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The pop hitmaker, who hasn’t released a new album in 10 years, sold the rights to her music to Primary Wave.

Think Like A Key 2025 Transatlantic troubadour of urban toils and troubles ventures down memory lane or two to map his microcosm. Edward Rogers has never been afraid to seem parochial on his albums – the British-born New Yorker referred … Continue reading →

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Corrie Anconé is a photographer who has worked extensively in the fields of theatre, film and entertainment since the mid-70s. Rock audiences are perhaps more familiar with her through her work as a music photographer. Corrie’s shots have adorned magazine and album covers, gig posters and the pages of rock publications for decades. In recent years Corrie has been going through her archives and collecting her work in a series of hardback volumes. I Shot the Music is the second of these, a retrospective of her freelance music career going back to 1979. Late last year we interviewed Corrie about her work, especially this book, and delved into her origins as a rock photographer and the challenges she may have faced with the transition to digital and of professional photography as a dying art.

You start with your most recent work, which I thought was unusual because a lot of books from artists tend to begin with early stuff and have the more recent work towards the end. What was the decision about going backwards like that?

I don’t see it as going backwards. I just see it as Now and Before. I thought I should start with where I am now, and then … I did the same thing with my art book, where I started with my recent work and then went all the way back to the 70s. It wasn’t really a decision or particular thought behind it except for now, and the past! 

What was it that attracted you to photography as an artform, and, secondly, what then attracted you to the world of rock music photography?

I was at art school doing a fine arts painting course and we were allowed to pick some other subjects. I picked photography and sculpture, and I fell in love with photography. That’s what happened. When I finished my course in fine arts painting, I went to photography. It was like a faster medium for my art especially. So that’s what happened there. As for music, well, I’ve always been a performer myself, so… Before [daughter] Morgana was on stage, I was actually on stage. Also from a pretty young age, probably 16, it’s been my love. Music’s been my love. I play it most days, all day. I will go to as many concerts as you can think of, and shoot, because I love to shoot. Then when I moved here, when I retired and moved south, I had it in the back of my head to do books before, but then I thought I’m getting old now and I won’t be out shooting forever. So that’s what I decided to do, to get it out there in hard copy. Or it’s just going to disappear into the abyss, isn’t it?

I keep getting emails from people asking for things I shot and if they can have them. That’s happening a lot more at the moment so I have to dip into the archives and I just let them go.

It’s wonderful that people are contacting you for your art, because from having followed your art since the 90s it’s a living document of Australian music. You were one of those people who were there to capture it, and obviously others who were there are now discovering or remembering that you have photos of the time. Have you ever been contacted by anyone who didn’t know you had photographed them?

No… no I’d have to say no to that. They’d always have to know I was there, because what happens when you’re a photographer is that people notice you. You’re at the front, and then they’d seen your posts – later – on Facebook. But Facebook wasn’t available way back there, I’d get a call saying, “Oh you were there Friday night, can we look at the proof sheets?” It was all very different. Now it’s all social media. It’s faster. It’s easier. That’s the beauty of technology.

What did you have to do to get in there and first start taking photos at gigs?

What did I do? I just belonged! I’d go to gigs because someone I knew was playing, or it was someone famous and I had a ticket. I’d sneak the camera in if it wasn’t allowed, but mostly I’d just walk in with it. Back in the old days it didn’t matter. You can’t now. Some places, yes, of course, but it’s usually by invitation or somebody wants you to be there. The Enmore Theatre, I can still walk in there and not get hassled. I don’t know if it’s because they know me or whether they just don’t care. The Metro in the city, for example, you need a pass. It’s a mixed bag, really, but for me, being a photographer and being in a band, I’d give my camera to somebody else to photograph me! Then I’d get the camera back and photograph the rest of the bands that night. Really, I was attracted to the music. That was the big thing. I can’t stand there and not shoot! A few times when I didn’t have my camera I was sick, I was so upset! 

Most photographers seem to have very positive experiences because most of the artists want to be captured like that and they can’t really do it themselves.

They absolutely love it! They love it. On the internet now, there’s so much of my photographs out there. I put them on Facebook and people ask if they can use them, and I say ‘Sure’. I’m not precious about ownership or anything. I keep the copyright. That’s enough, thanks. 

Now that’s something that I know some people can be precious about. I haven’t had too much trouble with it, but I’ve also tried to be very careful with the stuff I’ve used. If someone’s just using it to add to an article or something is quite different to someone trying to monetize it, and it’s a lot easier now with the internet. But you seem to be fine with people using your photos.

I ask for people to put my name on them, but it doesn’t happen! At this point in my life, seriously… If I was a lot younger, it might be different, but I’ve had plenty of recognition. I don’t need, “Picture by:” It’s nice if it’s there, and it still happens.

Were there any bands that you particularly liked working with?

I never had any major issues with anybody. I actually enjoyed almost everybody I shot – in studios, as well. Because they were different from the last lot, and I tried to make my thing out of what they were giving me. I don’t think I have any favouritism at all. I mean, I loved Nitocris, of course, because that was my daughter, but that’s a different thing. That’s very personal. 

There must have been an enormous sense of pride that Gana was doing that.

Yes! Because she was meant to go to university in Queensland! That was what was happening. She went to art school – didn’t like it. Then she got into drama up north, and I went, ‘Sure, great!’ Then suddenly she comes home and says, ‘Mum, I’ve answered this ad in Drum Media for a singer in an all-girls band, and I got the job.’ I had to make a decision: does she go to school, or does she join the rock band? Join the rock band!

I can’t see any regrets there.

Absolutely not!

She’s made an amazing career out of that.

Do what you love! I learned that from my father, and I passed that through. Never mind the drama school, go do what you love.

You’ve obviously followed that path yourself. It sounds like it wasn’t difficult for you to start doing it.

I was already freelancing in lots of areas. Film, theatre, portraiture – weddings, even. That was my life. My life was all photography. I had a dark room – which I loved, by the way: the smell, the isolation. It was fabulous.

You’ve gone from the dark room to digital now, obviously. What was it like, making those changes?

Well, I had no choice. There I am, on this job, and this PR lady comes into my face and says, “Tomorrow…” I said, “Tomorrow? They have to be processed and put on a CD for you.” “How long is that going to take?” “Two or three days.” “Oh that’s just too long. I’ll never hire you again.” Suddenly I had the pressure that I had to perform within 24 hours. You get to go home, check, edit, send. I had to get a computer! I had to get digital cameras! I had to change my whole life overnight.

I feel completely blessed that I did both analog and digital. It’s a completely different world. 

It’s like a completely different art now.

It is. It’s not a career anymore. I wouldn’t want to be getting into photography now, as a young person. As a job it doesn’t exist anymore, other than weddings and some commercial stuff. Most companies will take something on a mobile and then give it to Joe Blow at the desk because he knows how to fix it. That’s how it’s done now.

A lot of creative arts are the same. Writing for one, and music is heading that way too. 

Film and theatre still have photographers, but there’s too many of us and not enough work.

It’s obviously been very rewarding and enriching for you.

Absolutely. I had other incomes. I just worked for eleven years in mental health. But do what you love. Did you know I’m working on book four now?

I did not know that. What is the focus of this one?

Mardi Gras. All the years I’ve shot Mardi Gras. It’s very colourful and lots of sparkle. That’s the next one. I’ll keep doing it until I drop. It’s keeping me alive! I’m not a spring chicken anymore. I came here every day and I do a couple of hours, if not more, and then I have a breather and then I’ll do some more. My archives are in there. I’ve got a room with five filing cabinets of celluloid, cupboards full of CDs, and then there’s all the files on the computer! I keep worrying about what will happen to it all when I die, but Gana tells me, “Don’t worry mum. I’ll look after it all for you!”

Corrie’s next hardback release is With Grace, Glitz and Glam,a two-volume celebration of the Sydney Gay and Lesbian Mardi Gras. You can purchase her work from belleartpicturebooks.bigcartel.com.

3^rd Wave Ska legends Goldfinger return with their 9^th album, NINE LIVES, where they take a chance at experimenting with their music for a record that ultimately can’t be labeled as a single genre. It’s got pop punk, skate punk, ska punk, and even hip hop!  Each song is able to stick out on its own, despite sharing common lyrics of reminiscing and heartbreak (and all caps). Some listeners might not like the clean production of their newer work, but I argue that this is the sound the band wish they had when they first came out. The songs here may not have the same ska-driven sound of “Superman”, nor the political angst of “Get Up”, but what they do have are resonating lyrics and great vocals that don’t let you sit still for a second.    

Opening is their single “CHASING AMY”, followed by the first of many collabs, “FREAKING OUT A BIT”, which features Mark Hoppus. Lyrics like “I’m not right, but I’m getting better” are resonating for those who wake up already filled with anxiety.  The first ska song of the record comes next, “LAST ONE STANDING”, featuring Pennywise’s Jim Landberg. This and other ska songs (“DERELICT”; “LOSER”) lean towards that New Tone sound that uses less horns and bolder lyrics.    

While the first 6 songs are indeed standouts and worth the listen, it’s the second half of songs that stood out to me much more. “UNTOUCHABLE” is the most experimental song on the record, featuring iann dior, a multi-platinum rapper who fits well with John Feldmann’s lyricism. 

“THE PUNISHER”, as of writing this, is my favorite song off the album: John’s vocal talents are highlighted brightly here, the chorus part is super catchy, El Hefe from NOFX adds a sick guitar solo.  Plus, I’m never opposed to a banjo being included.

The closing song is “COLLEGE”, and it stands out because 1. It’s the only song that all acoustic and 2. The lyrics on this one don’t involve romance nor thoughts on the past, but rather it’s a look in to the future.  If John has a son, then I’d imagine this is dedicated to him.  

Overall, Goldfinger’s approach on music has evolved since they broke out 30 years ago, and they’re not afraid to call on assistance from other established artists as I’m sure they will continue to experiment their sound. If you just went through a breakup, but don’t want to listen to anything slow, then this album might be it for you. Otherwise, it’s still a fun listen. The only real complaint I have is that there’s not enough ska!

EDOMA is a Black/Death Metal band blending raw aggression with atmospheric melodies. Formed in 2017, the band has released two full-length albums, Immemorial Existence (2020) and Buried by Permafrost (2023), as well as the EP Shades of Cold Despair (2024). Their music combines chilling riffs, intense drumming, and haunting atmospheres, creating an immersive experience for […]

GLDN is a Brooklyn-based industrial machine initiated by architect Nicholas Golden. On February 6, 2026, the project underwent a hard reboot with the new single, Vessel. Abandoning the organic grit of the First Blood era, this track establishes a cold, clinical architecture. It is an industrial-metal indictment of the Trauma Economy—merging the mechanical dissonance of […]

FOR IMMEDIATE RELEASE
Interceptor Unleashes Savage New Track “Blood On The Kudzu” Featuring Brandon Barker
Streaming everywhere: https://distrokid.com/hyperfollow/interceptor/blood-on-the-kudzu
Charleston, South Carolina — Rising from the smoldering underground of US black/speed/heavy metal, Interceptor returns with their latest destructive assault, “Blood On The Kudzu,” released January 30th, 2026 . This single marks the band’s first release featuring the ferocious guitar work of Brandon Barker (Crazy Mad Ride, Rails to Roads), adding even more venom to their already blistering sound.
Since their formation in 2022, Interceptor has been tearing through the metal scene with unrelenting fury, culminating in their critically acclaimed debut album, Tales of Mayhem . Known for their raw, first-wave black metal energy fused with NWOBHM-inspired riffing, savage punk undertones, and a pure Venom-worshipping spirit, the band has established themselves as true torchbearers of extreme metal.
“Blood On The Kudzu” continues Interceptor’s mission to channel chaos and aggression into every riff, drum blast, and guttural scream. Fans can expect the same relentless intensity, but now with Brandon Barker’s signature shredding adding fresh fire to the sonic onslaught. The track is a testament to the band’s evolution while staying true to the barbaric spirit that has defined their rise.
Whether you’re a die-hard first-wave black metal devotee, a fan of NWOBHM’s gritty glory, or just hungry for music that hits like a sledgehammer, Interceptor delivers again with uncompromising ferocity.
Listen to “Blood On The Kudzu” now and witness the next chapter of chaos from Interceptor.
For press, interviews, and booking inquiries, contact: zach@metaldevastationradio.com

Connect with the band: 
https://distrokid.com/hyperfollow/interceptor/blood-on-the-kudzu
https://www.facebook.com/profile.php?id=61558678774418
https://www.instagram.com/interceptorbandofficial/
Contact: officialinterceptor@gmail.com

I’m thrilled to share that, after several years of hard work, my first book has been published with Oxford University Press!

The full text was released today, and can be read online for free through Oxford Academic: https://academic.oup.com/book/62310

The book is also available for pre-order in paperback, hardback, or E-book editions, which will be released in April 2026.

A million thanks to my acquisition editor, Norm Hirschy, who guided me through the book proposal process back in 2023, and then offered to include my book in an open-access initiative.

Long-time readers of my work will recognize parts of Chapters 5, 8, 9, and 10, but they have all been updated and expanded with new material and ideas to match this book’s broader context and arguments about heaviness as a participatory experience, its origins within the blues, and how it shaped the emergence and evolution of metal.

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Here’s a brief preview of what’s in the book:

Heaviness in Metal Music

Heaviness in metal music is not just a timbre or quality of sound—it’s an experience of impact that listeners help create. This book combines methodologies from musicology, music theory, cognitive science, and performance studies to define heaviness as a cross-sensory experience and aesthetic practice. Heaviness is shaped by what we do when we listen, how we think about metal music, and how we relate to the people who make and listen to it.

By studying the origins of heaviness, this book overturns common myths about metal’s history. Heaviness and the musical practices associated with it emerged from 1960s White audiences’ encounters with Black American music styles, especially the blues. Despite metal’s historical narrative of “leaving the blues behind,” many aspects of the genre perpetuate legacies of blues’s musical style and highly racialized reception—including headbanging, and metal’s ideologies and aesthetics of oppositional authenticity, loudness, heaviness, and extremity.

Musicians and listeners navigate their own way through this landscape of legacies, re-enacting the genre’s ideologies and musical structures through their own headbanging and moshing. When musicians use the most common drum patterns and song forms in metal, they perpetuate the genre’s norms and practices, but they also provide a framework for the creation and distinction of new metal styles and experiences. This book concludes with the argument that longstanding restrictions about who and what count as metal have recently begun to loosen, expanding the scope of what heaviness can mean, and to whom.

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Table of Contents

PART I. WHAT IS HEAVINESS?

Introduction

1. Experiencing Heavy Timbres Through Metaphors: Buzzsaw Tone

2. Power Chords and the Basic Illusion of Heaviness: Hearing Something More Powerful Than Reality

3. Rock Is Dead, But Metal Will Live Forever: The Paradoxes of Metal’s Progressionism

PART II. WHERE DID HEAVINESS COME FROM?

4. Leaving the Blues Behind: The Racialized Origins of Metal and Its Progression Toward Heaviness

5. Headbanging as a Legacy of Black Dance

6. Angels and Demons: Hearing Gender and Heaviness in Metal’s Fantastical Vocals

PART III. HOW IS HEAVINESS CREATED AND WHAT DOES IT FEEL LIKE?

7. How Metallica Created Extreme Metal: Active Listening, Connoisseurship, and Cover Songs

8. Headbanging to Drum Patterns to Create Heaviness

9. How Song Forms Create Ritual Spaces for Experiencing Heaviness

10. Feeling Different Heavinesses in Different Song Forms and Subgenres

Epilogue: The Promise of Post-Extreme Metal

about the new ‘We Mean It, Man’ album and how their combination of gypsy folk, hardcore, punk, techno and all the rebel musics makes a 21st century future folk riot and also the state of the USA

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Words by: Belinda Quick Photos by: Sam Phillips ‘All the best performers bring to their role something more… That’s why it persists’ – Stephen Sondheim, American Songwriter: The Craft of Music In regards to the performing arts, a form and medium reign supreme – the classics performed on a grand stage; Shakespearean tragedies brought to […]