After Melbourne’s To Octavia released their groove laden track ‘They Tell Me They’re With Me’ in early 2020 I felt for sure that it was going to be their year. I saw them live when they supported The Brave, Sleep Talk and Bad/Love and was blown away. Then Covid hit…..

But….. they are back!!

‘The Sound Of Rain’ is just as, if not more, groove filled than TTMTWM. I love how To Octavia’s sound simultaneously makes you want to dance and mosh which isn’t a bad dilemma to have if I’m honest.

But wait there is more…..

The band have also announced their sophomore EP ‘Somewhere in a World, Not of the Dream’ which will hit our ears on Friday 16th July.

A shift in the line-up and some time away to perfect their craft has culminated in the bands punchiest release to date. Produced, mixed and mastered by Chris Lalic (Windwaker), the track explores the turmoil involved in ending a co-dependent relationship and how hard it can be on both parties to try and move on.

Colin Jeffs joined the team for the music video, filming directing and editing the visuals with added assistance by Jackson BentleyTy Van Haren and Ed Bellamy. The music clip takes place across an eclectic array of locations, from an empty arcade and a bowling alley to a room comprised of neon lights, winding vines and a bath tub filled with plastic balls – perfectly capturing the bands eccentric and diverse persona.

Having recently wrapped up a couple of support shows with Thornhill and Bloom, To Octavia have accompanied the brand new single with the announcement of their own headline show to celebrate the single release and to showcase their new sound. Inertia and The Last Martyr will play support for the band at Cherry Bar on Friday June 4. Tickets here!


“In my darkest moments, I wrote a song about hope and perseverance.” 
Igloo Zoo triumphantly return with ‘Through The Night’. 

I first discovered Igloo Zoo back in 2019 when they released Light I Sound I Dimensions (which is a must listen album). After dropping their debut album Igloo Zoo used the 2020 lockdown to their advantage, recruiting new band members in the form of drummer Jack Barrueto and guitarist Josh Debien and writing and releasing one-off single ‘Psycho’ in September 2020. Things then took a bad turn.

“Just after we finished Psycho, I got the shingles and found myself in a lot of pain” says founding-member and vocalist Shawn Mayer. “I wasn’t able to function normally for several weeks.” 

The underlying concept for ‘Through The Night’ was crafted in these darker moments, Mayer said, “It was quite debilitating. All I could do is lay in bed and write music on my laptop. I kept telling myself to ride through the pain and in time it will get better which found its home as the theme of the song.”

During the first weeks of recovery was where the song took shape with the whole band contributing to the writing process. “I think as a band we’re really starting to find our sound,” said Debien“ – “and this song is a great example of our next evolution.” Barrueto adds, “I’m really excited for people to hear our vision come to life, somewhere between arena rock, metal and djent with some more psychedelic colourful moments. It’s a fun combination.”


The new and reformed Melbourne metalcore outfit Villa Morta are debuting their brutal sound and inspired vision with brand new single “Cryptex“. “Cryptex” is the first to drop from upcoming ‘Subvert‘ EP out July 23 and welcomes a physical journey to seek answers and reap a reward.

“Cryptex” joins the big leagues taking mix and mastering credits from Lance Prenc (Alpha WolfPolarisGravemind), teaming up with Colin Jeffs for a dark and inquisitive film clip to compliment the new single.

Villa Morta also revealed details of a physical cryptex mission, encouraging listeners to crack the cryptex code using hints from the music video and unlocking the physical box kept at locations in Brisbane, Melbourne, Sydney, Adelaide and Tasmania. The objective of the hunt is to highlight the bands core mantra and the ideals behind “Cryptex” – that Villa Morta don’t have all the answers to the questions they pose, but they’re still searching, and the search can be just as rewarding and just as important.

Villa Morta guitarist, vocalist and creative mastermind Masa Myer explains: “Cryptex is a comment on religion and the people who are obsessed and consumed by a final answer rather than the journey and the mystery of the never ending unknown.

Josh Morrissy (vocals), Masa Myer (guitar/vocals), Tom Clarke (drums) and Thomas Campbell (bass) are the quartet that make up Villa Morta. Villa meaning house and Morta meaning death, signifying in this sense a spiritual home and a place we find ourselves when we die. The members have found inspiration and influence through a fascination with the mysteries of life. Forthcoming EP ‘Subvert’ explores these themes, encouraging listeners to question the paradigms that govern those and the world around us.

Villa Morta intend to continue exploring these themes and ideas in their message and vision, while in conjunction pushing their musical sound into new territories.


Sunbound are:

Tristan Brouwer – Vocals

Jordan Roe – Guitar

Joseph Floyd – Bass

Liam McLaren – Drums

FFO: Periphery, Monuments, Void of Vision, Diamond Construct, Northlane.

“Stillpoint is finding a place within your mind that is quiet”.

Newcomers Sunbound are releasing their latest single Stillpoint tomorrow. From the build-up of the opening riff that lays the foundation to unleash some damn insane vocals, the absolute relentless drumming and the distorted guitar goodness, Sunbound have given the listener a lot to take in. Accompanying the single the band are releasing a music clip which you can watch early here:

Tristan and Jordan sat down with me to talk about Stillpoint.

Holy shit boys!! After ‘Walls’ this was not what I thought I was going to hear…

Jordan:  That is definitely the reaction we are hoping to get especially because Walls was more of a positive, uplifting song.

Tristan: We were actually just talking about it too with the songs, you didn’t really get a chance to hear the context in-between,  there is definitely levels to it but you kind of just heard both the extreme ends.

Haha yeah there is no middle! It’s more we can do this and we can do THIS!

Tristan: There is defiantly a middle.

So ‘Stillpoint’ is your third single.?

Jordan: Yes. It’s our third single.

So I need to ask, are you guys fans of Periphery?


When I listened the first time I was like yep I can hear influences from Make Them Suffer, Northlane and Void of Vision. The second time I listened to it I was like nope this is very much Periphery style.

Jordan: We all listen to a lot of Australian metalcore, we are all big fans of bands like VoV, Northlane, Alpha Wolf so I feel that quite a bit of that inspiration shines through. But Periphery definitely has always been a core influence for the band.

Lyrically it was very Peripheryish (here’s a new word for you!)

Jordan: Yep

Tristan: I like Michael Jackson too.

Haha. There is nothing wrong with having a wide variety of influences. I love the way the song builds up at the beginning.

Tristan: Yeah when Roe(Jordan) first played that riff it was one of those things that you immediately hear in your head and you think ‘Yep that’s definitely how it’s going to go’.

Jordan: The intro riff that you hear, that is actually a riff that I have held onto for a little while, it’s a riff that I would just play whenever I picked up the guitar. I literally played it to Tristan one day not long after I joined the band and he was like that’s awesome play it again. That’s how the song pretty much started coming about, then we really had the chance to flesh it out from there. Obviously Tristan, I think, has definitely been the main driving force behind the song in getting at least the main demo down.

Tristan: The arrangements and things like that. A lot of our songs start off digitally. I do a lot of writing with midi and stuff like that which I put together in a piano roll, then the guys can transpose it on the guitars. Then we go from there, they obviously add their part because I am not a guitarist. Sometimes I might make something that is a little bit unrealistic!

I need you to play this!!

Tristan: It ends up working out.

How did Sunbound come about?

Tristan: Where do I even start with that one? It started around three years ago, probably 2018, with our old guitarist Jordan Kasper. It just started with the two of us writing, we weren’t even fully serious at the time. We had been in a lot of bands in the past and we kind of got a bit burnt out from it. A lot of the members in the band were actually from a previous band. We all knew each other in high school. We started hitting up members one by one and it grew from there. It came together pretty organically at the start.

Jordan: I came to the band pretty late, I joined in 2019. I was playing in a metalcore band for a few years, same thing here I got very burnt out. I joined Sunbound while I was still in the other band simply because I found it to be something new and fresh. It is something that I have had creative input in from the get-go, as soon as I joined the band I had an equal input on everything. I’ve never really had that in previous bands. Sunbound was a fresh experience for me. Not long after I joined Tristan came up with the original idea for Walls.

Tristan: That was during lockdown. That’s why when you watch the video we are all recording separately.

Jordan: Yeah so I joined in late 2019 and we did up Walls not long after lockdown, so early 2020. We all did our parts separately and sent it to Tristan who is the engineer behind the sound. He does all the mixing and mastering but we all do our own production. I generally record from home.

Tristan: Yeah we are quite anti-social when it comes to that!

There’s no band bonding!

Tristan: I don’t want people coming to my house (laughs)

Jordan: We do some group recording sessions; we have to get back into it.  The guys had a lot of songs already done when I joined the band, well not done but they had a lot of demos.

Tristan: There is a big chunk in the archives.

Jordan: Yeah we still have so many, there’s just too many.

Tristan: Let’s just say that we have more music after this.

Have you had a chance to play any gigs yet?

Jordan: We rehearse together very frequently and we possibly have a gig lined up, it’s still all in the air at the moment.

You said you listen to a lot of Australian metalcore, what other music inspires you?

Jordan: It’s a very wide array of influences. At the moment it’s definitely a lot of modern metal or djent. We listen to Monuments.

Tristan: Spiritbox is a band that has been making a lot of noise lately too.

Jordan: They are definitely a huge influence on us.

Tristan: There are also a lot of indirect influences too. I listen to a lot of hip-hop and 80’s music. You will hear some 80’s influence in future songs. That will poke it’s head out.

Jordan: As a guitarist I am pretty big on thrash metal and death metal. I love deathcore and metalcore. When it comes to what I bring to the band my biggest influences would be Void of Vision, I love their riffs. Diamond Construct is a big one for me. They have such a big sound.

Tristan: They are part of the reason that we use whammy’s.

Jordan: Yeah the Digitech whammy. I think that band and Alpha Wolf were two.

Tristan: We started with drop pedals because we change tuning from song to song, so we just use the whammy pedal to tune up or down. But we have started incorporating a lot more of the um..

Jordan: Actual high pitch sort of….

Tristan actually gives me a vocal demo!

Jordan: Yeah that kind of thing (laughs)

Tristan: The Tom Morello type squeal. Karnivool is another big one too.

Jordan: I think with Sunbound there has always been a lot of prog influence. Big fans of Karnivool. TesserAct, Caligula’s Horse is another big one.

Tristan: Northlane’s new sound has also been another influence.

You can hear that.

Jordan: Alien was a pretty big game changer for me personally. I remember hearing that album and just going WOW! Not really from a guitarist point of view but from a song writing and composition point of view. That album has so much depth.

Tristan: The production on it is absolutely insane. I’m pretty sure Nolly mixed it.

Yeah he did. He did Clockwork too. They are recording at the moment and I am very keen to see what we get.

Tristan: You can’t beat Nolly hey. He is that good that he left Periphery with a sound that they can’t replace. He’s kind of screwed them in a way, they can’t replace him now (laughs). Whenever you hear something new from Periphery it’s surprising but not surprising.

Jordan: I think a lot of their versatility comes from having multiple song writers too. Every member of that band is a song writer and they all bring something very different to the table. Like Misha, he doesn’t know music theory in any way, he just goes off feeling but he writes some really, really heavy and really good riffs.

Look at Clear, that is a classic example of how good they are. I love that EP and the concept behind it. I am also the biggest Matt Halpern simp, I could watch him drum for days!

Tristan: You can tell he has a lot of jazz influence in his playing. At least with some of the fills and stuff that he does, he’s incredible. He has so much groove. He commands that kit really well.

We talked about how diverse Periphery are as a business and the products that they produce.

Tristan: I am a sucker for that market.

Jordan: Honestly I think this whole band is probably built off Periphery products!! Seriously, I personally use Horizon strings which is Misha’s. I don’t have any Precision pedals but we get drum samples.

Tristan: What are you talking about they are real drums bro!! They are real drums!! Our drummer is a machine, he’s a weapon.

I did notice that!

Tristan: He will find a way to wiggle polyrhythms and all kinds of stuff that you didn’t even think was possible.

Jordan: We have some other stuff coming that messes with time signatures. We don’t want to restrict ourselves in terms of where we want to go.

Tristan: I think our drummer Liam is one of the main drivers behind doing the odd time stuff and the polyrhythms. We’ll write something that is relatively 4/4 and then he will just turn it into something that completely masks what it is in. He also writes grooves that you have no idea what’s going on! He’ll be like check this thing out I wrote and we all try and work out the beat, it’s sick. He writes something that is advanced and them we have to catch up.

Let’s talk about ‘Stillpoint’. I take it that the song is about loving yourself.

Tristan: Yeah. Stillpoint is a term that I stumbled upon while I was learning how to meditate. I myself have struggled with a lot of mental health throughout my life, and that goes for a few of the members of the band. It’s hard to explain, Stillpoint is finding a place within your mind that is quiet and at ease, where you’re not moving around so much if that makes sense.

Meditator with mental health issues over here so I totally understand that.

Tristan: It has been life changing, but it’s always up and down. Some months I will be really good and practising mindfulness and other times you just fall short, but that’s just what happens. The song isn’t so much me coming out of depression and many other things but it’s more so my journey of slowly learning about it and learning to find acceptance.

Learning those tools to be able to help you get through those times is so important. It took me a long time to get to that point. I still have to take medication but those tools are also invaluable in managing your mental health. I meditate, try to walk and spend a lot of time at the beach when I need to.

Tristan: I’ve recently brought an electric skateboard and I go for rides on the beach sometimes. It’s one of those things where you can’t think about other shit or else you will fall off; you have to focus. That in itself is almost meditative. So I guess that song is just my journey with mental health and depression and trying to find some form of content.  It’s not one of those static things, it comes in waves.

Jordan: I think the main message around Stillpoint is not being at war with yourself and finding that inner peace. Obviously when things get on top of you and you are going through very heavy depression or anxiety as soon as you start turning against yourself that’s when you start to lose the battle.

Tristan: You can definitely make stuff worse for yourself.

That inner voice is a bitch.

Jordan: I guess the song is not really about depression itself, or coming out of it, it’s more about that turning point.

Tristan: When I was writing it, it was more just about being mindful.

Finding that place of peace.

Tristan: Learning how to find the calm in the storm.

Presave Stillpoint :

Keep your eye on Sunbound by hitting up their socials:

Judo CHOP!

Our technology allows us to connect to millions of others but it is for nothing if we cannot communicate effectively and listen to one another with an empathetic heart and mind. An antithetical anthem for today’s dualistic, tribalist society.

This is a pretty powerful statement and Judo CHOP! (you need to say it just like this!) want you to hear it. ‘Disconnected’ is the first taste we have of Judo CHOP!’s upcoming EP ‘Shelf Life’ which will be released on Friday 2nd July.

The film clip accompanying Disconnected is just as fast paced as the song, A lone figure presenting a section of the lyrics in Auslan (Australian sign language) really impacts the message of the single. Technology connects us but also makes us lose the ability to not only listen when someone speaks, it also reminds us that through that communication we miss the other cues and nuances that you only get with face to face interaction.  

Like a crushing death blow of guitars and drums, delivered with inimitable cutting vocals, Judo CHOP! will have your punk rock tendencies fighting in a headlock of air, as they deliver blow after blow of precision three part harmonised guitar riffs at blistering speed!

With raw, authentic Australian vocals out front, Murray McDonald delivers a sound and song unique to he alone, giving Judo CHOP! a truly original sound all their own. This team of experienced punk rock Judoka have been very busy in the Dojo for the last 12 months, forming in December 2018, training hard and producing their debut 6 track EP with Sensei, Sam Johnson @ Holes & Corners Recording Studio in South Melbourne!

Judo CHOP! is made up of various parts, but according the band is AT LEAST 50% shred. The Vocalist position is held by Murray McDonald, Shred 1 & Back up vox is Johnny Beech, Shred 2 post is taken by Sam Howard, the Shred 3 (bonus radness slot) is known as Aaron Braddock, the Bottom End is owned by Andre Vikas and Ollie DW is the Human Metronome.


Timothy Wolf + the Howlers are:

Tim Richardson (vocals, choral harmonies, piano, Wurlitzer, electric rhythm guitar)

James Difabrizio (lead electric guitar)

Jesse Richardson (trumpet)

Ayden Thorne (bass and saxophone)

Graham King (drums and percussion)

Piper Bennett-Swinley (vocals)

Jessie Singleton (vocals),

Lawson Kennard (bass guitar)

Barry White (keys)

“Introspective soulful blues with a hint of ‘I’m ready to boogie’” is a perfect way to sum up the sounds of Timothy Wolf and the Howlers. I manage to catch a quick chat with Tim between packing his car and heading to Byron Bay for some gigs.

You have 19k streams on ‘In Your Arms Again’ already!

Yeah, I don’t know how that has happened! I’m still trying to figure out where that has all come from. It’s good, hopefully it is a good stepping stone moving forward.

You said you are heading to Byron. Are you heading back up there to record?

I wish I could get back into that studio but I’ll be saving up for that for some time. We just have a couple of jobs up that way this weekend. I’m hoping for a really restful trip, its felt like a bit of a whiplash and whirlwind to the start of this year.

I can relate to that; everyone is releasing their covid music.

I was so keen to be a part of that live music resurgence.

Let’s talk about ‘In Your Arms Again’.

The song is inspired by the coming and going of seasons I guess and a combination of both my grandparents having 50 year marriages. When I wrote this it was the at the very beginning of my own, so I guess it was born out of that kind of place. I’ve also come from a more tradition place of writing in a folk/acoustic guitar style and so it was the first song I wrote looking to write in this more bluesy style. Trying to take a step in my own song writing.

Well you have done well if that’s the case.

Thank you. We got to record the song up in Byron Bay with Dan Frizza and got to jump into Bernard Fanning and Nick DiDia’s studio which was an absolute pleasure. I think we had six of us leave Melbourne in between lockdowns, we got out 2 days before Melbourne went into its three month one. We felt like Indiana Jones as he is escaping out of a door and he has to go back for his hat!!!! SO we only just made it, it was pretty surreal that as Melbourne went back into that lockdown we were in this studio in Byron recording music.

I saw that growing up you listened to a lot of 50’s soul and blues music. Who do you get your inspiration from?

I’ve done a couple of trips to America now and the first one we got to spend some time going through Nashville and New Orleans. When you are over there it just breathes new life and existence into these genres. Seeing the big brass bands in New Orleans doing their thing out on the street, the street parties. That’s where it all came from, those street parties. The history that is there. I went to the Johnny Cash museum, the venues and studios that he played in. Not only has the balladry and rules for song writing been defined by these guys but these are the places they did it, the rooms where they played it in. That was a bit of a turning point for me between the folk thing and looking towards the more blues/soul/country kind of thing. I still have lots of folk songs that I write, I am a massive Bob Dylan fan so I can’t help but write those types of songs. Those folk melodies. But at the moment I am definitely enjoying this season that is writing for the full band.

I’ve just recently been introduced to Sam Cooke and I am a huge fan of his now.

There are so many hey. Otis Redding, James Brown, there are just so many through there. Even like Louis Armstrong, I love him. The duet album he did with Ella Fitzgerald, that whole album is amazing. Even listening to all those records too, all the analogue gear.

You can really notice a different sound listening to all those old albums. I love that.

My goal with some of these new songs was to take them and explore them in the realms of the new landscape for sound and production that we have going on. We have gear that is incredible, like never seen before. I was trying to utilise that but still write songs that could be timeless, that could have been written in the 1940’s and 1950’s. Maybe they might sound a bit different if they were recorded with the gear from back then but today they can still stand up and hold strong. It’s something that I think about a lot when I am writing songs.

I grew up listening to Jazz, more that modern jazz big band sound like James Last, but I am just starting to dive into that older style of jazz/blues/soul. It is so good to see younger bands bringing that sound and feel back.

If there is one thing that we learn its that trends will keep going in circles.

You have some shows coming up at the Northcote Social Club.

Yes in early May, one show is sold out and the other still has tickets available. We got to play our debut show earlier this year here at The Night Cat, we were super pumped to be able to pack that out. For us it was almost like a full-circle moment, a lot of these songs were written just before covid started but we hadn’t played together in front of people for 12 months and we hadn’t done a headline show. So many people hadn’t seen music in twelve months. It all came together for us in this one night, this sold out show. It was incredible. We ended up taking a video crew along with us and they turned it into the film clip for In Your Arms Again.   

What’s next for you? More songs on the horizon?

Yes we do. We made a whole record; it may have been a little ambitious of us!! We are steadily getting the songs ready, get them to a place where we can get them into peoples ears.


Australia had some of the worse bushfires ever in the summer of 2019/2020. Brisbane’s Wildheart have used their latest single ‘Backburner’ to call on the government to start listening and adopting the indigenous techniques used to care for the land. I spoke to Yugambeh man and vocalist Axel Best about the message the song carries.

This song was written after Australia bore witness to the worst bushfires we have ever seen. Backburner is about “the government’s continuous refusal to listen, learn and adopt indigenous techniques that were used for thousands of years to preserve and care for the land.”

Backburner sends out an important message that the government really doesn’t seem to be taking heed of. This technique is proven to work as it preserves and cares for the land. How as a country can we lend support to make the government listen to the indigenous people?

Attend our rallies, support our indigenous artists, continue to express to our government the change we all want and remember who was in charge last year when you next go to vote.

Can you explain the process and technique of back burning. I read that the controlled fires burn cooler than the ones used at present by the National Parks and Country Fire services.

They burn at a lower flame; they look for invasive weeds that aren’t from the area and they burn them out too. It’s safer for our wildlife because it burns slower. The information is out there and there are indigenous companies working with some rural fire brigades. We just need our government to step up and put the right resources into the right areas.

Moving forward if the government continues to ignore the advice from Indigenous Australian’s what do you see happening? The fires that we have had over the past few years seem to be getting bigger and more deadly.

Unfortunately I think the fires are only going to get worst, and the extinction of animals is going to grow.

The beginning of your music video has Bruce Shillingworth’s highly powerful and passionate attack on the government regarding their actions and the consequences around the mismanagement of our river systems. Do you think that the rivers will ever recover?

Only by letting the original land owners take care of their land and by stopping people selling our waterways could we ever start to see a change.

Do you have any hope that maybe one day the government will listen?

I think one day the right government will listen. But not necessarily this one.


I came across Lucy a few months back and fell in love with the her emotion filled vocals. Listening to her latest single ‘Liquid Numbing Pain’, while watching the accompanying video, left me with a huge lump in my throat. I think at some stage most of us have been here, life doesn’t always go to plan and often we use substances to numb the pain.

Dron now delivers a pain-drenched single and music video in ‘Liquid Numbing Pain’, which drips with dulcet indie-rock tones as the melodic strumming of electric guitar partners with humble percussion. The raw emotion seeping through Dron’s honeyed vocals is undeniable as they move rhythmically through the verses, intensifying alongside the drums in the aching chorus. 

Journeying through different stages of heartbreak, the song’s second half builds with a slow-burning rage, culminating in an outpouring of instrumental and vocal prowess within the elongated bridge. Finally, emotionally exhausted, the song is incrementally stripped back until the last note sounds.

Lyrically, ‘Liquid Numbing Pain’ explores the desire to escape from the gut-wrenching emotions caused by heartbreak. As the song moves from devastation and self-accusation to rage, blame and back again, Dron leaves herself utterly exposed, stating:

“This track is a raw and honest retelling of my own experience of intense heartbreak and loss.”

‘Liquid Numbing Pain’ will accompany ‘What Is Next?’ on Dron’s upcoming EP ‘Leftovers’, which is a collection of songs that each signify a different stage in Dron’s coming-of-age journey. Produced by Phoebe Faye & Johnathan Oldham, the music video moves through picturesque scenes of Dron wrapped up in silk, as she blames and torments herself. Distressed from her heartbreak, she is seen numbing her pain and anguish which combined with the expressive track, makes for a powerful and revealing visual accompaniment.


Brisbane’s Revoid have released a beautifully haunting, reimagined version of their single ‘Cut Me Down’. When the band first released ‘Cut Me Down’ vocalist Dale Dudeson had this to say about the single:

“I wanted the song to really hit home on an issue that is often very hard to talk about, from a perspective that some of us figure out far too late. Depression and suicide are tough things to handle in any capacity. Whether you’re dealing with the issues yourself, or whether you’re the one that’s there for someone that is, it’s so easy to find yourself hopeless and helpless in the times where you need it the most.

He went on to say that he has always had quite a personal relationship with death, and his own mortality. “…when I play this song, everything becomes very real for me, but that’s kind of the point. I know I’ve felt the way the lyrics describe more often than I’d like, and I know that many other people out there have too. I wrote this song for my own expression, but also for the those who will hear it to scream their lungs out to during a rough time, as I have so often done before, and to let people know that in spite of how things may feel or seem, you are loved.”

Jack, Dale and Josh sat down with me to explain why they wanted to show a softer side of Revoid.

You guys have been a bit busy recording a reimagined version of ‘Cut Me Down’.

Jack: Yeah we have been.

Dale: We have been working on new stuff as well.

Tell me about Cut Me Down and why you have reimagined it.

Dale: I guess for the original Cut Me Down it was more an explosive representation of all the things we were trying to convey between depression, suicide, anxiety. All those sorts of mental health issues that are tied into it. We all love that song; we actually love hearing it which is really rare as a musician. Given that we are all from different musical backgrounds we tried to do an alternative spin on the song. Give it a more relaxed feel, more depth to the song rather than the gritty undertones of general metalcore. That was what we were aiming for with this. I feel like we got there but I guess time will tell.

You have all the links to the helplines, obviously the song touches pretty heavily on someone reaching the point of suicide.

Dale: In a personal realm it does, it effects the people we know and the people around us so it has always been a part of us as a band and as individuals. Even outside of the band with friends and family. Life isn’t always all sunshine and roses.

You mentioned coming from different musical backgrounds.

Dale: When I was a kid growing up I was very unwell, I made a lot of hospital trips over long distances. The one album that, I think for all intents and purposes, was stuck in the CD player was ‘The Greatest Hits of The Red Hot Chilli Peppers’. I was a Chilli Peppers fanatic. That comes out a little bit in our music but for this particular song reimagined it was it leans towards my instrumental learning. I learnt classical piano and harp as a kid.

Oh wow its not often you hear of people learning the harp. You should throw some harp into your songs.

Dale: It was an accident apparently, I just had one! Honestly if we could, we would, but we don’t record very well let alone adding classical instruments. This song is very piano orientated and we have tried to really boost the vocal harmonies and give them a really classic ballard feel. We have followed that up with a more modern synth sound to balance it out. We tried to let our older influences shine through a little bit more and our softer, deeper side as mushie as that may be.

I like when bands reimagine their songs. Is shows diversity.

Jack: We are just trying to make our mums happy to be honest (laughs). Every time Mum hears a song she is always asking why there is screaming in it, so this is the answer. I’m hoping that people hear this version, and for the people that don’t understand the screaming, they will actually be able to understand the lyrics now and get the song a bit more.

Josh: Part of doing it for this song was that to try and reach a new audience with that message. This message is common in the metalcore scene but it is still something that everybody should know about. There is also still a bit of that stigma around it all as well. Writing a more ‘pop’ or accessible version with this message I think can help.

Absolutely, it is such an important topic to talk about.

Jack: Back to influences, mine have changed over the years. I used to be big on punk stuff like Greenday, Simple Plan, Blink 182. Everyone who is in to metal now probably listened to them. My first kind of taste of heavy music was Bullet For My Valentine, I still love them to this day. It’s changed a lot over the years. It’s cool that metal is becoming more accepted in the main stream.

Josh: When I was seven or eight I asked to learn how to play guitar. I always wanted an electric guitar.

Dale: And you never got your wish!

Josh: Na I’m still don’t know how to play guitar (laughs). My parents brought me an acoustic guitar and I had lessons, I decided that I hated it because I wanted an electric guitar. I gave up for a bit and when the Guitar Hero craze happened I was playing heaps of it. When I heard Metallica on it that was it, I was like alright I am into metal and stuff. I probably became a little bit too obsessed with Metallica, a lot of my high school mates would say that! My first jump from there would have been to Bullet For My Valentine.

Jack: That was your first taste of ‘screaming music’ really. It was still tasteful, now we just love breakdowns and pig squeals.

What’s next for Revoid?

Dale: One thing we wanted to reiterate with this reimagined version is given that we are working on new material we don’t want this song to be an indicator of where we are heading because I promise what is to follow is going to be completely the opposite direction.

Jack: It’s going to be a big curve ball.

Josh: I know so early in our career this is a very strange song choice to put out.

It’s not really because its showing your diversity and musicianship as a band.

Dale: Exactly, we have always wanted to be about diversity, we didn’t just want to be the breakdown, pig squeal band. We wanted to show that we have a love for everything and communicate to everyone that is in our audience. We wanted to come out with Cut Me Down, and that was really well received and the reimagined version is to show that we can do that more low-key stuff, be a bit more emotive and have that depth. And then we will get back to the stuff that is fun to play live, that will make you think ‘Wow where was this when I needed it.’

Revoid are: Dale Dudeson – Vocals Jack Carey – Guitar/Vocals Josh ‘Krusty’ Gudgeon – Guitar Nick Watson Drums.

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“What will continue to be,

 Is what we allow…”

The Numbers.

There is a reason that Rise Against are the most played band on my Spotify. Not only are the band talented musicians but they use their platform to speak out about social issues. Their latest release from their forthcoming album ‘Nowhere Generation’ which is out June 4th. ‘The Numbers’ conveys a strong message lyrically and visually around making a stand against the system, it’s time to start questioning and fighting back. Actually show that we give a Fuck. With that comes a return to the more old school sound from the band which is damn good to hear.
The visual for The Numbers was conceived and directed by Indecline, the American Activist Collective comprised of graffiti writers, filmmakers, photographers, full-time rebels, and activists.  Indecline’s projects focus on social, ecological and economical injustices carried out by American and International governments, corporations, and law enforcement agencies.  
The Numbers has given our collective another opportunity not only to work with a band we’ve looked to for inspiration since their early records, but also a chance to create the kind of strong visual content that aims to inspire and educate.  Beyond simply showcasing global protest movements, this video is to serve as a reminder that we are all living in a golden age of resistance and need to use our privileges to commit ourselves to wholeheartedly pulling the rope in the opposite direction.  Or, to put it more bluntly, don’t be like your parents’ generation. Give a fuck and prove it.”  — INDECLINE