And Now The Band

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
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#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
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#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
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#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

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