And Now The Band

Tom sits down with Malevolence of Illusion of Fate to talk about the band’s upcoming EP “Exsanguination,” scheduled for release January 8, 2027, the evolution of their sound, and his continuing development as a drummer.

“Exsanguination” takes Illusion of Fate into heavier and more intense territory, with Malevolence explaining how the band has continued pushing their songwriting while already nearing completion of their next full-length album. He discusses his favorite tracks on the EP, including “Umbra,” while pointing to the closing track “Solus” as potentially the heaviest and strongest song on the release.

The conversation also explores Malevolence’s musical journey from classic rock and punk into death metal, including the discovery of bands such as The Black Dahlia Murder and how those influences changed the direction of his playing.

Malevolence talks about joining Illusion of Fate around 2021 after meeting Hayden through his previous project Dusk Eternal, and how the band has evolved since then. The addition of guitarist Isaac brought new harmonies and melodic elements to the band's sound, while the shared musical tastes of the members have helped Illusion of Fate develop a more cohesive direction.

Tom and Malevolence also discuss the band's approach to releasing music. Some of the songs on “Exsanguination” didn't fit the concept of the upcoming full-length album, allowing the band to experiment with different ideas on the EP. They compare that approach with Extinction A.D.'s strategy of releasing singles approximately every six weeks while discussing why full-length concept albums remain important to Illusion of Fate.

The discussion turns to physical media, including the possibility of releasing the EP on a 7-inch vinyl, matching artwork and color schemes, and potential future tape and vinyl opportunities.

Malevolence also discusses his recent addition to Narcotic Wasteland, including the audition process, the amount of practice required to earn his place in the band, and the challenge of playing alongside highly accomplished musicians. He explains how touring and consistent practice have helped him improve while continuing to push himself with increasingly complex drum parts.

The interview also gets into the physical demands of drumming, repetitive-motion injuries, adjusting technique and drum setups for different styles of music, and the importance of continuing to develop as a musician.

Malevolence also recommends several bands for Tom to check out, including Summoner's Circle, Narcotic Wasteland, and Carrion.

Topics Covered: Illusion of Fate • Exsanguination • Malevolence • Death Metal • Extreme Metal • Drumming • Narcotic Wasteland • The Black Dahlia Murder • Dusk Eternal • Umbra • Solus • 7-Inch Vinyl • Physical Media • Independent Metal • Songwriting • Touring • Metal Drumming

And Now The Band — EP399
Featuring: Malevolence — Illusion of Fate
EP: Exsanguination
Release Date: January 8, 2027
Genres: Death Metal / Extreme Metal / Heavy Music

#IllusionOfFate #Malevolence #Exsanguination #AndNowTheBand #DeathMetal #ExtremeMetal #MetalDrummer #NarcoticWasteland #BlackDahliaMurder #DuskEternal #HeavyMusic #UndergroundMetal #IndependentMetal #MetalPodcast #MusicPodcast #Drumming #DeathMetalDrums #VinylRecords #7InchVinyl #PhysicalMedia

Tom sits down with Molly “The Supreme” of Omenbringer to talk about the band's recent tour, their ambitious second album, DIY metal, classic heavy-metal influences, and their goal of building something much bigger than a traditional underground band.

Formed in 2022, Omenbringer features The Supreme on vocals, Corey Klein on lead guitar, Spooky on guitar, Cody Hatt on drums, and Caitlin Jourdeau on bass. The band is currently raising money through a Kickstarter campaign for their second album, with a goal of $25,000 or more to cover recording, mixing, artwork and touring.

Molly explains why Omenbringer has chosen a DIY approach rather than signing with a major label. By working directly with their fans—the Coven—the band can maintain ownership of the music while giving supporters an opportunity to become part of the album's creation.

The new record has been roughly two years in the making and is designed as an immersive concept album about laying siege to an evil witch's castle. Omenbringer is going for a massive, epic sound inspired by classic heavy metal, particularly Black Sabbath, while incorporating unusual production elements and hidden details throughout the record.

Molly describes the band's obsession with creating unique sounds, including using chains as percussion, voiceover work to create sounds like a dragon, and carefully placing sounds throughout the album so listeners can discover something new with every listen.

The band also discusses their decision to re-record the drum tracks in pursuit of the classic heavy-metal sound they hear in their heads. The album is intentionally constructed as something to experience repeatedly, with references to classical literature, art and music hidden throughout the songs and artwork.

Tom and Molly also discuss Omenbringer's recent tour, including shows in Nashville, Memphis and Louisville, with the band especially appreciating their appearance at Metal Monday. They compare the band's first and second tours and explain why finding musicians who are a strong musical match can make a huge difference on the road.

Molly talks openly about making a major personal change as well—leaving a 14-year corporate career to focus on Omenbringer, the new album and the band's future. The transition came alongside a divorce and a period of major personal change, all of which fed into the band's music, including the song “Snakes.”

The conversation also explores “Thick Darkness,” including how some songs were written in the middle of the night and how the band developed the title track into an exactly 8-minute, 40-second piece. Molly describes Omenbringer's creative structure as more hierarchical than democratic, with The Supreme acting as the creative captain while trusting the other musicians to execute the larger vision.

And the vision is enormous.

Molly wants Omenbringer to become a legacy band—Sabbath meets KISS—with dreams of playing major venues such as the Sphere in Las Vegas and eventually creating their own large-scale events.

The episode also gets into Omenbringer's mission to make metal shows more welcoming and representative, with an emphasis on bringing women, queer people and people of color into spaces that have historically been less inclusive.

From touring and DIY recording to classic metal, concept albums, hidden references, personal transformation and the future of live music, EP398 is a conversation about what happens when an artist decides to stop waiting for permission and build the band they've always wanted.

And Now The Band — EP398
Featuring: Molly “The Supreme” of Omenbringer
Album: Thick Darkness
Genre: Heavy Metal / Classic Metal / Underground Metal

#Omenbringer #ThickDarkness #MollyTheSupreme #AndNowTheBand #HeavyMetal #ClassicMetal #BlackSabbath #DIYMetal #MetalKickstarter #UndergroundMetal #NashvilleMetal #LouisvilleMetal #MetalMonday #LouisvilleMusic #IndependentMusic #ConceptAlbum #HeavyMusic #MetalPodcast #MusicPodcast #WomenInMetal #LiveMusic

Tom sits down with Zachary Kerr of Anagnorisis to discuss the deeply personal story behind the band's new record, Caregriever, and how years of caregiving, loss, grief and emotional processing shaped the music.

Kerr opens up about caring for his father-in-law through Parkinson's and dementia, describing the emotional strain, closeness and complicated grief that comes with long-term caregiving. For Zachary, writing Caregriever became a way to process thoughts and feelings that were difficult to say out loud while also giving his wife's experience a voice.

The conversation explores how music can become a form of emotional processing, particularly when the subject matter comes directly from lived experience. Anagnorisis has always drawn from pain, depression and anger, but Kerr explains how the band's hiatus ultimately created the space needed for this new record to exist.

Caregriever also represents an evolution in the band's sound. Kerr discusses expanding beyond Anagnorisis' established approach with new textures, arrangements and synth-wave elements, while allowing the songs to develop instinctively rather than beginning with a predetermined plan.

The songwriting process started almost from scratch after a friend encouraged Kerr to begin writing again. Early guitar ideas eventually developed into songs with contributions from Zach, Josh and Cody, transforming the original demos into the finished Anagnorisis material.

Kerr also discusses the emotional weight of “Choke”, a song connected to a traumatic personal experience, and the challenge of eventually performing autobiographical material live. The band is returning to the stage with a renewed sense of purpose, including their first West Coast appearance, while navigating the realities of touring and adult responsibilities.

Tom and Zachary also revisit Peripeteia, an earlier Anagnorisis album with its own personal origins, and discuss the importance of writing from genuine experience rather than simply trying to create the darkness or aggression expected from a particular genre.

The conversation eventually turns toward Louisville's metal and hardcore community, including Kerr's feelings about being less present in the local scene during years devoted to caregiving. They discuss the strength of the current underground, younger musicians bringing new energy to the scene, and why audiences should show up early and support the bands opening the show.

Kerr also talks about the process of finally releasing Care Griever, the band's label and imprint arrangements, and plans for vinyl, CD and cassette editions. The physical release, mastering and vinyl pressing are all part of a larger effort to give the record the presentation it deserves.

Ultimately, EP397 is a conversation about grief, caregiving, family, authenticity, music and finding a way back to the stage. Caregriever isn't simply an album about difficult experiences—it is the result of living through them and finding a creative way to process what remains.

Topics Covered:
Anagnorisis • Zachary Kerr • Caregriever • Peripeteia • Caregiving • Grief • Parkinson's • Dementia • Emotional Processing • Songwriting • Experimental Metal • Synth-Wave • Louisville Metal • Louisville Hardcore • Underground Music • Live Music • Touring • Vinyl • CD • Cassette • Independent Music

And Now The Band — EP397
Featuring: Zachary Kerr of Anagnorisis
Album: Caregriever
Genre: Extreme / Experimental Metal

#Anagnorisis #CareGriever #ZacharyKerr #AndNowTheBand #ExtremeMetal #ExperimentalMetal #BlackMetal #HeavyMusic #UndergroundMetal #LouisvilleMetal #LouisvilleHardcore #LouisvilleMusic #Caregiving #Grief #Songwriting #MetalPodcast #MusicPodcast #VinylRecords #IndependentMusic #Peripeteia #LiveMusic

Tom sits down with Barley of Rebreather to talk about the band's new album, the long process of developing the songs, the emotional side of songwriting, and the nearly three-decade journey of one of Youngstown, Ohio's underground heavy bands.

Rebreather's new album took roughly a year to complete. The band initially recorded six songs at Mind Rocket Studio with Josh Roman, stepped away to work on other material, and eventually returned to finish the remaining four songs while reconstructing and refining some of the original recordings.

A major part of the conversation focuses on how playing songs live before recording them helped Rebreather develop the material. Barley explains how arrangements changed over time and how the band carefully constructed the album's sequencing and flow—including incorporating elements of their live performances, such as the feedback that opens the record.

Tom talks about how much he enjoys the album and why the finished record feels like a complete journey rather than simply a collection of songs.

The new Rebreather album is scheduled for release October 30, with a limited vinyl edition available at Emissions Festival.

Barley also discusses some of the album's more personal material. “Anxious Attachments” explores fears of separation that reach back to childhood while also reflecting Barley's present-day concerns about aging parents and their health. The conversation turns toward the therapeutic side of music and how being in a band with close friends creates a supportive environment where musicians can process stress, emotion and difficult experiences.

Tom and Barley also go back through Rebreather's history, including the band's formation in 1998 with Jake, Jeremy and Chad. After periods of inactivity caused by members moving and the realities of adult life, Rebreather eventually returned with Steve Wishnewski on bass and Gardner on drums.

The band recently played Ripple Fest Texas, with Barley describing the experience—including performing in brutal 98-degree heat—as incredibly rewarding. They also discuss sharing the bill with Lake Lake, seeing Mike Callahan of Disengage join Hermano onstage with John Garcia, and the importance of festivals that bring different parts of the heavy music community together.

For the new album, Aqualamb Records brought in Andrew Schneider to mix, giving Rebreather a new experience in the studio and another perspective on their sound.

The conversation also looks ahead. Rebreather is planning a spring tour, along with local appearances during the winter, with hopes of eventually putting together week-long tours in the spring and fall. Tom and Barley also talk about the possibility of future shows in Louisville, reflecting on past performances including a sold-out show with Weedeater at Metal Monday.

The episode closes with a discussion of the Youngstown and Akron underground scenes and recommendations for bands including Fear of D., Daggers, Papers, Lake Lake, Radian, Fistula and Monsters.

Topics Covered:
Rebreather • Barley • New Rebreather Album • Youngstown Ohio Music • Heavy Music • Ripple Fest Texas • Emissions Festival • Andrew Schneider • Aqualam Records • Mind Rocket Studio • Josh Roman • Songwriting • Album Production • Vinyl Records • Underground Music • Doom • Sludge • Heavy Rock • Touring • Metal Monday • Louisville Music

And Now The Band — EP396
Featuring: Barley of Rebreather
Album: New Rebreather Album — October 30 Release
Label: Aqualam Records
Genre: Heavy / Underground Rock / Sludge

#Rebreather #Barley #AndNowTheBand #HeavyMusic #Sludge #Doom #DoomMetal #HeavyRock #UndergroundMusic #YoungstownMusic #RippleFest #EmissionsFestival #AqualamRecords #AndrewSchneider #VinylRecords #IndependentMusic #MetalMonday #LouisvilleMusic #MusicPodcast #MetalPodcast

Greg discusses his latest musical projects and the evolution of Voidward, including his desire to create extreme metal built around wall-to-wall double-kick drumming, blast beats and unapologetically fast playing. For Greg, the music represents reaching a point where he can simply play the way he wants without feeling restricted by conventional expectations.

The conversation also explores Nobility and Death, Greg's ongoing series of extreme-metal releases. He describes the latest material as an “Extreme Metal Fantasia,” combining elements of black metal, death metal, progressive experimentation, clean vocals and increasingly unconventional arrangements. Tom and Greg even get into the free-jazz-like ideas appearing toward the end of some of the material and how Greg uses repeating riffs as frameworks for the musicians to improvise around.

Greg also talks about his interest in reimagining jazz standards through a grindy extreme-metal approach, potentially taking material such as “Autumn Leaves” into completely different musical territory.

The discussion moves through the underground music community, including Doomsday Prophet, Legalize Lex, Holler at Doom and Hufferfest, along with the challenges of coordinating recording projects around touring and band members' schedules. With drummer Noah currently in Perth, Australia until December, Voidward's next recording plans may not happen until January.

Tom and Greg also discuss the unique atmosphere of Holler at Doom, a camping and music event in the woods, as well as the unpredictable moments that can happen when musicians take the stage.

Another major topic is how bands should release music in the modern era. Greg reveals that the band has approximately a double album's worth of material, including the possibility of a four-song cycle. Tom and Greg discuss the growing popularity of singles and shorter release cycles while comparing today's music landscape with the era of classic full-length albums.

Technology has also changed the way musicians create and distribute music. The conversation explores how modern recording technology has removed many traditional gatekeepers and allowed artists to choose between singles, EPs, full-length albums and other formats based on what works for their music.

Tom and Greg dive deep into vinyl and physical media, including the ritual of listening to records and the different ways people connect with music. Tom discusses his own record collection of roughly 1,200 albums, while Greg explains why he has intentionally tried not to let collecting get out of control. Their conversation touches on artists and recordings including Sun Ra, Chopin and Pig Destroyer.

The episode also gets into the business side of being an independent heavy band. Tom and Greg brainstorm unconventional merchandise ideas and discuss how creative merch can become another part of a band's identity. For Voidward, they talk about merchandise that fits the band's progressive psychedelic stoner-metal aesthetic and the potential for custom dugouts through Tokmage.

Ultimately, EP395 is about the freedom to experiment—whether that means extreme metal, jazz interpreted through grind, extended improvisation, unusual release strategies, vinyl collecting or creative merchandise.

Topics Covered:
Voidward • Greg Sheriff • Extreme Metal • Death Metal • Black Metal • Progressive Metal • Double Kick • Blast Beats • Improvisation • Nobility and Death • Jazz Meets Grind • Underground Metal • Holler at Doom • Hufferfest • Legalize Lex • Vinyl Records • Physical Media • Independent Music • Band Merchandise • Psychedelic Stoner Metal • Music Technology

And Now The Band — EP395
Featuring: Greg Sheriff / Voidward
Genres: Extreme Metal / Progressive Metal / Psychedelic Stoner Metal / Experimental Music

#UndergroundMetal #HollerAtDoom #Hufferfest #LegalizeLex #VinylRecords #PhysicalMedia #IndependentMusic #HeavyMusic #MetalPodcast #MusicPodcast

Tom sits down with Hessel and Tomas of Gates of Kiev to talk about the band’s musical journey, their evolution from teenage musicians into a more serious and adventurous project, and the unique sound behind their self titled album.

Gates of Kiev began when Hessel and Tomas were around 18, eventually taking a five-year break before returning with a renewed commitment to the band. Their earliest rehearsals already contained ideas that would eventually become part of “Cosmic Chronograph,” giving a glimpse into how their sound developed over time.

The conversation dives deep into the band's songwriting and performance process. Gates of Kiev often begin with long jam sessions and improvisation, but those initial ideas can evolve dramatically over months of development. Live, they approach their songs as structured improvisations—keeping the framework of the recorded material while allowing each performance to take on its own character.

Tom and the band also discuss creating a huge, layered sound without a traditional guitar player, using keyboards, organ, bass, drums and other textures to build their music. Although Gates of Kiev features intricate studio layering, the band's live shows are driven by intensity, energy and the chemistry between the musicians.

Their music crosses boundaries between progressive rock, garage rock, punk and underground heavy music, something that has helped them connect with audiences outside traditional progressive-rock circles. The band talks about playing Amsterdam's underground scene, performing for younger audiences, and why today's listeners seem increasingly open to musicians who refuse to stay inside one genre.

Hessel and Tomas also reflect on their earliest shows, the painful reality of hearing recordings from those performances, and the importance of continuing to grow rather than settling for what you've already accomplished. They discuss the balance between technical development, creative experimentation and simply keeping music fun.

The addition of bassist Eszl has also opened up new possibilities for Gates of Kiev, including his contribution to the concept behind “Drunkship of the Mice.” The band explains why they intentionally leave some imperfections in their recordings to preserve a raw, human and live feeling rather than chasing sterile perfection.

The conversation also covers vintage equipment, finding the right stage setup, audience reactions, the challenges of performing experimental music, and Gates of Kiev's plans for the future—including their November 11 release show in Amsterdam and their hopes of eventually bringing their music to the United States.

Topics Covered:
Gates of Kiev • Tales of Ion • “Cosmic Chronograph” • “The Drunkship of the Mice” • Progressive Rock • Garage Rock • Punk • Improvisation • Experimental Music • Amsterdam Music Scene • Underground Music • Live Performance • Songwriting • Vintage Equipment • Independent Music

And Now The Band — EP394
Featuring: Gates of Kiev — Hessel & Tomas
Album: Self-Titled
Genre: Progressive / Experimental / Underground Rock

#GatesOfKiev #TalesOfIon #AndNowTheBand #ProgressiveRock #ExperimentalRock #GarageRock #PunkRock #Improvisation #AmsterdamMusic #UndergroundMusic #HeavyMusic #IndependentMusic #ProgressiveMusic #LiveMusic #EmersonLakePalmer #ELP

On EP393 of And Now The Band, Tom sits down with Jon Andre of Hempire to talk about the band's new EP, the story and sounds behind it, physical media, touring, and the challenges of building a heavy music band in today's underground scene.

The new Hempire EP draws inspiration from the USS Indianapolis disaster and the movie Jaws, giving the release a distinctly dark and atmospheric theme. Jon explains how the band incorporated unusual sounds into the recordings, including car crash samples and sonar pings, to help build the atmosphere around the music.

The EP's artwork was created by Hempire's friend Dave Hood, adding another layer to the visual identity of the release.

Jon and Tom also discuss Hempire's plans for physical releases. The band is starting with CDs after looking at the current local market, while holding off on vinyl until there is enough demand to make a pressing worthwhile. A cassette release is also being considered.

The conversation gets into the changing physical-media market, with Tom and Jon discussing how economic conditions have affected record sales while CDs and tapes have seen renewed interest because they remain relatively affordable and easy to store.

Touring is another major focus. Hempire has been building its regional presence, recently purchasing a van to make traveling more manageable, and is looking toward new markets—particularly the Northeast. Jon explains the importance of strategically booking shows and why Hempire is interested in being the middle band on a bill rather than always trying to headline. For a touring band, getting in front of the right audience can matter more than being at the top of the poster.

Hempire is also preparing for an upcoming October run, including a October 24th show at Wild's Last Resort in Whitesburg, Kentucky, as part of the Halloween Hootenanny.

Tom and Jon discuss the importance of younger audiences to the future of live music, how concert experiences change as you get older, and why finding the right balance between comfort and being in the middle of the action becomes increasingly important.

The conversation also travels outside music, with Jon talking about Asheville, North Carolina, outdoor activities, Boone, regional tourism, and the differences between music scenes in places such as North Carolina, Vermont, Maine and Arkansas.

They compare larger festivals like Louder Than Life with smaller community-driven events and discuss why certain regional scenes can thrive even when major touring acts don't regularly visit.

Tom and Jon also talk about Hempire's future, including the possibility of expanding into new territories while maintaining relationships with promoters, venues and audiences they've already built.

From the USS Indianapolis and Jaws-inspired concept behind the new EP to physical media, touring strategy, Asheville's music scene and the realities of reaching new audiences, EP393 is a conversation about where Hempire came from—and where they're going next.

🎙️ And Now The Band — EP393

⚓ Jon Andre — Hempire

🎵 Sealed By The Sea EP

🦈 USS Indianapolis • Jaws • Horror-Inspired Heavy Music

📅 October 24 — Wild's Last Resort, Whitesburg, Kentucky

#Hempire #JonAndre #AndNowTheBand #HempireEP #USSIndianapolis #Jaws #HeavyMusic #Metal #DoomMetal #DeathDoom #UndergroundMetal #KentuckyMetal #AshevilleMusic #WhitesburgKY #HalloweenHootenanny #LouderThanLife #PhysicalMedia #VinylRecords #Cassette #CD #MetalPodcast #MusicPodcast #LouisvilleMusic

On EP392 of And Now The Band, Tom talks with Arms about their upcoming fourth official release, I Wish You Were Down Here With Me, arriving December 4th.

The band takes Tom inside the writing, recording, production and release of the new album, explaining how Arms has evolved from Paul's early solo recordings into a more technical and ambitious full-band project. The writing process began with Michael and Paul, eventually bringing in session drummer Emmett Siglia for the recording before Nick joined the band as their new drummer.

The album represents another step forward for Arms while maintaining the band's commitment to challenging, guitar-driven music.

A major part of the conversation focuses on the physical release of I Wish You Were Down Here With Me. Arms is working with Pirate Press for the vinyl pressing, with pre-orders available at ArmsBlackout.com and shipping planned for early December.

Tom and the band discuss the current challenges of vinyl production, including pressing delays that can stretch from five to seven months or longer. Arms initially ordered 300 records for pre-orders and will determine whether to increase the pressing based on demand and upcoming touring plans. The first pressing will be all black vinyl, with the possibility of special colored editions in the future.

The band also talks about their current live set, which runs approximately 25–27 minutes across five songs, including time for interaction with the crowd. Arms wants to expand its touring, with potential plans for the West Coast and Europe, while dealing with the financial realities of transporting a band across the country or overseas.

Technology and gear are also part of the discussion, including how modern pedalboards and mobile recording equipment have made it easier for musicians to travel lighter without sacrificing sound quality.

Tom and the band talk about favorite venues, including St. Vitus, as well as the importance of venues that genuinely take care of touring bands. They also discuss the realities of operating music venues in New York, including rising rent and regulatory challenges.

The conversation gets into some unexpected musical recommendations, with the band members trading artists and albums including Miles Davis, Boris, Circa Survive, Every Time I Die, Shai Hulud, Hopesfall, Oranssi Pazuzu, and Pallbearer.

One of the deeper conversations revolves around authenticity in recorded and live music. Tom and Paul discuss how click tracks, editing and modern production techniques can sometimes change the relationship between an album and the band's actual live performance. They explore the growing interest in rawer, more genuine forms of music and media, where mistakes and human imperfections aren't necessarily something that needs to be hidden.

Michael also talks about “placebo fuck,” one of his favorite songs from the album, particularly because the technical guitar work became a personal challenge during the writing process.

The discussion eventually turns toward playing in Kentucky, with Tom offering to connect Arms with Metal Monday at Mag Bar, potentially opening another door for the band to bring their music to Louisville.

From vinyl production and touring to guitar-driven songwriting, live performance, music discovery and the continuing push toward more authentic recordings, EP392 is a deep look at where Arms is headed next.

🎙️ And Now The Band — EP392
🎵 Arms — I Wish You Were Down Here With Me
📅 Album Release: December 4
💿 Vinyl Pre-Orders: ArmsBlackout.com
⚡ Progressive / Technical / Heavy Music

#Arms #IWishYouWereDownHereWithMe #AndNowTheBand #ArmsBlackout #HeavyMusic #Metal #TechnicalMetal #ProgressiveMetal #UndergroundMusic #VinylRecords #VinylRelease #IndependentMusic #NYCMetal #StVitus #MetalMonday #MagBar #LouisvilleMusic #EveryTimeIDie #Boris #DoomMetal #MusicPodcast #MetalPodcast

On EP391 of And Now The Band, Tom sits down with members of Masters Ashes to dig deep into the band's album Masters Ashes—a record conceived not simply as a collection of songs, but as a literary work meant to be experienced from beginning to end.

The band explains how the album was structured almost like a book, complete with a beginning, continuous narrative flow, and an ending that functions like an epilogue. Written as a trilogy of songs, Masters Ashes was created from a conceptual standpoint and, according to the band, without expectations about where it might lead. The goal was simply to create music for the love of creating music.

The conversation explores the band's blend of doom metal, death metal and black metal, while maintaining a traditional rock-oriented setup without relying on electronics. Special attention is given to Katie's keyboards, which add another atmospheric dimension to the album without overpowering the core band sound.

A major part of the discussion focuses on the album's recording and production. Six basic tracks were recorded in Afzaals home theater loft, with additional recording taking place at Ryan's studio. The band talks about Ryan's ability to create a massive, epic sound while still maintaining warmth and character through digital recording.

Tom and the band also discuss the changing relationship between analog recording and digital Pro Tools, and how modern digital techniques can still capture the qualities musicians traditionally associate with analog equipment.

The band had particularly positive things to say about working with Ryan, praising his versatility, collaborative approach and ability to bring a different perspective to a recording. Tom compares Ryan's work with other respected producers including Steve McAllister and Billy Anderson, while also discussing Ryan's work with Bad Wires.

The conversation eventually turns to one of the most important questions for any heavy band: How do you capture the feeling of a live performance on an album?

Tom and the band talk about why imperfections, unexpected moments and even mistakes can sometimes make a recording better. They share stories about recordings where something unplanned ultimately became part of the magic, and discuss the importance of stepping away from a song when something isn't working and returning with a fresh perspective.

“Conflict 3” becomes a particular point of discussion, with Jeff identifying it as one of his favorites because of its connection to the band's live performances at Born Free. Tom and Afzaal agree that the song has a particularly strong groove and live energy.

The conversation also gets into the band's approach to playing Masters Ashes live. The album isn't designed around constant touring, and logistics make live performances more complicated. The band has already been offered a festival opportunity for 2028 while exploring possibilities for 2027, but any performances will need to be carefully planned to preserve the quality and character of the music.

There is plenty of gear talk as well, including bass cabinets, 8x10s, 4x10s, 1x15s, potential 2x15 setups, traditional cabinets versus in-ear monitors, and why some musicians still prefer the physical impact and organic stage presence of a real cabinet setup.

Tom and the band also discuss the importance of having an open-minded studio environment, allowing musicians to experiment rather than having someone dictate every detail. That freedom, they explain, helped make the Masters Ashes recording experience particularly rewarding.

🎙️ And Now The Band — EP391
🎵 Masters Ashes — Masters Ashes
⚰️ Doom Metal • Death Metal • Black Metal • Atmospheric Metal
🎚️ Production & Recording • Ryan • Analog vs. Digital • Live Sound

#MastersAshes #AndNowTheBand #DoomMetal #DeathMetal #BlackMetal #DoomDeath #ExtremeMetal #HeavyMusic #UndergroundMetal #ConceptAlbum #AlbumInterview #MetalPodcast #MusicPodcast #Ryan #LouisvilleMusic #HeavyMetal #IndependentMusic #Metal

EP390 of And Now The Band features Matt McGuyer discussing his upcoming album Silver Linings, arriving October 30th on streaming platforms.

Tom and Matt dive into the writing, recording, and production behind the new album, including Matt's collaboration with mixing and Mastering by Mario Quintero of Spotlights. Matt explains how Mario understood the sound he was trying to create and helped turn his musical ideas into mixes that captured the album exactly the way he envisioned it.

At the heart of Silver Linings are deeply personal songs shaped by Matt's experiences as a husband, father, musician, and working professional. With three children and a full-time job with a local street department, Matt talks about finding time to create music while balancing family and everyday responsibilities. He describes many of the songs as essentially "songs to myself"—personal reminders about lessons learned, staying positive, and continuing forward when life getsdifficult.

Matt and Tom also discuss the organic way songs develop, recording music independently, and the differences between creating music alone and working within a band. Matt breaks down his guitar-first songwriting process, recording multiple takes, and the challenges of capturing vocals, drums, andother instrumentation when you're handling much of the recording yourself.

The conversation expands into their shared love of heavy and alternative music, including Hum, Failure, Molly McGuire, Spotlights, Shiner, Electric Hawk, Sweet Cobra, Deftones, Mr. Bungle, and the Melvins. They talk about the importance ofbands connecting with an audience and how a great live performance can turn someone into a lifelong fan. Matt also discusses the possibility of bringing Silver Linings to the stage. He's interested in playing shows in Louisville,Indianapolis, St. Louis, Nashville, and on the East Coast, but finding the right musicians—particularly players who can sing and perform the material live—remains a challenge. Matt explains why he would rather perform with a realband than rely heavily on tracks.

The discussion also touches on the tight-knit regional music community, including Blessed Black, Veilcaste, Crop, Moon Temple, and other local acts, as well as the challenges of balancing music, work, touring, and family life. A new single is planned for early October, followed by the full album on October 30th.

🎙️ And Now The Band EP390 — Matt McGuyer

🎵 Album: Silver Linings

📅Release Date: October 30, 2026

📀 Streaming Release

#MattMcGuyer #SilverLinings #AndNowTheBand #HeavyMusic #AlternativeMusic #Doom#Metal #UndergroundMusic #LouisvilleMusic #LouisvilleKY #MarioQuintero #Spotlights #Hum #Failure #Shiner #MollyMcGuire #Deftones #IndependentMusic#NewMusic #MusicPodcast #HeavyMusicPodcast

On EP389 of And Now The Band, Tom catches up with Arj of The Still Out to discuss the band's relaunch, new music, the challenges of moving forward without co-founder Josh Stoddard, and the next chapter for the band.

Arj talks openly about taking on many of the responsibilities Josh previously handled, including management, promotion and social media, while trying to rebuild The Still Out and continue making music.

The conversation also explores the deeply personal connection between music, grief and memory. Arj discusses how working on the new record has actually helped him feel closer to Josh, often imagining what Josh would think about decisions involving the band. He also talks about Adam Schlesinger of Fountains of Wayne, another musician he considers a mentor whose influence continues even after his passing.

Arj explains why revisiting The Still Out's previous album ‘Crystallized’ can be difficult, particularly songs such as “Last Chapter,” which Josh sang on.

The conversation then moves toward the band's future, including upcoming live performances and the new album. The Still Out will play St. Vitus on September 25th, opening for Drag Talk, followed by a headlining show at Sleepwalk in Brooklyn on November 20th, which will also serve as the band's vinyl release party.

The upcoming record features several notable guests, including Adam Franklin of Swervedriver, Mikey Jones of The Lemonheads, and Jody from Fountains of Wayne.

Arj also discusses the song “Let the Listeners Hurt” and the band's plans for a music video, while explaining their efforts to book more shows and find opening slots on upcoming tours.

Tom and Arj talk about how younger listeners are discovering music differently, with today's audiences often moving freely between genres. They discuss everything from post-rock and alternative music to older underground bands being rediscovered through platforms such as TikTok.

The conversation also looks at the evolution of music distribution—from tape trading and physical media to streaming and social media—and how modern technology has changed the way listeners discover music.

From The Still Out's new chapter and the emotional process of continuing without Josh to new music, vinyl, touring and the changing way people discover bands, EP389 is an honest conversation about music, memory, loss and moving forward.

EP389 Topics: The Still Out • Arj • Josh Stoddard • Crystallized • Let the Listeners Hurt • Adam Franklin • Swervedriver • Mikey Jones • The Lemonheads • Fountains of Wayne • Adam Schlesinger • Alternative Rock • Post-Rock • Underground Music • Vinyl • Music Discovery • TikTok • Streaming • St. Vitus • Sleepwalk Brooklyn • New Music

Subscribe to And Now The Band for more conversations with musicians, artists and people shaping the independent music scene.

#TheStillOut #Arj #JoshStoddard #Uncrystallized #Swervedriver #FountainsOfWayne #AdamSchlesinger #TheLemonheads #AlternativeRock #PostRock #IndependentMusic #Vinyl #NewMusic #UndergroundMusic #AndNowTheBand #MusicInterview

On EP388 of And Now The Band, Tom catches up with Chris of Mother of Graves to discuss the band's upcoming album ‘The Light That Keeps Us,’ releasing October 16th on Profound Lore Records.

Chris talks about the band's songwriting philosophy, their evolution as a band, and the process of building an album that keeps listeners engaged from beginning to end. Rather than relying on overly long songs, Mother of Graves focuses on creating music with peaks, valleys, atmosphere and momentum, with tracks generally ranging from 4½ to 8 minutes.

The band spent roughly two years refining around a dozen songs before deciding on the final tracklist. Chris explains how some riffs had been sitting around for years before finally finding their place on the new record.

One of the standout examples is “Eventide Angel,” which developed when Chris took a riff from an earlier song and transformed it into a recurring guitar theme. The result added a distinct gothic quality to the track.

Chris and Tom also discuss the increased use of piano on The Light That Keeps Us. While piano had appeared in Mother of Graves' music previously, this album features it much more intentionally. Brandon contributed ideas that were brought to life by Ben, helping reinforce the album's darker and more somber atmosphere.

Tom particularly highlights the opening track “Somber” and the way its piano bookends help establish the album's mood.

The conversation also explores whether Mother of Graves could eventually perform the entire album live. Chris explains the technical challenges involved, particularly with the band's complex guitar arrangements, and why they want to test songs in a live environment before committing to a full-album performance.

Chris also reveals the band's album release show on November 21st at Black Circle in Indianapolis, featuring The Secrecy, Veilcast and Avernus.

The discussion touches on the current underground metal scene, including seeing Carrion perform and the band's technical musicianship, as well as the excitement of seeing heavy music receive attention from publications such as New Noise and Decibel.

Chris also names “Wingless Soul” as one of his favorite tracks on the album, explaining how a guitar riff he'd been developing for years finally found its perfect home.

The band worked carefully on the album's sequencing and kept the overall runtime around 45 minutes, helping preserve the sound quality of the vinyl release. Physical editions include black, green marble, white and gold-speckled vinyl.

From songwriting and riffs to piano, gothic atmosphere, live performance and vinyl, EP388 takes a deep look at the making of Mother of Graves' ‘The Light That Keeps Us.’

‘The Light That Keeps Us’ — October 16th, 2026 — Profound Lore Records

EP388 Topics: Mother of Graves • The Light That Keeps Us • Profound Lore Records • Chris • Somber • Eventide Angel • Wingless Soul • Dark Metal • Gothic Metal • Doom Metal • Death Metal • Songwriting • Metal Recording • Piano in Metal • Vinyl • Black Circle Indianapolis • Carrion • Veilcast • Vernis • New Noise • Decibel

Subscribe to And Now The Band for more conversations with the musicians and artists shaping heavy music.

#MotherOfGraves #TheLightThatKeepsUs #ProfoundLoreRecords #DarkMetal #GothicMetal #DoomMetal #DeathMetal #HeavyMetal #Metal #UndergroundMetal #Songwriting #Vinyl #IndianapolisMetal #Carrion #Veilcast #AndNowTheBand #MetalInterview

After 20 years, Shabti is still evolving.

On EP387 of And Now The Band, Tom sits down with Rob of Shabti for a wide-ranging conversation about the band's two-decade musical journey, black metal influences, songwriting, recording, independent releases, physical media and the realities of being an underground metal band.

Rob explains how Shabti began with his vision influenced by atmospheric black metal, eventually evolving from earlier thrash influences into a more complex and aggressive sound. The conversation explores the importance of musical evolution and how a band can develop naturally without losing its identity.

Rob also discusses Shabti's latest album, which was written over several years, with some material dating back to before the COVID hiatus. He talks about the recording process, guitar re-amping, vocals and working with different studios and engineers.

One of the most interesting topics is Shabti's DIY recording philosophy. Instead of relying on one producer or studio for everything, Rob takes an a la carte approach, working with different people for tracking, mixing and mastering based on their expertise and compatibility with the band's music.

The conversation also covers working with Colin Marston on mastering, recording at Acadia Recording, mixing in North Carolina and the challenge of becoming “nose blind” to your own music. Rob explains why stepping away from a recording can be essential before making final decisions.

Tom and Rob also discuss how the music industry has changed. Modern technology and online distribution have made it easier for underground bands to release music independently without relying as heavily on traditional record labels. They also talk about the renewed popularity of cassettes and physical media, including Shabti's limited cassette release through Contem Light.

Rob shares some of the albums that shaped his musical journey, including Neurosis – Times of Grace, Emperor – Anthems to the Welkin at Dusk, Emperor – In the Nightside Eclipse, and The Cure – Pornography.

The conversation eventually moves into the modern metal live experience, including Cannibal Corpse, Mayhem, Gorguts and Blood Incantation, and the importance of learning from experienced musicians.

With Shabti's drummer leaving the band, Rob discusses the band's next steps, including finding a new drummer, potentially touring to support the current album, or beginning work on the next release.

From atmospheric black metal and Emperor to DIY recording, independent releases, cassettes and the future of Shabti, EP387 is a deep dive into the evolution of an underground metal band.

EP387 Topics: Shabti • Rob of Shabti • Black Metal • Atmospheric Black Metal • Underground Metal • DIY Music • Independent Releases • Metal Recording • Colin Marston • Emperor • Neurosis • The Cure • Cannibal Corpse • Mayhem • Gorguts • Blood Incantation • Cassettes • Physical Media • Metal Production

Subscribe to And Now The Band for more conversations with the musicians and artists building the underground heavy music community.

#Shabti #BlackMetal #AtmosphericBlackMetal #ExtremeMetal #UndergroundMetal #Metal #Emperor #Neurosis #Gorguts #BloodIncantation #CannibalCorpse #DIYMetal #IndependentMusic #MetalInterview #AndNowTheBand

On EP386 of And Now The Band, Tom sits down with Gavin Zollo to discuss the modern music industry, independent releases, record labels, underground music and the creation of In the Key of Doom, a new doom-focused festival built around community rather than corporate festival culture.Gavin and Tom begin with a discussion about how dramatically technology has changed the music business. Artists now have access to recording, distribution, promotion and direct-to-fan platforms that make it possible to release music independently without relying entirely on traditional record labels.They acknowledge that labels can still provide valuable resources, but the conversation focuses on how independent artists can use self-releasing, PR companies and modern digital platforms to build audiences while maintaining greater control over their music.The conversation then moves into the underground festival world and Gavin's philosophy behind In the Key of Doom.Rather than immediately trying to build a massive festival, Gavin chose to start with a two-day event in a 450-capacity Brooklyn venue, following his production company's philosophy of “big loud music in small dark rooms.” The goal is to create an intimate environment where the music, bands and audience remain at the center of the experience.Gavin talks about the importance of keeping ticket prices reasonable, paying bands fairly, using local gear and artwork, providing quality food and hospitality, and keeping as much money as possible circulating within the underground music community.He also explains why he considers himself a producer rather than simply a promoter, and how his approach to festivals is based on creating a memorable experience for both musicians and fans.The festival's concept originated with Gavin's personal playlist “Meditations in the Key of Doom,” which became the inspiration for Friday night's Meditations portion of the festival. The lineup includes bands such as Bongripper, while the second night, Celebrations, provides a contrasting experience built around shorter and faster songs.Gavin also discusses the challenges of festival curation, including losing High Desert Queen because of medical issues and bringing in Heavy Temple as a replacement. Rather than booking bands strictly according to popularity, Gavin describes building the lineup around sonic progression, creating an experience that introduces audiences to bands they may not already know.The discussion covers Insomniac, Howling Giant, Spotlights, Bongripper, Heavy Temple and other bands connected to the underground doom, stoner, sludge and doomgaze communities.Tom and Gavin also talk about the importance of experienced local organizers and consultants, including Gavin's decision to bring in Ryan, who works with Ripple Fest. They discuss festival logistics, backline equipment, minimizing gear changes and maximizing the amount of time bands actually spend playing.The inaugural In the Key of Doom festival is scheduled for October 2–3 at The Meadows in Brooklyn, with the industrial setting allowing bands to play at high volume without the typical outdoor festival dB restrictions discussed in the interview.Gavin also talks about the realities of selling festival tickets in the post-COVID era, including the trend toward last-minute ticket purchases and the difficulty of relying on early presales to determine whether an underground event will break even.From independent music and record labels to doom metal, festival production, artist compensation, venue selection and building community, EP386 goes behind the scenes with someone actively working to create a different kind of underground music experience.

BRAT is back with a new album, a new creative approach, and bigger ambitions.

On EP385 of And Now The Band, Tom sits down with Liz and Brenner of BRAT to talk about the band's upcoming album ‘Manslayer,’ arriving September 25 through Prosthetic Records.

Liz discusses taking over lyric writing for the new record and how stepping into that role created a new creative outlet while allowing her to bring more of her own perspective into BRAT's music. The band also talks about evolving their sound on Manslayer, adding more catchy, participatory elements while still maintaining the heaviness that has become part of BRAT's identity.

The conversation dives deep into the band's influences and the importance of touring. They talk about Cannibal Corpse, Six Feet Under, EyeHateGod, Crowbar, Acid Bath, Goatwhore and the ways different bands and tours have influenced BRAT's songwriting.

One of the most interesting examples comes from “Social Grace,” where Brenner explains how a riff was inspired by BRAT's experience touring with EyeHateGod. Rather than simply copying their influences, BRAT approaches these musical homages as a way of acknowledging the bands that have helped shape them—while still trying to make the ideas their own.

Tom, Liz and Brenner also discuss the resurgence of the New Orleans metal scene, particularly the renewed attention being given to legendary bands like EyeHateGod, Crowbar and Acid Bath. They talk about how younger audiences are discovering these bands through newer platforms such as TikTok and why the work ethic of New Orleans musicians has helped these bands remain relevant decades later.

Touring becomes another major topic, including memorable tours with Revocation and Of Sulfur, the unique atmosphere of Nekrogoblikon, concert etiquette, taking care of pets while on the road, and some of the venues and bands BRAT hopes to share stages with in the future.

Liz and Brenner talk about dream tours with bands including Metallica, Cannibal Corpse and Dying Fetus, as well as the significance of playing St. Vitus in New York during BRAT's early touring years.The band has plenty more touring ahead, including shows with Gwar, a headlining Manslayer tour, and a six-week European tour with Napalm Death that will take BRAT into several countries they haven't previously visited.

BRAT will also celebrate the release of Manslayer with an album release show at the New Orleans Jazz Museum, featuring local support from Joystick and Fiend. The show marks what the band describes as the first metal show at the venue.Looking further ahead, Liz and Brenner discuss BRAT's ambitions to headline larger venues and reach new audiences in South America, Southeast Asia and Australia.

From Manslayer and songwriting to New Orleans metal, touring, influences, dream lineups and BRAT's future, this is a deep conversation with one of the most exciting bands coming out of the underground heavy music scene.

EP385 Topics

BRAT

Liz and Brenner

Manslayer

Prosthetic Records

New BRAT album

BRAT songwriting

Liz taking over lyric writing

BRAT's evolving sound

Catchy and participatory songwriting

Cannibal Corpse

Six Feet Under

EyeHateGod

Crowbar

Acid Bath

Goatwhore

New Orleans metal

New Orleans underground music

TikTok and discovering older metal

Touring with Revocation

Ov Sulfur Nekrogoblikon

Concert etiquette

BRAT's touring experiences

St. Vitus

Gwar

Napalm Death

European touring

Metallica

Dying Fetus

BRAT's future touring goals

South America

Southeast Asia

Australia

Manslayer album release show

New Orleans Jazz Museum

Listen, subscribe and follow And Now The Band for more conversations with the artists pushing heavy music forward.

#BRAT #BRATBand #Manslayer #LizBRAT #BrennerBRAT #ProstheticRecords #NewOrleansMetal #DeathMetal #Grindcore #Metal #HeavyMetal #ExtremeMetal #NapalmDeath #CannibalCorpse #AcidBath #Crowbar #Ihategod #Goatwhore #AndNowTheBand #MetalInterview

Peter Tägtgren has spent decades building one of the most recognizable careers in extreme metal — from Hypocrisy and The Abyss to his industrial-metal project PAIN — and on EP384 of And Now The Band, Peter joins Tom for a wide-ranging conversation about music, family, creativity, recording and what comes next.

Peter talks about his new single “I Don’t Give a Fukk,” explaining the personal meaning behind the song and why it isn't intended as a political statement. The conversation also explores how the internet and modern technology have changed the way people receive information compared with the 1980s and '90s.

One of the most personal parts of the interview is Peter's discussion of his son Sebastian Tägtgren, who joined PAIN as the band's drummer at 18. Peter talks about watching his son develop as a musician, Sebastian's contributions to the heavier elements of PAIN's recent material, and what it's like having a father-son partnership inside the band.

Peter also reveals his plans for a new song and video every six to eight weeks, with upcoming tracks featuring guest musicians. Rather than following the traditional album-release cycle, Peter is embracing a singles-driven approach and plans to release multiple standalone collaborations over the coming year.

Tom and Peter also discuss the possibility of putting some of these standalone songs onto 7-inch vinyl, Peter's massive KISS singles collection, the changing landscape of music promotion, and the differences between creating and promoting metal music in the past versus today.

Peter opens up about his recording process as well, including his upcoming work , why he limits long studio sessions, taking breaks to protect the quality of the work, and why focusing on one band at a time helps him stay creatively focused.

From Hypocrisy to PAIN, from extreme metal to industrial music, from fatherhood to the future of music releases, EP384 offers a personal look at one of metal's most prolific musicians, producers and songwriters.

EP384 – Peter Tägtgren | PAIN | Hypocrisy | New Music | Sebastian Tägtgren | Metal

• Peter Tägtgren's career with PAIN and Hypocrisy
• The Abyss and Peter's early metal career
• New single “I Don't Give a Fuck”
• The meaning behind Peter's new song
• Music and politics
• The internet and changing information landscape
• Peter and Sebastian Tägtgren
• Sebastian joining PAIN at 18
• Father and son making music together
• Songwriting and PAIN's heavier direction
• Peter's new singles strategy
• Releasing music every 6–8 weeks
• Collaborations and guest musicians
• Standalone singles vs. traditional albums
• 7-inch vinyl releases
• Peter's KISS singles collection
• Recording with Elevati
• Peter's studio philosophy
• Taking breaks during long recording sessions
• The evolution of music promotion
• PAIN and Hypocrisy
• The future of metal music

Subscribe to And Now The Band for more interviews with the musicians, producers, artists and people shaping heavy music.

#PeterTagtgren #PAIN #Hypocrisy #SebastianTagtgren #IndustrialMetal #DeathMetal #SwedishMetal #HeavyMetal #Metal #NewMusic #AndNowTheBand #MetalInterview #ExtremeMetal #TheAbyss

On this episode of And Now The Band, Tom sits down with Early Moods to talk about their highly anticipated new album, “Ready for the Grave,” and the journey that has taken the band through three albums, international touring, festivals, and the ever-evolving world of heavy music.

The band breaks down the writing and recording process behind Ready for the Grave, including some of their favorite tracks such as “Ashes of the Damned,” “Eternal Grief,” and the title track. They discuss how their songwriting process has developed while maintaining the core identity of Early Moods and what makes this new record different from their previous releases.

The conversation also dives deep into doom metal, heavy rock, touring, vinyl, physical media, music discovery, and the importance of playing live. Early Moods discuss their upcoming European tour, including stops across Germany, Belgium, Switzerland, Italy, Denmark, and Budapest, as well as plans for future U.S. touring.

Tom and the band also talk about the modern festival landscape, from major events like Hellfest and Maryland Deathfest to smaller festivals and underground gatherings that continue to keep heavy music thriving.

There’s plenty of discussion about the Kentucky and Louisville music scene, vinyl collecting, DIY touring, memorable concerts, and the bands that continue to inspire Early Moods.

If you're into doom metal, stoner metal, heavy psych, classic heavy rock, underground metal, vinyl collecting, and discovering new bands, this is an episode you don't want to miss.

🔥 EARLY MOODS – READY FOR THE GRAVE
📅 Album Release: September 18 on Easy Rider Records

Topics Covered:
• Early Moods – Ready for the Grave
• “Ashes of the Damned”
• “Eternal Grief”
• “Ready for the Grave”
• Doom Metal & Heavy Rock
• Songwriting & Band Evolution
• European Touring
• Metal Festivals
• Maryland Deathfest
• Hellfest
• Vinyl & Physical Music
• DIY Touring
• Kentucky & Louisville Heavy Music
• Underground Metal Community
• Favorite Bands & Music Recommendations

🎧 Listen to And Now The Band wherever you get your podcasts.

🎥 Subscribe to And Now The Band on YouTube for more interviews with musicians, bands, producers, and people shaping the heavy music underground.

#EarlyMoods #ReadyForTheGrave #DoomMetal #HeavyMetal #StonerMetal #HeavyRock #MetalInterview #AndNowTheBand #UndergroundMetal #NewMusic #MetalPodcast #Vinyl #Doom #HeavyPsych #LouisvilleMusic

In this episode of And Now The Band, Tom sits down with Colin Marston of Krallice for an in-depth conversation about Krallice's evolving sound, their return to a two-guitar lineup, their latest album, and the band's approach to live performance after more than 20 years of creating experimental extreme music.

Colin explains why Krallice moved away from their previous synth-heavy live setup and returned to two guitars, allowing the band to bring older and newer material together in the same live set. He also reveals how the band approaches their upcoming tours, including their unusual strategy of preparing more songs than they need and sometimes deciding the setlist only minutes before taking the stage.

The conversation explores spontaneity, mistakes, improvisation, creativity and authenticity in live music. Colin explains why he isn't interested in making performances—or recordings—perfect, arguing that mistakes and unexpected moments can make music feel more alive.

Tom and Colin also discuss Krallice's songwriting and production philosophy, including Colin's excitement about two particular songs from the new album and the highly collaborative process behind “Unceasing Path.”

The episode also looks ahead to Krallice's month-long European tour, their successful U.S. tour opening for Blood Incantation, as well as the band's October 5th warm-up show at St. Vitus in New York.

• Krallice's return to a two-guitar lineup
• Why the band moved away from their synth-heavy live setup
• Mixing new and classic Krallice songs in live sets
• 90-minute sets and constantly changing setlists
• Why Krallice sometimes chooses songs just minutes before a show
• The importance of spontaneity in live music
• Why Colin embraces mistakes and imperfections
• Krallice's approach to recording and mixing
• Colin's favorite songs from the new album
• The collaborative creation of “Unceasing Path”
• Revisiting material from Krallice's first four albums
• Playing a song from Demonic Wealth that was never intended for the stage
• Krallice's 20+ year musical journey
• Touring with Blood Incantation
• The challenges of promoting underground music in the social-media era
• Krallice's upcoming European tour
• The October 5th St. Vitus warm-up show
• The difference between playing music and being a touring band

Krallice isn't a band built around simply replaying the past. This conversation explores how a band can continue challenging itself, stay unpredictable onstage, and keep extreme music feeling alive after two decades.

#Krallice #ColinMarston #ExperimentalMetal #BlackMetal #AvantGardeMetal #ExtremeMetal #ProgressiveMetal #UndergroundMetal #NewMusic #MetalPodcast #MusicInterview #BloodIncantation #DemonicWealth #StVitus #AndNowTheBand #HeavyMusic

Krallice, Colin Marston, Krallice interview, Colin Marston interview, Krallice new album, Krallice new music, experimental black metal, avant garde metal, extreme metal, progressive metal, experimental metal, black metal, underground metal, Krallice tour, Krallice Europe tour, Krallice St Vitus, Blood Incantation, Demonic Wealth, Unceasing Path, metal podcast, extreme music podcast, heavy music interview, experimental music, New York metal, And Now The Band

In this episode of And Now The Band, Tom sits down with the Jasons of Molly McGuire to talk about the band's 30th anniversary of Lime, the history of Molly McGuire, their new album Disaster in Reverse, and the experiences that shaped the Jason's musical career.They discuss returning to the Molly McGuire material after years away and how surprisingly natural the songs felt when the band reunited. The conversation also dives into the band's new record, and the recording process with produced by Sisters and engineered by Paul Malinowski of Shiner and Mario Quintero of Spotlights/MollyMcGuire/Sisters.The episode goes well beyond the reunion, covering hardcore punk, Bad Brains, underground music, classic rock, songwriting, recording, live performance, and the importance of authenticity when performing another artist's material.We also share some wild stories about recording sessions, unexpected sounds captured in the studio, and their experiences with psychedelic culture and live music. They discuss what makes certain records timeless and why less-polished recordings can sometimes have more impact than heavily produced modern music.The Jasons also talks about what's next for Molly McGuire, including the band's upcoming October shows and the first single from the new album, “It's Not For You.”In This Episode:Molly McGuire's 30th anniversary of LimeRevisiting the band's classic materialThe new album Disaster in ReverseThe story behind the title Disaster in ReverseRecording with Paul Malinowski and Mario QuinteroThe first single, “It's Not For You”Bad Brains and the hardcore punk influenceUnderground music vs. mainstream productionSongwriting and recording techniquesPerforming cover songs authenticallyLed Zeppelin, Rainbow and classic rockStudio accidents and unexpected recordingsTouring and upcoming October showsThe evolution of Molly McGuireThe importance of staying true to your musical identityIf you're into heavy music, hardcore punk, underground metal, classic rock, independent music, vinyl, and the stories behind the bands you love, this episode is for you.Subscribe to And Now The Band for more conversations with musicians, producers, artists, and people working behind the scenes in heavy music.#MollyMcGuire #DisasterInReverse #ItsNotForYou #HardcorePunk #BadBrains #PunkRock #HeavyMusic #Metal #UndergroundMusic #NewMusic #MusicInterview #AndNowTheBand #LouisvilleMusic #HeavyMetalPodcast

Jeff Golden of Blood of the Earth and Six Feet Under joins Tom for EP380 of And Now The Band!

While Six Feet Under was on tour, the band stopped in Louisville at the Whirling Tiger, giving Tom the opportunity to hang out with Jeff before the show. After grabbing some food and running around Louisville, the two sat down for a conversation about Blood of the Earth, Six Feet Under, death metal, music history, and what's coming next.

Jeff goes deep on the story behind Blood of the Earth, including the long-awaited addition of J Costa of Thy Will Be Done on vocals. Jeff explains how long he and J had been discussing the project and why bringing it to life has ultimately been roughly 10 years in the making.

The conversation also explores Jeff's introduction to death metal, the influences that helped shape his musical journey, and how those experiences eventually contributed to Blood of the Earth's sound.

Jeff also talks about opening Lucky 13 in Tampa, what fans can expect from the new venture, and the work involved in creating a space for the music community.

And of course, Tom and Jeff discuss Six Feet Under's current tour, including the band's extensive touring schedule and their plans to take the music around the world.

• Jeff Golden's work with Blood of the Earth
• Jeff's time with Six Feet Under
• The story behind J Costa joining Blood of the Earth
• Why Blood of the Earth has been 10 years in the making
• J Costa's crushing vocal performance
• Jeff's introduction to death metal
• The bands and music that influenced Jeff
• Blood of the Earth's development
• Opening Lucky 13 in Tampa
• Building a venue and music community
• Six Feet Under's current tour
• Touring around the world
• Life on the road
• Louisville's Whirling Tiger
• The underground death metal community
• What's next for Blood of the Earth

If you're into death metal, Six Feet Under, Thy Will Be Done, underground metal, extreme vocals, touring musicians, and new heavy music, this is an episode you don't want to miss.

Subscribe to And Now The Band for more conversations with the musicians, artists, producers, promoters, and people working behind the scenes in heavy music.

🔥 In This Episode: