https://www.facebook.com/Valvetrainmusic
Sounds like: Post Hardcore/Rock
From: Australia
1. How did you get started with music and how did you develop your sound?
Music grabbed me early — growing up on late '70s and early '80s rock like Kiss, then diving into Iron Maiden and Dio in my early teens, which opened the door to Sabbath, Deep Purple, and the heavier side of things. That was the spark that pushed me to start playing in cover bands and learning my craft. But what really defines our sound isn’t just my journey — it’s the mix of all our musical histories. Each member brings their own influences, from metal to punk, prog to pop, and everything in between. We all have diverse and unexpected tastes, and somehow, when we come together, those differences fuse. That intersection is, in my humble opinion, what gives our music its edge, its depth, and its character.
2. What do you want people to take away from your music?
That's a great question. Our approach is a little different from most bands I've played in. We're not chasing fame or financial success — not because those things aren't valid, but because we're already accomplished in other areas of our lives. What drives us is the quality of what we create. The songwriting, the performances, the production, the visuals — all of it is done independently and on a tight budget, yet we aim for a standard that can sit proudly alongside anything released by major acts with full industry backing. And if any kind of success does come from this — however you choose to define it — it will carry an extra sense of fulfillment, knowing it was built on an uncompromised, authentic approach to our music.
3. How would you describe your sound to the average listener?
Valvetrain delivers a powerful blend of classic heavy rock and modern grit. The music is riff-driven and emotionally charged, with reflective lyrics, tight rhythms, and dynamic shifts that reflect both personal depth and energy.
4. Who are three bands you’d like to tour with?
I am thinking of every band member when I am answering these questions, and I am sure we would all have different answers LOL. Personally, if I was to pick 3, I would have to start with cutting out all the bands that I listened to as a kid who are no longer touring. That would probably leave me with Slipknot, Sleep Token and Iron Maiden. If I got to choose from some bands that aren't touring anymore, I would have to add Dio and Soundgarden in there.
5. What's your thoughts on AI generated music?
Just to be clear, this is my personal opinion — I can’t speak for the rest of the band. I don’t think AI itself is inherently bad. In fact, it’s already been used for some genuinely good, even brilliant things. The problem, as I see it, is when people feed artists’ work into AI systems to train them, then use those tools to generate music and profit from it — all without ever compensating or crediting the original creators. That’s not an issue with the technology; it’s an issue with how it’s being used. Like every new tool, AI can be empowering or exploitative depending on who’s behind it — and unfortunately, exploitation is nothing new in the music industry.
6. What’s your take on the current state of Rock?
Just to be upfront — this is my personal take again (Mark), not necessarily the view of the whole band. Creatively, I think rock is in a fantastic place right now. There are so many great bands out there doing bold, interesting, and genuinely exciting things. From a business standpoint, I’m glad we’ve reached a point where anyone can create music and share it with the world. That freedom means fewer gatekeepers deciding what “good” sounds like — and that’s a win. But with that freedom comes a new challenge: for listeners, it’s become harder than ever to discover new music. There’s a flood of content out there, and music is now competing for time with everything from podcasts to social media to gaming. So, while it’s better than it used to be — more open, more democratic — it’s also harder to cut through the noise and be heard. Is it better? Yes. Is it worse? Also, yes. And somehow, both can be true at the same time.
7. What’s the current music scene like there in Australia?
Australia’s live music scene has had its ups and downs — after the late ’90s, there was a noticeable shift, with many venues prioritising pokies over live entertainment. It was the easy option: plug in a machine, watch the money roll in. But things are changing. Live music is making a real comeback, and there’s a wave of incredible bands out here that absolutely deserve your attention. Groups like Dreamkillers, Piston Fist, Adriatic, Scandal Tree, Ruination, and SuburbiaSuburbia (which I jump in on bass for now and then!) are bringing serious energy and creativity to the stage.
It’s never been easy to draw crowds to original music in Australia — people naturally gravitate toward familiar tunes. But I’m seeing a shift. Audiences are growing, and more music lovers are actively seeking out fresh, local sounds. That kind of support means everything. Without those people — the ones who show up, listen, and share — bands like ours wouldn’t have a platform. And right now, it feels like we’re building something worth being part of.
8. What’s your take on the royalties that streaming services pay out to artists?
Wow some great questions and my opinion (Mark) might be a bit left-of-centre compared to others in the industry. I think how you view streaming really depends on what you’re comparing it to. If you see it as the modern version of radio, then the royalty payments — just a few cents per play — aren’t all that different. In that sense, not much has changed. But if you think of streaming as replacing physical products like CDs, then yeah, the drop in revenue is massive. Is that streaming’s fault? I’m not sure.
Back in the day, I’d listen to the radio, then head down to the shop and buy the album. I even had blank cassettes (showing my age here) and would record my favourite songs off the radio — but I’d still go out and support the band by buying their music. Maybe it’s less about the platform and more about how people choose to consume music now. Or maybe people are just spending their money elsewhere — like on the latest PlayStation game. I don’t know. What I do know is that there’s a lot less money in recorded music than there used to be. Even big-name bands seem to rely more on merch sales and live shows to make a living. The landscape’s changed — and we’re all adapting.
9. What’s next for Valvetrain?
For the first time in a long while, we’ve got a pretty clear direction ahead. Generations was a defining moment for the band — a song I wrote during a deeply personal time, reflecting on the passing of my father and the birth of my son. It got me thinking about how we move through life, what we inherit, and what we pass on. Given the theme, I asked my son to sing on the track with me. He’d never performed or recorded before, but he was up for it — and to say it worked out well would be an understatement.
Generations is the only track on the album that features both of us, but that’s going to change. In the next phase of the band, we’ll be leaning more into shared vocals — my son and I, plus our new bassist Wayne and drummer Bob, who both sing as well. If I have my way, they’ll be stepping up more often, which means I might even get a break on stage to grab a beer now and then (no complaints there!). Writing kicks off soon, and we’re excited to have new songs in the pipeline. This next chapter feels like it’s going to be something special.
10. Any shoutouts?
Ok I have already shouted out a lot of local bands, and they truly are worth checking out but I can't go past mentioning Square Lens Media who are the talented people behind the Generations video. If you are in a band and want to do a high-quality music video, don't go past these guys .. They are great to work with; have vision and passion for that they do and I know we will be working with them again. Check out the video Valvetrain: Generations and their page for more info !! Square Lens Media - Photography | Videography | Digital Marketing Agency - Square Lens Media
