unrelenting and emotionally charged, while still maintaining a surprising sing-along quality, Dreamkillers continue to evolve without compromise.
    That evolution has never been more apparent than on new album, Proiphys Cunninghamii, that is out and ready for your listening pleasure now.
    Proiphys Cunninghamii is a no-holds-barred album that blends fire, fury and defiance in equal measure. Named after a rare native plant found only in Brisbane, commonly known as the Brisbane lily, the title reflects the band’s roots and resilience — thriving in harsh conditions, unapologetically local, and impossible to ignore.
    HEAVY caught up with guitarist Damien Kechagias to find out more, asking him to describe the musical side of the album.
    "We've tried to use as many different musical inferences as we can throughout the whole process," he measured, "keeping it true to original Dreamkillers from day one. You've never known what you were going to get, back from the original days to now. But as we've gotten older, political views change, personal views change. There's new stories out there. But the main thing that has stayed constant was giving Les the voice pad to bring those stories to life.
    Giving him the storyboard. And that's where we took the time to go, right, here's the songs that we're working on. Let's make them the best we can. So, not everything fits in a pigeonhole. Yeah, you've got Dreamkillers sound, but we had to look at what makes Dreamkillers sound now. We can always look back to influence the future. So that's what we've tried to do."
    In the full interview, Damien went through the recording process in greater detail, the importance of maintaining the old school sound and ethos of Dreamkillers while also representing them now, and the writing process for new material.
    He ran through each of the eight songs on the album, explaining the musicality in more depth, as well as the subtle and not-so-subtle nuances vocalist Les Jobson brought to the tracks. We discussed their upcoming appearance at Necrosonic Festival 2026, including their promise to play Poison In The Soup and Carnival Of Skin back to back and more.
    Proiphys Cunninghamii is available now: https://lnk.to/g37LSG


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    29 m
  • Double Trouble On The Menu Down Under With DEZ FAFARA From DEVILDRIVER

    Double Trouble On The Menu Down Under With DEZ FAFARA From DEVILDRIVER
    Feb 26 2026
    Three short years ago, two heavyweights of the metal scene joined forces for what would become known as the Double Trouble tour across Northern America. It was an ambitious and unlikely pairing, with the two co-headliners coming from completely different spectrums of the genre chart, but the Metal Gods gave their endorsement and the two combatants - Devildriver and Cradle Of Filth - combined a run of shows that has already been written into metal history.
    Together, Devildriver and Cradle Of Filth created a live spectacle running the complete gammit of metal emotions, the sheer, aggressive nature of Devildriver providing the perfect folly for the more cinematic and theatrical world inhabited by Cradle Of Filth.
    With demand for the tour rampant across the globe, Australia has been chosen as the next destination to receive a welcome dose of Double Trouble with both bands touching down in this country for five shows across the country this July.
    HEAVY managed to track down Devildriver frontman Dez Fafara to get the rundown.
    "It's incredible," he smiled when we mention the epicness of the double header. "When we did this in the United States it all sold out pretty quickly so we decided to bring it over. I mean, there's a couple of places around the world that are saying, come bring this tour. And of course, I'm great friends with Danny (Filth) so I'm proud to come out with him.
    We were going over the set list last night with the band, deciding what we were going to play and also going over production. It's going to be a good time. When we first started talking about it you could feel the energy in the room from both of the bands. It was like, let's go do this so it's going to be a great time. Much looking forward to it."
    We bring up the fact that the aggressiveness energy from Devildriver is a stark contrast to the more theatrical and cinematic stage show preferred by Cradle Of Filth, but Fafara, while acknowledging it isn't your standard teaming of bands, was quick to stress that sometimes opposites DO attract.
    "For some reason the bands work together really well," he shrugged. "We're so separate musically, but it's a one-two punch that when you get done with the gig, you're walking out going okay, that's a proper heavy metal show."
    In the full interview, Dez described recent work on set lists and production planning, confirming that DevilDriver will perform an intense, non-stop hour-plus set. Conversation covered the pairing of the two band's origin and their chemistry, crediting a mutual respect between the bands based on the successful U.S. run.
    We spoke about the experiences for fans, including a special meet and greet, what material will be covered over the tour, the possibility of new music and never-heard-live-before songs and more.


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    9 m
  • Flesh And Blood With JOSH MIDDLETON From SYLOSIS

    Flesh And Blood With JOSH MIDDLETON From SYLOSIS
    Feb 26 2026
    Sylosis have been hacking away at metal’s enduring coalface for the last 25 years.
    They exploded into the metal scene with their 2008 debut album Conclusion Of An Age, and have been repeatedly upping the ante for homegrown heaviness ever since. From the epic, thrash complexity of 2011’s Edge Of The Earth and its swiftly-assembled follow-up Monolith in 2012, to the bruised and brooding Dormant Heart (2015), and 2020’s deliriously intense Cycle Of Suffering, frontman Josh Middleton and his henchmen have been consistently at the forefront of all things heavy and brutal throughout their career.
    As they approach veteran status, Sylosis have sharpened their focus and are now making their greatest music yet. As with The Sign Of Things To Come, Middleton believes that the band's new album The New Flesh is a bold leap forward into more incisive and impressive songwriting territory. A towering testament to destructive riffing, incisive melody and refined brute force, Sylosis’ seventh full-length offering is a powerful showcase for the state of SYLOSIS in 2025: lethal, uncompromising, and avowedly metal as all hell.
    HEAVY sat down with frontman Josh Middleton to find out more.


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    14 m
  • Watts The Big Idea? LIME CORDIALE’s Biggest Experiment Yet

    Watts The Big Idea? LIME CORDIALE’s Biggest Experiment Yet
    Feb 25 2026
    Interview by Ali Williams
    Some bands talk about changing the world. Others actually try to rewire the power source.
    When HEAVY’s Ali Williams caught up with Lime Cordiale’s Ollie Leimbach, he was literally on the floor, charging his laptop somewhere five hours north of Sydney. Very rock ’n’ roll. Very Northern Rivers. Very “I may or may not be barefoot and slightly stinky.” Which, frankly, checks out.
    Between laughs about weather patterns and mild coastal smugness, Ollie casually dropped the fact that Lime Cordiale are putting the finishing touches on album number four . Not that they’re rushing it. “We’re not a three-week studio band,” he admits. This one’s only taken about a year. Growth. Maturity. Slightly less agonising perfectionism.
    But the real headline here isn’t just new music. It’s Lime Green Festival, their upcoming off-grid, battery-powered, 5,000-capacity experiment-slash-party happening April 18 off the coast of Adelaide . Yes, battery powered. As in, no diesel generators chugging away backstage. As in, the band is fully prepared to risk a blackout mid-set in the name of progress.
    Bold. Slightly terrifying. Excellent content.
    The Lime Green concept was born out of a crisis of conscience. During COVID, the band were working on a farm on the Mid-North Coast, diving into regenerative agriculture and learning how to reduce their footprint. Then touring came back. Planes. Diesel buses. Global laps. Cue existential whiplash.
    Rather than retreat into eco-guilt or write twelve reggae protest songs (no dreadlocks involved, he promises), Lime Cordiale decided to tackle the industry from within. Their approach is refreshingly non-preachy. No finger wagging. No “stop living your life.” Just practical shifts.
    They’ve trialled biodiesel buses in Europe, slashing touring emissions by around 98 percent. They’ve put a dollar from every ticket toward environmental causes they genuinely connect with. In Adelaide, that means supporting awareness around the current algal bloom crisis devastating local waters . Dead fish, stinging water, beaches people can’t swim in. Not exactly tourism brochure material.
    The Lime Green Festival, though, is the big swing. Fully off-grid. Fully battery-powered. A case study in proving that you can run a major event without defaulting to fossil fuel generators. The battery companies are confident. The production crews are cautious. Ollie seems almost excited about the possibility of chaos. “If there is a blackout halfway through, that’s part of the journey,” he shrugs .
    That’s the spirit. Punk rock, but with renewable infrastructure.
    The lineup includes The Dreggs alongside Adelaide locals Alexia, Pash, and a Triple J Unearthed winner . Capacity sits at 5,000, which would make it Australia’s largest fully battery-powered festival to date . Casual.
    Beyond the headline tech flex, Lime Green will feature practical green initiatives: better waste sorting, encouragement to bring reusable bottles, conscious messaging. Not exactly radical ideas, but when you’ve ever seen a post-gig floor that looks like a plastic tornado hit a bar fridge, you understand why it matters.
    Throughout the chat, Ollie keeps circling back to one core idea: don’t shame people into change. Don’t demand everyone bin their petrol cars tomorrow. Replace things when they break. Upgrade when it makes sense. Let progress feel possible, not punitive. It’s a refreshingly pragmatic take in a space that often devolves into moral Olympics.
    At the end of the day, Lime Green will still be what everyone actually shows up for: good music, a crowd, and a reason to forget your inbox for a few hours. The difference is that it might also quietly prove that the industry can do better without killing the vibe.
    Album number four is brewing. The future might be battery powered. And if the lights flicker mid-chorus on April 18, at least you’ll know you’re witnessing a social experiment in real time. Tickets for Lime Green Festival are available now at limegreenfest.com


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    20 m