Category: Metal


Auckland’s Crooked Royals have returned in 2020 with their brand new single, “Copecetic“, that sees the band explore their own brand of intricate metalcore and soaring melodies.

Mixed by Zorran Mendonsa (City Of Souls, Seas Of Conflict, Banks Arcade) and mastered by Jens Bogren (Opeth, Sepultura, Babymetal), “Copacetic” is about pretending you’re okay when you’re not and accepting vulnerability to break this habit. This brand new single is the bands first offering of 2020 and contrasts soaring cleans against intricate brutality that the band have mastered.

Crooked Royals is Christian Carstensen (clean vocals), Lee Mackley (unclean vocals), Jake Andrews (guitar), Keane Gilles (drums) and Conor Lawnson (bass) and the five-piece have already made waves in the heavy scene. The band hit the ground running in 2018 when five friends and musicians living in Auckland came together to form the metalcore outfit that is Crooked Royals. In just the first year as an aspiring collective of musicians, the band were signed to Lukas Magyar‘s (Veil of Maya) management label, New Industry, and later recorded their debut EP, ‘Intertwine‘ with the man himself in the USA and followed it up with their sophomore offering, ‘Rumination’.

Crooked Royals previous two singles from the previous ‘Rumination’ EP saw the band premiere on triple j‘s The Racket and skyrocket in streams on Spotify with over 172,000 plays on the title track and over 211,000 on “Dissentients (ft. Lukas Magyar)” and adds to playlists including Homegrown + Heavy, New CoreNew Blood AND New Metal Tracks.

Crooked Royals ability to craft songs with a combination of heavy and clean vocals mixed in with huge crushing riffs has earned them spots opening for London prog rock monsters Monuments in Auckland earlier last year as well as stepping it up to support Australian heavyweights in Northlane and Polaris on their NZ legs of tour.

Crooked Royals brand new single “Copacetic” is out now through iTunes & Apple Music, Spotify, Google Play and all good online stores and streaming outlets.


Sydney’s alternative metalcore outfit Broken Earth are today unleashing their brand new single “Dance In The Dark” as the first taste of new material in over a year!

“Dance In The Dark” is produced, mixed and mastered by Christopher Vernon (Belle Haven) and engineered by Darcy Handley (Terra) with additional drum engineering by Declan White. The track is about the bands perception of the current state of the world, and their motivation to persevere through the darkest of times. Vocalist Raphael Smith explains:

“In wake of the recent global events occurring, what was originally a song about feeling like the world is collapsing has unfortunately turned into quite a sombre state of affairs. We’ve seen systematic failure from the highest level and it has left the general populace feeling scared and paralysed.

“The events we’re currently facing are probably some of the toughest we’ve seen on a global scale in a long time, and there isn’t much of an end in sight. The rage that we feel is almost matched with the despair, but we can’t let feelings of powerlessness overcome us. So with that being said, we would love to be able to share this song as a message of hope and perseverance, that even in the darkest times you can still find someone or something that holds you close – Dance In The Dark with us”

Broken Earth in its current form is Raphael Smith (vocals), Brendan Brendkins (clean vocals), Ben Robinson (guitar/vocals) and Daniel Trott (guitar). The four-piece has been climbing the ranks since formation just over a year ago and have already played with BLKLST, Pridelands, Isotopes, ATLVS, Reliqa and many more. On top of this, the band made waves overseas with their inclusion in Discovered Magazine UK’s ‘21 Artist’s You Need To Know In 2020‘.

“Dance In The Dark” marks the start of a new era for Broken Earth – available now through iTunes & Apple Music, Spotify, Google Play and all good online stores and streaming outlets.


August Burns Red have released new single ‘Paramount’ from their upcoming eighth full length album ‘Guardians‘, out April 3 on Fearless Records/Caroline Australia. The track is available at all digital stores and streaming platforms and the album Guardians is available for pre-order at

The two-time GRAMMY® Award-nominated Pennsylvania quintet—JB Brubaker (lead guitar), Brent Rambler (rhythm guitar), Matt Greiner (drums), Jake Luhrs (lead vocals), and Dustin Davidson (bass) dropped the single overnight Australian time.

From Guitarist Brent Rambler: “There’s a loose theme [on Guardians] of being there for another person who’s reaching out for help. This individual who saves the day acts like a guardian. The idea recurred as we put everything together. It was a great summation of what we were talking about.”

The band have also posted videos on Instagram of them wishing they could move to Australia and isolate themselves away from Coronavirus with bassist Dustin Davidson posting a song HERE and vocalist Jake Luhrs posting a response HERE.

The band’s news about their forthcoming album was recently featured at ForbesDeadpressRevolver’s 40 most anticipated albums of 2020Loudwire, and more.

Following the seminal ‘Messengers’ (2007) and ‘Constellations’ (2009), August Burns Red infiltrated the mainstream via 2015’s ‘Found In Far Away Places’. The latter stood out as their second straight #9 bow on the Billboard Top 200, in addition to garnering the group its first GRAMMY® Award nomination in the category of “Best Metal Performance” for “Identity.” The momentum increased with the arrival of ‘Phantom Anthem’ in 2017. Marking the group’s fourth Top 20 debut on the Billboard Top 200, it paved the way for their second “Best Metal Performance” GRAMMY® nod for “Invisible Enemy”.

The record ushered their career streams past the 100 million-mark as it earned four-out-of-five stars from the likes of Alternative Press and Kerrang! Between sold-out shows worldwide, ABR continued a 15-year tradition of holiday shows by launching the Christmas Burns Red Festival. Now, their 2020 eighth full-length, Guardians, sees them not only preserve but perfect their DNA-distinct and definitive sound.

August Burns Red’s eighth full length, Guardians, is out Friday April 3 on Fearless Records/Caroline Australia. The album is available for pre-order/pre-save here. The second single “Bones”, is available now at all outlets.


The past eleven years have been amazing for Australian band Dream On, Dreamer. Award nominations, touring twenty-four different countries and over fifty million streams… that is something that any band would be proud of. But now Dream On, Dreamer are pulling up stumps, but not before the release of one last album on April 10th – titled What If I Told You It Doesn’t Get Better – and a finale tour when the Covid-19 pandemic is finally contained.

I recently had the opportunity to chat to front-man Marcel Gadacz and we talked about the brand new album but also reflected on what Dream On, Dreamer have managed to achieve over the past decade.

“We really wanted it to be a big thank you to everybody,” explains Gadacz when we begin to talk about What If It Told You It Doesn’t Get Better. “We really wanted to condense eleven years worth of work into one album in terms of the artistically way that we are expressing ourselves. This album is kind of taking what we did well ten years ago and then going from our past through to today, but all kind of combined… this is us, that is it… this is us.”

That leads to be to ask whether it was a difficult process to try and go back and capture the various sounds that the band has had over the years. “It don’t think it was any more difficult then we have worked on other albums,” he answers. “We were in that mindset of wanting to create an album and we know what we have to do to achieve that, it just takes time to get it all across. We’ve had heavier songs in the past so that was an option that we had to reassess. Then we had to blend that in with the new style and then tie it all in together. I think it actually ended up becoming really natural in the end. I think when it came to our last album it was just a very organic way to process it all because every aspect of the album showcases our lives as well.”

At lot of bands would have headed into their final album wanting to create a ‘legacy’ album but that is not something that Dream On, Dreamer was aiming to do with this album. “I think if we are talking legacy terms I feel like every album was meant to do that,” says Gadacz after thinking for a moment. “So really this album is an extension and if anything I think there was actually less pressure because people weren’t really expecting an album. We’d been quiet for awhile because we realised that there was a lot more to live for than to always be seen on your phone so there was no real added pressure because there was no particular time frame, we didn’t have that ‘well this album needs to be done in this many months’ it was more of a case that it would take as long as it takes and then it would be finished on a certain date but there was no added pressure in terms of what we were writing or what we were showcasing.”

“We just stuck to what we feel that we are good at, we didn’t really want to try and re-invent anything,” says Gadacz continuing. “Since the beginning of our career we have just always tried to be Dream On, Dreamer, whatever we feel it was we are going to give and whatever we are going through is what you are going to get. I guess it was just another stage of our development.”

When you take a listen to What If I Told You It Doesn’t Get Better as an album you do find tracks that are reflective but at the same time there are tracks like “Explicit” that are just sheer brutality so I was curious to find out what was inspiring the band lyrically when they were putting together the album. “I basically feel as a band we have always had our lyrical themes,” says Gadacz when I put the question to him. “I don’t think there has ever been a time when all of a sudden we delivered a really politically driven album, there is definitely hope, there is loss issues, there is growing as a human being, there is a despair and there is lust… the things that everybody goes through. We all go through those things and I guess that we have always stuck to what we are known as, people have always known that for us lyrics always come from a true place, we have never got fictional it is always just stuff that we have gone through in our everyday life.”


What If It Told You It Doesn’t Get Better is out on April 10th.




Covid-19 might have forced The Iron Maidens to postpone their tour until September but this talented outfit are still promising to bring the party to Australia, and after the reception that they received last time they were here simply can’t wait to bring their show back here. I recently had the opportunity to chat to guitarist Courtney ‘Adriana Smith’ Cox about the tour and it was impossible for her to contain her excitement about getting another chance to come to Australia.

“We are so, so excited,” she says with the excitement very clear in her voice. “We had such a fun time when we there which sounds weird because normally tours just all blend together for me. But we had a great time so when our booking agent rang and said ‘hey they want you back’ we were just like ‘yeah let’s do it.’ So yeah we will definitely be there.”

As we talk more about their last tour to Australia Cox says, “It was the first time that any of us had ever been there. It is always great to be able to go somewhere new. We love touring the world and getting to meet new people and experience different cultures and we had a bit of culture shock when we came to Australia. We were running around saying ‘oh my god it is a Hungry Jacks but they don’t call it Burger King.’ We were seriously like little kids running around. But the people were great and we loved hanging out. We did have to take a flight everyday but it was so worth it and now I am so excited about being able to head back.”

When the discussion turns to the band itself I point out to Cox that she has now been in The Iron Maidens for a decade and she laughs. “Wow, ten years that is scary… thank you so much for reminding me that I am getting old,” she says still laughing. “I’m from Philadelphia originally and when I was there in my teenage age years the music scene was really lacking. My friends and I started a King Diamond tribute band just for fun but I was just about over it when i was nineteen so I gave my mother a week’s notice and then I grabbed my backpack and my guitar and I moved to California.”

“Obviously being foreign to California I had no family or friends,” she says continuing. “I literally started to think about how I was going to survive and then  I caught wind that this band that I’d heard of when I first started to play guitar, The Iron Maidens, a band that I had thought ‘oh wow it would be so cool to do that one day’, were looking for a guitar player so I went along and auditioned and from there it was history. But I was so lucky to find them at that time.”

While everything turned out for the best Cox admits the initially move from Philadelphia to California was a scary experience. “It was so young, just out of High School,” she explains. “I was terrified and I kept thinking ‘how am I going to survive because I don’t know anyone.’ But I got out there and I couch-surfed and I just had to put my life together. If I hadn’t done that I don’t where I would be, I probably wouldn’t be a musician, you know. Sometimes you just have to take that risk, and yeah you might fall but you just have to get back up again and luckily I got back onto the right foot.”

As we talk about her early love for music and the fact she was once in a King Diamond cover band I ask where her love for Iron Maiden came from. “My older brother was a huge metal fan,” she says. “I used to steal his records whenever he was at work, and I used to get in a lot of trouble for it. But metal was always in my household so it was just second nature to fall in love with it. Back then I was into Maiden, Pantera and Metallica… I mean Metallica was the reason that I started playing. But with Maiden I just loved the harmonies and the twelve minute tracks and watching Adrian changed the way I approached the instrument.”

That love for Iron Maidens music has made The Iron Maidens what they are today so make sure you don’t miss them when they hit Australia in September.




Prog lovers listen up because there is something very special about to hit you this Friday out of Adelaide. Dyssidia are no newcomers to the Aussie music scene. The band have managed to create their own unique style of prog metal over the years and during the past few years have been asked to share the stage with bands such as Opeth, Between The Buried And Me and The Ocean.

Now on the 27th March we see the band release their brand new album Costly Signals so I decided to sit down with their frontman Mitch Brackman to see what the band has in store for their fans this time around.

“The journey for Costly Signals has lasted just over three years,” says Brackman as we begin by talking about the album’s origins. “Quite a few members of the band went through a rough time in those last three years so I guess the album portrays a lot of melancholia and a lot of grieving and what not, so I guess it was a kind of a painful journey for us, but I guess in saying that we also created some music that at times seems kinds of hopeless but is also very hopeful… which I think we are really proud of creating.”

Knowing that the band had been through such a tough time saw our conversation switch to how Brackman finds writing music when he is going through personal issues. “What is that classic saying?” he asks while thinking deeply. “There is no greater prerequisite for an artist than a miserable life! I don’t believe that is always true but it helps absolutely. Mostly it is a kind of therapy thing – it is therapeutic and it is catharsisism. “

Of course that type of song-writing has led to a very atmospheric album so I decide to delve into what the recording process felt like for the band. “For the first EPs that we did we didn’t do a lot of pre-production,” explains Brackman. “We would do our writing and then go into the studio with our regular engineer and just lay down some tracks. We didn’t really fix them up as we went along, but with this album we actually did do a lot of pre-production. I did a lot of the vocal recording at Corey’s studio and we got everything organised separately and then brought them all together, that gave us a really awesome mix and concept for the album… it turned out to be a really good blueprint. Then we went into Against The Grain Studios here in Adelaide and we recorded all of our stuff and then sent it off to Vince to give it a little bit of a mix. He is absolutely fantastic and I think aside from the instrumentation I think the musicianship is part of what creates that atmospheric feel to the sound.”

That leads me to ask was there a particular reason why the band decided to do more pre-production this time around. “I don’t think the last EPS we did were rushed but there were deadlines,” he explains. “I think because we didn’t have huge amounts of time to do the pre-production was the major reason why we didn’t. But this time in just doing it we found that going in to record the songs felt much more comfortable and we were happy with the musicianship and how it intertwines with each other. I think it also gave us more time to flesh out any issues that were there are well.”

One of the things that really does shine through on Costly Signals is the unique sound that Dyssidia and Brackman admits that they have to find the right team to work with if they want to capture that sound. “ I think it is difficult in a way. I think it is always difficult for people to capture an aspect of anyone’s sound,” he says. “But our engineer is really fun, we go in there and have a joke and we have a good time together. I think just feeling comfortable in the studio full stop is something that really helps in the creation of really great quality music.”

Great quality music is something that Dyssidia has certainly created with Costly Signals so much sure you go out and grab yourself a copy on March 27th.



Hailing from Melbourne five-piece heavy metal outfit Armoured Earth have spent the last couple of years fitting all of the pieces of the jig-saw puzzle together. As it turned out one of those pieces was securing the services of former Frankenbok member Daniel White as a front-man. Now with all those pieces in order the guys are ready to unleash something special on the public – a brand new EP.

“It has been an interesting time, man,” says guitarist Chaise Egan when I begin to talk to him about everything the band has gone through to get to the point where they are able to release this new EP. “Over the last few years we have been pretty stagment… we have always struggled to get a full line-up together to be honest. Not because of lack of trying but it has just been pretty tough to be in Melbourne with so many bands and to try and attract half-decent musos. That is basically the reason for the distance in between drinks but we got Dan from Frakenbok on board about a year ago and it all just came together and we’ve been sitting on the EP for about a year now. I have to say we are pretty happy with it to.”

Finding the right members for a band is always a tricky thing to do and I ask Egan how he feels the best way to go about it is especially when you are in a crowded market like Melbourne. “There has always been three of us in the band now for about eight or nine years,” he says. “We’ve had a few bass players over the journey but when our singer left about four or five years ago that was what really tripped us up a little bit, that put everything on the backburner for awhile.”

“Then about a year or two ago I reached out to Dan because I played in Scarlet Circus with him,” he says continuing. “But he was playing in Frankenbok at the time and he was working full time so he really only had a limited about of time and energy so we had to try and navigate through that. But then he left Frankenbok and it all just sort of started to fall together about a year ago. But yeah we did everything before that, we advertised on social media or that sort of thing. I harassed all my muso mates around Melbourne to keep an ear out for us and that sort of thing… just the usual sort of things.”

With the line-up now in place Armoured Earth were ready to start song-writing and Egan admits that the band member’s vast love of music has certainly inspired the sound that people will hear on the Ep when they give it a listen. “There are a shitload of influences,” he says with a laugh. “Our other guitarist Brendan Scott and our bassist Julian Lewis they have amazing playlists – it would blow you away the kind of music that they listen to. But we all love the classic bands – Pantera, Sepultura and Metallica, that kind of thing. Then Dan is a big death metal fan. So I guess what we have done is just bundle up our top ten influences and then just thrown them into the blender – then we just see what comes out.”

The other major change the band has seen with Dan White coming into the band is to their lyric writing. “Dan writes about ninety percent of the lyrics,” says Egan as we discuss the EPs lyrical content. “It is funny though every time I ask him what a song is about he says ‘well read it.’ I think though that he normally does have a bit of a theme in mind – there will be something going on socially or whatever it might be, but I think he also likes to keep it a little bit open to interpretation and I kinda like that stuff but that is how the lyrics are born.”

To finish off Egan has a special message to all of the band’s fans for this weird time we are going through. “Stay safe everyone,” he says. “The EP will be released on all the usual streaming platforms on Friday, the CDs are a few weeks away because of the shipping hold ups with the whole Coronavirus mess but please stay safe, try to give it a spin on Friday, hit us up on social media and Spotify and we hope that you enjoy it… and we are always open to feedback.”


Armoured Earth’s new EP will be released on March 27th.



One artist that couldn’t be more excited about having a track on the Murder In The Rue Morgue Volume 1 compilation is solo musician Grant Burns. Burns has made a name for himself over the years performing with bands such as Mason, Vulgod, Vespers Descent, Darkenium and Watercolour Ghosts and he released his solo album Chaos In Design with Rue Morgue Records last year.

“My journey with Rue Morgue all started when I was recording my solo album,” says Burns when I get a chance to chat to him about the new compilation. “I was recording it and I just wanted to do something with it. It was around about the time that Rue Morgue Records was starting and I’d had a few offers but I was like ‘nah that’s not for me’ and I kept going.”

“Then I contacted John,” he says continuing. “I contacted him mainly for his camera work and I said ‘would you mind doing some shots for this album that I have been working on’ and he said ‘yeah no worries.’ So I gave him all the stuff just so he get an idea of where I was headed and then he listened to it and he said ‘we’ve got to meet as soon as we can because I think we can do something.’ For me that was a really nice feeling when you have been working so hard on an album and I had no idea what to do with that. That was the start but then the great part was putting it all together, for me it wasn’t just about releasing a bunch of tracks that I had been working on so from there we just worked together to see how we would put it out and promote it and make it something tangible that we could put out there. Looking back to what it was like after it was released it was just basically…WOW!”

For those people out there who are going to be lucky enough to buy one of the limited edition Murder In The Rue Morgue Volume 1 compilation albums they will get something very special from the hands and mind of Grant Burns. “The compilation track is something that I wanted to do special just for that,” he explains. “It is just a one off track that I did just for the compilation, the reason being because after all the work with my single and my EP and everything that Rue Morgue have done for me when it came to the compilation I wanted to do something different. I wanted something that hadn’t been released because I wanted something new on there. I wanted it to be something special and I wanted to be able to thank John for the hard work that he had done.”

“So what I did was I gave him the track as a thank you and then there would be something new on the album,” he explains. “Also because it is a one off track it gave me the opportunity to experiment a little bit so that was kind of exciting in itself because I had a few tracks and I wasn’t sure which one to pick. But I had all these different ideas where I could use different guitars and such because it is a one off and I could do whatever I wanted. So in the end I convinced Jarrod Moseley (from death metal outfit Destructor) to play drums on it, so this particular track is a lot more drum orientated which made it really fun, and because it was just a one-off we didn’t have to rehearse for hours or anything like that. It was just more like ‘come down to the studio and we will just go for it.’”

With Burns being so happy about what he was able to do for Murders In The Rue Morgue I asked him just how important compilations like these are to have out there. “This was hugely important for me,” he says with happiness in his voice. “I think the whole Rue Morgue thing and what it has done for me is quite a lot so in a sense it has helped create my main music entity and has helped me to reach out to entire new audience. So for me to be able to be on this compilation at all is just another way for me to reach other audience members that weren’t potentially there before. I think there is also a bit of a community feel there as well, I mean you are a part of a family with the Rue Morgue compilation. You are not just thrown in there it is something that Rue Morgue have put together and we are all in it together and I don’t think that anyone else who is on that compilation wouldn’t lend a hand whenever something came up. So yeah, it is a bit of a community as well.”

So for all music lovers out there do the right thing and get behind the community and grab yourself a copy of Murders In The Rue Morgue Volume 1.


One of the fastest rising bands in the world at the moment are City Of Souls who hail from New Zealand. Over the past few months the band have been preparing for the release of their new album Synaesthesia on May 1st and during that time the buzz around them has just got louder and louder. They even found that their singles have been charting on the in the New Zealand charts.

Eager to find out more about the band that seems to have the world talking I had a chance to chat to guitarist Marcus Powell while he was looking after his kids.

“This has been a long time in the works – 2015 in fact,” says Powell when we start to talk about the beginnings of Synaesthesia. “We all came together after being in other bands because we were looking to create something that was a bit more emotive but at the same time keeping that heavy drive. We were just like minded individuals getting into a room together and jamming really.”

Hailing from bands such as Blindspott and Blacklistt himself Powell admits that the band members past musical experience all impacted on the song-writing for this album. “We found that a few of the band members were awesome song-writers so that helped us create an awesome production level. Everyone will go off and create things themselves and then they bring it to the practice room and we all jam it together. It is when we get together as a group that the songs really come to life.”

Powell says there is nothing that moment when they first come together and listen to what each other has been working on. “That is the part that I love the most,” he says. “If I have a riff that I create and I bring it to the group I get a real kick out of listening to their creative input and then see what they bring to the table… and vice versa as well. I love trading melodies and then meeting it up with a riff and then I’ll create something to go over the top or the same with Steve (Boag – one of the band’s other guitarists). I guess now we just all vibe off each other.”

There are some deep personal lyrics on Synaesthesia and as our discussion goes on Powell tells me that all the lyrics come from front-man Richie Simpson who previously performed with New Way Home. “The lyrics are all Richie’s doman,” he explains. “They all come from deep personal stories. For example some of the songs that we have written have been about people that have passed away in his life and he will be trying to come out of dealing with that so he’ll go into his room and try to write what that person would have wanted from him.”

“That is the beauty of music,” says Powell continuing to talk about Simpson’s lyrics. “When somebody shares on such an intimate level like Richie does it only creates a more intimate relationship with us. It makes us feel closer to him and I think that now shows on stage with our live performance. When we are all inter-linked into that story and have that understanding I think that it makes for a much better live performance.”

The fact that the band have started to find chart success in their home country has also been a surprise to them. “It has been quite surprising and really humbling as well,” he says. “Rock isn’t as widely spread here as some of the other genres. Like New Zealand is very big into six-sixty, LAB and there is a lot of dub-step, reggae and R ‘n’ B going on so to see rock hit the charts I see that as a bit of a milestone. We really want to send gratitude to everybody, thank you for listening, thank you for enjoying it and we hope that you guys really feel something when you listen to the album.”


Synaesthesia is out on May 1st.


It is no mean feat for any artist to get signed to a label, but we all really need to be celebrating the fact that Australian outfit Dregg have just been signed with Epitaph Records. When it comes to punk music there is no bigger label than Epitaph and Dregg become just the third Australian act to be signed to the genre leaders. The honour of such a signing is something that is not lost on frontman Chris Mackeritch.

“Basically this all started when we performed at Bigsound,” says Mackeritch when I ask him how the journey with Epitaph began. “That was about six months ago. We got contacted by this random American dude who was like ‘I’ve checked out all your videos and I’m not really watching any other bands at Bigsound but I would love to come and check out you guys, do you have a booking agent or manager?’ and we were like ‘no.’”

“So he came down and we all went for dinner afterwards,” he says still explaining. “He was a really big fan of it and he put forward whether or not he could manage us guys and I have people back at home we could wall work together. To be honest we were a bit sceptical but we were like ‘cool, cool, cool – this will be interesting’ and then we went home and looked up the guys on the internet and found out that they were actually pretty big dogs in Hollywood – they had worked with really big acts like Talking Heads, Maroon 5 and shit like that. Turns out they were super interested in the band and they said they saw our vision and wanted to help us get there. One thing turned into another and Brett Greenberg from Epitaph Records got wind of it all, he phoned us up and then it all happened.”

When the initial contact happened though it wasn’t all party hats and streamers because Mackeritch admits that the band were not sure were to make of it. “We have a very strict rule here at Dregg,” he says laughing a little. “Don’t get excited about anything until it happens. So we remained really calm when it first came through. We tried to remain as calm as we could but at the same time we were like ‘okay this is serious’ but it wasn’t until we saw the contract and then we were like ‘okay, Epitaph literally just uploaded our video – this is really happening.’”

“I still think that it hasn’t set in for everybody,” he says continuing. “I still don’t think we realise what it means for such a massive label to take us on, we are just taking it day-by-day and are really grateful for it really… it is fucking wild really.”

Of course that leads to the inevitable question – now Dregg are signed to Epitaph what the hell happens next. ‘Well we look at like this,” he says laughing loudly. “It is 2020 and we will make an album when we are ready. We will write an album when we are ready but right now the world is very different – you can put out EPs, you can put out singles. Who knows we might put out an album next or we might do four singles in a row. We are really just playing it by ear because at the same time the world is in fucking lockdown so it is not really the best time to be putting out shit like that, but it is the time to be putting out music that is kind of one off stuff.”

That kind of thinking also leads straight into one of Dregg’s other passion. “We love making music but we also love doing videos,” Mackeritch explains. “But it is very difficult to make an entire album full of videos so we were are sticking to what we have always stuck to and that is that there is no plan. We just create whatever the fuck we feel like creating, it is kind of like what we are all seeing in the Soundcloud movement at the moment. Kids are just putting out whatever shit they want to put out – they are like ‘here I like this’ or ‘I wrote this on the weekend – here it is.’ That is what it is like now, the whole let’s work on an album for six months and then drop it is kind of the old way of doing things so we are trying to keep it fresh and do what young people are doing now and then we’ll just drop shit as we write it, drop shit as we produce it… and we have been given that freedom from Epitaph, they are just like ‘you guys can do whatever the hell you want because we can see the vision for it… we see that you are relevant… just go for it.”

So it may be a bit of a wait and see moment for Dregg fans, but whatever they produce next we just know that it is going to be epic.