With Devoured by the Mouth of Hell, Heriot have stepped into a new era. The band’s first full-length record is heavier, more focused, and more confident than anything they’ve released before. MetalgodZradiO caught up with vocalist and guitarist Debbie Gough  of HERIOT to talk about the album, scrapped songs, touring with Fit For an Autopsy, unexpected influences, and why sometimes letting go is the key to making your strongest work yet.

Congratulations on the new record. It might be one of the best I’ve heard this year. How do you feel about it, and are you ready to hit the road?

Thank you so much—really pleased to hear that. I feel incredibly proud of it. It’s amazing to finally have a full body of work out in the world. Before this, we only had the EP, so it’s been great to show that we’ve got more to offer.

We’re going on tour with Fit For an Autopsy in November and December, which we’re just getting ready for now. It’s the longest tour we’ve ever done, but I can’t wait. It’s going to be amazing.

How much of what you wrote and recorded made it onto the final album?

We did scrap a few songs—some didn’t make it. That tends to happen more with albums, but it was a new experience for us. We don’t usually throw songs away; we normally just keep working on them. This was the first time we really let songs go, and ultimately I think the album is better because of it. The songs that stayed are the best ones, in our opinion.

Can Japanese fans expect bonus tracks or covers?

Not this time, unfortunately—but it’s definitely something we’d consider in the future. They always seem to get the extras!

What are some of your favorite releases this year? And do you like Lizzo?

One release I’ve been listening to a lot isn’t metal at all—This Wasn’t Meant for You Anyway by Lola Young. It’s a lazy comparison, but she has a bit of an Amy Winehouse-esque vibe. Her songwriting is really cool, and she pulls from loads of influences.

My favorite release this year has to be Every Bridge Burning by Nails. I’m a huge Nails fan, and I was worried they wouldn’t come back from their hiatus. I’m absolutely thrilled they did—the album is a rager. I can’t wait to see them at Damnation Festival in the UK. It’s been on repeat.

What album do you always come back to, no matter how many times you’ve heard it?

Ashes of the Wake by Lamb of God. For about the last ten years, it’s been my number one on Spotify every year. It gets a lot of action—it’s my favorite album ever.

I also rotate that with Golem by Wand. If I’m driving and want something I love but can still focus to, those are the two albums I flip between.

Was the record written over time, or in a focused session?

A bit of both. We worked on it in sections—three separate weeks in between touring—before going into the studio in February. Some songs were written together in the room, others were built from demos.

The process felt very healthy and exciting. We slowed things down compared to the past, where we worked very quickly. This time, we made a more focused and accurate version of Heriot. It’s definitely a stronger record.

Is it a concept album?

Not really—it’s more a collection of songs. The title lets people interpret their own version of “hell,” and that idea runs through the record, but it wasn’t written as a full concept album.

Where did the album title come from?

There’s a line in the song At the Fortress Gate that says, “The devouring mouth of hell demands your forgiveness.” It really stood out when we were thinking about album names. Honestly, it was the only title that ever came up, and as soon as it did, we stuck with it. It suits the record and sounds tough—which makes us happy. It also lends itself to great artwork possibilities.

Where can we hear your Billie Eilish influence on the record?

Mostly on the track Visage. I wrote the demo while listening to a lot of Billie Eilish—her album before the most recent one. She also influenced Opaline a bit, but Visage is where it really comes through.

Where was the album recorded, and what was the biggest challenge?

We recorded with Josh Middleton (Sylosis, ex-Architects), who co-produced the album with us at his home studio in Reading. Drums were done with Justin Hill from SikTh, and the album was mixed and mastered by Will Putney.

The biggest challenge was knowing we had to get everything done in a set amount of time. We’d never been recorded by someone else before—we always did everything ourselves. There was more pressure, but having an outside perspective made the record much stronger. Josh sings, screams, plays guitar, and drums, so he could coach us from every angle.

Are you primarily a Strat player?

Yeah—pretty much all my guitars are Strat-shaped. I’ve had a Les Paul–style guitar before, and a Dean Explorer when I was younger, but Strats are my thing. I’ve got ten guitars at the moment, and they’re all Strat bodies.

How did you get into guitar?

I got my first guitar when I was 10, but I didn’t really commit until I was 14, when I got heavily into metal. That’s when I fell in love with playing. I can play a tiny bit of piano, a tiny bit of drums, and I had violin lessons when I was really young—but guitar is the one.

What’s the last riff you tried to learn by someone else?

I don’t do it as much now, but during lockdown I learned loads of songs—Converge, Gojira, Basement, Venom Prison, The Dillinger Escape Plan, Every Time I Die, Suicide Silence.

I always come back to Mark Morton riffs, though. I’ve been revisiting Ashes of the Wake—it’s such a shreddy song, and I still haven’t managed to get all the way through it. One day!

Any metal feuds you’ve found amusing or sad?

Honestly, I find them mostly sad. It distracts from what matters—the music. When something so important to someone gets taken away over silly things, that’s awful. So yeah, no gossip from me on that.

Any last words for people checking out Heriot?

If you’ve checked us out, we really appreciate it. We’re incredibly grateful for all the support so far, and we can’t wait for you to hear the album and tell us what you think. Thank you for having me.

Devoured by the Mouth of Hell isn’t just a milestone for Heriot—it’s a statement of intent. Sharper, heavier, and more self-assured, the record captures a band fully stepping into their power. With a massive tour ahead and momentum firmly on their side, Heriot aren’t just ready for the road—they’re ready for whatever hell comes next.

Categories: Heriot, Interviews

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