And Now The Band

Greg discusses his latest musical projects and the evolution of Voidward, including his desire to create extreme metal built around wall-to-wall double-kick drumming, blast beats and unapologetically fast playing. For Greg, the music represents reaching a point where he can simply play the way he wants without feeling restricted by conventional expectations.
The conversation also explores Nobility and Death, Greg's ongoing series of extreme-metal releases. He describes the latest material as an “Extreme Metal Fantasia,” combining elements of black metal, death metal, progressive experimentation, clean vocals and increasingly unconventional arrangements. Tom and Greg even get into the free-jazz-like ideas appearing toward the end of some of the material and how Greg uses repeating riffs as frameworks for the musicians to improvise around.
Greg also talks about his interest in reimagining jazz standards through a grindy extreme-metal approach, potentially taking material such as “Autumn Leaves” into completely different musical territory.
The discussion moves through the underground music community, including Doomsday Prophet, Legalize Lex, Holler at Doom and Hufferfest, along with the challenges of coordinating recording projects around touring and band members' schedules. With drummer Noah currently in Perth, Australia until December, Voidward's next recording plans may not happen until January.
Tom and Greg also discuss the unique atmosphere of Holler at Doom, a camping and music event in the woods, as well as the unpredictable moments that can happen when musicians take the stage.
Another major topic is how bands should release music in the modern era. Greg reveals that the band has approximately a double album's worth of material, including the possibility of a four-song cycle. Tom and Greg discuss the growing popularity of singles and shorter release cycles while comparing today's music landscape with the era of classic full-length albums.
Technology has also changed the way musicians create and distribute music. The conversation explores how modern recording technology has removed many traditional gatekeepers and allowed artists to choose between singles, EPs, full-length albums and other formats based on what works for their music.
Tom and Greg dive deep into vinyl and physical media, including the ritual of listening to records and the different ways people connect with music. Tom discusses his own record collection of roughly 1,200 albums, while Greg explains why he has intentionally tried not to let collecting get out of control. Their conversation touches on artists and recordings including Sun Ra, Chopin and Pig Destroyer.
The episode also gets into the business side of being an independent heavy band. Tom and Greg brainstorm unconventional merchandise ideas and discuss how creative merch can become another part of a band's identity. For Voidward, they talk about merchandise that fits the band's progressive psychedelic stoner-metal aesthetic and the potential for custom dugouts through Tokmage.
Ultimately, EP395 is about the freedom to experiment—whether that means extreme metal, jazz interpreted through grind, extended improvisation, unusual release strategies, vinyl collecting or creative merchandise.
Topics Covered:
Voidward • Greg Sheriff • Extreme Metal • Death Metal • Black Metal • Progressive Metal • Double Kick • Blast Beats • Improvisation • Nobility and Death • Jazz Meets Grind • Underground Metal • Holler at Doom • Hufferfest • Legalize Lex • Vinyl Records • Physical Media • Independent Music • Band Merchandise • Psychedelic Stoner Metal • Music Technology
And Now The Band — EP395
Featuring: Greg Sheriff / Voidward
Genres: Extreme Metal / Progressive Metal / Psychedelic Stoner Metal / Experimental Music
#UndergroundMetal #HollerAtDoom #Hufferfest #LegalizeLex #VinylRecords #PhysicalMedia #IndependentMusic #HeavyMusic #MetalPodcast #MusicPodcast

Tom sits down with Hessel and Tomas of Gates of Kiev to talk about the band’s musical journey, their evolution from teenage musicians into a more serious and adventurous project, and the unique sound behind their self titled album.
Gates of Kiev began when Hessel and Tomas were around 18, eventually taking a five-year break before returning with a renewed commitment to the band. Their earliest rehearsals already contained ideas that would eventually become part of “Cosmic Chronograph,” giving a glimpse into how their sound developed over time.
The conversation dives deep into the band's songwriting and performance process. Gates of Kiev often begin with long jam sessions and improvisation, but those initial ideas can evolve dramatically over months of development. Live, they approach their songs as structured improvisations—keeping the framework of the recorded material while allowing each performance to take on its own character.
Tom and the band also discuss creating a huge, layered sound without a traditional guitar player, using keyboards, organ, bass, drums and other textures to build their music. Although Gates of Kiev features intricate studio layering, the band's live shows are driven by intensity, energy and the chemistry between the musicians.
Their music crosses boundaries between progressive rock, garage rock, punk and underground heavy music, something that has helped them connect with audiences outside traditional progressive-rock circles. The band talks about playing Amsterdam's underground scene, performing for younger audiences, and why today's listeners seem increasingly open to musicians who refuse to stay inside one genre.
Hessel and Tomas also reflect on their earliest shows, the painful reality of hearing recordings from those performances, and the importance of continuing to grow rather than settling for what you've already accomplished. They discuss the balance between technical development, creative experimentation and simply keeping music fun.
The addition of bassist Eszl has also opened up new possibilities for Gates of Kiev, including his contribution to the concept behind “Drunkship of the Mice.” The band explains why they intentionally leave some imperfections in their recordings to preserve a raw, human and live feeling rather than chasing sterile perfection.
The conversation also covers vintage equipment, finding the right stage setup, audience reactions, the challenges of performing experimental music, and Gates of Kiev's plans for the future—including their November 11 release show in Amsterdam and their hopes of eventually bringing their music to the United States.
Topics Covered:
Gates of Kiev • Tales of Ion • “Cosmic Chronograph” • “The Drunkship of the Mice” • Progressive Rock • Garage Rock • Punk • Improvisation • Experimental Music • Amsterdam Music Scene • Underground Music • Live Performance • Songwriting • Vintage Equipment • Independent Music
And Now The Band — EP394
Featuring: Gates of Kiev — Hessel & Tomas
Album: Self-Titled
Genre: Progressive / Experimental / Underground Rock
#GatesOfKiev #TalesOfIon #AndNowTheBand #ProgressiveRock #ExperimentalRock #GarageRock #PunkRock #Improvisation #AmsterdamMusic #UndergroundMusic #HeavyMusic #IndependentMusic #ProgressiveMusic #LiveMusic #EmersonLakePalmer #ELP

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

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

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

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

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

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

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

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

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

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

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

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

🎙️ And Now The Band — EP393
⚓ Jon Andre — Hempire
🎵 Sealed By The Sea EP
🦈 USS Indianapolis • Jaws • Horror-Inspired Heavy Music
📅 October 24 — Wild's Last Resort, Whitesburg, Kentucky

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

On EP392 of And Now The Band, Tom talks with Arms about their upcoming fourth official release, I Wish You Were Down Here With Me, arriving December 4th.
The band takes Tom inside the writing, recording, production and release of the new album, explaining how Arms has evolved from Paul's early solo recordings into a more technical and ambitious full-band project. The writing process began with Michael and Paul, eventually bringing in session drummer Emmett Siglia for the recording before Nick joined the band as their new drummer.
The album represents another step forward for Arms while maintaining the band's commitment to challenging, guitar-driven music.
A major part of the conversation focuses on the physical release of I Wish You Were Down Here With Me. Arms is working with Pirate Press for the vinyl pressing, with pre-orders available at ArmsBlackout.com and shipping planned for early December.
Tom and the band discuss the current challenges of vinyl production, including pressing delays that can stretch from five to seven months or longer. Arms initially ordered 300 records for pre-orders and will determine whether to increase the pressing based on demand and upcoming touring plans. The first pressing will be all black vinyl, with the possibility of special colored editions in the future.
The band also talks about their current live set, which runs approximately 25–27 minutes across five songs, including time for interaction with the crowd. Arms wants to expand its touring, with potential plans for the West Coast and Europe, while dealing with the financial realities of transporting a band across the country or overseas.
Technology and gear are also part of the discussion, including how modern pedalboards and mobile recording equipment have made it easier for musicians to travel lighter without sacrificing sound quality.
Tom and the band talk about favorite venues, including St. Vitus, as well as the importance of venues that genuinely take care of touring bands. They also discuss the realities of operating music venues in New York, including rising rent and regulatory challenges.
The conversation gets into some unexpected musical recommendations, with the band members trading artists and albums including Miles Davis, Boris, Circa Survive, Every Time I Die, Shai Hulud, Hopesfall, Oranssi Pazuzu, and Pallbearer.
One of the deeper conversations revolves around authenticity in recorded and live music. Tom and Paul discuss how click tracks, editing and modern production techniques can sometimes change the relationship between an album and the band's actual live performance. They explore the growing interest in rawer, more genuine forms of music and media, where mistakes and human imperfections aren't necessarily something that needs to be hidden.
Michael also talks about “placebo fuck,” one of his favorite songs from the album, particularly because the technical guitar work became a personal challenge during the writing process.
The discussion eventually turns toward playing in Kentucky, with Tom offering to connect Arms with Metal Monday at Mag Bar, potentially opening another door for the band to bring their music to Louisville.
From vinyl production and touring to guitar-driven songwriting, live performance, music discovery and the continuing push toward more authentic recordings, EP392 is a deep look at where Arms is headed next.
🎙️ And Now The Band — EP392
🎵 Arms — I Wish You Were Down Here With Me
📅 Album Release: December 4
💿 Vinyl Pre-Orders: ArmsBlackout.com
⚡ Progressive / Technical / Heavy Music
#Arms #IWishYouWereDownHereWithMe #AndNowTheBand #ArmsBlackout #HeavyMusic #Metal #TechnicalMetal #ProgressiveMetal #UndergroundMusic #VinylRecords #VinylRelease #IndependentMusic #NYCMetal #StVitus #MetalMonday #MagBar #LouisvilleMusic #EveryTimeIDie #Boris #DoomMetal #MusicPodcast #MetalPodcast

On EP391 of And Now The Band, Tom sits down with members of Masters Ashes to dig deep into the band's album Masters Ashes—a record conceived not simply as a collection of songs, but as a literary work meant to be experienced from beginning to end.
The band explains how the album was structured almost like a book, complete with a beginning, continuous narrative flow, and an ending that functions like an epilogue. Written as a trilogy of songs, Masters Ashes was created from a conceptual standpoint and, according to the band, without expectations about where it might lead. The goal was simply to create music for the love of creating music.
The conversation explores the band's blend of doom metal, death metal and black metal, while maintaining a traditional rock-oriented setup without relying on electronics. Special attention is given to Katie's keyboards, which add another atmospheric dimension to the album without overpowering the core band sound.
A major part of the discussion focuses on the album's recording and production. Six basic tracks were recorded in Afzaals home theater loft, with additional recording taking place at Ryan's studio. The band talks about Ryan's ability to create a massive, epic sound while still maintaining warmth and character through digital recording.
Tom and the band also discuss the changing relationship between analog recording and digital Pro Tools, and how modern digital techniques can still capture the qualities musicians traditionally associate with analog equipment.
The band had particularly positive things to say about working with Ryan, praising his versatility, collaborative approach and ability to bring a different perspective to a recording. Tom compares Ryan's work with other respected producers including Steve McAllister and Billy Anderson, while also discussing Ryan's work with Bad Wires.
The conversation eventually turns to one of the most important questions for any heavy band: How do you capture the feeling of a live performance on an album?
Tom and the band talk about why imperfections, unexpected moments and even mistakes can sometimes make a recording better. They share stories about recordings where something unplanned ultimately became part of the magic, and discuss the importance of stepping away from a song when something isn't working and returning with a fresh perspective.
“Conflict 3” becomes a particular point of discussion, with Jeff identifying it as one of his favorites because of its connection to the band's live performances at Born Free. Tom and Afzaal agree that the song has a particularly strong groove and live energy.
The conversation also gets into the band's approach to playing Masters Ashes live. The album isn't designed around constant touring, and logistics make live performances more complicated. The band has already been offered a festival opportunity for 2028 while exploring possibilities for 2027, but any performances will need to be carefully planned to preserve the quality and character of the music.
There is plenty of gear talk as well, including bass cabinets, 8x10s, 4x10s, 1x15s, potential 2x15 setups, traditional cabinets versus in-ear monitors, and why some musicians still prefer the physical impact and organic stage presence of a real cabinet setup.
Tom and the band also discuss the importance of having an open-minded studio environment, allowing musicians to experiment rather than having someone dictate every detail. That freedom, they explain, helped make the Masters Ashes recording experience particularly rewarding.

🎙️ And Now The Band — EP391
🎵 Masters Ashes — Masters Ashes
⚰️ Doom Metal • Death Metal • Black Metal • Atmospheric Metal
🎚️ Production & Recording • Ryan • Analog vs. Digital • Live Sound
#MastersAshes #AndNowTheBand #DoomMetal #DeathMetal #BlackMetal #DoomDeath #ExtremeMetal #HeavyMusic #UndergroundMetal #ConceptAlbum #AlbumInterview #MetalPodcast #MusicPodcast #Ryan #LouisvilleMusic #HeavyMetal #IndependentMusic #Metal