1. The album takes its name from the Mesoamerican feathered serpent deity — a figure representing wind, knowledge, the union of earth and sky. What drew you to Quetzalcoatl as a central image, and how does that mythology thread its way through the album’s themes?

We have been aware of the feathered serpent deity for quite a while. he was central to Aztec, Toltec and Maya cultures. The legend also has it that he appeared as an old man with a long beard, who disappeared over the sea never to return. It is a standalone song, the other songs are about other subjects, but it’s a great track and makes a good title for the album.

There was also a Cretaceous azhdarchid pterosaur called Quetzalcoatlus which was the biggest pterosaur that ever lived. Tim said “when I wrote the music for Quetzalcoatl I was expecting Dick to write about the Dinosaur.  But Dick was drawn to all of that Aztec and Mayan stuff.”  Dick said “Right I was, it makes a better song, how do you write a song about an extinct flying dinosaur?”

• Yeah! Make sense. Well, “Quetzalcoatl” has been described as your most cohesive and adventurous record yet — heavy rock sitting alongside prog folk, jazz, a vampire waltz, and Zen philosophy. How do you hold all of those wildly different influences together under one roof without the album feeling scattered?

The Tirith in some ways is a unique band, many people find us difficult to directly compare to other bands and artists. Because our influences are so wide that is hardly surprising, and we aren’t trying to be like anybody else. Many current prog bands are heavily influenced by Genesis, we aren’t.  Neither do we play what we would refer to as standard prog, lots of thrashing around, complicated time signatures, seemingly just for the sake of it, and doom-laden lyrics strung together in an ad hoc style.  We play properly constructed songs, sometimes featuring stories, often with soaring instrumental sections. We are included in the prog rock genre really because there is no other genre that fits. I could give you a list of our influences but it would take up a whole page and you don’t really want that.

• The space narrative that began on “Tales from the Tower” and continued through “Return of the Lydia” gets a new chapter here with “Back to Space” — a stranded spaceman in New York, unable to adapt to city life, deciding the only way forward is back to the stars. How did that storyline develop over three albums, and was it always planned as an ongoing saga?

There was no plan, but it is a fascination.  It all started really with a song called “The Tower” when we were very young, about a tower on a distant planet surrounded by methane snow.  Tim was inspired by Ray Bradbury to write that song.  Most of the development of the theme though has been written by Dick. Dick says “the space theme and our ongoing story is always in the back of my mind when writing songs for a new album.  Where to go with it next? The song Return of the Lydia, the title track of the last album, seemed a logical move to bring the space ship back to earth but it also afforded an opportunity to fill in more details about the adventures along the way. And so we come to Back to Space on the latest album.”  “I’ve been thinking about that angle for a while, the nightmare of city life with surreal lyrics, and then the big chorus of Back to Space.”  Has the adventure finished? Not sure, but also not sure at this point where it might go. But you know its all a bit tongue in cheek.

• “No Mind (Mushin)” originated as an improvisation and explores the Japanese Zen concept of empty, thought-free flow — total presence and effortless action. How does that philosophy of improvisation and instinct inform the way The Tirith approaches music-making more broadly?

OMG, it doesn’t, we are not a band that does a lot of improvisation, but occasionally we do and then develop a tune from there.  But in real life we are inspired by this approach.  Tim first came across these ideas when practicing martial arts, it is basically a form of meditation, which has been adopted by both of us

• Tim Cox’s history includes being part of the production team behind Rozalla’s “Everybody’s Free (to Feel Good)” — still a dancefloor anthem today — before returning to his prog rock roots. Tim, how does that commercial pop and dance world experience shape the way you approach songwriting and production for The Tirith?

Working with drums machines, sequencers and samplers in the late 80s it became possible to create an entire arrangement of a song before recording it to tape and mixing it. This was a big step from mapping out a song on say, acoustic guitar or piano, and then rehearsing and arranging a band before recording and mixing.

This has had a huge influence on the way we can work nowadays. With modern Digital Audio Workstations (DAWs) we can map out an entire song, before rehearsing and recording the individual members of the band, who can put their own style and interpretation on the song.  In dance music, most of the music remains programmed and sequenced, apart from the vocals. In our songs, pretty much everything is replaced by the musicians in the band playing in their own way.

• The band’s origins go back to Loughborough Grammar School in the 1970s — two boys sitting opposite each other with acoustic guitars, playing only original material from the very start. Over fifty years later, what is it about the Tim Cox and Dick Cory creative partnership that has kept it alive and relevant through everything?

It’s a special thing and we still like to do that, but it doesn’t really reflect the way we work together today.  We work together and separately to create the songs and we both have our own particular strengths. For Tim’s songs of which there are 3 on the Quetzalcoatl album, “Quetzalcoatl”, “Back to Space” and “Dancing With Vampires”, Tim will map out the whole arrangement of the song but without vocals, lyrics or topline.  Dick then works up a topline melody, writes the lyrics and makes it into a song sometimes suggesting changes to the arrangements along the way. Dick’s songs (of which there are 5 on Quetzalcoatl, “Rabbit Ings”, Spirit of the Volcano”, “Masters of Highways”, “Save The Oak” and “The Riddles”)  are usually presented in a rougher form as simple often chaotic complete songs with topline and lyrics, but then Tim sorts them out, changing the arrangements, adding instrumental sections and turning them into the finished article. “Moon King” is an Ant song but with extensive work on the arrangement and topline by Dick.  “The Slide” is a band collaboration, starting with a section from Tim, with a section by Ant in the middle.  Dick wrote lyrics and topline for both sections. “No Mind (Mushin)” started life as a band improvisation which grew and evolved into its final form. That’s the creative process, we love playing live and hope to translate that into live energy.

• Keyboardist Anthony Hill joined in 2022 and the band has spoken about how the lineup has genuinely gelled since then. What did Ant’s arrival unlock in the sound — and how has the dynamic between all four members shaped what “Quetzalcoatl” became?

Before I talk about Ant I would like to tell you about our drummer Paul Williams who can get overlooked.  Paul was our main drummer in the 70s before we went our separate ways.  He was the one who brought us back together after the in 2010.  Unfortunately he had to leave us again in 2012 due to heavy commitments with other bands.  But he rejoined us in 2020 and has been with us ever since. The Tirith always feels right with Paul sitting behind us on that drum stool.  He has an effortless bouncy technique which we love, having Paul on drums has made it possible for us to play our more difficult songs with relative ease. We are trying to keep him going for as long as possible (he does suffer from rheumatism now in his hands), so fingers crossed.

When Ant joined in 2022 it completed the circle. We had wanted a keyboard player for a while that fitted with us, and we had tried a few.  Keyboards up until that point were played by both Tim and Dick on record, but that was hard to replicate on stage. As a 3 piece we would bring keyboards on stage but our hands were mostly playing guitars, although Dick did also play keyboard pedals which were effective to some degree.  We had been aware of Anthony Hill for a few years and had spoken to him before, but at that time he was busy with his own band.  By 2022 he was fed up with them and contacted us asking to join The Tirith.  For Ant its been a steep learning curve, he has had to learn all our previous albums and the way we work technically, and has now started to contribute to the process, eg Moon King.

• The album closes with “The Riddles” — lyrics full of classic riddles, and at its heart M.O.A.I., Malvolio’s riddle from Shakespeare’s Twelfth Night, for which there is no solution. Why end the album on an unsolvable riddle — and is that a deliberate philosophical statement about the nature of prog itself?

We didn’t purposely intend to, its just when we ordered the album The Riddles ended up in that position, honest !  But seriously we like little quirks and mysteries, we did let you into the secret though.  Maybe we shouldn’t have and you would now be asking us, ”what is M.O.A.I. ?”

• The Tirith have performed at the Cambridge Rock Festival, HRH Prog, Sonic Rock Solstice, and venues across the UK and Europe. With “Quetzalcoatl” arriving in July, what does the live picture look like — and are there festival appearances or tour dates in the works to support the album?

Our next 3 gigs are all small festivals, Steel City Prog at Network Sheffield in Sept, our own festival Prog Rhino 3 at Greystones Sheffield in Oct, and Spriggan Fest in Reading in January 27.

• The band began as Minas Tirith in the 70s — named after a place in Middle-earth — and has always sat at that intersection of prog rock and dark fantasy. Looking back across fifty-plus years and forward into whatever comes after “Quetzalcoatl”, what does this band still have left to say?

Although we did originate all those years ago there were no recordings from that era. So it’s a lifetime compressed really starting in 2015 with the release of “Tales from the Tower” the songs of our youth. Followed by “A Leap into the Dark” in 2019 and “Return of the Lydia” 2022, both with newer songs.  But I think our latest Quetzalcoatl is surpasses all of them.

I think with Quetzalcoatl you have to immerse yourself in the whole album to really get it.  The tracks are all so different, they pull you this way and that, the moods change, but always with that underlying rock sensibility. The album is more keyboard based than our earlier albums, but the guitar solos are still there, just shorter than previously. We have tried to cut repetition down and there is a whole load of music in there.  Just dive in and immerse yourself in it!

And we still have a lot to say!

• The name, the cryptic intro, the atmospheric imagery — “The Whispering” feels like it was built as a world unto itself from day one. Where did the concept behind the band and its identity come from, and how long has this vision been taking shape?

Greetings Mena . it’s Lucian , lovely to talk with you 🙂

For me , music offers a ticket to freedom, a license to explore the depths of the self and a vehicle of expression.

The Whispering has been in my heart for many years now . The sound and atmosphere are reflections of the danger and excitement I felt in my youth when first discovering heavy metal . The feeling of running thru the dark , unsure of what’s ahead or the phantom that’s chasing you .

The Whispering are the unseen voices of truth and guidance in these moments of chaos. The wisdom hidden in plain sight. Our world today if drowning in noise pollution and self distraction. The answers we seek are waiting in the shadow, on the wind above and the water below .

• Thank you! It’s my pleasure. Well you’ve described yourself as someone who carries “the torch of rebellion against injustice, oppression, ignorance, and twisted hypocrisy.” How directly does that personal mission translate into the lyrics and themes across these four tracks — “The Whispering”, “Life After God”, “Evil Eye”, and “Pretty Witches”?

I do not describe myself this way. I only write the music and lyrics that resonate with my heart. I often find myself disconnected from social justice and the madness of the collective. It’s easy for people to insulate and only see what confronts us directly, yet beyond our personal spaces the world moves in ways that affect us all.

How long will woman be subjected to religious dogma that suppresses their rights, bodily autonomy and equality?

Peoples self serving ignorance and entitlement to the destruction of the environment. The indifferent torture of animals, factory farming. These are urgent issues that stir my inner rebellion.

• Before The Whispering, you were producing and performing with world-famous circus troops including Cirque du Soleil, and performing in venues and festivals across the US, Canada, Australia, China, the UK, and Europe. How did that extraordinary experience shape the artist — and the bandleader — you are today?

The circus world is a brilliant storm of tragedy and triumph, death defying climax and delicate moments. Night after night I witness performers throwing themselves into the spotlight and dancing on the edge of disaster. As a fire performer, I found myself wildly alive on stage. A visceral escape from the mind into the present moment. It’s a feeling of freedom I wish to convey thru the music of The Whispering.

• The lineup here reads like a metal dream team. Loic, Tobias, Dirk — these are names with serious history in the genre. Lucian, how did you bring these elite players together around this specific vision, and what did each of them bring to the music that you couldn’t have anticipated?

It’s a honor making music with these legendary musicians. As the vision of the The Whispering took focus, each member found their position quite naturally. It was almost as effortless as whimsical wish set upon the wind only to have it answered with a hurricane.

The synergy of musical influences and like minded vision became clear very early on and has made for a thrilling journey.

• Dirk Verbeuren stepped in to complete the album recording when Tobias was unavailable — and the two of them, Dirk and Loic, share a 20-year history across multiple bands. What was it like witnessing that reunion energy in the studio, and how did it impact the final sound of the record?

Loic and Dirk have been friends and band mates for two decades and their connection is special. It’s been a joy watching them re unite and flex their sonic telepathy on the record. They are both masterful players and open channels of collaboration. No guidance or instructions needed, they know the right thing to play before I’ve even written the songs :)!

• The EP was recorded at Besco Recording Studios in France with producer and manager Dan McConomy, mixed by Mohammad “Momo” Sadeghin, and mastered by the legendary Randy Merrill at Sterling Sound. That’s an impressive chain of talent. How did the collaboration with Dan and that team shape the sonic identity of what you were making?

The whispering is an international band, bonded by our love of music. As the record came to life , each collaborator brought a little of their own inspiration from every corner of the earth . It’s was easy to trust the instincts of the people involved.

Music is the international we all speak.

• The EP is called “Part 1” — which naturally raises the question: is there a Part 2 in the works, and what can you tell us about what that might look like?

It was a challenge separating the EP from the album.

Releasing the full length record will complete the vision. Songs still to come have some deeply personal themes, some extra heavy moments and delicate interludes.

This is our first record as a band and we are excited to be sharing it with you !!

More divinely devilish music to come.

• The full self-titled album is coming this fall with ten tracks total — four of which we’ve already heard. Without giving too much away, how does the complete album expand on what “Part 1” introduces, and are there musical or thematic directions on the full record that might surprise people?

It was particularly challenging, separating the EP from the entire album. It was written and recorded as a complete concept. There is an overall feeling of spooky immersion when sitting with the entire album. Still to come are some extra heavy moments, deeply personal lyrics and delicate interludes.

• Any music videos planned for filming soon — beyond the self-titled track that’s already out on YouTube?

Yes, we have scheduled more music videos to share. The self titled track, the whispering and proceeding music video were an introduction to a greater conceptual vision.

we are a part of a community of creators, witches and conjure, actively shaping the visual environment for the whispering

• Your live experience is clearly a massive part of who you are as a performer — immersive, theatrical, powerful. How are you designing the live show for The Whispering, and when can fans expect to see this project on stage?

We are a coven of musicians who are serious about the craft and delivering a high-level performance, we are also a band of witches, intent on creating a wild and unpredictable live experience.

• The band operates on its own imprint, LAG Records, distributed worldwide by The Orchard. In an era where so many artists are navigating the tension between creative control and industry reach, what does owning your own imprint mean to you — and how does it shape the decisions you make?

The music industry as a business is its own beast. As long as we as a band have creative control, I leave and trust the business and management team responsible for the logistics”

We are well represented and have total confidence in the team around us.

• In such an AI-driven era, how do you see the future of indie artists in particular — and the music industry in general?

With thousands of AI generated records being released every day it would seem the landscape is even more flooded. It’s going to be a challenge for listeners to discern computer generated music from the real thing. When I listen to a song, I often think of the artist who created it and the emotions being communicated. It’s a much deeper experience and offers real insight into human connectivity. As AI continues to spread , so will the recognition and unpredictable excitement of raw soul generated sounds.

Jason was deep in the creative marathon that would eventually produce the epic double album Soliloquy — six months of near-continuous writing fuelled by coffee, cigarettes, and a ham and cheese croissant each morning, which only ended when he was hospitalised for six weeks. During a rare break, he turned the television on to check for updates on Melbourne’s seemingly endless lockdown.

What he saw stopped him cold.

Donald Trump and Kim Jong-un — walking together. In peace. In solidarity.

For most people, it was a strange news item. For Jason, a man who had spent ten years serving aboard Royal Australian Navy vessels, it was something else entirely. Throughout his service, the captain’s voice had rung out over the ship’s speaker with a clear and consistent message: North Korea was an unstoppable force. Prepare accordingly. The idea that a phone call could resolve what had been framed as one of the world’s most intractable threats hit him like a physical force.

He sat down and started writing.

“War Killer“ is not a political endorsement. Jason is the first to admit he knows very little about politics and understands it even less. What he believes in is peace — and the bewildering, beautiful, almost naive hope that a moment of unity might be worth celebrating, regardless of which side of any line you stand on. He tried to reach a mate — a passionate political supporter on the opposite end of the spectrum — to share the moment, only to find him locked in heated online battles with strangers across the world. Jason’s question was simple: can’t we just celebrate this?

The song that came from that question nearly didn’t make the album. With 1800 songs to choose from for Soliloquy, the odds were against it. But after a beer and tequila break at The Avenue Studio in Cheltenham, the band laid down their first take — and something happened. Producer Simon Moro and Jason looked at each other when the vocals finished. They both knew.

“We have a hit here,” they said. “And we’re both going to get cancelled.”

Without a single moment of promotion, “War Killer“ has already become a fan favourite.

Heavily influenced by punk and recorded with the raw, first-take energy that defines the genre at its best, “War Killer“ channels the communal spirit of Sham 69 into a song about the absurdity and exhaustion of political division. It is Jason’s first heavy track as a lead vocalist — a deliberate step outside his comfort zone as an artist known for emotional, softer performances — and a statement that the world needs to hear right now, even if it takes a lot of convincing to believe it.

“A punk rock take on the current political climate,” Jason says, “may be just the thing to get us all holding hands again.”

Jason is in early discussions regarding a UK and European tour in Autumn 2026. Nothing is confirmed yet, but the momentum behind Reetoxa — from the extraordinary Soliloquy double album to the growing fanbase that found “War Killer“ without any help from the promotional machine — suggests the world stage is the logical next step.

• “No Other” is your first CCM release and it draws heavily from Isaiah and Psalms. What was the spiritual and creative process behind writing it — and what do you hope listeners take away from the song?

The spiritual process behind the song really came from the realization that no message seemed worth conveying to me right now except letting people know about the hope that is found in Christ alone. My middle name is Hope, and I believe hope is something God wants me to share with others. And hope is something our world so desperately needs right now. As far as the creative process goes, I just got back into songwriting during the summer of 2025 after years of a creative drought. I started writing song after song. Most of which didn’t turn into anything, but four of those I found worth recording. “No Other” starts out almost directly quoting Isaiah 40:8, but I just made it rhyme: “The grass withers and the flowers fall, but the word of our Lord stands with us through it all.” That theme – that the only sure thing is life is the foundation that God provides – continues on into the main point – there is No Other. The song goes on to expound upon that idea with various scripture references – No other Truth, no other Way, no other Life, no other Rock, no other Name by which we can be saved.

• Your musical journey started with classical piano at age 9 and a love for poetry. How did those two early passions eventually come together to shape the songwriter and artist you are today?

I always knew music was my favorite activity and also wrote poetry on and off as a child and throughout high school. In my early adulthood, I started to put some of the poetry to music and then took songwriting classes in college to learn how to better make it flow. Before that, I had always received praise from my teachers and parents for my writing. My high school English teacher told me she fully expected to see me in print one day and my first college English teacher immediately (during the first week of class) recommended me for the honors program after seeing some of my writing. I needed that encouragement and am grateful that God put people into my life who took note that I had a gift. For songwriting, it was more a matter of finding how to work with putting lyrics to a melody or, in some cases, finding lyrics for a melody that had come to me. Lately, sometimes melodies come to me from out of nowhere and I hum them into a recording app on my phone so I don’t forget them. I think that God allows words and music to come naturally to me, but it was a matter of putting them together that I needed to learn. I am still learning and hope I’ll always be learning to further develop musical skills my whole life. With songwriting, I also re-write lyrics multiple times before I consider them done, which was a bit different from the freer flow of poetry that I learned in English class. In short, learning the art of songwriting was different than playing piano and writing poetry, but both very much provided the foundation I needed to write music. I’m very grateful that my family always encouraged me to play piano  and my parents provided me with the biblical and musical education I needed. I don’t know that I would have had the songwriting skills that I have now if I hadn’t started out with learning first how music works. I know a few people can write a great song with no music theory knowledge at all, but I personally needed all that training.

• Stage fright is something a lot of artists quietly struggle with. You’ve spoken about overcoming it before stepping into performing your original music. What finally pushed you past that barrier?

I learned to separate myself from the fear rather than dwell on it. Singing is the most fun activity I can imagine, so focusing on that part of it helps. God created people in His image, so we are made to be creators ourselves. For some people it’s making music or art, for other people it’s decorating, baking, or building something. We all have different gifts and talents, and when we use those, we tend to shine. I decided I wasn’t going to let my fear keep me from shining. There’s too many bitter or jealous people out there who will try to keep me from shining! So why would I let a fear of doing something I love get in the way of doing something I love? God wants us to shine for Him and, for me, that involves making music. There were a couple of other factors that helped me too: One of my professors told me that over-preparation is key to overcoming stage fright and I think there’s something to that. I also used to go do karaoke with friends as a way to get onto a stage and sing in front of people without having to worry what anyone thought, so that was very helpful too.

• Your first EP featured acclaimed bassist Dominic John Davis and earned radio play and press in countries spanning the US, France, Brazil, Germany, Mexico, and Egypt — including our own corner of the world here. What did that international reception mean to you at that stage of your career?

It was more of a small reception via a few online radio stations in various countries, but it was a confidence boost to know that some people thought it was worth sharing! I need all the encouragement I can get! It was an honor to work with Mr. Davis and all the others who worked with me on that first EP, but I’ve also got some musicians with impressive resumes who have worked with and toured with some big-name artists that recorded with me on this current 2026 project. I am blessed and honored that God keeps sending very talented people my way – people who are way cooler than me haha. The guitarist/bassist (Jake Bartolic), the drummer (Kyle Jones) and the audio engineer (Ben Perkins) are all very talented and good at what they do. I wrote the melodies, chords, and lyrics, but these songs would be pretty boring without the musical additions that happened in the studio. I pray this music gets a much bigger reception than the music from a decade ago – The message is more meaningful this time and a message of hope that the world really needs.

• For this new project, you wrote all the lyrics, chords, and melodies entirely on your own — weaving scripture from Genesis all the way to Revelation. That’s a significant creative shift. What made you want to take full ownership of this body of work?

I knew very specifically everything I wanted to say this time around. I am open to co-writing again in the future and already have some plans arranged to do so, but for this particular body of work, I knew I just needed to say what the Bible says, make it have a rhythm, rhyme, flow and melody and not say much else. Not every line comes straight out of the Bible, but I do use a lot of Bible verses and tie them together into a common theme for each song.

• You have four singles lined up — “No Other,” “Who is He,” “A New Thing,” and “Set Free.” Is there a broader narrative thread connecting them, and can you give us a little preview of what’s coming after April 17th?

“No Other” is about how Jesus is the Way, the Truth and the Life and there is no other name by which we can be saved. This message was very important for me, because I do truly care about everyone I meet and want everyone to know Jesus. “Who is He” is a song that uses over 60 names for God and additional descriptions for God. It’s the closest you’ll ever hear me to rapping, but it’s really more like speak-singing just for the verses (and the chorus and bridge are sung regularly). “A New Thing” is very heavily based on Isaiah 43:9, “See I am doing a new thing. Now it springs up. Do you not perceive it? I am making a way in the wilderness and streams in the wasteland.” It is reflective of  how I view this season of my life, and I finally wrote a song in my upper vocal range, so that’s exciting to share. I put not one, but two key changes into that song. “Set Free” is a bit different from the other three songs lyrically and all-over-the-place musically. I was actually researching how to write a K-pop song when I wrote that song. (I don’t listen to K-pop, but was curious about the writing process.) “Set Free” didn’t turn out at all like a K-pop song except that musically, it has several very distinct sections and it does get stuck in your head. That song breaks a few songwriting rules (as does “No Other” in the bridge), but was a favorite among those who worked on it in the studio. All four songs are very different. “No Other” is the most “pop rock” of all four songs, and quite possibly the one with the most important message, so it was the song I decided to release first. The broader thread connecting all four songs is the biblical worldview and heavy use of scripture references. After April 17th, the other three songs will be released in 2026 with generally about 4-6 weeks between each song’s debut.

• In such an AI-driven era, how do you see the future of indie artists in particular — and the music industry in general?

I do sometimes worry for the future of the music industry with AI becoming more and more a factor. I know God is in control and I don’t dwell on it, but it’s concerning. That being said, I wonder if over time people will crave something real. I read an article recently that said more and more young people are reading the Bible, because they are so tired of misinformation on the internet, and they are looking for a source of Truth. Following that thought process, I  think that AI music and art won’t prevail, because deep down people do want something real and authentic. I think music made with real instruments and human voices will always be around.

‘Candy’ showcases Devlin’s passion for storytelling, addressing a rarely explored topic in country music with nuance and empathy. Co-written with Chris Markey, the song subverts stereotypes around “sugar baby” relationships, presenting a narrative that is human, complex, and authentic. Speaking about the song, Devlin explains: “With two Irish people in a room, I knew we had to tell a story. I love tackling taboo topics, and after a random chat about sugar-babies (probably sparked by a TikTok I’d seen), we ran with the idea. What fascinated me was flipping the stereotype: a sugar baby who actually falls in love with her sugar daddy. From the outside it looks shallow and transactional, but like any relationship, it’s messy, imperfect, and real.”

Recorded in Nashville alongside the sessions for ‘Emotional Rodeo’, ‘Candy’ also marks a key moment of artistic assertiveness for Devlin. “I recorded this track, along with the ‘Emotional Rodeo’ album, in Nashville with musicians I’ve admired for years. This one pushed me, though. After a few takes, I knew the tempo was wrong, so I stopped the session and spoke up. It was nerve-wracking, but the faster version ended up being the clear winner. It gave the song the playful, upbeat chorus I’d been chasing, rather than putting too much weight on the lyrics and making it feel heavy or seedy. This track was always on my shortlist for the original album, but I ran out of time. It went through countless iterations, especially vocally, and nothing felt quite right. Stepping away turned out to be the best thing – I came back months later, re-recorded the vocal, and suddenly everything clicked. Thanks to the deluxe edition, it finally gets the release it deserves.”

Following her support slot for country star Corey Kent in February, Devlin launched festival season with appearances at the iconic C2C (Country to Country) festival in Belfast, London, and Berlin in March. Building anticipation for ‘Not My First Emotional Rodeo’, she delivered her fearless style at The Long Road Festival in Leicestershire on August 22nd and 23rd, and headlined at The British Country Music Festival in Blackpool on Sunday, August 31st. She will cap her live performances with a headline show at Colours, Hoxton, on Thursday, October 16th, featuring electrifying new material.

Released in November 2024, ‘Emotional Rodeo’ achieved significant success, solidifying Janet’s position in the country-rock genre. The album topped the iTunes Country Chart, reached #4 on the UK Official Country Artists Albums Chart, #5 on the UK Official Indie Breakers Chart, and #21 on the UK Official Independent Albums Chart. Devlin featured on The Scott Mills Radio 2 Breakfast Show ahead of C2C Festival and earned accolades from Russell Crowe, who previously toured with her and lauds her as reminiscent of Stevie Nicks—ethereal yet direct on stage.

Her singles garnered strong chart performance, hitting #31 in the Big Top 40, #15 in the UK iTunes Charts, and #4 in the iTunes Country Charts, alongside national airplay on Capital & Heart, Absolute Country, New To 2 with Scott Mills, BBC Core playlist inclusion, and over 110 regional radio playlists. ‘Red Flag’ and ‘Best Life’ secured month-long spots on the BBC Radio 2 B List Playlist, with ‘Best Life’ peaking at #38 in the UK Radio Monitor Airplay Top 100. The album received coverage in outlets such as Daily Express, Daily Mirror, Daily Mail, The Sun, OK!, Record Collector, The Irish Post, The Irish News, Wonderland, CelebMix, ATC, VIP Magazine, and Record of the Day. Highlights include a performance on The Late Late Show Country Music Special, an interview with Ray D’Arcy on RTE1, and the ‘Red Flag’ video on Sunday Brunch.

Be swept off your feet and into the wild, untamed world of ‘Emotional Rodeo’ – a resounding single that comes hard and fast with unbridled intensity, igniting a passionate trail in its wake. Written with Ben Earle of The Shires and Kaity Rae (GIRLI, Beth McCarthy) Devlin boldly ventures into the heart of country music, effortlessly blending her signature Irish charm with the raw vigour of country rock. Playing in a Ceilidh band as a child, a fiddle plays loud and proud, propelled by driving guitars and thunderous drums. ‘Emotional Rodeo’ doesn’t hold back, as she draws from the diverse range of her musical influences, blending the fiery spirit of Red Hot Chili Peppers with the soul-stirring melodies of country legends like Chris Stapleton.

Since her early beginnings as a standout performer on the UK X Factor at the age of 16, Devlin has gone on to do so much more. Her debut album, ‘Running With Scissors’, heralded a defining moment, wherein she sculpted her singular artistic identity with finesse. Her most recent album, ‘Confessional’, served as a deeply personal narrative as she poured her heart out, transforming her struggles into a captivating folk-pop odyssey that resonated with audiences worldwide. Accompanied by her book ‘My Confessional’, this multifaceted project offered an intimate glimpse into her world.

As noted in a review by Rock Era Magazine, “Her tone is clear, intimate, and unforced, allowing vulnerability to surface without becoming fragile.”

• Your musical journey with Post Death Soundtrack spans nearly two decades, evolving from collaborative industrial and psychedelic roots to a solo-driven project. How has this transition influenced the creative process and sonic identity evident in GRIST?

The transition to going solo was initially driven by my realization that I had more time for Post Death Soundtrack than anyone else, and things were lingering. Once I started self-producing, I created “IN ALL MY NIGHTMARES I AM ALONE” and it was revelatory for me. I’ve always done whatever I want artistically because I feel that’s the only way art has a purpose. But this project ended up really exploring what that meant in an intuitive way, a chaotic way. I love saying what I want and making calls as to when to add noise, sirens or uncomfortable sounds.

GRIST is a continuation of that approach. However, where IAMNIIA had a very scrapbook feel, I wanted GRIST to be more consistent, more industrial and very unnerving. In fact, I came up with the album cover months before I had even completed much of the music at all. My goal was to make the album sound how the cover looks. The beats are very heavy and often influenced by gangster rap. The music is a mixture of industrial/noise, metal, gothic rock and electronic music.

• “GRIST” serves as the second installment in your new series of 30-song double albums, following IN ALL MY NIGHTMARES I AM ALONE. What motivated this shift toward such expansive, ambitious releases, and how do you approach structuring and sequencing 30 tracks to maintain cohesion and impact?

It was unintentional the first time. I was going through heavy depression and stress, addiction and mourning the loss of an animal. I poured myself into recording and compiling for IAMNIIA, sometimes staying awake for days and recording all night. I believe I initially thought of doing something that was 7 or 8 songs and ended up going and going until it reached 30. Granted, some of the songs are merely interludes to keep things flowing and add intrigue to the themes.

GRIST, funnily enough, I intended for it to be 10-15 tracks. As I got on a creative role and realized these songs were darker and heavier than its predecessor, I continued and decided it would be 30 again. Same thing with this album – I have continued to utilize interludes not as filler but to expand on the manic meaning of the release.

For cohesion and impact, I’m a music obsessive and have pretty much studied track listing and albums my whole life, so I just kind of meditate on it and know where to put each piece for flow. I order it how I’d want to listen.

• The album draws inspiration from Ram Dass’s concept of life experiences as “grist for the mill of awakening,” encompassing themes of philosophy, mental illness, loss, addiction, and spirituality. Could you elaborate on how these elements manifest across specific tracks, such as the rallying imagery in “OMEN” or the personal reflections in “CUB”?

Ram Dass has always inspired me, and in fact I was able to visit him for 5 days in Hawaii. Grist for the mill is such a brutal, yet beautiful quote. I thought shortening this to GRIST, and showing pieces of my experience these past few years, it’s horrifying but beautiful, too. What I’ve gone through is scary. OMEN is a personal rallying cry. It’s a personal, original mantra and an invitation to fearlessness in the face of being scared or being threatened. CUB is an imaginary hunt or revenge tale dedicated to my deceased black cat Bonzai, and it is one of my ways of bringing his spirit with me. It is also intended as a rallying cry for cats and people too!

• “GRIST” incorporates covers from artists like PJ Harvey (“Catherine”), The Beatles (“Helter Skelter”), and The Doors (“The End”). What drew you to these particular songs, and how do they integrate into the album’s overarching narrative of survival, chaos, and awakening?

PJ Harvey is one of my favorite artists – period. “Catherine” has the feeling of deep mourning, and also revenge. It’s so dark lyrically that it is atypical in every way. It’s almost shocking. But you can tell, Polly Jean is hurting, and she wants her get back. That is one of the themes of this album, strange to say. It’s an ‘enough is enough’ mentality, and this is where ‘OH NO!’ and ‘BEAR IS WAKING’ come from. It’s the energy of ‘don’t push me as there’s no more ledge’.

The Beatles are my favorite band alongside Nirvana. I wanted to completely subvert ‘Helter Skelter’ into a vulnerable but menacing version as if it was the end of the world and the bombs were flying.

The Doors ‘The End’ has always been one of my favorite songs, and it’s iconic for how much it embraces chaos. Walking through a Roman wilderness of pain where all the children are insane….that’s a bit like modern life, so reality has caught up with Jim Morrison.

• In an era increasingly shaped by artificial intelligence in music production and distribution, how do you envision AI affecting the future of the music industry—particularly for independent, genre-blending artists like yourself who prioritize raw, human-driven expression?

We’re early into the AI stage, so I think more companies will take the Bandcamp route and ban it. To me it’s clear. I have nothing against AI as a tool. Sampling has been used in masterful art for a very long time now. I approached this album with both real drummer samples and electronic samples, noise samples, sound effects etc. But its my voice, my guitar, my expression and my design. The rest is largely impacts and explosions for effect.

I feel that if someone just types a prompt ‘sunny feeling, bright synth, trip hop beat and lyrics about a day at the beach’ and AI pops out a full song, that’s not creating art. That is having some fun. The artist has to be in it.

• With streaming platforms favoring shorter attention spans and algorithmic promotion, are you concerned that listeners might overlook or undervalue a 30-track album in such a rapid era, or do you see this format as a deliberate challenge to contemporary consumption habits?

Yes. I figure, in a world where 90,000 releases or so come out weekly, THIS is something unique. And nobody is doing it. And to those who think it might be too long, treat it like a book! Put it down. Pick it up. I’m a big Lord of the Rings fan and each film is 4 hours. Nobody complains. People want them to be longer. Also, releasing double albums helps me build the right audience who are fascinated by this work and want to support it.

• The press materials describe GRIST as a “pure offering” to your dedicated supporters—referred to as “baby bees,” “cubs,” “bears,” and “hyenas.” How has the relationship with your audience evolved, and in what ways does this community inform your ongoing work?

I have often lived in quite a bit of isolation and depression, so I write from this perspective. I find it liberating to do so. In doing this, I’ve started to rally energetically in the music in hopes it will spark some inspiration in others who have felt the same way. Others going through mourning can listen to CUB and feel something incredibly deep, possibly cry or stand up in some way. Some people might listen to OMEN or I SWEAR and feel vindicated, feel like their power is back and they won’t accept anything less. The growing community is something I appreciate and find very powerful. I always write from the heart, but I certainly want the community to love it each time.

• Your influences range from Swans and Skinny Puppy to Nick Cave, PJ Harvey, and Tom Waits, blending doom, industrial, gothic, and avant-garde elements. How did these diverse touchstones converge to shape the beat-heavy, noise-driven yet emotionally resonant sound of GRIST?

They all contribute, and my influences seem to go together pretty seamlessly. The benefit of having many influences is it’s a gumbo, and you filter all of them into your own unique sound. Bands who only listen to Pantera sound like Pantera. Have a wide palette, and you’ll sound pretty wild.

• You are currently finalizing HEL’S MOUTH with your collaborative project HE IS ME alongside Casey Braunger. How does this duo’s dynamic—described as featuring dynamic shifts, sludgy metal, industrial grooves, and ambient pieces—differ from your solo work on Post Death Soundtrack, and what can listeners expect from its release?

It has it’s similarities in mood, but HE IS ME is overall more metal-based and has different atmospheres and tones thanks to the music and production of Casey Braunger. He makes all the music and I do the vocals/lyrics, so there is that difference as well to color the sound.

• Looking ahead beyond HEL’S MOUTH, what are your upcoming plans for Post Death Soundtrack, whether in terms of new material, live performances, or further exploration of the double-album series? Do you anticipate any shifts in direction or format?

Well, the 30-song release thing…..it’s intended as a trilogy! Or more haha. We will see. I might just keep doing them. Maybe I’ll do 8 or more. Let’s start with 3 though. I already have the album title for the 3rd one, but will reveal that at a later date. I’m excited to heavily promote GRIST this year and start working on the next album by Summer.

James Marshall “Jimi” Hendrix was born Johnny Allen Hendrix on November 27, 1942, in Seattle, Washington, to parents Al Hendrix, a U.S. Army veteran, and Lucille Jeter. His family faced hardships: Al was deployed during World War II shortly after their 1942 marriage, leaving Lucille to raise young Jimi amid poverty and instability. The couple divorced in 1951, and Al gained custody of Jimi and his brother Leon, while other siblings entered foster care. Jimi’s childhood was marked by frequent moves, family fights, and the profound loss of his mother to cirrhosis in 1958 when he was 15—a tragedy that deeply affected him, as he later expressed a longing to “see my mother again.”

A shy, sensitive child nicknamed “Buster” after actor Buster Crabbe, Jimi found solace in music. He mimicked guitar playing with a broom, inspired by Elvis Presley records, and saw Presley perform live in Seattle in 1957. Self-taught and unable to read music, he started with a one-string ukulele salvaged from garbage, learning Elvis’s “Hound Dog” by ear. In 1958, his father bought him a second-hand acoustic guitar, and by 1959, Jimi had his first electric—a Supro Ozark—joining bands like The Velvetones and The Rocking Kings. Influenced by blues giants like Muddy Waters, B.B. King, Howlin’ Wolf, and Robert Johnson, he practiced relentlessly, developing techniques that would later redefine guitar playing.

Jimi attended Washington Junior High and Garfield High School but dropped out due to poor grades and attendance, focusing instead on music. He later confided about childhood sexual abuse, adding layers to his sensitive persona.

In 1961, at 18, Hendrix enlisted in the U.S. Army to avoid jail after being caught in stolen cars. Stationed at Fort Campbell, Kentucky, with the 101st Airborne Division, he completed paratrooper training but disliked military life, neglecting duties to play guitar. He formed The King Kasuals (later Casuals) with fellow soldier Billy Cox, performing at base clubs. Discharged honorably in 1962 after about a year—officially for “unsuitability,” though he claimed an ankle injury from a parachute jump—Hendrix moved to Clarksville, Tennessee, and then Nashville, playing low-paying gigs on the Chitlin’ Circuit.

Post-discharge, Hendrix worked as a session guitarist under the name Jimmy James, backing icons like the Isley Brothers (“Testify,” 1964), Little Richard (“I Don’t Know What You Got (But It’s Got Me),” 1965), Ike & Tina Turner, Sam Cooke, Wilson Pickett, and Jackie Wilson. He clashed with bandleaders over his flashy antics—playing with his teeth, inspired by Butch Snipes—and was fired from Little Richard’s band. In Harlem and Greenwich Village, he won amateur contests, recorded with Curtis Knight, and formed Jimmy James and the Blue Flames in 1966, featuring future Spirit guitarist Randy California. Struggling financially, he honed his style at Cafe Wha?, where Chas Chandler of The Animals discovered him covering “Hey Joe” in 1966.

Chandler convinced Hendrix to move to London, where he adopted “Jimi” and signed a management deal. There, he jammed with Eric Clapton, stunning the British rock elite.

In late 1966, Hendrix formed The Jimi Hendrix Experience with bassist Noel Redding and drummer Mitch Mitchell. Signed to Track Records, their debut single “Hey Joe” hit UK No. 6 in 1967. The album “Are You Experienced” (1967) blended blues, R&B, and psychedelia with tracks like “Purple Haze,” “Foxy Lady,” and “Fire,” peaking at UK No. 2 and US No. 5. Hendrix’s innovations—feedback, distortion, wah-wah pedal, and stereo phasing—shone through.

At the 1967 Monterey Pop Festival, introduced by Brian Jones, Hendrix’s set ended with him burning his guitar during “Wild Thing,” catapulting him to US fame. *Axis: Bold as Love* (1967) followed, with experimental sounds like “Little Wing.” Electric Ladyland (1968), a double LP he produced, topped US charts with “All Along the Watchtower” (his only US Top 40 hit) and “Voodoo Child (Slight Return).” Guests included Jack Casady and Steve Winwood.

The band disbanded in 1969 amid tensions. Hendrix formed Gypsy Sun & Rainbows for Woodstock 1969, delivering a feedback-laced “Star-Spangled Banner” evoking war sounds. He then created Band of Gypsys with Cox and Buddy Miles, releasing a live album in 1970. In 1970, he opened Electric Lady Studios and reformed the Experience with Mitchell and Cox, working on First Rays of the New Rising Sun (released posthumously in 1997).

Hendrix’s personal life was chaotic. He had a long relationship with Kathy Etchingham from 1966 to 1969, living at 23 Brook Street, London (now a museum next to Handel’s home). He believed in Cherokee heritage through his grandmother but had no documented tribal ties. Struggling with drug use, including LSD and barbiturates mixed with alcohol, he faced legal issues like a 1969 overdose and contract disputes with manager Mike Jeffery. Hendrix was prolific, leaving vast unreleased material, and tuned his guitar down a half-step for easier bending.

On September 18, 1970, Hendrix died in London at girlfriend Monika Dannemann’s flat from asphyxiation on vomit after taking barbiturates—an accidental death ruled by the coroner. He was 27, joining the infamous “27 Club.” A memorial service in Seattle drew 150 attendees; he was cremated.

Hendrix’s four-year meteoric career pioneered electric guitar innovations: controlled feedback, distortion as a “vocabulary,” wah-wah in rock, and thumb-fretting for simultaneous rhythm and lead. Synthesizing blues, R&B, soul, British rock, folk, 1950s rock ‘n’ roll, and jazz, he birthed hard rock, heavy metal, funk, post-punk, grunge, and hip-hop. As the preeminent Black rocker, he empowered Black musicians creatively.

Ranked No. 1 guitarist and No. 6 artist by *Rolling Stone*, he influenced Prince, George Clinton, John Frusciante, Kurt Cobain, Stevie Ray Vaughan, Miles Davis, and bands like Black Sabbath, Metallica, and Aerosmith. His albums rank in Rolling Stone‘s 500 Greatest: Are You Experienced (No. 15), Axis (No. 92), Electric Ladyland (No. 53); “Purple Haze” is No. 17 in Greatest Songs.

Posthumous honors include Rock and Roll Hall of Fame induction (1992), UK Music Hall of Fame (2005), Lifetime Achievement Grammy (1992), Hollywood Walk of Fame star (1991), US postage stamp (2014), and memorials like Jimi Hendrix Park and a Seattle statue. Documentaries like Jimi Hendrix – Electric Church (2015) and over 40 years of posthumous sales surpassing his lifetime figures underscore his timeless impact.

Happy heavenly birthday, Jimi.

Your riffs still echo through eternity.

• Welcome back! You finally have an album out and it took two years to write and record. What was the biggest challenge during that process? 

The biggest factor was the trial and error when it came to the technical part,we tried several recording methods and ideas until some ideas worked and the others didn’t.
 

• You’ve said you wanted to avoid sounding like a typical black ‘n’ roll band or garage punk band. How did you find that balance between all the different elements?

We explored more sounds, we tried not to sound monotonous, however spontaneous, we didn’t force the songwriting process, we had a vast spectrum of classic hardcore, D-beat, crust punk, speed metal and black metal sounds to experiment, and according to each track we fused these elements together according to the general vibe of teach and every track, we even experimented the slower forms of punk (sludge) we do also like and influenced by in one of our most recent demos. 

• Tracks like “Demise of Mankind” and “Resist (The Apartheid)” tackle heavy political topics. Was it important for you to use the punk element of your sound to make those statements? And how does being in a 3rd world country impact your creative process or perspective as you tackle those songs?

I think nobody can discuss 3rd world cases better than people living in a 3rd world country. I think being in a 3rd world country is an inspiration to write down more lyrics .

It is a fuel to our music and to discuss critical issues like capitalism, apartheid, colonialism, oppression…..etc and I even think it’s time for more punk bands to rise, it’s the best time, all you need is absolutely D.I.Y to express your anger vulgarly without filters. 

• You covered ‘Slaughter – Incinerator’ to close the album. Why that track specifically, and what made you change your mind from your first choice?

The tabs were all over internet if compared to Tank-Honour & Blood, plus it was a different genre, same punk influences and an influential band that we all liked so it ticked all boxes.
There’s a set of textbook covers that I was eager to avoid. Bathory, Venom, Hellhammer…etc so we wanted to find out how this track would sound like if we played it in a black punk style and we enjoyed it. 

• The Hëllridër character, the hyena-human hybrid biker, seems central to your identity. Where did that mascot come from and what does it represent?

I wanted to stay away from hounds, wolves ,wild bores & leopards they are used by so many artists like Motorhead, Jon Mikl Thor, Tank, Tygers Of Pan Tang….etc ,so the hyena was somehow appealing to me since it embodies chaos. savagery and relentlessness ,it’s the perfect match to our identity musically so it even added to the band visually. 

• The album has this mix of satirical tracks like “Local Booze Sucks” alongside serious political commentary. Some people would consider that as a negative and say that the band or album lacks focus. What do you have to say to these people?

We are not a political band, we write down lyrics spontaneously, so we tackle serious issues when it suits us and we are satirical also when it suits us, we want to express the human condition after all.

• What’s the Egyptian metal scene like right now, and how has the response been to Rise of The Menace?

I never expected the positive reviews and how people embraced the lo-fi vibes, some people of course never digest raw stuff because they were exposed to processed production for long time so they forgot how rock ‘n’ roll sounded like, totally rough, tough and D.I.Y and it’s time to remind them  how rock’n’roll was forged back in the 80s. 

• Ahmed handled mixing, mastering, and even played lead guitar on the first track on top of bass. What was that process like?

Ahmed added slick lead work to the first track,the re-recording of “Speed, Booze & Rock ‘n’ Roll” and of course we needed his distorted low end sound, we wanted a distinctive one, not just some couple of clean sounding root notes.
Ahmed did a good job mixing and mastering the album although it was his first time and everyone praised his work technical wise, Ahmed was one hell of an addition to this crew. 

• What’s next for Hëllridër? Are you planning to play these songs live, or are you already working on new material?
  

Of course we plan to perform live, we also have  plans to release new material, especially after we signed to a recording label, so stay tuned. 

Thank you for taking the time to talk with us again. It’s been great watching Hëllridër evolve from that first single to a full-length that really solidifies your sound. Be sure to check out Rise of The Menace on BandCamp and Youtube. Cheers!

The vocals creep in low and rough, almost as if spoken through a cloud of breath. They carry that wild-calm edge that turns a simple melody into something instinctive. Beneath them, the trio’s trademark blend of grunge, stoner weight, and alternative grit locks into place with a rhythm that feels like it’s pacing around the room, waiting to break into a sprint.

Every riff pushes a little harder, leaning into a groove that’s both heavy and strangely uplifting. And when the chorus erupts, it hits with a controlled chaos; an explosion shaped by intention rather than noise for its own sake. It’s the kind of release that cracks the song open but never lets it spill over.

As the track grows, the vocals begin to sink into the instruments, as though the music is pulling everything inward, consuming it, fusing it into one organism. That density gives the song its weight. It feels engulfing, but not overwhelming; loud, but with purpose; alive in the way only a DIY, garage-built studio can capture.

Knowing the story behind the song: a winter night, a blizzard swallowing footprints, a drunken search for birch bark, and a loyal dog finding his way through the whiteout adds a layer of warmth beneath the grit. Weak Trees’ Animal mirrors that experience: disoriented, instinctive, a little chaotic, but ultimately full of fire and connection..