BEHIND THE STAGE: BEHIND THE MIC: VOLUME I
- Feb 15
- 19 min read
If you are an alternative music fan and a vocal nerd like I am, this is definitely the article for you. I was lucky enough to chat with Kalani Weeks (Roronoah), Brandon Haase (Product of Neglect), Mitchell Rawlings (Deadskin), Constance Grafos (Call The Mourning), Jon Von Cannibale (Gorotica), Skyler Patrick (Pyrokinesis), Jake Harrap (Arkángel) and Liam Goodrich (Insect) about vocal techniques and
longevity, breath control personal vocal history and influences. The inspiration for this conversation was (possibly entirely selfish on my part) to see how different vocalists and different genres approach their vocal style, so grab your microphone and let's jump into the trenches.
How would you describe your vocal technique?
KW - I would say that at the start of RORONOAH I was a bit of fry and false but I've since leaned more towards false with fry elements.
BH - My technique is centred around deep, controlled gutturals with a strong focus on clarity and tone. I aim to go as deep as possible while still being understandable. If you really listen, you can hear what I’m saying. I strive for crisp tones and clear delivery, even though pronunciation sometimes gets sacrificed for a filthy, heavier sound.
MR - Average, I'm still learning how to use my voice correctly. I'm a false chord screamer. I would say I perform through emotion rather than technical ability. Which is something I'm still trying to work on as it's what hinders my live performance and longevity!
CG - My singing voice is airy as I use a lot of vibrato and a bit of vocal fry. Screaming i mainly use false chords as i suck at fry screams.
JVC - Guttural growls, banshee screams, rat snarls and howler monkey calls.
SP - I’m sure there's all kinds of technical terminology for it, but in essence its just “be so loud that voice breaks up and sounds cool” (think they call it “fry scream”). However, the newer generation of Pyrokinesis features the use of more gutteral, deathcore techniques and pitched screams which sound like singing at the absolute top of your lungs.
JH - Mainly fry screams with false chord for big moments.
LG - Like a mid fry with a bit more body and a bit of throat.
How long have you been singing?
KW - I've actively been pursuing vocals for 5 years this June and have been active in the scene for almost 2 years
BH - I’ve been doing vocals seriously for about five years. Originally, I was the drummer, but I gave that up pretty quickly once I realised vocals came far more naturally to me. Once I switched, it just made sense and I fully committed to developing my voice.
MR - I started experimenting with screaming when I was around 14-15. Only in the last couple years have I tried to understand what is actually happening and try to take it more seriously.
CG - I started singing for fun at 13 but then locked in at 16 when I started getting gigs with my band.
JVC - Probably been doing this for about 15 years now I’d say.
SP - I’ve been singing for at least 20 years, maybe more. I got my start doing church stuff with my mum, who was a pianist and flautist and would have me sing as a little kid the songs she would play on piano. The more “screamo” side only took off about 5 years ago, as I realised that I could probably do that cool stuff my idols were doing.
LG - Started fucking about with vocals when I was 13/14.
What does your warm-up routine look like?
KW - I am such a bad person to ask this because a lot of the time I just jump on stage and scream, BUT if I am warming up i do Mongolian throat singing and quiet scream my vowels. (Kirsty Note: I have personally witnessed Kalani do this twice and he is like a freak of nature; no warm up required.)
BH - I use Mongolian throat singing to warm up my vocal cords gently and safely. Hydration is constant — if I feel any tension at all, I drink water immediately to keep everything loose and fluid. I never rush into heavy vocals without warming up properly.
MR - Lip trills, wee falsetto and a basic Art scale. But this will change very soon with my new vocal coach.
CG - Warm up routine is a lot of water to stay hydrated! Before a show I will probably do about 20 minutes of scales/warm ups and then maybe 15 mins of screaming warm ups which aren’t pretty (e.g. barking the alphabet whilst doing star jumps).
JVC - There’s not too much to it really, have a bit of a bark and then jump on the mic.
SP - My warm up technique usually has 3 steps. The first step is based around stretching and activation of the face, throat and chest muscles (including diaphragm). This makes sure that everything is coming from a healthy and sustainable technique and also improves range and durability. The second step is to sing, not scream, a song or two that I enjoy. I will usually start without music, as I don't want to strain my voice to match the pitch of the song immediately. Then I will move on to progressively more intense music. The last step is where I push from singing into screaming. This involves moving from acapella (high pitched voice) to normal singing voice (chest voice), focusing on the point where one turns into the other (the break point). This helps me zone in on how I can produce the nasty, gritty noises along with the louder “belted” vocals.
JH - I sing first, go through my vocal range then slowly start to scream getting louder as time goes on, I can usually feel when I’m good to go!
LG - Few breathing exercises, few hum vibrating techniques and fuck loads of stretching.
Who is your biggest vocal influence?
KW - At the start of my journey it was Alpha Wolf, nowadays it would be Ben Duer (Shadow of intent), Phil bozeman (Whitechapel) and Ryan Vail (Synestia, Larcenia Roe)
BH - Two vocalists stand above the rest for me. Phil Bozeman for his insane low gutturals and control, and Dickie Allen for his all-round technique, versatility, and precision. Both heavily influence how I approach my own vocals.
MR - I developed my sound from screaming along too For All Those Sleeping and Attack Attack (Caleb Shomo). Just tried to mimic them until I found my sound over the years.
CG - Adam Duritz (Counting Crows), Brian Molko (Placebo) or Lacey Sturm (Flyleaf)
JVC - Guys like Lord Worm, Dave Hunt and Attila Csihar who bring a bit of madness to the show.
SP - Thats such a hard question, as I have so many influences that have fed my addiction to heavy music, but in practice, I hardly sound anything like them! One of my earliest vocal influences is Howard Jones from early 2000s Killswitch Engaged, who showed me that you could have blisteringly heavy vocals, but also sing like an angel. On the topic of singing like an angel, I also love Vessel from Sleep Token's vocals. I found out about them a few years ago during the release of their “Sundowning” record and have been singing their songs and following their evolution ever since. Technique wise, I have taken a lot from Jonathan Vigil (The Ghost Inside), Sam Carter (Architects) and Brendan Murphy (Counterparts).
JH - So many! I love Will Ramos for his perfect techniques and agility. I love Alex the terrible for the crazy lows and power. I love Landon Tewers for the most emotional screams. Honestly there’s so many haha but I feel like I’ve tried to create my own style I like the sound of.
LG - Way to many to name one, some are Winston mccall, mark poida, Vincent bennet and early Sam Carter.
Is there a new vocal technique you are currently practising?
KW - I'm always working on my highs since they always need work. I'm currently adding in more air to my false cord highs to get this shrill/rough sound I've been chasing.
BH - At this point, it’s more about refinement than learning something new. I focus on improving consistency, breath control, and endurance so everything translates cleanly and reliably in a live setting.
MR - Longevity haha, it's my biggest flaw. But determined nonetheless to be at my healthiest as we get more busy!
CG - Currently working on fry screams and just overall vocal health.
JVC - Been trying to work on a more “hardcore” sounding tonal scream apart from the usual death metal fare for a few years, with varying degrees of success, apart from that it’s business as usual.
SP - Spoiler alert, the next generation of Pyrokinesis is orders of magnitude heavier than what we have put out previously. This means that my vocal style has similarly had to increase in brutality. What this means is more gutterals and more tortured, throat tearing goodness. In addition to this, I have been trying to incorporate more hip-hop style rapid fire vocals (think a more screechy and angsty Archspire), which take a lot of mental gymnastics and vocal technique to achieve.
JH - Not really, I’ve already learned all the techniques I would like to use, just forever wanting to improve what I have and make it even better haha. Would definitely like to focus more on my singing over the next few years also.
LG - No at the moment, but with the amount I listen to wu tang who knows what that will do to the next record haha.
What is the best technique/s you have discovered for the longevity of your voice?
KW - I have a super staunch rule that I tell everyone I coach/help. You practice for 30mins you rest for an hour. Rest should always be minimum double to how long you practice/perform.
BH - Listening to my body. Proper warm-ups, constant hydration, breath control, and knowing when to stop pushing are essential. Longevity always matters more than ego.
MR - To not use falsetto mixed screams without knowing how to execute it safely. Something I learned the hard way.
CG - I use a steam inhaler after shows or on off days which has helped a lot! Melissa Cross’ vocal warm ups are sick and also the Extreme Vocal Institute has so many great tips on how to scream properly.
JVC - Taking a nice long break with a cup of your favourite herbal tea.
SP - Definitely honing in on the break point between falsetto and chest voice, which enables you to scream more effectively and warm up more quickly. The same thing can be said of false chords, which give you the more gutteral or “tough guy” vocal sound.
JH - Rest for sure and try not to push much at all, but when you’re on stage and adrenaline is pumping I still find it hard not to give it 100% haha.
LG - I find mids and lows pretty groovy and always have to have the right ratio with the yells.
How do you prepare for being a travelling singer in Australia?
KW - Again I'm the worst to ask. I would say that on the days where we get up early and crack on with preparing for out of state gigs coffee is necessary especially if my compression isn't quite where I want it to be, caffeine naturally tightens your cords.
BH - I prepare by recognising that touring is an opportunity most people never get in their lifetime. That mindset keeps me grounded and motivated. I make every moment count while still managing hydration, fatigue, and vocal strain so the voice stays strong for every show.
MR - Something I'm still learning to this day and am currently experimenting with. Usually I try to rest and be extremely careful. Which I think causes me not to be at full strength. Where with our upcoming 3 day run, I'll be practising everyday in the lead up.
CG - Make sure my physical health is also as good as it can be alongside trying to sleep well. I was pretty sick for the majority of last year and you can really tell the difference in vocal strength/lung capacity.
JVC - I’m not touring or playing live right now, mainly focused on studio releases so unfortunately I have no wisdom to divulge for you on the matter.
SP - Well, we are yet to do extensive touring around the country. But from my limited experience I would say that using in ear monitors and not drinking/partying too hard will save your voice damage and allow you to continue for longer without your voice crashing out. Smoking/vaping/etc also dries your voice out and prevents it from hearing the little micro tears that will arise from sustained harsh vocals.
JH - I think try get enough sleep, don’t drink too much alcohol, drink a lot of water and eat healthy. All those things go a very long way! And try not to speak/yell too loud as you lose your voice quicker doing that then actually screaming haha.
LG - Having an awesome Mrs that makes sure you don’t die lol, nah, preparation, organisation and having each other’s back.
With such a broad vocal style, how do you choose which technique you will use in each song?
KW - I really have to feel the music. I will start by listening to the instrumental demo for an hour then I start doing random screams with no noises then I add in words/meaning.
BH - The song decides. I choose techniques based on what best serves the atmosphere, rhythm, and emotion rather than forcing one sound across everything.
MR - My mid range is always my starting point. Like I said before, it allows me to have expression throughout a song. But I am experimenting with my lower range in the new stuff.
CG - I usually go by the mood of the song. For example, I love screaming but I think it is more powerful to use it when the song calls for it.
JVC - The majority of our tracks have 2 or 3 vocal styles per song so it’s more like choosing the right section, and it’s just something I hear in my head when coming up with parts, that a certain style or tone feels better over different riffs. I can’t explain exactly why but that’s how it goes for me at least.
SP - It usually comes with the writing process, as when I am writing guitar I am thinking of the vocals that will go along with it. Mainly its about matching intensity and accentuating the dynamics of the song. I also try to create dynamics within the vocals, if there's some rapid-fire fast heavy vocals, I will contrast after with some open, drawn out cleans. This is important to keep the listener guessing and turn the emotional content of the instrumental into a recognizable emotional story.
JH - Honestly it always comes naturally, as soon as I hear the instrumental the first thing that comes to mind is what sort of scream would sound good there, then vocal pattern, then lyrics.
LG - Each song has its own vibe, picking between what to use comes pretty easily, horses for corses.
Are there any vocal techniques that you tried that didn’t work for you or fit your style?
KW - Honestly those high fry screams that you hear from your huge deathcore artists like Lorna never really interested me in trying, fry has never been my strong point and I love a real beefy low false growl.
BH - I experimented with rasp-heavy hybrid screams but backed away from them fairly quickly. They’re hard to maintain consistently over long live sets. I still respect and consider them, but endurance and control come first for me.
MR - 'Yelling' styles are not for me. I much prefer a full bodied vocal style.
CG - I cannot vocal flip to save my life at the moment but would love to try to learn in the future.
JVC - Not from memory, I haven’t strayed too far into unfamiliar territory.
SP - Mainly the “false chord” screaming technique, which bands like Parkway Drive, As I Lay Dying and the like use. This vocal technique to me didn’t seem as loud and intense as I needed it to be (probably my technique) and seemed more like voice acting than truly emoting vocally.
JH - It took me a very long time to learn false chord screams which I found very frustrating. I also decided early on I didn’t really want to have many tunnel throats or pig squeals in our music as i don’t think it fits what we’re trying to create.
LG - Girly pop clean singing.
Are there any breathing exercises that you practice to achieve the same sound on and off of the stage?
KW - Breath work is so big for people like me who have quite quick songs. I developed my screams by starting with inhale for 5 out for 5 with screams then when I got more consistent I would do inhale for 3 scream for 5 until I could do it as minimal as possible. It's such a persistent thing you have to do for your body to acclimate to, can't tell you how many times I've almost passed out for expending so much air.
BH - Yes — diaphragm-focused breathing and pressure control. Consistency comes from breath support, not volume.
MR - I do not practice nearly as much as I should. Which is changing with my new vocal coach.
CG - I try to incorporate diaphragmatic exercises and yoga into my routine to get the best out of it. One of my clients gave me a book recently called “Breath” by James Nestor which focuses on the science behind correct breathing technique. Highly recommend!
JVC - Again I’m a bit of a studio merchant at the moment, but not really, I usually just take a big breath and then belt it out, maybe a little Tay Zonday action too if I’m feeling rowdy.
SP - I will usually learn the song in a live context after recording. Its usually only here when I realise just how badly I’ve fucked myself by doing incredibly difficult techniques or super fast, prolonged vocals. Once I realise what I hole I’ve dug myself, I try as best as possible to learn it and base the phrasing around conscious positioning of breathe. This means I will add breathing to the rhythm/phrase I learn, which means it will be consistent and also enable me to get as much air in and out within the confines of the vocals. If I cant pull it off, I usually just palm it off onto one of the guitarists.
LG - Quite a few breathing exercise techniques you can find all over the net and Mongolian throat singing type shit.
Is there any advice that you would like to give to someone just getting into singing?
KW - It's a pain in the ass process that produces such amazing outcomes. Do not give up because you don't sound like me, Will Ramos or Phil Bozeman. That shit takes decades to be at the level of the Elite, go at your own pace, push your limits and don't hurt yourself if you can help it. Learning on your own is cool but for the love of God GET A VOCAL COACH TO HELP YOU.
BH - Don’t rush heaviness. Learn control first and protect your voice early. Pain is not progress, and longevity is everything if you want to keep doing this long-term.
MR - Pay attention to the way you use your voice and learn how it works. If you neglect it for years. You can develop habits that are hard to break! Also find your own voice, you'll have a lot of fun unlocking a lot of new sounds.
CG - Don’t listen to the negative self-talk and don’t compare your progress to others. Your voice is unique and singing is a skill to be learned. (I could not sing at all when I started and it has taken a lot of hard work to get to where I am today.) You can do it!
JVC - Get a real job mate, there’s no money in this. Also don’t do those inhales as your main growl you’ll fry your cords for life, learn the proper techniques and don’t go too hard out the gate.
SP - I would say the most important and impactful thing I’ve done is to find or create a space where you can sing as loud, quietly, bad or good as you want. This could be a studio, this could be a car, this could be the woods near your house or in the middle of nowhere. Find somewhere where you can sing or scream without being self conscious or worrying about pissing off your parents, partner, housemates or neighbours. This, as corny as it sounds, will help you “find your voice”. Also, warm up and accept that your voice is like any other functional body part: it never works 100% straight away. Furthermore, it can be improved and strengthened just like other muscles.
JH - Just practice as much as you can, figure out what sort of vocalist you want to be and what styles you like, and you’ll slowly create your own sound. Listen to your body and rest when you need to rest.
LG - Be yourself and seek nothing less.
If you were to sing any other style of music, which would it be?
KW - I love swancore bands like Dance Gavin Dance and Wolf and Bear so it'd probably be that... or possibly slam so I don't have to write lyrics.
BH - Heavy music fits me perfectly. My preferences lean strongly toward slamming deathcore, slam, and brutal death metal, and those styles heavily influence my vocal approach. If I ever did anything else, it would still need to be extreme, authentic, and powerful — but deathcore is where I belong.
MR - Classic sellout response. But I love ballads and acoustic music. Mostly extremely emotional and deep music. Such as Lewis Capaldi & Landon Tewers. I really want to experiment with those styles.
CG - Probably country.
JVC - Definitely those Gregorian chants or choral music, like one of those singing troupes. Whatever those monks are doing, count me in.
SP - Probably either surf/psychadelic rock or rhythm heavy RnB haha.
JH - I don’t think there’s anything else that really interests me, I do enough singing and different screams to keep me happy and never bored of any style.
LG - Maybe some cooked spoken word/ rap / dark trap …who knows , could bust out the country album next year.
How has your vocal style changed over time?
KW - I would say that over time my lower register just kept getting deeper and my understanding on what worked and didn't became clearer and I could more accurately describe to people and myself exactly what it was doing and how it was doing that.
BH - It’s become far more pronounced and controlled. I’ve learned how to go deeper without losing definition. Even when pronunciation gets sacrificed for a dirtier tone, clarity and intent are always the priority. Everything I do now is more deliberate and refined.
MR - I have experimented with my range over the years and have developed a mid tone that I'm very proud of. I feel like I can do this style without sounding too monotone and can feel very expressive with it.
CG - I used to sing pop punk so I didn’t really look after my voice or consider technique. Now singing in heavier genres I treat my voice like an instrument or muscle. I would say my style has evolved to encompass more techniques which has improved my range and ability to convey emotions through singing.
JVC - I’d say it’s just gotten more consistent and stronger, but still the same technique from the beginning.
JH - At the start I didn’t really know what I was doing, I’d learned to fry scream first but everyone I was trying to imitate was doing false chord screams, so that’s why my normal mid fry scream sometimes confuses people to thinking they are false chord, my highs have definitely got higher over time and false lows even lower. Everything gets easier and better over time haha.
LG - In the past I wanted to master every technique and be bloody Godzilla, and now I’m just happy being a barking dog, it’s more real, more aggressive.
If you could feature with any other vocalist, who would it be?
KW - Taylor Barber, Will Ramos, Phil Bozeman
BH - Phil Bozeman or Dickie Allen. Either would be a dream collaboration — Phil for his monstrous lows, and Dickie for his complete technical mastery.
MR - Landon Tewers & Lucas Woodland. I'm a huge fan of both of those talented individuals. I think they are both incredibly unique. Fingers crossed we can make something work in the future.
CG - Cassyette
JVC - Anybody who will take me, hit me up for a singalong or guest feature. Thanks for the chat! JVC
SP - I would love to do a hardcore or nasty metalcore record with ScHoolboy Q and Anderson .Paak. I think these guys, although in the Hip-hop and RnB scene, have really gritty and nasty voices that would serve some chunky breakdowns and beatdown riffs.
JH - Will Ramos from Lorna Shore, Vessel from Sleep Token and Landon Tewers from The Plot In You.
LG - David Gun purely for how interesting his brain/soul is.
If you want to hear more about Kalani you can find Roronoah in 15 Qld Bands, Crimson Smile Review, Judgement Review and Roronoah Interview
If you want to hear more about Constance you can find Call The Mourning in 15 Qld Bands and Twisted Lullaby's Concert Review
If you want to hear more about Brandon you can find Product of Neglect in 15 Qld Bands and ScasmFest Concert Review
If you want to hear more about Jake you can find Arkángel in our ArkFést Breakdown
If you want to hear more about Skyler you can find Pyrokinesis in Holy Water Review, Blackout Single Review and Twisted Lullaby's Concert Review
If you want to hear more about Mitchell you can find Deadskin in our ArkFést Breakdown
If you want to hear more about Liam you can find Insect in 15 Qld Bands
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