Australian heavy metal titans TEMTRIS return with the blistering new single “Scars of Betrayal”, the second offering from their highly anticipated eighth studio album, Queen of Crows, due for release on August 8, 2025, via Wormholedeath.
The single offers another glimpse into the emotional depth and dynamic energy of Queen of Crows — a commanding nine-track opus that dives headfirst into the complexities of the human condition. Dark, bold, and unflinchingly honest, the album balances thought-provoking storytelling with virtuosic musicianship, setting a new bar for modern heavy metal.
Following the success of the first single, “The World is Bleeding Out”, this latest release continues to build momentum as the band gears up for a series of national and international tour dates, soon to be announced.
The Queen of Crows holds your fate in her hands – are you ready to face the consequences?
No matter which way you slice it, Australian heavy metal band TEMTRIS had a fantastic 2023. With the success of their concept album “Khaos Divine”, and the positive reception of their first tour across Europe, we thought now would be a perfect time to check in with the band, and were lucky enough to catch up with lead singer Genevieve Rodda to ask a few questions.
First of all, we just want to say congratulations on the success of your new album. I believe we were one of the first publications to write a review for Khaos Divine, and it seems like our verdict was spot on judging by the critical consensus that has followed. Not to mention the fact that Khaos Divine is now making its way into many best album lists for 2023. How does it feel to have such a widely acclaimed release? Does it put any pressure on you for the next album?
Thank you for such kind words regarding our latest album Khaos Divine!
We have made a few best albums lists for 2023 and it is amazing.
We always hope we can improve on every album release but still bring fresh music to the table. It does get harder each album but we still enjoy the writing process.
Where did the idea come from to write a concept album like Khaos Divine? Especially one with such a dark and dystopian timeline? Even though your previous albums have often been centred around various themes, this still feels like it is new territory for the band. Was the songwriting or recording process much different this time around?
The concept of this album came together during a covid lockdown.
I talked to the band about writing a futuristic album and having a main female character that was strong and almost super hero like. We built the story from there. It actually all came together very quickly.
If we were only able to describe this album to a friend by mentioning an album that was released by another metal band, we would pick Queensrÿche’s ‘Operation Mindcrime’. And not just because of the similarity that we noticed at times with Geoff Tate’s vocals, but it has the same vibe about it and raises the bar and expectation. Would you agree with this choice?
It would be a reasonable choice in line with many other great concept albums.
Operation Mindcrime is an iconic album to be compared to.
One of my main vocal influences is Geoff Tate so it is not surprising that the vocal style is similar in some songs.
In our review we predicted that “Evolution of Hate” would become the third single for the album. However, it feels like you made the right call to release “The Lies Become the Truth” instead, given that this has become such a huge fan favourite. Do you put a lot of this song’s appeal down to the nature of the lyrics, and how difficult it has become in recent times to discern what is factual and what is not in our everyday lives?
We picked the Lies Become The Truth as our 3rd single because it is such a fan favourite of the album. When playing it live the song really goes down well with our audience. The lyrics do speak to many these days too and the chorus is powerful.
I talked to the band about writing a futuristic album and having a main female character that was strong and almost super hero like.
Genevieve Rodda
While we are addressing things that are a challenge in the world right now, how do you feel about the current state of the music industry? We heard that Spotify recently announced changes to their royalty policy. Is it fair to say that the music gig is getting even tougher these days? Especially for new bands who are just starting out?
We have been slogging it out in our industry for many years now and it definitely has not got any easier.
There are less venues to play. Selling product such as cds is not as easy since streaming has become the norm. You definitely would not get into the industry to make money.
You just recently returned from your first tour in Europe. Can you describe that experience? We understand that it has been a dream of yours for a while, so was it everything that you hoped? And did your partnership with WormHoleDeath help to make this a reality?
We did play the UK and Europe in September and it was a lot of fun. The tour I put together with my own contacts and it was so successful we are coming back in 2024 and I am currently booking shows as we speak. It was not easy to do this being so far away and having not booked shows in Europe before but it all worked out in the end.
The music scene is definitely alive and well in Europe and the response we received was nothing short of amazing.
You have once said that seeing you perform live is the ultimate way to experience your music. However, given the geographical distance between you and many of your international fanbase makes this more challenging, are there any plans to perhaps release a live CD/DVD recording in future?
You cannot beat seeing a band live and experiencing the energy and vibe that comes with the music.
We have put together live footage from our Ritual Warfare tour and we are trying to find someone who can put this together for us to release as a live DVD.
The touring didn’t stop after you got back to Australia, as you continued to travel across the country, including a gig in Perth for the first time. You also attended Lagerfest where you played alongside The Halo Effect, Lagerstein, Beyond The Black, and Devilskin, and then supporting Metal Church shortly afterwards. While being on the same lineup as high-profile bands is nothing novel for you, I’m curious how it felt to share the stage with two other female-fronted bands at Lagerfest? Is this a sign that women are becoming more prevalent in the genre? Did you have any interaction backstage?
Yes we were very lucky to be offered to play those shows when we returned to Australia.
Female Fronted bands are definitely becoming more prominent overseas and here in Australia.
The two female fronted bands at Lagerfest, Devilskin and Beyond The Black actually hit the ground running when they arrived at the venue and there was no time to chat as soundchecks and load ins take up all their time.
As for Metal Church, we are good friends with that band and we had a great time playing with them again and catching up before and after the show.
We always hope we can improve on every album release but still bring fresh music to the table.
Genevieve Rodda
With everything that happened surrounding Temtris last year, how do you plan to top it? What are the next steps for the band?
We are currently writing songs and have an idea on the next album direction.
I am also booking shows in Europe for 2024. After having such a great time we have to come back.
You have mentioned in the past that Bruce Dickinson has been a strong influence for you as a vocalist. How did it feel then to be able to play at the Cart & Horses in the UK this year, which is regarded as the birthplace of Iron Maiden?
Yes Bruce is my main influence along with Geoff Tate.
I was very excited to play the Cart’s n Horses on our tour. The venue is very cool and to tick that off our list as somewhere we have played is amazing !
Have there been any female metal performers that have influenced or inspired you in your career? Or anyone that you would love to maybe collaborate with?
I am a huge fan of Doro Pesch and have followed her since the Warlock days. I think to play a show with Doro would be amazing and it is definitely on my bucket list to do.
When did you realise you had such a powerful instrument with your voice, and that it was perfectly suited for heavy metal? Do you take any steps or precautions to protect it when you know you will be doing a lot shows?
I first learnt to play guitar at about 12 years old. I was writing my own songs and realised I could sing. I started singing lessons and my vocal teacher wanted me to do opera. I was not interested in that style and joined my first band at 14 with Anthony Fox. We were covering metal songs with the occasional original thrown in.
Before I toured Europe I had a pretty heavy rehearsal schedule to get my voice ready for the shows. This included vocal exercises for about 45mins in the morning. Plus rehearsing the hour plus set 4 times a week. It payed off for me and I would do the same again for our touring schedule.
Has singing in a more traditional heavy metal style made it easier or harder for you to get recognised? Are people ever surprised when they hear you sing for the first time?
I think it’s more trendy to be doing Death Vocals in a metal band now or even symphonic vocals are more popular with female vocalists. But I’d prefer to stay true to what I like to sing and if I am getting compared to Geoff Tate or Bruce Dickinson then that makes me pretty damn happy.
We couldn’t help but notice the social media posts where you are often brandishing CDs that you are currently listening to at the time. With consumers now finding out that they don’t actually “own” some of the digital content they purchase, as seen recently when Sony removed access to over 1,000 Discovery videos, do you think the idea of music ownership will regain popularity, and we’ll start to see a resurgence of physical media? Or has that ship already sailed?
It’s hard to say, the younger generation are happy to download but I love a physical copy. Albums are a complete package with artwork, photos and lyrics. You don’t get that with streaming. We still sell cds and fans love them. I’d like to think they are here to stay.
We want to thank you for supporting us and agreeing to have a profile page on our website. Is there anything else we could do to make it better?
Thank you for all your support, it has been amazing and helps us get reach to new fans in other countries. If you have any contacts for festivals or venues please pass them on.
Thanks again for your time. Is there anything else you would like to add?
No, thank you !
We hope we can get you to a Temtris show to see what we are like live and meet up in person.
Fans of the Australian heavy metal groupTemtris can expect something quite different with seventh album “Khaos Divine“, set to be released through WormHoleDeath on March 17th 2023. This time around we are presented not only with a setting and style that is more modern and futuristic (as made clear with the spectacular album artwork), but also an emotional concept album that explores various themes such as freedom, loss, betrayal, and salvation, in the context of a dystopian civilisation.
“The Grand Design” starts us on our journey with the epic chords and guitar melodies of Anthony Fox and Nadi Norouzian laying down the core foundation of this instrumental intro track. It all sounds superbly executed, and immediately sets your expectations high for what is to come next. And as luck would have it, that would be the blindingly awesome title track “Khaos Divine” (a song that easily made our list oftop metal releases in January). If you have any familiarity with Temtris at all, then you will already know that frontwoman Genevieve Rodda is a downright dynamo on vocals. But even then you may find yourself surprised with her performance here, as she simply sounds on another level.
In fact, that sentiment could be applied to the rest of the band members as well. Everything feels like it has been jacked up a degree. Not that you could ever accuse this band of lacking energy or intensity in the past, but this could well be the most energised we have ever heard them. Maybe there is something in the water down in Australia that we don’t know about. Perhaps that is what makes it possible for Rodda to hit those insane high notes – who knows?
The following track is the second single “Eternal Death Machine“, which you might detect has something of a Queensrÿche vibe once you reach the opening verse, albeit with a significantly heavier sound. The comparison is partly due to Genevieve Rodda’s impressive vibrato, but also the characteristic bass lines and progressive movements that occur during the song. Regardless of the track’s inspiration, the end result is still mesmerising – and maintains the high-quality benchmark set earlier by the album. The chorus is especially catchy and must be fun to sing, even if the lyrics themselves paint a rather bleak picture for the album’s protagonists: “All they want // All they need // Is their Eternal Death Machine”.
The progressive elements persist in the subsequent number “Dreams or Reality“, which begins with the suitably psychedelic twin guitar harmonies of Fox and Norouzian (as if representative of a dream sequence – or in this case a nightmare), before ripping into a more grounded heavy metal assault. Although the track is occasionally accentuated by high-pitch guitar harmonics as well, as though to add a sense of unease and confusion as the character in the story grapples with her perception. This sets the stage for the more even-keeled “The Lies Become the Truth“, which comes blasting out of the speakers with a confident swagger, as if to signify resolution and intent, while Rodda attempts to draw the battle lines for the coming struggle:
Where do we stand? Where do we fall? Where do we find the strength to crawl?
Temtris – The Lies Become the Truth
The album then shifts gears a little with “The Path“, a lengthier song which takes on a stripped-back approach, and has Rodda’s vocals juxtaposed against a cleaner guitar sound. Once again, the likeness of her singing to that of Geoff Tate (ex-Queensrÿche) springs to mind – if only for a brief moment. The tune is a welcome change of tempo, and shows off the band’s versatility. The seventh track “Revenge” gets us back to a more heavy metal footing though, with some meaty guitar riffs and Rodda emptying her lungs out again with plenty of long sustained high notes. The single-ready “Evolution of Hate” is up next, which we estimate due to its instantly memorable chorus, and the huge payoff of its anthemic dual guitar solo near the midway point (think the Amott brothers). Finally, “Ground Zero” brings a close to this opus, with a pensive keyboard arrangement that becomes gradually more ominous, until the band enter the fray once more for the final word. And at this point, it feels very much like a victory lap – and given the strength of the previous songs, who could argue with that? Temtris are rightfully deserving of this encore performance.
Verdict: Khaos Divine is the most enticing Temtris album to date. If the dark and mysterious narrative is not enough to seduce you into its dystopian universe, then the high-calibre musicianship definitely will. Especially the immense vocal prowess of lead singer Genevieve Rodda, who stands in stark contrast stylistically to many of her peers.
