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As with every other year, anticipation surrounding the first lineup announcement for Good Things 2025 was almost at a fever pitch. Social media experts and promoter wannabe’s all shared their projected line-ups – but most were well off the mark.
Good Things is possibly one of the hardest festival line-ups armchair critics get to sink their teeth into, with the diversity and seemingly flippant mashing of genres meaning pretty much any band from any genre could make the final cut. And this year was no exception.
When TOOL were announced as headliners, a large number of punters were already scrambling for tickets, but a quick scan through the rest of the line-up proves the eclectic tastes of organisers and the variety of live music on show for fans of most persuasions.
Rock? Tick. Weezer, Garbage.
Pop Punk? Tick. All Time Low, New Found Glory.
Punk? Tick. Refused.
Metal? Big tick. Machine Head. Knocked Loose, Dayseeker.
But one band stands out more than others for their brutality. And of course theirs is the only logo on the poster almost unreadable to the non-metal trained eye. That band is Lorna Shore, and HEAVY was fortunate enough to speak with guitarist Adam Demicco earlier this morning about their Good Things appearance plus their new album.

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In just under three years, Melbourne hard rock outfit ANA have laid themselves a strong platform from which to launch their music. Having already toured through Europe and Japan, ANA are now setting their sights on their home country, starting with a headlining slot at Rockdale Metal Festival in September.
Merging the intensity of metal with sweeping orchestral arrangements, ANA have quickly found their niche, exploring the outlying areas of symphonic/power metal and integrating it with a harder edge that gives their music an edge all of its own.
HEAVY sat down with the band earlier this week to discuss their rapid rise through the ranks. One of the topics of conversation was the cinematic orchestration prevalent in their music.
"When we were making the album - before we started going into the studio - Josh (Mak, lead guitar)  pulled me aside and told me that Anna (Khristenko, vocals) likes to have strings in the songs," keyboard player Mark Shi explained. "But if I could have my way, I would love to have a lot of synths. So I took that into mind when we were writing the album and tried to come up with a good balance where we could have cinematic string lines along with synth sounds and synth sound design in the songs. It was a mix of everyone's ideas, and when we went into the studio, honestly, it was quite magical. I've never seen anything like that, writing a full album in two days. I think that the Japan tour helped us a lot because we knew what each other was thinking. Everything just came together in a very short amount of time, and it was perfect. We couldn't have asked for a better experience than this."
In the full interview, the conversation touched on the band's excitement for their headline performance at the Rockdale Metal Festival and the positive reception of their recent European tour, particularly in Budapest. The band members noted cultural differences in audience behaviour, with a desire to explore international venues beyond Australia.
The group reflected on their debut EP, The Art of Letting Go, and the collaborative writing process for their new album, which incorporates diverse musical influences, discussing the challenges of blending different genres while maintaining a cohesive sound. We discussed their musical direction, future tours and more.


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Interview by Kris Peters
Sydney-based post hardcore four-piece Closure continue their impressive momentum in 2025 after the release of their long-anticipated debut EP, The Sweet Suffering, which is out now on all major streaming platforms. The record includes the previously released singles Hindsight, Glare, and A Cold Space Between, each showcasing the band’s evolution into a darker, heavier sonic identity. A deeply personal and hard-hitting project, The Sweet Suffering chronicles emotional resilience, anxiety, the art of letting go, and love. For Closure, this release is more than just a debut — it’s a defining moment and the beginning of a powerful new chapter.
Riding the momentum of that release, Closure have recently been announced as part of the annual music extravaganza BigSound, which will again be held in Brisbane's Fortitude Valley from September 2 to 5. HEAVY caught up with Closure vocalist Lucy May to discuss BigSound and how Closure got to be there.
We also asked her what Closure hopes to get out of the experience.
"I think just a new experience, definitely," she measured, "and hopefully meeting some people that we haven't had the opportunity to meet before. I feel like, being in a heavier band it's obviously a really tight-knit community, so I think meeting other people obviously… we're self-managed at the moment so we don't have a manager, so I think that would be really something that would be a massive thing if we could maybe connect with some people and have a conversation about that, but honestly just getting out there and supporting people."
In the full interview, the discussion covered the musical evolution of Closure from pop punk to post-hardcore, including their debut EP The Sweet Suffering and the DIY production approach for their latest release. We also talked about upcoming performances, networking opportunities at music events, and the importance of strategic industry connections, while Lucy shared insights about their venue plans and plans for future releases and tours.
We spoke about the stylistic changes within their music and how they plan to integrate new music into future setlists, the importance of BigSound to emerging Australian artists and more.


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The music industry is a fickle one.
Try as an artist may to strike that elusive winning formula, more often than not, it is timing, or luck, or a combination of both which will ultimately decide the course your musical journey takes. Bands can try unsuccessfully for years to crack the market, churning out quality material time and time again with little or no return.
But then that one moment of magic can change it all. That chance encounter. The right planets aligning at exactly the right time. Which is precisely what happened for Melbourne-based punk/pop band KTV last year, when a simple acceptance to an offer made about putting one of their old singles on a compilation album paid immediate dividends.
After originally forming in the late 1990s, KTV released two EPs, played a tonne of gigs and won music industry competitions at the time. They played shows with high-profile artists including Killing Heidi, Magic Dirt, Deborah Conway, Vika and Linda, and Kisschasy, amongst others. After numerous line-up changes, the band ran out of steam in 2001. Singer/songwriter/guitarist, Kat O went on to form Kathematics, who had a song featured in an American TV show, as well as many other bands.
Fast-forward to 2025, and KTV are back in action with original member Philip Yarra on bass/vocals, who recently toured with UK Ska legends, Bad Manners and the drumming prowess of John Hastings. Armed with a back catalogue of original 90s-inspired pop/punk classics, as well as Kat’s new tunes, KTV are currently making a dent on the local live scene and are keen to get back in the studio to record. HEAVY caught up with Kat late last week to find out more.
One of the things we spoke about was the early days of the band.
"It was around the time when Killing Heidi had their Reflector album out and was number one, they were the number one band in Australia," Kat recalled. "Back when bands were actually number one in Australia (laughs). Those were great days, because that unfortunately doesn't happen anymore. Anyway, we got to support them at the Prince of Wales, and that was a really huge show for us, plus we did gigs with Deborah Conway and Vika and Linda in front of thousands of people at the Arts Centre. There were some really, really big shows, and we played with some of our heroes as well. The scene was amazing back then."
In the full interview, Kat reflects on the KTV's past successes, including supporting major acts and winning competitions. She expressed the excitement and nerves surrounding their recent first show back, highlighting the strong chemistry amongst the members.
We discussed how a compilation CD featuring their demo track reignited interest in the band and addressed the challenges of reforming after a long break, including busy schedules and changes in the music industry. Kat discussed their plans for new music, which will blend nineties-inspired indie punk and grunge elements, while also revisiting older songs. KTV also announced upcoming gigs and encouraged fans to follow them on social media for updates, plus more.


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Interview by Angela Croudace
*CONTENT WARNING - Swearing and Mention of Suicide/Self Harm*
Australian heavy metal veterans Temtris return with their powerful eighth album, Queen of Crows, a record built around the theme of good and bad consequences. Vocalist Genevieve Rodda and guitarist Foxy explained that the concept was inspired by personal experiences and reflections on how life’s choices affect us and those around us.
While their previous release, Chaos Divine, delved into a sci-fi dystopian world, Queen of Crows stays rooted in raw human struggles. Rodda described the writing process as emotionally charged, pointing to Scars of Betrayal, which confronts bullying and self-harm. Written about her own daughter’s struggles, it remains one of the band’s most personal songs to date.
Musically, Temtris continue to evolve while remaining true to their heavy metal roots. “We try to push our boundaries every album,” Foxy noted of their collaborative writing approach. The record blends crushing riffs with Rodda’s soaring vocals, as heard in tracks like Carnival of Tears and closing epic The World Is Bleeding, a critique of greed and consumerism framed within powerful fanfare.
Beyond the studio, Temtris take pride in delivering authentic, high-energy performances. At a time when many bands rely on backing tracks, they remain committed to live musicianship, valuing the thrill of pulling off challenging songs on stage.
The band is preparing for a return to Europe in 2025 with festival dates already being locked in. There’s also talk of a long-awaited vinyl pressing of Queen of Crows. With honesty, passion, and resilience, Temtris prove that heavy metal’s heart still beats strongest when fueled by authenticity.


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Fresh off a wildly successful European tour, guitar virtuoso Bernth and bass wizard Charles Berthoud, undisputed masters of their instruments, have joined forces to bring their technical mastery, dynamic performances and jaw-dropping musicianship to Australia for 3 very special events.
With over 4 million followers across their platforms, this will be a once-in-a-lifetime opportunity for fans to witness the guitar and bass heroes emerge from the screen onto the stage to perform together live. This tour is an unmissable event for fans of virtuoso musicianship and those eager to experience the real-life chemistry between these YouTube giants. Whether you’re a follower of Bernth‘s intense technical guitar work or Charles Berthoud’s genre-bending bass lines, this is a must-see show for music lovers and aspiring musicians.
HEAVY was fortunate enough to spend time with both of them to talk more.
"I also have a YouTube channel," Bernth replied after Charles introduced himself. "That's what we both have in common. It's where we kind of met virtually, and we started playing roughly two years ago, just some one-off shows, then decided to do our very first tour this year. We started out in Europe, and in a couple of weeks we will be in China, South Korea, and then finally in Australia to end the next leg of the tour."
Talk turns to their popularity on YouTube and how their musical paths entwined initially.
"I filled a couple of guitars with water to see what that sounds like and drilled some holes into others," Bernth explained, highlighting some of the experiments he has performed online. "And those videos often went viral because it looks quite interesting if you see like a drill going inside an acoustic guitar. That led to people actually checking out the music I played with those instruments, and that finally led to people wanting to see those videos or songs performed live. And that's also how we met."
"One of his crazy ideas was to pitch shift his guitar down into a bass register," Charles took over, "which then led a lot of people to leave comments saying you should do something with Charles Berthoud. Then Bernth uploaded a video that said, My Problem With Charles Berthoud and that was an interesting way to start the day. The first thing I saw in the morning was that someone has a problem with me (laughs)."
In the full interview, Charles and Bernth shared insights on cultural nuances and audience interaction with their music, emphasizing the tour's unique blend of music, banter, and challenges to engage attendees. Bernth recounted his journey from being a session musician in Austria to gaining popularity on YouTube through viral guitar experiments, while Charles reflected on their initial collaboration, which was seamless due to their thoughtful song arrangements.
The conversation highlighted the friendly rivalry between bass and guitar, with Charles humorously asserting the superiority of bass. They both expressed excitement about their upcoming shows, aiming to create an immersive experience that showcases their individual styles and collaborative spirit and more.


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Interview by Kris Peters
German guitarist Uli Jon Roth is renowned for his work with the Scorpions during their early, more experimental phase and for pioneering the neoclassical metal genre. He is also known for his innovative Sky Guitar design and his solo career exploring a unique blend of rock, classical, and philosophical themes.
Roth joined the Scorpions during their formative years, contributing to albums like Fly to the Rainbow, In Trance, Virgin Killer, and Taken by Force, as well as the iconic live album Tokyo Tapes. These albums are all heralded in the history of Rock and Metal, with Tokyo Tapes being touted as one of the greatest live albums of all time, with Roth's guitar playing on those albums highly regarded for its precision and innovative style, influencing many later guitarists.
Now, for the first time ever, Australian crowds get to witness the majesty of Uli Jon Roth when he hits this country for a run of three select dates this September. Uli will be performing a best of the SCORPIONS set, amongst other songs from his extraordinary catalogue, guaranteed to make up for lost time.
Roth joined HEAVY earlier this week to find out more details. We start by asking why he has neglected Australian fans for so long.
"You know what, nobody asked us to come," he laughed. "So it's actually you, because we need an invitation if we want to play somewhere. I would have loved to come much sooner. Having said that, even the Scorpions - although they were so successful - even they found it difficult to get to Australia simply because of the logistics. When you tour America, you can do a month-long tour, and you have a big tour bus. You sleep at night, and then the next morning you're in Chicago, you know? I don't think that entire industry exists in Australia in the same way. You have to fly everything, and that makes it much more complicated to do a tour and more expensive."
We bring up Roth's time with the Scorpions and ask how that period shaped the rest of his life and his musical career.
"I was only 18 when I joined," he recalled. "It very much shaped my life because it was my artistic apprenticeship and also learning the ropes in the music business. Learning how to do an album, how to write songs, all that came together in those five years. And we had a great time. You know, it was wonderful. I've got only good memories. It was just at the end, I started to write music that really didn't fit the framework anymore."
In the full interview, Uli Jon Roth discussed his upcoming tour to Australia and Japan, with Uli explaining the tour logistics and musical direction for each leg. We explored Uli's history with the Scorpions and his decision to leave the band to pursue his own artistic vision through Electric Sun and classical compositions.
We talked about why, after all these years, he is finally coming to Australia and what fans can expect. He discussed curating a set list to appease longtime followers, Tokyo Tapes and his thoughts on the live album, plus his other musical passions. The conversation concluded with a discussion of Uli's influence on other guitarists and his perspective on musical collaboration and learning.


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Interview by Kris Peters
The Home Team are travelling to Australia for the second time - this time with Mayday Parade -  for the Three Cheers For 20 Years tour, after crossing the ocean last May with Caskets (UK).
The quartet have introduced stylings of R&B, pop and funk into their music in an effort to be true to their tastes while crafting their unique sound and return to play new songs for the first time off their latest album, The Crucible Of Life, and struck a chord on their debut visit, winning fans over more at each show.
HEAVY caught up with frontman Brian Butcher to get the rundown on the upcoming tour, with the turnaround being that quick, we have to ask Butcher if he has even had time to unpack yet.
"(laughs) Oh, that trip was awesome," he smiled. "I remember it like it was yesterday. We all agreed that Australia is one of the best places on Earth, and when we got the offer to come back we were very excited, and it was an immediate yes."
The Home Team are coming out with Jack's Mannequin as well as Mayday Parade, who are celebrating their 20th anniversary, so we ask Butcher if he has always been a fan of their music.
"I grew up listening to a lot more metal," he replied honestly. "A lot of heavy music. Mayday Parade was always on my radar, for sure, but I never dove into their albums until probably last year. And I can definitely see why they are as influential as they are. I also have a close friend who is a huge Mayday fan, so when I told him I was going on this tour, he was like, here is this album, and this album did this (laughs). They are very clearly extremely influential for great reason. For that, I have a lot of respect for them, and I'm very excited to meet them."
In the full interview Brian talks more about his time in Australia and how the crowds reacted to them, going from being the least heavy band on tour to the heaviest, how their set will differ to last time, why he thinks they were chosen as supports, the reception for their recent album The Crucible Of Life and how much of it they will be playing live, their eclectic sound and why it works plus more.

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It's scary to think that British metalcore outfit Architects are just hitting their stride eleven albums in.
Having completed two Summer runs with Metallica in the lead up to their latest masterpiece The Sky, The Earth & All Between, Architects took stock of their career to date and set out to make the definitive Architects release.
“It wasn’t about just putting out another Architects record. It had to be the record—the one people talk about when they talk about our band,” frontman Sam Carter said at the time. Bandmate Dan Searle echoed this sentiment: “What we’re trying to say is that we had to make the quintessential Architects album—bringing together all our best qualities and everything we excel at.”
Their last couple of albums - For Those That Wish To Exist and The Classic Symptoms of a Broken Spirit - had been about attempting the new. When those records performed well critically and commercially, that was their green light to pursue whatever they wanted to. So, they resolved to channel the lessons learned from innovation into making something that felt like the pinnacle of what Architects have long been evolving towards. And they achieved that emphatically with The Sky, The Earth & All Between winning over fans and critics around the world.
Now, Australian fans get to experience that rebirth in the flesh with Architects headed this way for three select dates starting in Melbourne on December 11. Not only that, they will be bringing House Of Protection, who recently wowed crowds over here on a support run with Bad Omens, and emerging outfit President, who promise to balance the trifecta. HEAVY caught up with Architects bass player Alex Dean to get the full rundown.
"It's been a little while since we've been over, so yeah, we're really stoked to get back," he enthused. "We're having a lot of fun playing these tracks. It's always fun getting out and playing new records, but it feels really like people are engaging with the songs."
Architects are a band who, despite having their core sound, have always been unafraid to experiment musically on each record. We ask Dean about that approach and how much musical growth he feels the band have left in them.
"We're always trying to push ourselves," he replied. "And I think as soon as - for a metalcore band with two guitars, bass, drums - as soon as you start adding electronic elements to it, the musical world is your oyster, because there's just so many things you can try. We've done records where we experiment a lot with orchestral sounds, and that might be something we revisit again. But we just try and do what's exciting for ourselves, really."
In the full interview, Alex expressed excitement about returning to Australia after a couple of years and highlighted the positive reception of their new album, The Sky, The Earth and All Between. He elaborated on the band's evolution in sound, emphasizing their confidence in creating music driven by instinct rather than external influences. He mentioned their willingness to experiment with various musical elements, facilitated by advancements in technology.
We spoke about what has changed with the band since they last toured Australia, what we can expect from their shows, and more.

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Interview by Kris Peters
Arriving just after the turn of the century, Australian metal legends DAYSEND were born into a healthy national metal scene that included bands like Blood Duster, Abramelin, Frankenbok and Dreamkillers, some of which are still going strong today. It was a golden era for Australian metal, made that much better by DAYSEND, who built a formidable reputation in the global metal scene, touring extensively across Australia and internationally and sharing the stage with some of the biggest names in metal, including Slipknot, Trivium, Arch Enemy, In Flames, and Machine Head.
Their 2003 debut album, Severance, was met with widespread critical acclaim and was voted Best Australian Metal Album in a 2003 Triple J listeners’ poll. The album’s blend of melodic aggression and technical prowess cemented its status as one of the most influential Australian metal releases of the era.
DAYSEND disbanded in 2011 and have lain dormant ever since - until now.
Listed as one of the bands Necrosonic Festival has Resurrected From The Dead - alongside Massic, Beanflipper, Brace and Idle Ruin - DAYSEND have come from the abyss to revisit their debut album with a select number of shows before planning to fade back into the darkness.
But before that could happen, HEAVY caught up with Aaron Bilbija (guitar) to talk about Necrosonic and the rebirth of DAYSEND. One of the topics for discussion was the importance of festivals such as Necrosonic to the Australian metal scene.
"Hugely, hugely important," he replied without hesitation. "They're doing it… they've got the passion for it, you know what I mean? They're not doing it for the bucks. They've got the passion for it, and they love what they're doing, and it's great that they are supporting guys like us. Yeah, it's excellent."
We ask about the early stages of the band and where DAYSEND fit in initially.
"We all came from other bands at the time, just local bands in the Sydney scene," Aaron recalled. "And we used to play the hotels a lot, a bunch of all ages shows, things like that. There were loads and loads of bands, and there was gigs on pretty much every weekend. I remember going as a 16-year-old with the fake ID and trying to get into as many gigs as I could (laughs)."
In the full interview, Aaron further discussed his role as guitarist in Daysend, which is performing a select number of shows, including an upcoming appearance at Necrosonic Festival in Brisbane. He provided background on the band's formation in Sydney during the early 2000s and explained their unique musical style that set them apart from other local bands. 
The conversation covered their current tour plans, including performances across multiple cities to celebrate their debut album, Severance, and why it connected with so many people. We discuss revisiting that old material and whether it still feels fresh and more.

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Interview by Angela Croudace
After more than 15 years, grindcore titans Pig Destroyer will finally return to Australia, and frontman J.R. Hayes couldn’t be more thrilled. “We’re just really, really excited,” he said. “It’s hard to get all the stars to align, but we’re finally doing it.”
Their long-awaited comeback is bolstered by the inclusion of Singaporean grind heavyweights Wormrot as tour support. “They’ve been one of the top grindcore bands for the last 10 years,” J.R. said. “You just have to make sure they don’t blow you off the stage.”
Known for their blistering speed, raw aggression, and lyrics that dive deep into the bleakest aspects of the human psyche, Pig Destroyer isn’t softening with age. “We always just try to write the craziest thing we can,” said J.R. “We don’t care about record sales—we never have. We just want to play it as hard as we can.”
While their music is undeniably dark, the band members are anything but grim. “Live, we’re just a bunch of idiots,” J.R. laughed. “You can’t really cover that up.”
A staunch believer in the rawness of sound, J.R. remains adamantly against over-polished production. “The best music is flawed music,” he insisted. “When things are too perfect, it just becomes Katy Perry to me. It doesn’t sound like it’s made by people.” If Pig Destroyer's next album ends up being a live one, let it be known that the idea was planted into J.R's mind by one incredible interviewer for Heavy Mag (I'm talking about myself).
For first-timers catching Pig Destroyer on this Australian run, expect chaos in the best way, a full assault on all the senses. “Usually it’s the mosh pit that hits them first,” he said. “Then the volume—it’s so loud it becomes a physical experience.”
As for what keeps the fire burning after decades in the underground, J.R. summed it up simply: “We never wanted to be a popular band. We just wanted to be a crazy band. Grindcore scratches an itch that nothing else can.”
Catch Pig Destroyer with Wormrot on Aussie shores in September. 
TICKETING DETAILS https://swdpresents.com
PIG DESTROYER with guests WORMROT performing at:
Sept 2nd – Perth, Amplifier Bar w/ Bile Cannon, Allocer*
Sept 4th – Adelaide, Lion Arts Factory w/ Meth Leppard
Sept 5th – Melbourne, Max Watts w/ Tongue Scum
Sept 6th – Sydney, The Factory Theatre w/ Crown Street Militia
Sept 7th – Canberra, The Baso w/ Blight Worms
Sept 9th – Brisbane, The Triffid w/ Awful Noise
Sept 10th – Townsville, The Warehouse w/ Varrim*
Sept 12th – Auckland, Galatos w/ Imperial Slave, Sawnoff*
Sept 13th – Christchurch, Loons w/ Vixen Execution, Unyielding Desolation*
Sept 14th – Wellington, San Fran w/ Glassblower, Post Natal Abortion*
*Wormrot not appearing in Perth, Townsville or NZ


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Interview by Kris Peters
As with every other year, anticipation surrounding the first line up announcement for Good Things 2025 was almost at a fever pitch. Social media experts and promoter wannabe's all shared their projected line-ups - but most were well off the mark.
Good Things is possibly one of the hardest festival line ups armchair critics get to sink their teeth into, with the diversity and seemingly flippant mashing of genres meaning pretty much any band from any genre could make the final cut. And this year was no exception.
When TOOL were announced as headliners, a large number of punters were already scrambling for tickets, but a quick scan through the rest of the line up proves the eclectic tastes of organisers and the variety of live music on show for fans of most persuasions.
Rock? Tick. Weezer, Garbage.
Pop Punk? Tick. All Time Low, New Found Glory.
Punk? Tick. Refused.
Metal? Big tick. Machine Head. Knocked Loose, Lorna Shore.
But there was one band name there that defied expectations. A band not even from this planet. A band dubbed 'Scumdogs Of The Universe'. A band like no other…
And that band is GWAR. These guys have been devastating audiences the world over for more than 40 years, their incredible backstory and characters resonating just as much as their music. But it is in the live arena that GWAR excels. Their stage shows are legendary, so much so that filmmakers were driven to make a documentary on the band and their history called This Is Gwar.
Yes, ladies and metalheads. This IS GWAR. And what follows is a brief transcript of HEAVY's interview with frontman Blöthar the Berserker, who, as you will be able to tell, is keen to get back to Australia and convert the country en route to enslaving the world. With Good Things sharing the same calendar month as Christmas, we ask Blothar if GWAR will be filling their red sacks with surprises for Aussie fans.
"(laughing) Well… mostly, when it comes to Christmas, we don't really hand out gifts as much as we take them," he offered. "Gwar is keeping alive that horrible tradition that the Dutch have, Black Pete. Can you believe that they did that? Who do these people think they are? But, seriously, that's what we do. We kidnap children, and we stuff them into stockings, and we turn them into coal and all of that stuff, then we run off with them to Morocco, or something like that. GWAR's not big on Christmas. We are friends with Krampus, though."
We run through the line-up again and reiterate our early observation that GWAR are the proverbial black sheep of the Good Things line up, a point which is not lost on Blothar as we ask if the people of Australia are ready for the carnage.
"I don't know. They loved it last time that the band went down there," he shrugged. "We took a swipe at Tony Abbott and everybody got all upset - boo hoo - but I don't even know what's going on politically in Australia now. We've been very busy… we've got our own problems here to worry about. I think Australians are gonna love GWAR. GWAR is a band that is funny. That's the difference. And let me be clear about that. You go see a heavy metal band… you don't go and see a lot of heavy metal bands where everyone you look at is smiling. They're laughing and having a good time. They can't believe they're seeing… they feel inspired to go and do something creative themselves. That's what GWAR is. That is what GWAR is."
In the full interview, Blothar talks more about the line up and gives his thoughts on spreading so many different genres through a festival, what has changed with GWAR since they were last out here, battling the oppressive Australian heat, what three songs punters should listen to if they aren't familiar with the band, where to research the backstory and find out more about the GWAR universe, their latest album The Return Of Gor Gor and how it was received, reaching 40 years as a band and more.


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BIGSOUND can be anything you want it to be. You can choose to revel in the activities and workshops, or check out the band showcase gigs or watch/see/listen to any number of things, but the one thing that catches HEAVY every year is the range of live bands out there plying their trade.
This year's BIGSOUND, to be held in the usual areas of Brisbane's Fortitude Valley over September 2 to 5, features more than 120 bands playing across 18 stages so it looks like we are going to have our work cut out for us.
But getting to know the bands a little better beforehand always helps, so today we chat with one of the emerging bands from New Zealand heading this way for BIGSOUND, Grecco Romank.
Described as offering dysfunctional music - the kind played in your uncle's garage rave while he's in the middle of a hellish k-hole after being dismissed from his drop-shipping office - in a world increasingly obsessed with the exact opposite, Grecco Romank are a breath of fresh air on a scene that is often weighed down too much in its own self-importance.
But just to make sure the band are the genuine article, HEAVY sat down to chat with two of the three members, Billie Fee (classical soprano, vocals) and Damian Golfinopoulos (samples, synths and more), to find out just how interestingly different Grecco Romank really are.
"I've listened to every single one," Damian replied when we mentioned the number of bands playing at BIGSOUND. "It's gonna be a good year, I'm excited."
We ask Damian what bands stood out most after listening to them, not at all hoping to catch him out.
"Spike Fuck, UGLi, Mumfighter, Shock Corridor," he quipped without missing a beat.
Maybe they are the real deal... We ask how well prepared the band is for what will be a hectic few days in Australia.
"We've definitely we've got a bit of homework to do on trying to plan our days and make sure everyone gets to see what they want to see," Billie smiled. "We're also bringing our manager, so he can go do a lot of that stuff on our behalf (laughs)."
In the full interview, we further discuss Grecco Romank's upcoming performance at BigSound 2025 in Brisbane, where Damian and Billie shared insights about their band, which has been active for five years and has released three albums, primarily performing in Auckland. They described their music as a fusion of electronic elements and operatic vocals, emphasizing their goal of delivering an engaging live experience. The band is eager to connect with new audiences and fellow artists at the festival, and they plan to participate in workshops and networking events.
They also mentioned an unofficial show at the Junk Bar and a subsequent gig in Melbourne. Additionally, they provided details about their acclaimed third album, Arts Colony, highlighting its collaborative nature, the inclusion of a 330-page art book, and a secret version accessible via a code in the book and more.


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Interview by Angela Croudace
Three decades into their career, Paradise Lost remain masters of gothic metal’s melancholic grandeur. With their new album Ascension, guitarist Gregor Mackintosh took on the dual role of musician and producer—a responsibility he says wasn’t a giant leap, given his growing involvement in shaping the band’s sound over recent albums.
“In the past, producers used to be heavily involved in songwriting and structure,” Gregor explained. “Now it’s more about getting the sound in your head onto the record.” While self-producing offered him complete creative control, it also brought the risk of over-polishing, a trap he deliberately avoided. “Metal’s become so sanitised, chasing perfection until all the character is gone. I wanted Ascension to have flaws that give it life.”
Inspiration for Ascension struck after a period of creative standstill, triggered, unexpectedly, by the band’s re-recording of their 1993 album Icon. “It put me in a different headspace,” Gregor says. The record’s visual identity came together just as organically, centred on George Frederick Watts’ Victorian painting The Court of Death, whose calm central figure surrounded by grief perfectly mirrored the album’s themes.
For Gregor, Paradise Lost’s longevity comes from refusing to chase trends. “We’ve always done our own thing, not been part of any scene,” he says. “If it resonates, great—if not, so be it.” That independence extends to songwriting, where fan expectations take a back seat to authenticity.
And while misery remains at the heart of Paradise Lost’s music, Gregor sees its appeal as intensely uplifting. “Dark music is evocative; it makes you feel something. It’s not about being miserable, it’s about connection.”
Australian fans may get to experience Ascension live in early 2026, with tour plans currently in discussion. “Fingers crossed,” Gregor says. “We’d love to be back.”


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Interview by Kris Peters
After championing the cause for Australian music for almost a decade via their weekly radio show, Rock Hard With Phil & Tish, the two co-hosts have decided to take the next step in their evolution, putting on the first-ever Rock Hard Festival in Adelaide.
For two nights over October 10 and 11, Woodshed at Royal Park will host Aussie rock legends The Poor, headlining both nights with a selection of some of this country's hottest emerging bands such as Audio Reign, Karly Jewell, The Dreadful Tides, Ablaze, Avalanche and more.
Not content to help grow and nurture homegrown talent over just the airwaves, Phil & Tish have decided to give the band a bigger platform from which to show their wares in the first of what is hoped to be a long-running annual concert event.
HEAVY recently sat down with Phil & Tish, who were understandably a bit nervous with their roles as radio hosts/interviewers reversed.
"We have a radio show on PBA FM every Wednesday night," Phil explained, setting the mood. "It's been going for about seven, eight years and is called Rock Hard with Phil and Tish, and we try to rock."
"Yeah, PBA FM every Wednesday night," Tish reiterated. "We are 9pm Australian Central Standard Time, and we are your local insane metalheads. We're very much a variety show of heavy and hard rock."
We bring up the excellent line-up and ask what their selection process was when deciding who to book.
"We picked all bands we have relationships with over the journey," Phil measured. "We're fans of… I mean, The Poor… I was 14 when I got into them, and Skenie (vocalist) was the first interview I did where I actually reached out to someone that I grew up enjoying their music, and I thought I'll shoot him a message. I thought, I'm gonna fire a shot and see what he says, and a couple of weeks later he came back, and he said I'd love to have a chat, and I chatted to him for about an hour on the show. Because I'm such a fan - and when you're 14, they're like larger-than-life rock stars - and to think he's having a chat on our show probably opened up the courage for me to approach other bands and stuff that we've loved. Literally every band that we've got on this festival are just great Aussie bands, and we're so stoked that they've agreed to play."
In the full interview, Phil and Tish shared insights into their planning for Rock Hard Festival, emphasizing their commitment to showcasing Australian talent and the challenges they faced in curating a lineup that reflects their personal relationships with the artists. They expressed excitement about the festival's potential, particularly with the inclusion of local bands and the overwhelming interest from musicians wanting to participate, as well as the scheduling of two nights of live entertainment and the reasonable ticket prices.
They highlighted the festival's unique offerings, such as a special beer crafted by Beer No Evil and the decision to have The Poor headline both nights. We discussed the significance of including acts like Audio Reign, who were the first band interviewed in their studio, as well as their radio show Rock Hard and how and why they got into a radio career based in music, plus more.

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Interview by Angela Croudace
Post-rock outfit In Transmission are back with their new EP, Betterment, a record that blends atmospheric beauty with an urgent social conscience. Frontman Martin says the inspiration behind lead single Catching Up (and the EP as a whole) comes from observing a world plagued by environmental and civil issues, often met with apathy.
“When it’s out of sight and out of mind, it’s easy not to care,” Martin explains. “But if we ignore these things and just focus on our own individual lives, it’s going to catch up to us.” That message of personal accountability, particularly through mindful spending and daily decisions, threads through the band’s latest work.
Betterment also represents an evolution in In Transmission’s sound. Known for their instrumental, post-rock style, the group has embraced a more vocal-forward approach, blending melodic guitar layers with a heavier edge. “It’s about trying to do better in all aspects — creatively and personally,” Martin says. “We’ve naturally gravitated toward a heavier live set, but still hold onto the atmospheric elements.”
Recorded with longtime collaborator Beau Burchell, the EP benefited from Burchell’s ability to enhance rather than overhaul the band’s ideas. “He just takes what we have and makes it sound way better,” Martin notes.
The writing process remains rooted in live jamming, with songs developing organically — sometimes in a single rehearsal, other times through extensive trial and error. Influences range from post-rock staples Mogwai and Sigur Rós to post-hardcore acts like Thrice, Citizen, and Basement.
The Catching Up music video, filmed in a Los Angeles photo studio, takes a simple performance setup and adds a playful twist in the form of a motorised rotating floor. “It started as a joke,” Martin laughs, “but ended up being some of the coolest shots.”
While touring is on hold due to new arrivals in the band’s extended family, Martin hopes Australia is in their future. A keen surfer, he dreams of spending a month exploring the coastline. “That’s why I haven’t gone yet — I want to do it properly.”
For now, Betterment captures a band balancing introspection and intensity, with music that resonates as much in a wedding aisle as it does in a packed venue. Watch the interview for more on the sweet request from a fan to walk down the aisle to an In Transmission song.


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Interview by Angela Croudace
When Cursed hit number seven on the Spotify global charts, Paleface Swiss didn't just make a statement — they detonated it into the metal world. For guitarist Yannick Lehmann, the milestone still feels surreal. "It's unbelievable. We're completely DIY, no label, nothing — so to see that kind of success is mind-blowing," he says.
Formed in 2018 as a local Swiss act, Paleface Swiss quickly built momentum in the hardcore beatdown scene before COVID shut the world down. Instead of stalling, the band doubled down, writing two albums and teasing songs online. Their audience was ready and hungry by the time live shows returned.
Switzerland may be known for peace and neutrality, but Paleface Swiss are proud to represent the country's heavier side. "We love being the hardest band from our country," Yannick laughs. Yet the journey wasn't straightforward. Yannick initially joined as a studio guitarist, unsure about committing full-time. Fast forward to 2025, and he's now a full-time musician, having traded carpentry for crushing riffs.
With its raw, live-ready sound, Cursed was born under sunny skies in Spain's Canary Islands, with palm trees, a pool, and nightly darts championships. "We had the time of our lives making it," Yannick recalls. "When we write, we write to play live — raw and powerful." That live energy translates into ferocious shows, whether it's sweaty clubs or on massive festival stages.
Australian fans, he says, match the wild energy of U.S. crowds, with memories of wheelchair crowd-surfing standing out. This September, the band returns to Australia, bringing friends and early inspirations Nasty along for the ride — a full-circle moment for a band heavily inspired by them in their formative years.
Paleface Swiss' Influences range from metal titans Judas Priest and Iron Maiden to Slipknot, hardcore heavyweights, and even dubstep and hip-hop. That genre-blending spirit gives Cursed unexpected textures without losing its bone-crushing core.
Off stage, Yannick stays grounded, valuing personal connections with fans over rock-star distance. And while a mandatory stint in Swiss military service looms after the tour, there's minimal downtime in sight. "We never rest," he says. "There's always something to do."
With their relentless drive and genre-defying edge, Paleface Swiss aren't just rewriting the rules for heavy music in Switzerland; they're smashing them to pieces globally. This Aussie run of shows is one you don't wanna miss! Tickets: https://thephoenix.au/



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Interview by Angela Croudace
With their upcoming album, Where Did All the Butterflies Go? dropping on September 5, LA-based rock outfit Beauty School Dropout are stepping into their boldest sonic chapter yet. The band (Colie, Bardo, Beepus, and Colton) describe the record as "the best music we've ever made," a profoundly personal and genre-blurring journey through love, loss, and self-discovery.
The album's title stems from emotional reckoning, as Colie reflected on a relationship that dulled his spirit: "I just didn't feel anything anymore… I was like, where did all the butterflies go?" That question became the emotional nucleus of the album, which explores falling out of love, not just romantically, but with society, identity, and purpose.
The record marks a creative leap for BSD, produced with legendary studio wizard Neil Avron (Fall Out Boy, Linkin Park). "We took a year and a half to write this," they shared. "It's the first time we've ever sunk our teeth into an album fully." The result is a kaleidoscope of influences from EDM and indie sleaze to pop punk and party rock, anchored by raw emotion and explosive energy.
Their single On Your Lips leans into techno-inspired textures, a nod to their love of underground sounds and Jersey Club rhythms. "We've always loved EDM," they said, "and we wanted to bring party rock back."
Having shared stages with Blink-182 and played iconic festivals like Lollapalooza and Download, BSD are no strangers to surreal moments. Yet, they remain grounded. "We're grateful, but we're ambitious," they said. "Five years from now, we just want to be having as much fun as we are now."
Whether it's jump rope competitions, tattoo artistry, or bingeing Seth Rogen's The Studio, BSD's off-stage lives are as eclectic as their music. And yes, Australia is firmly on their radar. "We think about Australia every day," they laughed. "2026—we're manifesting it."
Beauty School Dropout are seriously impressive to an elder emo like myself and is just the band I've been looking for to satisfy my teenage nostalgia itch as a 30-something year old today. The best part is, I could have been totally intimidated by these shirtless Californians, but these boys were so down-to-earth and humble despite being backed by some huge artists in the industry. BSD is ready to soar with authenticity as their compass and butterflies as their muse, and I only want more!


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Sydney rock outfit Stormflower are effectively about to take their first steps into the world, placing themselves at the mercy of the public in pursuit of musical fulfilment.
They say in music, as in life, it is the little things that ease the pain. Things like planning, preparation, practice... anything that can be considered a building block or a platform to sustain you along the arduous journey that confronts each and every musician at some stage of their career. But no matter the amount of time and thought you put into even the minutest of details, the music machine will invariably strike and send you flailing into the darkness from where you came and poke holes in your surroundings just for good measure.
Sound bleak? That's because it is, but building a firm base can act as a buffer and allow that faint glimmer of hope to remain in your eyes, if even for one moment longer.
Which is what Stormflower have done before unleashing their debut song Coda into the world. They have spent countless hours planning and practising before releasing music, even managing to secure a place on the roster of Australia's emerging label XMusic, but you can never be too sure. The proof, as they say, is in the pudding.
And that pudding arrived earlier today courtesy of Coda, with HEAVY taking the opportunity to talk with the band while still in the honeymoon period, catching guitarist Owen, drummer Julien and vocalist Robert a mere couple of hours after Coda hit the streets.
"Coda is a bit of a journey," Owen began. "It's touching on a few elements around where we are and the whole cycle of life thing and in reference to CODA and the DSL CODA, etc, where we return to start in that sense, and trying to figure it out along the way and try to get some help along the way to help make sense of it all as well."
The press release refers to Stormflower's genre-defying sound and experimental nature, which we ask the boys to elaborate on further.
"I guess we've got lots of influences," Julien measured. "I think there's bands that we love that are quite experimental as well. We try to do something that's a bit unique, mixing different genres. And I guess when we say experimental, that means musically, but also spiritually, maybe trying to challenge ideas and concepts."
In the full interview, the boys discussed Coda in greater detail, which marks their first release under XMusic and is part of an upcoming EP featuring a blend of heavier and more accessible tracks. The band emphasized their commitment to emotional depth and authenticity in their music, highlighting their perfectionist tendencies in the creative process and their collaboration with XMusic to ensure quality. They shared their experimental approach, merging influences from various genres to create a unique sound, and expressed excitement for live performances and audience connection and more.


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Interview by Kris Peters
Polaris have been conquering the world one country at a time since the release of their third album, Fatalist, in 2023. 
Having already firmly established their place as a fixture in the Australian heavy landscape via their first two albums - 2020’s ARIA Award-nominated The Death Of Me and 2017’s The Mortal Coil, which debuted in the Australian Top 10 - Polaris have earnt themselves a laundry list of accolades along with sold-out headline tours of Australia and previous tours across the globe, including most recently performing at Good Things Festival in 2022 alongside headliners Bring Me The Horizon. 2023 saw POLARIS head overseas for multiple European summer festival appearances, and the band's global love affair has been on an upward trajectory ever since.
Last month, Polaris were finally given their deserved level of respect in their home country when they were named to headline Froth & Fury 2026, a rapidly growing Australian festival that this year has expanded to feature Perth for the first time as well as its adopted home in Adelaide. 
Polaris' name sits proudly on the event poster atop some legends of the music world, with Soulfly, Nailbomb, Comeback Kid and Lagwagon leading the international charge, and Frenzal Rhomb, Ocean Sleeper, Private Function, Terminal Sleep and Zuko joining Polaris for home country honours. HEAVY recently caught up with bassist/vocalist Jake Steinhauser to firstly congratulate the band on their headlining status.
"Thank you so much," he replied sincerely. "We're absolutely stoked to be headlining the fest. Just to be at the stage to be doing anything like that at this point is really awesome for us. So, yeah, very, excited."
We mention the high number of Australian bands on the bill and ask Jake how important festivals that reward homegrown talent are for the Australian music industry and what emerging bands can take out of the experience.
"I guess being here in Australia, we're so separated from the world and there's kind of almost like this illustriousness to some of the bands that do come over here and play shows," he measured. "Getting to see some of our bands rub shoulders with them, regardless of what level they are themselves, helps to put the image of that band in a similar place in your mind, especially as a young audience goer. I remember when we were young, the pinnacle of what we could - just to go back to Soundwave again - was always… we just wanted to desperately play that festival. And, sadly, it's not with us anymore. But every time we get to do something here at home, I am always reminding myself of what it looked like to see those local bands, to see the homegrown heroes and stuff like that."
In the full interview, Jake expressed gratitude for the opportunity and highlighted Froth & Fury's diverse lineup, which is beneficial for emerging artists. He detailed the extensive planning and rehearsal involved in their live performances, the positive reception of their latest album, and shared experiences from recent tours. He also provided an update on Polaris' new album, indicating progress in the writing process and plans for a focused retreat in New South Wales, while expressing excitement about the new material and upcoming shows in Japan and more.


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Interview by Kris Peters
For 20 years, Jerome Reuter a.k.a. ROME has been a force to reckon with in the musical underground. Through relentless touring and a steady stream of high-quality concept albums, ROME has built a remarkably loyal following from Berlin to LA, from Sydney to Saigon, from Lisbon to Kyiv.
The Luxembourg-born singer-songwriter has created an authoritative body of work, encompassing more than 20 full-length albums and numerous other official releases. ROME's compelling brand of Dark Folk merges various musical influences, from Post-Punk to Chanson. Lyrically inspired by world literature from Burroughs to Brecht, Celine to Cioran, from Hesse to Jünger; ROME’s detailed, well-researched, yet particularly accessible concept albums combine his interest in history, philosophy and the arts in a most compelling way. Through his unique vision, he has managed to establish his very own musical niche informed by various European folk and Chanson traditions coupled with post punk and industrial influences.
Now, for the very first time, Reuter is heading to Australia for a select run of shows starting from August 22, and to celebrate the occasion, HEAVY was fortunate enough to score some time to discuss his plans. We start by asking Reuter why he has neglected us for the last two decades (with a smile, of course).
"Good question," he laughed. "There were a few attempts before, but there was COVID and this and that, but finally we got this back on track for this year and also because it's our 20th anniversar,y we are doing a big tour, so I guess we waited a little bit to make it happen this year."
Being his first time out here, Australian fans have little idea of what to actually expect when Reuter takes the stage, so we try to fill in the blanks.
"This Australian tour is going to be a stripped-back, solo show," he began. "So it's just going to be me on guitar. It's not the whole band, it's not the big kaboom of thundering drums that I am known for. It's more of an honest, direct, intimate approach with me just on guitar, revisiting some of the material I have written in the last several years and taking it back to the roots."
In the full interview, Jerome talks more about the tour and what to expect, the challenges of visiting a country for the first time, constructing set lists, how he develops his conceptual ideas and how much research goes into them, the plethora of goodness being released to celebrate Rome's 20th anniversary and more.


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Interview by Kris Peters
English alternative rock band Bush initially gained popularity in the mid-1990s, particularly in the United States, with their debut album Sixteen Stone. While initially labelled as grunge or post-grunge, Bush carved out their own space with a blend of heavy riffs, catchy melodies, and frontman Gavin Rossdale's distinctive vocals. After a hiatus, the band reunited in 2010 and continues to release music and tour successfully, with a loyal fan base that feels connected with the band due to their honest and decisive lyrics.
Bush's sound has been described as a mix of grunge, post-grunge, alternative rock, and hard rock, and while some critics initially dismissed them as grunge imitators, particularly of Nirvana, Bush developed their own unique style, characterized by powerful guitar riffs, memorable hooks, and Rossdale's vocals, which ranged from aggressive to melodic.
This is perhaps never more evident than on Bush's latest album, I Beat Loneliness, a deeply personal release highlighting a sense of vulnerability coupled with other serious issues such as men's mental health and dealing with associated problems.
With I Beat Loneliness having been out for almost one month now, HEAVY took the time to speak with Rossdale to dive even deeper, starting by asking how the early reception has been for the new album.
"It's been fantastic, really amazing across the board," he smiled. "It's a great reception to a record that is finding its way connecting with people, and this has been a really fun time. It feels like a body of work, as opposed to like cracking on one song for like six months, you know?"
We ask Rossdale to go into greater detail about I Beat Loneliness musically and what he was going for with it.
"For me, music is still an experiment," he began, "and I'm still 25% I don't understand about it, or probably even more. And so every song I write is a form of experimentation for me, and just diving into these different worlds. I'm finding a lot in the detuned world, and then a lot in the soft sense you can have. I can create these worlds to write in, because I have a weird, weird skill set. I go into banks of sound, and I can do it really fast. I've done it for years where I had to listen to other people going through them slowly, but now I've got my own studio, I can go through things really quick. You find these great moments that create these atmospheres with keyboards, and so I just write in those worlds."
In the full interview, Gavin described his creative process as an experimental journey through various sonic landscapes, using sound banks to create unique atmospheres. He emphasized the album's themes of hope and authenticity, aiming to resonate with listeners' vulnerabilities and address mental health issues, sharing a poignant experience where a fan credited his music with saving their life, prompting him to reflect on his own past and the importance of kindness in the world.
We spoke about his approach to music and finding the best in himself, not just as a songwriter, but as a person. Gavin explained the reasons for starting the album with the song Scars and how it introduces the listener to the heavy content to come. We spoke about the importance of music in moments of stress and the healing qualities it can provide, possible Australian tour plans and more.


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Music up until the 1970s had been a predominantly male-dominated industry, especially the rock scene, which was considered to be full of exactly the type of people your mother warned you about.
Sure, there were some brilliant artists, including Janis Joplin, Marianne Faithfull and Suzi Quatro, but it was in the mid 70s when three young, brash and rebellious aspiring musicians called Joan Jett, Sandy West and Micki Steele were assembled by record producer Kim Fowley that the musical landscape changed forever. After the loss of Steele early in the piece, the new all-girl group called The Runaways welcomed Peggy Foster on bass and guitarist Lita Ford, before discovering a 15-year-old Cherie Currie who completed the final piece of the puzzle as vocalist.
The rest, as they say, is history, and if by chance you are drawing a blank from the name The Runaways, then think about a song called Cherry Bomb, and things will become clearer.
The release of their debut self-titled album in 1976 saw The Runaways support the likes of Cheap Trick, Van Halen, Talking Heads, and Tom Petty and the Heartbreakers, in the process giving voice and purpose, and more importantly, musical respect, to aspiring female musicians around the world. But it was teenage frontwoman Cherie Currie and her youthful defiance that captured the hearts as well as the ears of a growing global rebellion. She became the face of rock and the inspiration for hope and change. In short, she became a legend; a national treasure and someone who young girls wanted to grow up to be.
After disbanding two years later, each member of The Runaways went on to greater success but did so without ever touring Australia. Currie rectified that blight with her debut tour in 2016, but she returns in September this year as part of her worldwide farewell tour, determined to leave one final musical impression on this side of the world.
Cherie Currie’s Final Australian Tour is the ultimate celebration of a rock legend who defined an era and inspired countless fans and would-be musicians around the globe. Whilst The Runaways never made it to Australia, we have been lucky enough to witness their iconic vocalist not only once, but now twice, with a chance to say goodbye.
Currie joined HEAVY earlier this week to talk about the tour and the enduring legacy that is The Runaways.
"I've been looking forward to this for months now," she enthused. "When I was in Australia in 2016, it was a completely different band, and the reason I'm so excited about this one is my son's band is going to be backing me. His band is called Maudlin Strangers, but Jake is taking the drums this time. He's a front guy and an amazing singer and guitar player. But Sandy West, god rest her soul, gave him some lessons when he was just a kid, and he is paying such homage to Sandy West. He plays it just like her, and when I turn around, and I get to work with my son on stage, it just feels like I've got Sandy with me. It's just fantastic, and this band is off the charts."
Currie is partway through the farewell tour, aiming to say goodbye to as many fans as she can. While it is undeniably an emotional time for the fans, having to say goodbye, Currie has to go through it every time she goes on stage. So far she has completed last tours through Europe and the UK, and we point out must be a difficult thing for her to do night after night.
"It is," she sighed genuinely. "It does hurt. It is painful because I still see people that I've seen at other shows and other tours I've done in the UK and Europe. I them and I see their faces. I recognize them, and it is a little tearful. It really is, because I thank them so much for all this support."
In the full interview, Cherie spoke about the setlist, which will feature a mix of The Runaways hits, solo favourites, and new songs from her latest album, Boulevards of Splendor. She reflected on her nearly 50-year career, the emotional challenge of saying goodbye to fans, and the significance of connecting with her audience.
Cherie recounted her early days with The Runaways, the pressures of the music industry, and the influence of Suzi Quatro. We talked about performing songs that were written at a different time of her life and how she maintains a connection with them, the national support act Hot Machine, the musical climate that gave birth to The Runaways and if they realized how much influence they would have on the music scene.
Cherie went deeper into the early days of The Runaways and how various people tried to change or mould the band, the reasons they stuck to their guns, walking into the offices of EMI Records and demanding to be seen, how being in The Runaways impacted her life and career, plus more.


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Interview by Kris Peters
Norwegian-American aggrotech/industrial metal band Combichrist are known for their intense, aggressive sound and energetic live performances.
Led by frontman Andy LaPlegua, the band blends heavy electronic beats with industrial metal guitars, often incorporating elements of punk and even some orchestral arrangements. Their lyrics frequently explore controversial themes with a mix of dark humour and provocative social commentary, but it is in the live arena where Combichrist shine. Their shows are the stuff of whispers the world over for their brutally intense precision, an experience Aussie fans have not been subject to for a couple of years now.
But that is about to change in not too many sleeps when Combichrist bring their Down and Under Again Tour to Australia's capital cities over three consecutive days from September 18. HEAVY recently sat down with LaPlegua to go into more details.
"It's just been too long, man," he began, almost apologising for the time between visits, "and I'm really looking forward to it."
We ask him what has changed with the band since that last tour.
"A lot," he smiled. "I mean, it's a lot and nothing. There is my concept and my idea of why and how and everything. I create, you know, it's like this is my canvas. I paint, and I do my thing, and I don't really care what's cool or not. I'm just going to do my thing regardless. So that hasn't changed. My mindset is the same. I still just kind of do. I hate to repeat myself is most of the thing. So with that said, it should be something new all the time. So maybe being something new all the time is maybe what's the same?"
In the full interview, Andy shared more insights into the changes within Combichrist in that period, including the addition of new band members Todd Hansen (drummer for Australian tour) and Jamie, as well as Elliot's transition from crew to a full-time band member. He emphasized the importance of live performances as a shared experience between the band and the audience, highlighting the challenges of performing in unfamiliar venues and the need for connection to avoid feelings of isolation on stage. Andy also mentioned the band's plan to perform a mix of old and new material, with a new release expected at the end of August.
Andy provided an update on Combichrist's new album, Desolation, and discussed his creative process, which involves drawing inspiration from a variety of genres while avoiding the temptation to replicate past sounds and more.


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Interview by Kris Peters
Swiss extreme metal duo BØLZER formed in Zürich in 2008 by Okoi Jones (vocals/guitar) and Fabian Wyrsch (drums). Known for their unique blend of black and death metal, the band creates a raw, atmospheric sound characterized by complex riffs, atonal elements, and mythological themes influenced by Nietzsche, paganism, and ancient cultures.
Their music is described as an "intuitive art project born from raw passion," delivering a chaotic, spiritual live experience they liken to an "atavistic vortex." BØLZER gained significant acclaim with their 2013 EP Aura, praised by NPR and Stereogum as one of the year's best metal releases, followed by Soma (2014) and their debut album Hero (2016). Their unconventional approach, blending brutal intensity with psychedelic and doom elements, has earned them a cult following in the extreme metal scene.
BØLZER is touring Australia in August 2025 as special guests of PORTAL, an Australian extreme metal band known for their dissonant, horror-infused fusion of death and black metal for what promises to be the most brutal tour to grace these shores this year.
Heavy sat down with Jones and Wyrsch to get the lowdown on what to expect. It has been a while between drinks for Australian fans, so we ask the boys what has changed with the band since they last visited.
"We just finished a studio session for a new album," Wyrsch replied. "But that one is due for next year. So for now, we're just preparing everything and also starting to play a few new songs live. So definitely some of them will appear on this Australian tour as well. Very much looking forward to playing some fresh material."
We ask what fans can expect.
"I think we're immersive in the sense that the music's very powerful in an organic sense," Jones measured. "There's a lot of not just aggressive energy, but powerful, human, honest energy around, and people seem to connect with that when we play live. We put a lot of our passion into it."
"In a personal way," Wyrsch added. "We're not putting up theatrics. It's more like really…"
"There are no masks, no makeup," Jones finished. "It's very down to earth, but in your face."
In the full interview, Okoi and Fabian expressed excitement about returning to Australia after several years and highlighted their recent studio session for a new album, set for release in 2026. They plan to incorporate new songs into their live performances during the tour and reflected on their past collaborations with Portal.
They described their live shows as immersive experiences filled with powerful energy and recommended their EP Aura and the Hero LP for new listeners. They discussed their artistic evolution and the challenge of maintaining originality while expressing confidence in their new material, which they believe will resonate with both current and new fans. We spoke about how BOLZER approach music festivals and if they take time to listen to the local bands, the growth in their music and more.


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Interview by Kris Peters
Necrosonic Festival 2025 can rightfully lay claim to being Brisbane's premiere heavy metal music festival. Following a successful debut in 2024, the 2025 edition is again curated by Kent Bartley, one of the masterminds behind legendary Australian festivals like Overcranked, Inferno, and Dead of Winter. The lineup includes both international acts and resurrected Australian legends, with some bands reuniting for rare or one-off performances.
Described as a "ritual" rather than just a festival, Necrosonic 2025 promises an intense, 12-hour-plus experience featuring 30 of the heaviest bands from the underground metal scene, performing across three stages at the Mansfield Tavern on August 23. One of the most popular grouping of bands in last year's debut offering was Resurrected: Back From The Dead and this year's collection of older bands reunited promises to be no exception with Massic, Idle Ruin, Daysend, Beanflipper and Brace dusting off the cobwebs and keen to re-enter the fray alongside Portal, Bolzer, Abramelin, Frankenbok and more.
Sydney heavy outfit Brace are one of the Resurrected, reforming after 20 years to answer the metal call to arms, with bass player Rod Yates more than happy to shoot the breeze with HEAVY about Round Two for the band.
"It's been a long time," he affirmed. "It's been about 20 years since the last show, but you know what? It's sounding pretty good. We've picked up where we left off, which is good."
We mention the other four bands in the Resurrected category and point out that Brace will be amongst illustrious company in returning to the stage.
"I can't believe that we get to share a stage with those bands for one," he enthused. "Daysend we used to play with quite a bit back in the day, we're good friends with those guys. We haven't seen them for a long time, so that's going to be great, but Beanflipper are one of the bands that you grew up listening to and used to read about in Hot Metal, so to see them back playing and to play on the same stage as them... It's going to be massive with the other bands as well. You've got 30 bands playing across three stages in 12 hours!"
In the full interview, Rod discusses getting the band back together and how easily they have slipped back into gear. He tells us what we can expect from Brace live, including three songs to listen to in order to get to know the band if you are unfamiliar with their music.
We talk about the value of festivals such as Necrosonic to the Australian heavy metal scene, the history of Brace, why they broke up and what's changed to make them try again, new music and more.

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Interview by Kris Peters 
For almost four decades, rock outfit The Poor have flown the flag for good old-fashioned, no bullshit Aussie rock. Alongside their brothers in Rose Tattoo and The Screaming Jets, to name just a few, The Poor have remained loyal to their roots regardless of the changing tides of world music, delivering time and again with a carefree attitude coupled with classy as fuck rock numbers that almost dare you to not listen.
Theirs is a music and style that has stood the tests of time and the swirling winds of change, and it is testament to their durability and longevity that last year's album High Price Deed is regarded in some circles as being equal to, if not superior to, The Poor's groundbreaking debut classic Who Cares.
With a touring schedule reminiscent of the glory days of Australian rock and gigs booked already until at least the end of next year, it's fair to say that The Poor are running head first into the naughty forties and, even better still, show no signs of slowing down. Despite having their original bass player, Matt Whitby, step away from the band earlier this year for personal reasons, The Poor remain firmly on track, focused and ready to continue their domination of the Australian and global music scene.
HEAVY sat down with drummer Gavin Hansen to find out just how much The Poor have on their plate. One of the questions we ask relates to the sustainability of bands such as The Poor and Rose Tattoo, and we question if their old-school attitude to life and music has played a part in their sustained output and success.
"I think so," he measured. "That's definitely a part of it, I guess. The way that you've grown up and the way that you've cut your teeth and the way you've maintained that. The industry has changed so much in a lot of ways, in a lot of different areas over that time, back and forth. Let's face it, in the 90s there were no festivals as such, really. Festivals made a massive change in the club touring circuit for a long time, especially in Australia. As you know, the good old Big Day Out, SoundWaves and Livid's got to a point where everyone would hold off until they got on one of those bills, and then they would create a tour around it. And then I think that's what hurt the scene of rock bands coming through. They weren't out there slogging it out in the circuit or the pubs every weekend, you know. They were waiting, or there was just a massive change of festivals. And then now… I don't know. I'm not going to say there's nothing to replace it in the sense of that calibre of acts. I just think that era has a different edge and hardness and toughness about it, where, you know, maybe the stuff in the last 10 years hasn't."
Talk turns to Rock The Boat 2026, where The Poor sail the high seas with The Angels, Baby Animals, Rose Tattoo, Killing Heidi, The Superjesus and Radiators, just to name a few.
"I've always been hesitant about boat cruises," Hansen smiled. "What if you got on a boat cruise with a bunch of dickheads, how do you get away from them (laughs)? But no, look, these boats are big enough. It's not just a little tinny going around the harbour. We're really looking forward to it."
In the full interview, Gavin talks more about The Poor's next two hometown shows at Mo's Desert Clubhouse (August 7) and the Koala Tavern (August 9) and how they will likely be the last chance this year the people of Brisbane and the Gold Coast get the chance to catch The Poor in their element. We discussed Matt leaving in greater detail and meet his replacement, while also looking into the fallbacks of changing band members that most of the public don't see.
We talked about their upcoming shows with Rose Tattoo, Adelaide's Rock Hard Festival, supporting up-and-coming Australian bands, the increasing lack of respect in the music industry and possible causes of it, new music and future tours, plus more.


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Interview by Kris Peters
Aussie punk legends Frenzal Rhomb are the gift that keeps on giving. Just like the Energiser Bunny, the guys seem to just keep on trucking where others half their age would have put up the white flag.
Following the near-completed 25 (ish) Anniversary Tour for A Man's Not A Camel, Frenzal have also been invited to fly the flag for the naughty kids left in our generation to play at two of this country's biggest and best music festivals. First, they head to the Northern Territory in September to take their place at Blacken 2025 before getting in some well-deserved R & R leading up to the double header of Froth & Fury shows early next year in Perth on January 24 and Adelaide on January 31.
Not bad for a band who were playing other great festivals such as Livid around the turn of the century!
While their music has an irresistibly infectious charm to it, there's no doubting much of Frenzal Rhomb's staying power is down to their laconic sense of humour and general no fucks given attitude in the face of adversity. Throughout their career, they have offended everyone from radio hosts to television hosts to croupiers at the casino, but, more importantly than that, they have gotten away with it. Which I guess isn't that hard to do when you are able to brush things off with a strum of the guitar and a flash of attitude and move on.
That's not to say Frenzal Rhomb are snotty-nosed and disrespectful - although they have more than enough of those attributes to go around - but when you realise that it is possible to have and voice an opinion without being a wanker about it, then the world suddenly opens up, and the walls move out a little.
Which is all a long-winded way of saying that Frenzal Rhomb are Australian punk walking dinosaurs for the simple reason that they only take things seriously that are meant to be taken that way and subscribe to the theory that when all else fails play some music and have a laugh and maybe things will turn out not quite as bad as you thought they might be.
Which is possibly why they are still welcome at otherwise metal-only gatherings to shoot the shit and play some tunes.
HEAVY recently caught up with the man with the flowing locks and the voice of Frenzal Rhomb, Jason Whalley, to talk about the band's enduring legacy and hopefully find out the reasons why the band is still the toast of the music world. With debate already circling around whether Frenzal Rhomb are representing the Froth or the Fury at next year's event, we ask Jason to set the record straight.
"Oh, listen, we're a big Froth band," he declared. "There's not a lot of Fury going in our world these days, but still a lot of froth."
We mention the line-up, which includes Polaris, Soulfly, Nailbomb, Comeback Kid, Lagwagon and In Hearts Wake and ask where Frenzal sits on the musical merry-go-round.
"I'm looking forward to being the least heavy band on the entire line up," he smiled. "I think it'll be some pleasant relief for people to hear some nice three-part harmonies, a bit of Linda Ronstadt… a bit of The Eagles, maybe?"
Which begs the question: is Jason even a fan of heavier music?
"Oh God, I don't like any music," he laughed. "No, I do like some heavy music. I feel like when I'm being screamed at for longer than probably 15 minutes, then I start getting the shits. But those 15 minutes are good. When I can't understand one lyric for, 10 to 15 minutes, then I'm like, don't make me look at the Internet to find out what you're saying. I'm just going to assume that you're not a Nazi."
In the full interview, we talk about the A Man's (Still) Not A Camel Tour and how it has been going, the fact that Frenzal are still a musical force so deep into their career, why he thinks festival organisers keep asking for Frenzal Rhomb to play on heavier line-ups and where Frenzal sit amongst so much aggression.
We talk about the remaining shows of the tour, their smash and grab mission to play in Quebec, how people overseas react to the band's sarcastic sense of humour, the endless possibilities with Anniversary tours, old websites that still have value and more.

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Interview by Kris Peters
Mumbai-based extreme metal band Gutslit are renowned as India’s leading force in brutal death metal and grindcore. Formed in 2007, the quartet—comprising Gurdip Singh Narang (bass), Aaron Pinto (drums), Kaushal LS (vocals), and Prateek Rajagopal (guitar)—is celebrated for their relentless intensity, precise musicianship, and savage songwriting. 
Their music blends grinding riffs, pummelling blast beats, vicious bass grooves, and chilling guttural vocals, establishing them as a critically acclaimed act in the global extreme metal scene. With a career spanning 18 years, Gutslit has toured extensively, performing in 25 countries, a record for Indian metal bands, including regular European festival runs and a recent Japan tour supporting Nile in October 2024.
Now, it's Australia's turn. Gutslit are set to embark on their first-ever Australian tour - titled the Party Down Under '25 tour - this August, marking a significant milestone as they bring their explosive live performances to six cities. Organized by Grindhead Productions, the tour kicks off on August 22, 2025, at The Back Room in Brisbane, featuring support from Australian brutal death metal band Gosika (Wollongong, NSW) and, for the Brisbane show, additional acts Snake Mountain and Nembutolik.
HEAVY caught up with Narang and Pinto to find out what we can expect.
"I formed the band 18 years ago," Narang began, giving us some incite into Gutslit, "with the whole idea of just playing music that we love the most. Back then we started off with brutal death metal and grind, and now we are slowly progressing into thicker versions of death metal and brutal death metal coming together."
"When Gutslit started, there was no band who was doing music like what we are doing." Pinto added. "So Gurdip and the previous iteration of Gutslit were the pioneers of brutal death metal and brutal death grind in India."
We mention Gutslit's reputation for their intense live shows and ask what we can expect.
"You have to come down and just throw it out there," Narang replied. "It's all about enjoying the music; it's all about enjoying the multiples. If you're into death metal or brutal death grind or brutal death metal or slam, you're going to get it all."
In the full interview, Gurdip and Aaron provided an overview of Gutslit's history, highlighting their influence in the brutal death metal scene in India since 2007 and their connection to Australia dating back to 2012. They detailed the tour's structure, which will feature a mix of songs from previous albums and potential covers, with an emphasis on creating an engaging atmosphere for fans.
The band expressed excitement about the local support acts in Brisbane and other cities, and the inclusion of Gosika as the national support act. We talk about touring a country for the first time and how much homework they do before coming, their difficulties in gaining global traction coming from India, new material and more.

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Interview by Kris Peters
American progressive metalcore band Born of Osiris are well known for their technical precision. While essentially complex music, Born Of Osiris blend a plethora of styles and influences to devastating effect.
Their sound has evolved from post-hardcore/metalcore roots to a signature blend of technical deathcore and progressive elements marked by intricate guitar work, heavy synths, and a mix of guttural and clean vocals. The band has released seven studio albums, with notable works including A Higher Place (2009), The Discovery (2011), and Angel or Alien (2021).
Earlier this month, the band released Through Shadows, their seventh studio album and the first as a trio following the departure of longtime guitarist Lee McKinney and keyboardist Joe Buras. The 13-track album, featuring previously released singles like “Torchbearer” (2023), “A Mind Short Circuiting,” “Elevate,” “In Desolation,” and the title track, blends the band’s technical metalcore roots with a cinematic, sci-fi aesthetic and a return to their heavier, deathcore-adjacent sound.
HEAVY sat down with vocalist Ronnie Canizaro to dive deeper, at one point asking how the newer songs were going over live.
"When we started playing Elevate, that song just popped off live," he smiled. "You just saw people bouncing and enjoying it, and that's one of my favourite songs to play live right now. It's my first time ever doing cleans on a Born of Osiris album, so I was kind of like, are people going to like this? But at the same time, I just wanted to do it because that's what I wanted to do. And I want to try new things. And yeah, those songs go over great live. Songs like A Mind Short Circuiting, that's just a very brutal, technical song and people are headbanging to every song so far. I feel when we play the newer stuff you can hear a difference compared to the older stuff. You can tell we're getting better at our craft."
In the full interview, Ronnie talked about the early reception for Through Shadows, the prolonged release schedule and if it was planned that way and whether it gets easier or harder to come up with fresh material the more you write.
We discussed their evolving sound and how they have changed musically over the years, the musical climate that gave birth to the band, how much growth they have left in them as a band and more.

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Interview by Kris Peters
Singapore grindcore band Wormrot, known for their intense, fast-paced, and boundary-pushing music, are headed our way for a ferocious double touring bill which also includes Pig Destroyer. 
Formed in 2007 after the members completed their mandatory national service, Wormrot have released four studio albums and several EPs, touring extensively through Europe and the United States, in the process becoming the first Singaporean act to play at the Glastonbury Festival.
Following the recent reuniting of the original line-up, the band have spent the first part of 2025 touring the UK and Europe and after a couple of months to refresh hit Australia in September.
Guitarist Rasyid joined HEAVY to talk about the tour. We ask about their pairing with Pig Destroyer and the relationship between the two bands.
"We have played before together," he nodded. "It was on the Napalm Death campaign for the Musical Destruction Tour. Before that I was acquainted with Adam Jarvis through Misery Index so then we started talking, and we took the Pig Destroyer on the tour bus. It was fun. Nice guys and we are quite excited to see them again."
We ask what Aussie fans can expect from Wormrot live.
"We just play hard and fast," Rasyid grinned. "I don't know what else to say, we just play hard and fast. We try to do a curated set with less talk in between and just more attack, so we'll see (laughs)."
In the full interview, Rasyid spoke about the upcoming tour and what to expect, the reuniting of himself with the other two original band members and Wormrot's recent live album TNT, noting that the setlist for the Australian shows will differ from that. He also discussed the current music scene in Singapore, highlighting the decline of metal culture since the band's inception in 2007, while punk and hardcore shows remain popular. Rasyid acknowledged the challenges of establishing a global presence without local peers and mentioned that their increasing recognition in Europe and the US is beginning to resonate back home. The band is currently focused on touring and plans to start writing new music in early 2024.



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Interview by Kris Peters
Transvision Vamp were the buzz band of the late 1980s and early 1990s. 
Fronted by the raunchy, attitude laden Wendy James and backed by a catchy assembly of songs, Transvision Vamp cornered every section of the market. Their pop/punk rebelliousness outlined through songs such as Baby I Don't Care, I Want Your Love and The Only One resonated through disenfranchised youth everywhere, while their music videos dominated RAGE and other music programs thanks to their colourful and suggestive content.
Put simply, they were a breath of fresh air on an otherwise stagnating music scene and culture. Women everywhere wanted to be Wendy James and men everywhere just wanted her. It was the perfect chemical reaction to fit in with the times and that momentum carried Transvision Vamp through two successful albums and worldwide tours. By the mid to late 1990s Transvision Vamp had parted ways but their legacy has endured.
Now, 27 years after their last visit, Transvision Vamp are headed back Down Under for a headline run of shows next February, with Brisbane already sold out. HEAVY recently had the pleasure of spending time with Wendy James to talk about the tour and anything else we threw at her.
"I think it's because we were a raunchy rock and roll pop band," she replied when we ask why crowds in Australia loved Transvision Vamp so much. "We had the tunes, but we also had a quite upfront attitude. Everyone loves the scream of Baby I Don't Care and the melodies and everything, but I think they also really loved the attitude that we came with."
We ask what fans can expect from the shows, given there has been almost 30 years since Transvision Vamp last played here.
"I'm bringing the goods with me," James affirmed. "Fully locked and loaded, real hardcore. And when I say hardcore, I mean incredible musicians. Not just people that can hold down a 4-4 beat and play three chords. These are... they're monsters. They're killers. So I expect that we should be able to walk on stage and by the time you leave you'll be hot, sweaty, exhausted and jubilant."
In the full interview, Wendy spoke more about the tour and what to expect, the set list and what could be in it, whether this is just a one off reunion tour or if the possibility of Transvision Vamp returning for an album is on the cards, the ealy days of the band and where they fit in, how they got signed to EMI Records, their look and how natural that was, their early success and how it affected the band, her solo career and more.

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Interview by Kris Peters Alice Cooper was set loose on the world in the mid to late 1960s, and it is fair to say the music world has never been the same since.
Blending rock music with ghoulish tales of the macabre backed up by a live show that pushed every conceivable boundary of the time, Alice Cooper soon became the man (band) people hated to love. His elaborate set pieces, including the infamous guillotine beheading cornerstone of his live show, gave birth to legend, and it is a testament to the enduring legacy of the great man that he continues unabated to this day.
While Alice Cooper will always be the one in the public eye, much of his early success was largely due to the band he assembled around him - lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith - who recorded with Cooper for the first seven albums, including School's Out and Billion Dollar Babies. While their departure after Muscle Of Love in 1973 didn't affect Cooper's career trajectory, it still marked the end of an era, one which is still held fondly by earlier fans of the band.
After half a century without officially fully reuniting, the Alice Cooper Band returned earlier this year with the announcement of a new album, The Revenge Of Alice Cooper, and a return to the sound that paved the way for generations of budding rock stars the world over. In a truly special moment, the album features a posthumous appearance by Glen Buxton, the band's original guitarist who passed away in 1997, through an unreleased recording that seamlessly blends the past with the present on What Happened To You, featuring his original guitar part.
Alice, Neal, Michael, and Dennis reunited with their producer Bob Ezrin in an old-school recording studio in Connecticut, rekindling the magic from the 70s. This album is a celebration of friendship, nostalgia, and the timeless sound that solidified Alice Cooper as a rock icon. Fans can expect a powerful and nostalgic experience that bridges the gap between the band's storied past and their vibrant present.
HEAVY was fortunate enough to spend time chatting with all three returning members in a riotous and informative 20-odd-minute interview that felt like it was only five. We ask if this reunion was something that they always thought would happen one day, or if it came as a surprise.
"No, we didn't know it was gonna happen," Dunaway smiled. "We thought it was gonna happen a couple of times over the decades, and then it didn't. So this was kind of like another one of those. We weren't popping any champagne until we actually were in the studio recording."
"And even when we were in the studio recording, the mixes didn't happen until about a year later," Smith interjected. "So… We were more like, I wanna see the album cover in my hands before I believe it, which I have now (laughs)."
In the full interview the band talks more about The Revenge Of Alice Cooper and getting the original band back together, if they had all been in contact over the years, the musical side of the album and how it harks back to the early days of the band, how easy they slipped back into the groove and jamming out to the first song back. We also spoke of the loss of Glen Buxton and how they managed to include his work on this album, the glory days of the band, what they think the band's musical legacy will be, working with Alice and more.

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Interview by Kris Peters
After conquering the rest of the world on the back of their smash hit album Ghost Code in 2023, Swedish rock outfit Smash Into Pieces are turning their sights to Australia, announcing their first-ever trip to our shores next month.
A band renowned for their spectacular live performances, Smash Into Pieces are bringing their new-look, latest production ArmaHeaven Prophecy here for three select shows starting in Melbourne on August 22 – a high-intensity experience of music and stunning visuals that embodies their motto: “don’t let anything stand between you and your dreams… if it does, smash it into pieces”.
"In the world of ArmaHeaven, a new reality is born through AI – only to be threatened by the very force that created it," so the story goes. "The prophecy has been written… but it can still be altered. This is more than a concert. It’s a message. A warning. A choice … The ninth chapter begins now. Join the movement. Alter the prophecy."
With a new album in the can and the band primed for their debut Down Under performances, frontman Chris Adam sat down with HEAVY, where we grilled him from the start, demanding to know why the band have neglected Australia for 17 years.
"I guess we… I mean, it's a good question," he replied. "Ever since the start with Smash Into Pieces, the analytics have shown that you are in the top 10 countries for us. I guess when we were kinda new as a band, we couldn't really afford to get there, and we didn't really sell tickets. So it's a mix between those two. The interest has always been there to go there, but, as I said, that's the reasons why we couldn't get there before. But now it's time. We own our music. We own everything in the company, so now we can afford certain things. It's time. It's definitely time to go there."
The ArmaHeaven Prophecy is a conceptually based production centring on AI and the threats it poses to the human race, leading us to ask if the whole show - inclusive of visuals and lyrics - is part of the concept.
"We have had this storytelling from the beginning," Adam measured, "and ever since we started doing the new album. So it's definitely in the lyrics, but we're also tweaking it so it's not too much singing about a computer. It's more flirting with the concept and the ideas we have. We always try, with our lyrics, to be not taken too far, so people can resonate with their own thing to it."
In the full interview, Chris talks more about the upcoming tour and what to expect, how the music fits in with the conceptual idea, how it represents a "bold new era of storytelling and sound" and elaborates further on the conceptual story. He runs us through the music that makes up the live show and if it is all new or a mixture across their catalogue, the new album and what to expect, the temptation to rehash the successful formula of Ghost Code and more.


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Interview by Angela Croudace
Swedish rock juggernauts The Hives are currently storming stages across Australia, kicking off a tour that feels like both a celebration of their legacy and a fiery new beginning. Speaking from his hotel in Perth with a view of “rivers and mountains,” guitarist Niklas Arson exuded gratitude and excitement about being back down under.
“This tour kind of feels like we’re both starting the new record and finishing the last one,” Arson explained. The band’s latest release, The Hives Forever Forever The Hives, is packed with high-energy tracks—most brand new, with just a few songs like Paint a Picture having existed in live form before. “We don’t just throw songs together—we make albums,” he said, revealing their meticulous approach to sequencing and flow."
Despite over 30 years as a band, The Hives show no signs of slowing down. “It feels more like a beginning,” Arson insisted. “We like doing The Hives more than not doing The Hives.” That passion remains their driving force—and it shows. Each show is performed with full-throttle intensity, something Arson says is crucial: “Touring at 70% capacity would suck. You have to pour everything into it.”
Australia holds a special place in the band’s heart, from mangoes and surfboards to the rock-loving fans (after some confusion on whether Sweden had mangoes, Nik kindly let me know they do in fact have mangoes there, but not the trees!). “It's a country where there’s rockers,” Arson said with a grin. The band’s first Aussie visit in 2001 left such a mark that they continue returning with enthusiasm.
Collaborations on the new record include industry heavyweights like Mike D (Beastie Boys) and Josh Homme (Queens of the Stone Age), both of whom brought unique energy to the studio. Yet, Arson emphasises that the sound remains purely The Hives—tight, explosive, and always crowd-focused.
As they gear up to support My Chemical Romance in South America next year, The Hives are proving they’re not just survivors of the rock ‘n’ roll era—they’re lifers. And right now, Australia is getting the full force of their never-ending sonic assault.


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Interview by Kris Peters
German dark rock outfit Lord Of The Lost struck gold with their 2022 album Blood & Glitter carrying the band into the 2023 ESC finals and into the hearts and ears of a more mainstream market. It was a fitting reward for the band who had toiled hard without overwhelming success over six previous albums, emphatically announcing Lord Of The Lost to a wider market that grew to connect with the band on a deeper level.
Rather than rehash what was obviously a winning formula, Lord Of The Lost have returned to their darker, atmospheric roots for their upcoming album OPVS NOIR Vol. 1, which is out on August 8. They have also played it far from safe by declaring it the first of a trilogy concept series of albums that promise to explore opposing sides of their musical psyche over the journey.
HEAVY sat down with vocalist Chris Harms to find out more, at one point asking Harms if it was tempting to stick to what had already worked for the band.
"Yeah, of course," he answered honestly. "All the experts in the industry said this was the most successful album and was the number one record, and it broke all our records, so just keep going that way. Just stay in the lane. Some even saidthat  after so many years of searching for something new, and always trying something new, finally, it was the most successful in the mainstream. And we were like, okay, do you think that we always changed because we were searching for the one recipe? And now we found it, and we stay like that? They were like, yeah, of course, otherwise, why would you change all the time? And we said because that's what artists do. Some people really think that we always tried something new because we were looking for some kind of recipe. Look at David Bowie. Do you think he did all genres that exist in the world because he was looking for success? Or do you think he did that because he just wanted to explore the space? He followed his heart, and this is what we do."
In the full interview, Chris provided an overview of Lord of the Lost's upcoming album, Opus Noir, Vol. 1, set for release on August 8. He described the album as an emotional journey that explores themes of darkness and beauty, incorporating orchestral elements and film score influences to create a rich sound. The singles My Sanctuary and I Will Die In It were highlighted as representative of the album's diverse emotional landscape, with My Sanctuary serving as an entry point and I Will Die In It embodying the core emotional essence. Chris also discussed the song Ghosts, featuring cellist Tina Guo, emphasizing her contribution to the emotional depth of the music and its alignment with the overall essence of OPVS Noir.
The discussion further delved into the trilogy concept behind the album, with Chris explaining that the band wrote 34 songs during the creative process, ultimately deciding to release them as three interconnected albums. He noted that all albums were recorded simultaneously to capture a specific moment in their lives. We also spoke about their upcoming tour of Australia and more.

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Interview by Kris Peters
American metalcore outfit Fit For A King have never backed away from allowing their music the time and space it needs to breathe.
Since unleashing their debut album Descendants in 2011, the band have experimented with a variety of sounds and genres, often overlapping them with each other and harnessing the resulting unpredictability into an ever-evolving sonic palette of metalcore unpredictability, alternative melody, and deathcore brutality laced with electronic alchemy.
Fourteen years after embracing their destiny, Fit For A King stand on the cusp of unveiling their eighth album Lonely God, boasting all of the sonic hallmarks Fit For A King fans have come to know and love — gnarly riffs, guttural growls, deep grooves, and a slightly industrial crunch that takes things to the next level, every single time - with some expected moderations.
Frontman Ryan Kirby joined HEAVY to go into greater detail.
"I feel good," he enthused when asked about the new album. "I'm always eager to get the new record out once we start rolling it out."
We ask what fans can expect from the album musically.
"This time around, we just wanted to not have any agendas," he replied. "We just wanted to write music that we enjoy writing, and I think it turned out that way. I think because of that, the record is my personal favourite that we've ever written."
In the full interview, Ryan dives deeper into Lonely God, including the singles released and how they represent the album as a whole. He mentions the difficulty in selecting songs to release because of the eclectic nature of their music, insisting fans don't fall into the trap of assuming the rest of the album is just a rehash of the songs released from it.
He talked about the album opener Begin The Sacrifice and why it was chosen as the first song, how Lonely God differs to 2022's The Hell We Create, the performance of The Plot In You vocalist Landon Tewers on Technium and the close relationship the two bands have, their upcoming Australian tour together, their version of genre mashing and how it comes together in the creative process, playing all ages shows and more.


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Interview by Angela Croudace
The metal landscape changed forever in 2005 when a hard rock/metal outfit called Five Finger Death Punch took their first tentative steps in music from Las Vegas. A town normally more known for its casinos and nightlife, Las Vegas was soon forced to share its traditional draw cards with an unrelenting and destructive sonic force that refused to watch the world pass them by, instead deciding to make their presence felt by any means necessary.
Led by the only two surviving original members - vocalist Ivan Moody and rhythm guitarist Zoltan Bathory - Five Finger Death Punch quickly rose to prominence, with their 2007 debut album The Way Of The Fist selling over 500,00 copies before the 2009 follow-up War Is the Answer further increased their popularity, selling over 1,000,000 copies and being certified Platinum by the RIAA. The bands next five albums - American Capitalist, The Wrong Side of Heaven and the Righteous Side of Hell, Volume 1 (2013), The Wrong Side of Heaven and the Righteous Side of Hell, Volume 2 (2013), Got Your Six (2015), plus And Justice for None (2018) have all been certified Platinum or Gold, elevating Five Finger Death Punch into the upper echelon of hard rock/metal bands.
To celebrate their plethora of achievements over the last two decades, which include victories in esteemed awards such as Revolver Golden Gods and Metal Hammer Golden Gods, Five Finger Death Punch are releasing Best Of – Volume 1, a collection of re-recorded versions of their most iconic chart-topping songs. The idea of a remix or remaster wasn't enough, so the band created a completely re-recorded 2025 edition to honour the songs and the fans who have made them matter by being with Five Finger Death Punch every step of the way.
HEAVY had the pleasure of spending time with Zoltan Bathory to get a glimpse inside the world of Five Finger Death Punch and 20 years at the top of their game. We ask him to look back at the early days and the point where he felt Five Finger Death Punch were destined for success.
"When you say it's going to last… we didn't know," he laughed. "We did have a moment, however, where we kind of knew that we had something. It was in the very beginning when we went to the studio to record our first vocal takes. The first record was done in my living room, the whole thing (laughs), so young bands out there, you can do it! We did it in my house, then went to the studio and recorded the first couple of songs, then we went back to my house, and we had a Beavis & Butthead moment. Me and Ivan were jamming and thrashing around in my living room, kicking over couches, screaming 'this is it, it's gonna happen'. So we had that early on. As for how long it's gonna last… I mean, even now I look back and go 'oh my God, 20 years'. It's crazy (laughs)."
In the full interview, Zoltan talks more about the history of Five Finger Death Punch, their success, the new best of album and re-recording old material, their loyal fan base, plus plenty more.

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Interview by Kris Peters
After making their name on the back of high-energy, hard-hitting music, Long Beach, California rockers Of Limbo are pulling the reins somewhat on their upcoming release, Unplugged, which you can check out here: https://linktr.ee/Oflimbo
Rather than continue their relentless barrage of sonic intensity, Of Limbo have decided to strip things back to their bare minimum, assembling a collection of original tracks and select covers that showcase the lighter sides to their musical psyche and offer fans a more vulnerable and softer underbelly.
It is an uncommon move from a band not known for their acoustic playing, but one which proves how confident Of Limbo are, not just in themselves, but also in their music.
With the album almost upon us - released July 18 - HEAVY caught up with vocalist/rhythm guitarist Jake Davies to dive deeper.
"We grew up just absolutely adoring the MTV Unplugged era, especially the Alice in Chains stuff," he replied when we asked what was behind the decision to make an acoustic album. "I must have listened to that live album thousands of times in my life, so we've always really liked it. And there was a stint in time when the electric version of our band wasn't able to perform. Our drummer was away, stuff like that. So we just started jamming with our friend Jason (Klein, bass) who used to be famous for being in the Butcher Babies years ago. I started jamming with Jason, just doing sort of acoustic stuff, and we really got a taste for it because as much fun as the live electric rock and roll party stuff is that we do, there's a real romance to playing the acoustic stuff."
In the full interview, Jake focused on the upcoming release of Of Limbo's Unplugged album, scheduled for July 18, outlining their strategy of prioritising physical sales over streaming to foster a deeper connection with their audience. The album will feature six original songs and three covers, with the decision to adopt an acoustic style inspired by the MTV Unplugged era.
We spoke further about doing an acoustic album and the potential risks involved, as well as running through each of the three cover songs and why they were chosen. Jake talked about his time in Australia and desire to return with the band, as well as some upcoming Of Limbo shows in America and more.


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Interview by Angela Croudace
Simple Plan have always worn their hearts on their sleeves - but with their new documentary The Kids in the Crowd, drummer Chuck Comeau says the band has truly peeled back the curtain. The film, marking their 25-year legacy, is an emotional deep-dive into the highs, lows, and brotherhood that’s defined the Canadian pop-punk juggernaut.
Chuck described the process as “a joy” but also “really difficult,” recounting the overwhelming task of sorting through decades of footage—some of which dated back to him and frontman Pierre Bouvier’s first ever band when they were just teenagers. “It’s hard to condense 25 years into an hour and a half,” he said. “It’s literally your entire life.”
One particularly moving discovery came late in the process - hidden in a box in Chuck’s parents’ basement. “It was our first show ever… in our friend’s basement, playing Basket Case by Green Day,” Chuck recalled. “It was so innocent, and yet so similar to what we do now.”
The documentary doesn’t shy away from the band’s internal struggles, either, including the at times rocky dynamics between Chuck and Pierre. “We had a massive fight. I got kicked out of the band,” Chuck admitted. “But going through that taught us how to keep this thing alive.”
Just as crucial to the film are Simple Plan’s fans. For Chuck, the bond with their audience, many of whom have leaned on the band’s music during life’s darkest moments, is sacred. “They’ve told us we saved their lives,” he shared. “That comes with responsibility. You don’t take that lightly.”
Their new single, Nothing Changes, featured on the film’s soundtrack, was written as a reflection on their past - and a reminder that Simple Plan isn’t stuck there. “It was important to not just become a fossil,” Chuck said. “This film celebrates where we’ve been, but it also kicks off what comes next.”
After 25 years, Simple Plan is still that band for the outsiders, the dreamers - and the kids in the crowd.


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Interview by Kris Peters
For a quarter of a century, American rock outfit The Used have dominated the global rock landscape, delivering countless albums that not only helped shape the course of musical history but also helped shape the lives of a good deal of music fans the world over.
Bursting onto the scene with their self-titled debut album in 2002, The Used transcended normal music prejudices to become favourites of both consumers of music and critics, finding that elusive formula early on in their career while most bands finish their tenure still oblivious to how to find it.
From The Used, the band went on to release In Love And Death in 2004, somehow topping the heights achieved on their first album, before solidifying their stature amongst the rock elite with 2007's Lies For The Liars. Now, in celebration of 25 years atop their field, The Used bring the party to Australia in a unique run of shows that sees them perform each of those three albums in their entirety in each capital city.
Such is the demand for these special shows that several more have had to be added, more than half of which have already sold out. HEAVY recently sat down with bass player Jepha to dive deeper into the idea and the celebrations that look set to continue for some time yet.
"I'm excited, I'm ready to go," he enthused when we began. "We just ended a full US version, and we went to Europe for a few dates, then we took this month off, and now I'm already itching to go back out and move to Australia for a bit (laughs)."
We mention the fact that more than half of the 21 shows are already sold out and ask how good it feels to know that people on the other side of the world are so hungry for their arrival.
"It's really exciting," Jepha smiled. "The best part is for our singer - because he lives in Sydney and has been out there about ten years now - he always has to come to us to rehearse and practice and everything, so he's always jet-lagged. Now the joke's on us that we are all flying over and will be jet-lagged and fucked the whole time, and he is going to be spot on (laughs)."
Having had to add so many extra shows, The Used will now be in Australia for almost one month, so we ask Jepha if the band had already planned or budgeted in that extra time away from home.
"We didn't expect this much," he laughed. "We didn't expect it to go this long and to have multiple dates added and a lot of places selling out. That's all… not a shock… it's all better than we imagined."
In the full interview, Jepha talks more about the tour and what fans can expect, learning the first three albums in full and any difficulties faced plus how the band will approach each night and bring their best to each performance.
We dive deeper into each of the three albums and what they mean to The Used, his memories of recording each, the musical shift between each and how that reflected the growth of The Used musically, new music and more.


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Interview by Angela Croudace
Dark fantasy rockers Blackbriar are known for weaving rich, cinematic soundscapes and fairytale-inspired tales into their music, and their new album A Thousand Little Deaths is no exception. Vocalist Zora Cock and guitarist René Boxem sat down to reflect on the band’s creative process, the emotional depth behind the music, and hopes to finally reach fans Down Under.
Zora, who pens all the lyrics before music is composed, shared that inspiration often comes from folklore, history, and personal metaphor. “I usually see visuals in my head very quickly after writing the lyrics,” she said, highlighting the band’s filmic aesthetic. Their music video for Harpy, hand-drawn frame by frame by their own creative team, reflects this commitment to authenticity, just pure, painstaking artistry.
The band remains deeply grounded despite their viral success with Until Eternity. “It took months before anything happened,” René recalled, “then suddenly it skyrocketed. It changed everything.”
Their bond with fans is a cornerstone of their identity, from Discord chats to cherished fan gifts like a sword engraved with song lyrics and even a rare turtle coin (literally a medallion emblazoned with a turtle that I definitely want to do more research on). “We keep everything,” Zora laughed. “It really means a lot.”
Australia is very much on their radar. A planned tour fell through due to the pressure of filling venues, but the dream is alive. “We’d love to come—maybe as a support act or for a festival first,” said René.
As for A Thousand Little Deaths, Zora hopes listeners feel the same shivers she did on first listen. “Some songs brought me to tears. It’s deeply personal. I just hope it makes people feel something.”
And for Australian fans? Keep your ears open and your turtle coins ready…

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Interview by Kris Peters
Melbourne pop/punk/emo/rock outfit This Space Is Ours have rapidly built a name for themselves since kicking off in 2021. Backing up a string of energetic singles with a succession of memorable live performances, the band have steadily been building their name through a growing number of live shows, including sharing the stage with Bad/Love and Future Static, and in 2024 they celebrated a sold-out first headline show.
But now the band are ready to expose a darker side to their light. A heavier, darker side that introduces itself courtesy of the band's upcoming single Picture Perfect Paper People, which will be premiered via HEAVY on 16/07/25 before being unleashed on the world the following day.
HEAVY caught up with vocalist Gemma Dunsmore to go into greater detail.
"In the past, our singles before this year were more pop punk-esque," she explained, "and with these new singles and our upcoming EP, we wanted to move the instrumentation to be more heavy, while still keeping this emo tone to the vocals. So we got this cool contrast going, and this third single really cements that."
As a young emerging band, the pressures on new material are overwhelming, especially in the current saturated environment. As such, we ask Dunsmore how much thought and planning went into releasing their first body of work.
"We had heaps of conversations around it," she affirmed. "Me (sic) and the bassist were more on the pop-punk side, wanting to stay a little bit more pop-ish, and then the guitarists grew up listening to prog and metalcore, and they were pushing for this heavier sound (laughs). So there was a lot of conversation to try and find a place that worked for everyone, and I reckon we got there."
In the full interview, Gemma introduced their new single, Picture Perfect Paper People, and described the evolution of their sound towards a heavier style in their upcoming EP set for release in September. She emphasized the importance of organization and collaboration in the EP's planning process and hinted at a show in October, also exclusively releasing the EP title.
The conversation also covered the creation of their music videos, with a focus on the DIY approach for Gone In May and the fun elements in My Name. We spoke more about what to expect musically from the upcoming EP, what is on the horizon for This Space Is Ours, including upcoming shows and more.

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Interview by Kris Peters
New Zealand's finest exports Devilskin have epitomized everything rock and metal ever since unleashing their debut album We Rise on the world eleven years ago. Not only did their high energy and infectious brand of metal resonate with hometown music lovers, but it also quickly spread on a global level, resulting in the band supporting and touring with established acts such as Slash and Halestorm.
Such was the popularity of Devilskin following We Rise that the band became the first New Zealand rock/metal outfit in 18 years to go Platinum, equalling the effort of the mighty Shihad with the album Killjoy. Over the years singles such as Never See The Light, Little Pills, Start A Revolution, Endo and a cover of Heart's classic, Barracuda, have highlighted the personal nature of Devilskin's music as well as the sonic diversity at their disposal.
Eleven years after the release of the groundbreaking We Rise, Devilskin return with Re-Evolution, an album that has already been credited with displaying just how far Devilskin have come in 15 years. This is a bold and dynamic perspective of Devilskin and their continued growth plus the reinvention, and the re-evolution of the band as songwriters and as artists.
With Re-Evolution dropping today, July 11, HEAVY spent some time with bass player Paul Martin to dig deeper. We start by asking how he is feeling with the release date finally here.
"It's good, man," he smiled. "It's like that painful bit where you're in labour, and this beautiful product's about to pop out, but at the moment it's like getting everything squeezed into the right places and mailing everything out. Man, we've had so many orders from all over the world, so I've been busy licking stamps and sealing envelopes (laughs)."
We ask about two of the singles - Swelter, and Half Life of Dreams - and if they are a good sonic representation of what to expect.
"I think there's a little bit of everything on this album," Paul measured. "I don't think there's two songs that are quite alike, they're all kind of different in their own way. It's a glimpse into what's on the album, definitely. With the whole album, we wanted to be bold. We just wanted everything to be… we just wanted more of everything."
In the full interview, we discussed Re-Evolution in greater detail, including the title of the album, and it's significance to the band. We spoke about the opening song, Red, and why it was chosen as an introduction to the body of music plus Devilskin's growth in their musical journey to date asnd how much growth is left in them.
Talk also centred on how the new songs went down live on their rTalk also centred on how the new songs went down live on their recent New Zealand Tour, the guest parts from Nik Barker (12 Foot Ninja) and Joe Hottinger (Halestorm) and what each brought to the song, their recent People's Choice Award victory at the AMA Awards and more.


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Interview by Angela Croudace
Ann Arbor’s Black Note Graffiti have always walked a tightrope between ferocity and finesse. With their latest album, Resist the Divide, guitarist Kris Keller says the band found its most personal and cathartic voice yet. “We were all going through different things—addiction, trauma, life’s heavier moments—and the album became a space for us to release that,” Keller shares. “It’s the best record I’ve ever been a part of.”
Working with renowned producer Josh Schroeder (Lorna Shore, King 810), the band took a month in the studio to carefully craft a sound that truly represented each member. “Josh really listened. Every instrument, every voice, got its moment.”
Resist the Divide tackles pain, growth, and redemption with thunderous riffs and introspective lyrics. But despite its weight, the band’s goal remains connection and unity. “We’re a hard rock band, but the message is positive. We want people to feel less alone.” Keller credits the addition of vocalist Gabrielle Bryant for bringing new balance and heart to the lineup. “She brought out the best in us—there’s more focus now, more soul.”
Their partnership with Australian label Golden Robot Records also hints at dreams beyond the States. “An Aussie tour would be a dream,” Keller says. “Never thought I’d play the stages I have, so who knows? Maybe one day.”
Meanwhile, Black Note Graffiti will appear at Wisconsin’s artist-centric Mile of Music festival this August. “It’s amazing—300 artists, free for fans, and they take such good care of musicians. It’s one of the best festivals we’ve played.” For vinyl lovers, Resist the Divide is also available in limited edition. “We wrote the album to be played through, front to back. Vinyl just made sense—it’s an experience.”
With music that’s loud, raw, and real, Black Note Graffiti continues to carve their space beyond rock music in the hearts of fans seeking something true. Having done so well in Europe and the U.S., I think it's about time these guys have their Aussie moment, give them a listen. I think you'll be blown away by their intensity, heart, and undeniable talent.


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Interview by Kris Peters
Promises are made and broken every day in the music industry, especially when it comes to comments made from stage in the heat of the moment and on the crest of emotion. Promises such as "we will be back REAL soon" are said so often that they mostly pass by unnoticed by fans, who have grown accustomed to living in the moment and not in the future where such remarks are directed.
But when a band actually delivers on these promises - not once, but twice - then the shockwaves that resonate could cripple a small country.
Which is why, when Don Broco promised on their last Australian tour that they would start their next World Tour in this country, most fans had forgotten the remark as soon as the next day. When they also promised to play Perth and Adelaide, both of which were excluded in the last tour itinerary, the collective sighs of 'yeah, sure' were barely muttered because, let's face it, such promises are made and broken by more than 50% of the bands who tour here.
But not Don Broco. These guys are still old school. From the times when a promise meant something, so, true to their word, Don Broco are kicking off their next World Tour in Australia starting on September 4. AND Perth plus Adelaide are both part of the schedule. Who says you can't trust a muso?
After spending a large amount of time on the road around the time they were out here last, Don Broco have been more focused on completing their fifth album of late, bunkering down and fine-tuning the next batch of songs to expand their impressive catalogue. But ever since their recent performance at Download 2025, the tour itches have returned, enticing Don Broco back to where they thrive best.
The stage.
With the tour only being announced earlier today, HEAVY caught up with vocalist Rob Damiani to find out more.
"We're heading back to Australia very soon indeed," he affirmed. "It's going to be the first tour back touring this new material. We've been working on a new album for the last year and a bit now, and it's very, very close to being finished. This will be the first time we actually get back on the road and play any of this new stuff. It's also the first time we've been on the road for a year and a half, so we're excited."
"We've been lucky enough to come to Australia now once every album," he continued. "The times we had on the last record, and the shows we did, were just so good. And the energy out there is so insane. We didn't want to leave it a whole nother album, where you're maybe doing it towards the tail end. So even though I think that not all the record will be out, it will be a load of the new material - probably all of the singles - but not the full record. That's what we're here to do; that's when we feel most alive as a band, when we're performing to people and getting that connection."
In the full interview, Rob talked more about the upcoming tour and what to expect, keeping his promises, how much planning and practice goes into a Don Broco live show, the new album and what to expect, what makes a gig even more memorable for him, their 2023 shows at The Royal Albert Hall with an orchestra and more.


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Interview by Kris Peters
Around the turn of the century, a movie came out that changed the face of comedy forever. A movie about teenagers trying to find sexual gratification was not a new concept - hell, such movies were around before movies even - but this one resonated with disenfranchised youth the world over.
And lovers of good old-fashioned Apple Pie the universe over.
That movie was American Pie, and the main actors that brought us that wonderful tale of self-discovery will forever be etched into cinema folklore as a benchmark for excess and desire - and more than the occasional mishap along the way.
While Stifler (Seann William Scott) and the luckless in love Jim (Jason Biggs) might be the perennial favourites of the franchise, not enough people know or understand that American Pie was more about a fresh college teenager who was simply trying to find a way to please his girlfriend. An impressionable young lad by the name of Kevin (Thomas Ian Nicholas), who not only narrated the movie, but also provided many of the warmer moments - although not as warm as Jim's brief moment of intimacy with said Apple Pie.
And just to make sure we all know his name and importance to the franchise, Nicholas is returning to Australia next week for a limited round of American Pie Emo Night shows that bring you closer to the star than ever before.
Performing a combination of movie screenings, live band performances, meet and greets and Q & A sessions, Nicholas returns after only a brief absence for unfinished business. HEAVY jumped at the chance to pick his brain for 15 minutes, which turned into a lazy thirty, ahead of the run of shows which kicks off at La La La's in Wollongong on July 16.
"People watch the film, and they go, oh, shit, I didn't realize that this is Kevin's movie," Nicholas laughed. "So my favourite part about American Pie Emo Night is reminding everyone, yeah, motherfucker, that was my movie (laughs). That's why you liked it. I know Jason Biggs was funny, but he was funny because I was telling the story. Everyone remembers the cherry on top or the frosting. So Stifler's the cherry on top, Jim is the frosting, and I'm the cake."
We mention the fact that this will be Nicholas's second trip Down Under this year, to which - of course - he has a reasonable reply.
"The thing is that I worked for 10 years from 2015 to 2025 to get my first tour in Australia," he explained. "So many failed attempts, but I never give up. This is retribution. When you work hard at something, you may not get it when you want it, but eventually the landslide happens. So I'm making up for lost time."
In the full interview, Thomas talked more about his limited run of shows and what to expect, his love for his fans and providing the best show possible every time. He ran us through each section of the show and how it has evolved to this point, highlighting the live music aspect and his original music.
We engage more about American Pie and his feelings for the movie and his fellow co-stars, the timeless nature of the movie's comedy and sets the rumours straight (sort of) about the much-debated 'new' movie. We run through challenges posed by being an actor in the music industry and vice versa, some of his more memorable moments on stage, including a special request from Creed, how the upcoming shows will differ from last time he was here and more.
Photo: @captured_chrisberry

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Interview by Kris Peters
Melbourne rock outfit HZED are ready for a triumphant return to the Australian music scene with the release of their first new music in some time in the form of Heartbreaker.
After undergoing personnel changes in recent years, HZED busied themselves and polished their unity by releasing live versions of previous songs recorded during that time, but with Heartbreaker they are back with a fresh, revitalised sound and renewed focus that should see the band quickly establish themselves in the growing pool of Australian talent. After releasing the audio for Heartbreaker on July 4, HZED are now preparing for the launch of the accompanying music video, due out on July 11.
HEAVY sat down with Shannon (guitar) and Tenaye (vocals) to find out more.
"This is the first single we've actually released that's brand new since 2022, with the whole new line-up," Shannon began. "So it's pretty exciting."
We ask how the first audio release has been received.
"It's been great," Shannon continued. "Everybody's loving it. They're loving how big it's sounding and how different we're going."
"I think it showcases how much we've evolved as a band and how we've got this whole new era," Tenaye added. "Now that we've got Hannah, we've definitely got a heavier, fuller sound too. And it's really showcased in the single as well."
In the full interview, we discussed their strategy of releasing the audio first to generate anticipation before the video launch, with plans to release new singles every three months and potentially an album in the future. We spoke about the video and what to expect, including the basic storyline of the song.
We also ran through HZED's upcoming run of shows and what to expect, the future of the band moving forward, and more.


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Interview by Angela Croudace
Auri's third album, Candles and Beginnings, invites listeners into a dreamlike, genre-defying realm where emotion, memory, and nature entwine. The trio—Johanna Kurkela, Troy Donockley, and Tuomas Holopainen—embrace an intuitive and organic approach to music-making, shaped by their lifelong influences and an unwavering trust in each other.
"We don't plan anything," Tuomas explains. "It all comes naturally. Nothing is pre-calculated." The result is an album that resists classification, weaving together airy melodies, earthy rhythms, and moments of heavier intensity.
The band doesn't aim to dictate meaning, instead offering their music as an open canvas: "We provide a stage for feelings," says Johanna, "and the interpretations are for the listener." Though some songs echo Celtic elements, the band insists these tones emerge organically. "We don't identify with any genre," says Troy. "We use whatever tools we need to express the emotion."
Despite physical distance (Troy often writing at sea, of all places, and Johanna in Kitee), their creative process thrives in isolation. They only come together when it's time to mix. "It's like getting a Christmas present," Johanna smiles, describing the excitement of hearing each other's ideas evolve remotely.
A particularly personal track, The Apparition Speaks, stands out for its heavier edge. But for the trio, choosing favourites feels impossible. "They'd get jealous," Tuomas jokes. "We love them all." Visual art also plays a vital role in shaping Auri's universe. The watercolour album artwork was hand-painted, no AI involved, and Johanna's calligraphy adds an intimate touch.
As for touring Australia? "We'd love to," says Troy, "but right now, we're not sure we have many fans there." Still, Troy and Tuomas's previous Nightwish tours proved Aussie crowds are "fabulously mental," and they hope to return soon.
Auri's music is hard to define but easy to feel, leaving listeners soaring on Johanna's stunning vocals, whilst Troy and Tuomas add melodic and at times heavier elements. Candles and Beginnings is a cinematic listen and an amalgamation of this seriously talented trio. This album doesn't just play, but unfolds like a dream you never want to wake from.



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Interview by Kris Peters
At first glance/listen, Melbourne-based experimental collective Umlaut are yet another in a growing line of bands creating 'art' instead of music by throwing together an eclectic grouping of sounds and instruments as their personal choice of expression. Their style and seemingly haphazard musical output is, at first, difficult to take in, but once you find out the backstory to the band things seem to make infinitely more sense and the proverbial penny drops like a lead balloon.
All of a sudden, the same music that 60 seconds ago sounded like a layered multitude of messiness now sounds like a Picasso painting would were it able to sing. Why?
Because Umlaut's founding member is none other than Clinton ‘Bär’ McKinnon. You know the one? The same guy that was a major part of Mr. Bungle's sound before the turn of the century? Except this time as Umlaut prepares to drop their new album Desole there's another person who, by presence alone, helps set the askew things into a more palatable delicacy. His is another name you should recall - especially if you are a Bungle fan.
Joining Umlaut with McKinnon - funnily enough, with both of them now living in Australia - is former Mr. Bungle skin thumper Danny Heifitz. Along with Angus Leslie and Shane Lieber, Umlaut's new, more streamlined four-piece are diving headfirst into a new chapter—one forged in chemistry, intuition, and a shared love of unpredictability.
With Desole scheduled for a July 25 release, HEAVY was granted exclusive time with McKinnon to discuss a wide range of topics, from the new album to his days with Mr. Bungle and everything in between.
"This thing has been so delayed and a long time coming," he sighed. "On some levels, I don't even believe that it's going to come out (laughs). I'm hoping that it does!"
We ask McKinnon to go deeper into Desole from a musical point of view and what he was going for with it.
"In the past, it's been a very instrumental, chamber-pop affair with some songs thrown in there with vocals," he measured. "This album is pretty vocal-heavy in a way and straight-ahead in a lot of ways. It's funny, I get these questions like, what is different about this album? And I'm not really sure. The main difference with this album is that it's got the legendary Danny Heifetz on drums from Mr. Bungle, the true DNA of Mr. Bungle. And he's down here in this town with us and has graced us with his drumming on this album. We're really excited about that and people hearing that. I think people will hear that Mr. Bungle DNA in the drums when they hear Danny doing his thing. It's just very straight ahead, it doesn't it doesn't mess around."
In the full interview, Clinton discussed further the release of Desolé, humorously critiquing its title and sharing insights into the production challenges they faced. He provided details about the musical style, noting a shift towards a more vocal-heavy and energetic sound, influenced by drummer Danny Heifetz's contributions.
Clinton reflected on the emotional journey of releasing music, likening it to a parent's hopes for their child, and discussed the balance between creating hit songs and maintaining authenticity. He emphasized the collaborative nature of Umlaut, highlighting the importance of each member's input, particularly guitarist Angus's production skills. The conversation also touched on the desire for listeners to appreciate the album as a whole rather than just singles, with HEAVY endorsing the album's quality and encouraging the band to continue their creative efforts.
Talk also turned to Mr. Bungle's tenure as a band, including some funny insights into his relationship with Mike Patton. We spoke about Bungle's legacy and what they brought to music and more.


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