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 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
The Dead Daisies have always had an underlying stream of blues coursing through their music. It is an age-old style of music that has influenced pretty much every conceivable genre over the years, although rock music has benefited the most.
With vocalist John Corabi coming back on deck for last year's album Light 'em Up, The Dead Daisies embraced their blues side even more, culminating in late night jam sessions while recording that album at the legendary FAME studios progressing into recording sessions which led to their new album Nothin' But Trouble, which is due out on May 30.
The album pays homage to the work of blues legends such as BB King, Muddy Waters, John Lee Hooker and Howlin Wolf, with The Dead Daisies reworking their classic songs and sprinkling enough of their own DNA through the tracks to make them their own. It is an outstanding body of work from a band with an impressively high back catalogue, and showcases some of the influences that have seen the members hone their craft.
HEAVY caught up with Corabi to find out more.
"You know what I'm excited about so far is that the first two songs that we released have been getting great feedback from everybody," he began. "And as I was saying earlier, this was it was what we call a happy accident. This whole thing came about in such a weird, random way. We went to this legendary studio in America called Fame Studios in Muscle Shoals, and it was kind of a bucket list thing for all of us, including Marti Frederiksen (producer).
So we went down there with the thought in mind that we would just maybe write and maybe do a little bit of recording down in this legendary studio. It's a legendary place, but also it's a functioning studio, and they do museum tours through this place and each night around dinner time, they bring in 20, 30 people.
So we'd take a break. And then we kind of sat and thought about it. We're like, well, okay, the tour was over. We were done eating, and we'd crack open either a bottle of whiskey or some wine. And we thought we could go back to the hotel and sit and watch TV all night, or, we're here, let's just jam. Let's see. Let's just have some fun. So we kind of started jamming some blues that everybody was familiar with, obviously, like Crossroads, Going Down, and Born Under a Bad Sign. And then it was weird, we just kind of sat, and Marti kept the session rolling. We listened and thought, okay, this is really cool. This is really cool, so what we did is during the day we worked on what became the Light 'em Up record, and we just continued working at night and putting together 10 of our favourite blues songs and so far man, everybody's been raving about it."
In the full interview, John spoke more about the band's intention to honour their musical roots through a collection of blues tracks. He explained the challenges of reinterpreting classic songs, emphasizing the need to make them their own while maintaining their integrity, using When the Levee Breaks as a reference for transformation. He shared insights on the evolution of specific tracks, such as Terror Plane Blues into Take My Soul, and acknowledged the blues' influence across various genres.
We talked about the process behind reworking other people's music, which songs were the easiest to do and which ones more difficult and more.


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It was the turn of the century, and everything was meant to be crumbling.
The Y2K bug had been and gone, but people were still unsure of their future - or the future of the planet for that matter - but amid all the gloom and chaos emerged a beacon of light, headed by a brother/sister combination, both still in their teens.
That band was called Killing Heidi and the release that changed it all, coming out in 2000, was Reflector.
Propelled by hit singles Weir, Mascara and Superman/Supergirl, Killing Heidi, and particular teenage frontwoman Ella Hooper, became the voice for disenfranchised youth everywhere. Their songs, filled with hope and belonging, gave people a view to a brighter future, which, coupled with the rags-to-riches story that accompanied the Hooper siblings, resonated with a much wider audience than the band's teenage demographic would suggest.
The band would go on to release another two albums over the next 25 years, plus took a ten-year break, but will forever be known and loved for that debut album.
Now, a quarter of a century on, Killing Heidi are celebrating Reflector by re-releasing the album as well as heading out on tour to take their music to the nation.
Jesse and Ella both joined HEAVY to discuss 25 years of Killing Heidi.
"We're pretty stoked," Jesse enthused. "We're getting the band back together for the 25-year anniversary of our debut album Reflector, and doesn't that make you feel young and old (laughs). We tend to mainly do festivals with Killing Heidi over the last eight years, so we're stepping back into our own headline shows, which is really exciting for us. We're going to play Reflector in full - which we've never done before - and it's gonna be a party."
"This is a big deal for us," Ella added. "We're putting on our big girl pants and doing our own headline tour with some amazing support acts as well."
In the full interview, Jesse and Ella discussed the tour in greater detail, reflected on their debut album and the success it brought them, ask what the album actually means to them, their thought process going into the album and their initial hopes, which of the songs are most personal to them, their youth at the time Reflector came out and if the success of the album forced them to grow up quickly, how those songs helped shape the people they are today, playing the album in full and how difficult it was to learn all of the songs and more.


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Interview by Kris Peters
Formed in Stockholm in 2015, Viagra Boys - as their name suggests - are a band here to have fun. And have fun they have, with debut album Street Worms introducing the world to their absurdist humour, with their follow-ups Welfare Jazz and Cave World only serving to solidify their reputation as a band set to conquer the world.
Or at least win over a few fans.
Viagra Boys have not once shown any signs of slowing down or conforming to a changing musical landscape, and have instead raised the bar even higher with the recent release of their fourth album, Viagr Aboys. In keeping with the group’s token absurdist humour, Viagr Aboys is a further step into a foray into sharp observational humour, dismantling everything and nothing at the same time. They take shots at the cultural institutions that hold people down while also turning the lens inward, never shying away from their beliefs and viewpoints in the name of acceptance.
HEAVY spoke with bass player Henrik Hockert earlier this week from Viagra Boys' tour bus to find out more about their fourth release.
"It got a really good reaction," he enthused of the early response to the new album, "people seem to like it a lot. Good reviews and people seem to like it."
We ask him to explain the album more musically.
"I think when we started, we were just trying to make a Viagra Boys record," he shrugged. "We have kept on doing music that we like. We often start out with a bass line and go from there, and then Sebastian makes some vocals. It's a lot of different elements in there, with some slower songs as well."
In the full interview, Henrik talks more about Viagr Aboys, the singles released and how they represent the album as a whole, the Australian references in the song Uno II, the burp in the opening song Man Made Of Meat and how it came to be there, the final song River King, which is a piano led softer song, next year's tour of Australia and more.


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Interview by Kris Peters
The world lost a true legend earlier this year, when vocalist/guitarist John Sykes - Whitesnake, Thin Lizzy, Tygers Of Pan Tang - lost his battle with cancer. While his legacy endures thanks to the music he created, the world has still lost a musical innovator and pioneer with a gift for writing timeless music.
Around eight years ago, Sykes entered into a contract with then-fledgling music label Golden Robot Records, agreeing to terms for a new album to be released through the company. But over the ensuing few years and as life and circumstances got in the way, all that was honoured by Sykes in that contract was four songs, written by him with a view to completing a full album down the track, that have until now remained locked away from the world in their original demo state.
Since Sykes' passing, the label has gone to the vault and dusted off the cobwebs and had them professionally remixed and remastered by Aussie legendary producer Paul Gommersall (Paul Weller, George Michael, GNR).
Paying respect to the music and legacy of John Sykes, Golden Robot decided to allow the music world at least six months to grieve the loss of Sykes before announcing their intentions to release the four songs - the first new music from Sykes in a quarter of a century - as a four-track EP.
It was a decision taken with much respect to the situation, the man, and his music, but ultimately one which Golden Robot Records believes serves the best interests of fans and enables them to release material which was to form the nucleus of a full body of work.
Golden Robot Global Entertainment’s Mark Alexander-Erber sat down with HEAVY to talk us through the release and the history behind four tracks, which could well be the final recording the world hears from a man who has shaped so much of its history.
"John was introduced to me during the formative days of Golden Robot Records’ journey in Los Angeles," Mark explained. "The label officially launched around 2015, and by 2017 we had entered into an agreement with John for a full-length studio album. The original contract was straightforward — John was to deliver a minimum of ten tracks for a complete album."
"As per the terms of the agreement, we made an initial payment to John, and everything was progressing well. John preferred to work at his own creative pace, which we respected. The understanding was that upon delivery of additional material, a second tranche of payment would be made. However, as time went on, it became clear that what we had originally paid for and what was ultimately being delivered were two very different things."
"That said, we approached the situation the way we always have at Golden Robot — through open communication and a commitment to the relationship. Like many bands we worked with in those early years, it was never just about rigid contractual enforcement; it was about navigating challenges together in good faith."
"In the end, what we received were four absolutely outstanding demos — powerful, compelling tracks that truly reflect John’s immense talent and artistic voice. While it wasn’t the full album we initially set out to produce, those recordings have tremendous value, and we’re proud to be the ones bringing them to the world."
In the full interview, Mark provided detailed insights into his professional relationship with John Sykes, which commenced in 2017. He acknowledged that while not all contractual obligations were fulfilled to the letter, all parties involved reached mutual compromises in good faith. Mark expressed sincere appreciation for their personal and professional relationship, noting the importance of approaching sensitive matters with discretion and respect.
The discussion also included specifics regarding the forthcoming 4-track EP, which will feature two previously unreleased songs along with remastered versions of two existing tracks. Mark confirmed that the estate of the late artist will receive the royalties as stipulated under the terms of the agreement.
He conveyed confidence in the artistic and technical quality of the recordings, stating that the work pays a respectful and authentic tribute to John’s legacy. The release strategy includes the rollout of two singles ahead of the EP, with the first single scheduled for release in late June through Golden Robot Records on a global basis.
We discussed Mark's personal relationship with John and the decision to delay releasing the songs after John's death, and more.

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Words by Angela Croudace
UK death metal giants Ingested are returning to Australian shores, and drummer Lyn Jeffs gave HEAVY the inside scoop on what fans can expect. After their tour in 2023 alongside Archspire, the band was blown away by the warm reception and immediately knew they had to come back — this time for a headlining run.
“We always wanted to come over and do a headliner,” Lyn shared. “The Aussie crowds were amazing — really good energy, and we made solid connections with bands like Melancholia and Werewolves. It just felt right.”
Ingested’s recent shift back to a five-piece line up has brought fresh energy and creativity to both the stage and studio. With the addition of guitarist Andrew and bassist Tom, the band embraces a more collaborative approach to writing and performance. “It’s way more dynamic now,” said Lyn. “We’ve got new perspectives, and it’s even influencing the sound. There’s a section in the new track ‘Ultra Flesh’ that’s just bass — something we’ve never done before.”
Their physical and mental preparation for tours has evolved over the years, too. Gone are the hard-partying days of trying to live out Pantera-style tour videos.
Now, Lyn sticks to yoga, running, and a gym routine to stay stage-ready. “Playing the kind of music we do is like a sport,” he said. “It’s not normal to play these tempos — it’s f***ing stupid really — but if you prepare well, you can still perform at your best.”
The band is embracing this tour as a way to connect their evolving sound with their roots. Expect older tracks to return to the set list, now that they’ve got longer headline slots.
Despite their brutal sound, Lyn reminds us not to judge a book by its cover. “People expect us to be scary or into horror 24/7,” he laughs. “But most of us are just regular people who like football, cycling, or different kinds of music.”
With their grounded approach and renewed energy, Ingested’s return to Australia promises to be a tour that fans — and the band — won’t soon forget.


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Interview by Kris Peters
Since bursting onto the sonic landscape in 2010, Melbourne metal machine Ocean Grove have pushed every conceivable musical boundary known to man, and, more importantly, made a successful transition on each occasion. 
Blending elements of nu metal, hardcore and alternative rock to create a sound that is uniquely their own - dubbed Oddworld Music - Ocean Grove have consistently challenged themselves and their fans in search for their ultimate sound, but one gets the feeling the band are only now just scratching the surfaces of what they can ultimately achieve.
Ticking off their first headline tour in Australia since the release of their 2024 album ODDWORLD next month, Ocean Grove will pay homage to their past and present via their Odd Label Tour, with 2025 marking the 10 year anniversary of the band's iconic second EP Black Label, and the upcoming headline shows also set to feature founding OG members Luke Holmes and Matthew Kopp (Running Touch) performing each night.
Ocean Grove frontman Dale Tanner joined HEAVY from a baseball game while on tour in the US to discuss the tour and the growth of Ocean Grove.
"We've been playing some of the old stuff at soundcheck, and it's really exciting," he enthused. "The boys go up on stage, and I get to stand on the floor and be a participant in it and witness what it's going to be like. And I'm hearing these songs that we haven't played live in a very long time once again being performed with this new life and this new energy that we have now as a current live band. These songs are going to get performed in a way they have never been played before."
In the full interview, Dale talks more about the run of shows and what we can expect, the challenge of playing two albums live, learning old material with newer songs and if that makes Ocean Grove reflect on their musical journey, selling out shows a month in advance and what that does for the band's confidence levels, the decision to have Luke Holmes and Matthew Kopp join the tour and what it will bring to the sound, future plans and more.


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Interview by Kris Peters
Chasing Ghosts have traversed a multitude of styles and genres over the course of their career, ranging from solo material to punk fuelled anthems to their current blending of indie rock and punk, but the one thing that has remained consistent with all of their work is the bands unflinching search for understanding and resolution, particularly in matters pertaining to Indigenous people and their culture.
Frontman Jimmy Kyle - a Thungutti man who has emerged as one of Australia’s most important voices in recent years - openly wears his heart through his lyrics, verbalizing topics and situations that are generally shied away from or pushed aside by most bands and musicians. 
Since the release of Chasing Ghosts' debut album Confessions From A Phone Booth in 2011, Kyle has successfully and poignantly married introspection with boldness as his stories confront, deconstruct and illuminate the challenging realities of being an Indigenous Australian; while also championing human persistence, the ability to overcome, and the recognition of beauty in even the most flawed.
The bands new album, Therapy, which is released on May 16, further highlights the thoughts and feelings of Chasing Ghosts, tackling issues from domestic abuse to the mental health crisis in a confronting yet sensible way which only accentuates the strength of character and conviction that has strengthened the band and their music over the years.
HEAVY sat down with Kyle to discuss Therapy in greater detail.
"I think it's definitely a lot more upbeat," he replied when asked to describe Therapy musically. "As you know, the Chasing Ghosts story is, I guess, acoustic punk troubadour leaves hardcore music and goes solo (laughs). It has come full circle where this is a heavier record. It's sonically a lot more polished than and bigger than anything we've done before. And the songs felt like the next progression coming out of Homeland; the next progression was kind of like, where can this go?"
"We had done a real lo-fi, very Melbourne sounding mix for Homelands, and then Therapy is a very produced - very shiny is the word that I tend to use - kind of polished record. And it was a real pleasure to do something different because I'd always had a history in recording the earlier records in the analogue way. So now have we not only moved into the digital realm, finally, but we've moved into it sort of with no rules, just leaning right into a modern process, and so we could give some contrast and personality difference between the other releases."
In the full interview, Jimmy provided an overview of Therapy, describing it as a significant evolution in their sound. He discussed the themes of the album, which stem from his personal journey through therapy, addressing issues such as insomnia and domestic violence, and aimed at fostering understanding among listeners. The conversation also included details about the Therapy Australia tour, scheduled from June 6 to June 14, featuring a mix of classic songs and new tracks.
We also discussed the meanings behind some of the songs and their significance to modern society, whether he feels people are starting to accept his messages, how Therapy represents the next chapter for Chasing Ghosts and more.


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For too long now, parents have had trouble convincing their children that rock and metal are the way to go, not pop and the likes. It is a never ending battle of guidance, but one that is generally destined to failure from the outset. Parents the world over have agonised on how to introduce decent music to their children's lives, and now, thanks to a new band emerging from the US, their prayers may have been answered.
By converting Disney classic tunes to the dark side, Metal Mouse are using already known and loved songs for children to their advantage by adding a touch of metal madness to songs from family films such as The Little Mermaid, Frozen and The Lion King. It is an ingenious idea that is sure to at least appeal to the next generation of music lovers.
Fronted by American Idol alum James Durbin, Metal Mouse taps into Disney nostalgia with the flair and theatrics of glam rock. What began as a “what-if” idea has struck a chord, especially with millennial women who grew up on Disney - and men who never gave up on hair metal.
Durbin and band creator/manager Alex Pels sat down with HEAVY to discuss this exciting new creation and how Metal Mouse plans to convert as many youngsters as possible to real music.
"We're trying to make the connection between heavy and Disney," Pels explained. "James and I both love metal. We're both involved with tons of other metal kinds of music, but we realised that the Disney songs - in addition to being excellently written by great songwriters - the themes and the chord progressions and everything else lend themselves to a heavy architecture."
It's such a simple idea, but one which has never been tried on this scale before.
"I've been doing a lot of heavy metal in the last five or six… even longer than that, eight years," Durbin relayed. "I was with Quiet Riot for a couple of years and have put out a couple of heavy metal albums over the last few years with different projects. So, metal has been seeping through my system. It's difficult, because sometimes there can be such a thing as too much metal - a metal overload - and metal isn't widely accepted by everybody, but here's a perfect way to make it accessible to people. With songs that are already known mixed with the classic 80s music and hair of the day, mixed with this beautifully arranged music… it's a blessing."
In the full interview we discuss the genesis of Metal Mouse, how easy Disney songs convert to metal, the selection process for songs, the live show and what it looks and sounds like, future plans for Metal Mouse and more.


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Interview by Jack Harlen
Melbourne Metal Mates, an online community for metalheads to go to shows together as gig buddies, comes together for its one-year anniversary as they host a (free) gig on May 4 at The Bendigo Hotel. 
The line up includes Melbourne metal staples, including performances from Hybrid Nightmares, Vault Hill, The Incantus and All Monsters Are Human. 
HEAVY spoke with creator and founder Kat Wartooth about the creation and rapid ascension of the Melbourne Metal Community and what this unexpected success means for both herself, the fans and the bands of Melbourne's heavy music scene. In the interview we explore how the gig came to be and the connection to each band as well as the possibility of creating a tradition well after their first anniversary celebration. 
Kat also touches on the hardships and initial anxieties of starting a gig group before experiencing the influx of like-minded, heavy music enjoyers who latched on to the group's values and sense of community and more.


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Interview by Kris Peters
Brisbane groove metal outfit Awaken The Hate are a band in transition. Transition within themselves, their membership, their direction and their sound.
But one thing they are not, at least internally, is a band in conflict. Far from it.
As a band, their vision for the future is clearer than ever, their goals resolute. For Awaken The Hate, the future is now, and is coming off the back of a trilogy of singles dubbed Death. War. Fire that was recently completed with the release of the third and final single, Planet Death.
Each of the three songs, started by Reign Of Fire before Contradiction Of War seconded the trilogy and Planet Death rounded things out, portrays a subtle changing of musical landscape for Awaken The Hate and casts an ominous eye into what the future holds for those who dare to follow.
Concluding this ambitious new movement for the band, Awaken The Hate next week take the new tracks on the road for their first full national tour, starting in Perth on May 8 before hitting Adelaide, Melbourne and Sydney over consecutive days. Welcome to Awaken The Hate, and board the train if you have the mettle.
HEAVY was joined earlier today by frontman Benno and drummer Ryan to dive deeper into the Death. War. Fire trilogy and what it means for Awaken The Hate moving forward.
"Steve, who started Awaken The Hate, made the decision at the end of last year to step away," Benno began. "That was all for his personal reasons. These were the last of the three songs that he wrote with the band, and we thought this would be a fitting way to say goodbye. He actually came back to record them with us. He's still a very good friend of the band, and the door's always open if he ever wants to come back."
"Planet Death is environmental, Contradiction of War is very political, and then Reign of Fire is a bit more spiritual about the whole thing," he continued, focusing on the three songs. "So that's what the concept about it was, and then releasing them as a trilogy was to say thanks to Steve and also finally get a bit more than two tracks out there for people (laughs)."
In the full interview, we focused more on their recent single releases, particularly Planet Death, which received positive feedback from band members. We discussed the trilogy of singles honouring former member Steve, with each song addressing different themes. Reign of Fire was highlighted for its unique inspiration and straightforward approach, while Contradiction of War, released on Anzac Day, aimed to honour veterans and provoke thought about military service. 
We talked about recording thir latest tracks live, enhancing the emotional resonance, and are eager to test new material during their upcoming national tour. We also chat about balancing their music careers with personal responsibilities while engaging audiences and supporting local acts, plus more.

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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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Interview by Kris Peters
The Murdering roared back to life in June last year, releasing the track Finality and breaking an eight-year drought that saw the band release nothing since their 2016 EP From Hell. While many bands had come and gone over that period, if you were a fan of the heavier side of metal, then you still remembered The Murdering.
After establishing a loyal, rabid fan base due largely to From Hell and the ferocity of their live shows, The Murdering fell off the proverbial radar for the best part of ten years. Not broken up. Not disbanded. Just simply not playing or actively recording.
While to many of us they are all the same thing, not so for the members of The Murdering knew their day in the flames would come once more, if not when exactly, but the seeds of melancholy had been planted far too deep for there not to be a continuation of some sort.
Finality reignited the hunger and set The Murdering on a collision path with a collection of songs based around the crimes and passion of a serial killer under the guise of Death Process, a five-part tale of death and decay to be released sometime this year.
Having already released the devastatingly brutal Daemon Eater, The Murdering have decided to brush off the remaining cobwebs and set this year's Necrosonic Festival on August 23 at Brisbane's Mansfield Tavern as the day the music world once more bows down to the masters of death.
HEAVY sat down with vocalist Joel for a chat about the re-emergence of The Murdering and their first live show in nine years at Necrosonic Festival.
"It's a killer lineup so far," he smiled. "Obviously, there's a second wave to come out for it as well, and I think people are going to be pretty psyched when they see who's on that second announcement."
With a handful of bands playing at Necrosonic - including Beanflipper, DaysEnd and Brace - being metaphorically brought back from the dead, we ask Joel if The Murdering fall into the category of one of the undead after so long away from the scene.
"I wouldn't say we're back from the dead," he laughed. "It was more just a very long continuation of what we were doing before we stopped doing it, I guess. I haven't even really thought of it that way, to be honest with you (laughs). We're just happy to be on the bill. Like I say, we haven't played a live show in a very long time, and we've got some really good material coming out at the moment. We've not got any expectations on anything. It's just going to be a day to have a good time and just knock the dust off."
In the full interview, Joel emphasized the importance of music loving promoters like Kent Bartley (organizer of Necrosonic) in fostering connections within the music community, highlighting the flow on benefits for heavy metal bands and music in this country. He expressed enthusiasm for the festival and shared insights about their upcoming EP, Death Process, which features a narrative centred on a fictional serial killer and aims to create a cohesive audio-visual experience.
We spoke about The Murdering's recent collaboration with The Amenta, what fans can expect from their live show, future plans for the band and more.

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Interview by Angela Croudace
Shane Told, the unmistakable voice behind Canadian post-hardcore giants Silverstein, is still riding high as the band marks a staggering 25 years together. In a recent chat with HEAVY, Told opened up about the surreal nature of hitting that milestone—and the unexpected road that brought them there.
“It’s pretty surreal,” he said. “We’ve never taken a break—no hiatus, no time off. We’ve either been writing, recording, or touring the entire time. It’s my entire adult life.”
Despite the passage of time, Told says he feels better than ever—both mentally and physically. “With age comes confidence. I think I’ve hit my 10,000 hours of emo,” he joked, referencing the theory that mastery comes with time and repetition. “Every show feels better, my voice feels stronger—it’s wild.”
Silverstein’s resilience and chemistry as a band has a lot to do with their approach to relationships. “We’re not best friends who hang out every second, but we’re close and we respect each other. We give each other space when we need it,” Told explained. Weekly Zoom calls keep the band in sync, personally and professionally.
When asked about a defining moment in Silverstein’s journey, Told’s answer was rooted in an unforgettable first trip to Australia in 2005. “We thought nobody would know who we were. Then we played two sold-out shows in Brisbane. That was the moment I put the schoolbooks away for good.”
That trip also cemented Told’s deep affection for Australia. From feeding kangaroos to being hosted by Parkway Drive’s Winston McCall’s parents—complete with his first-ever avocado toast—Told recalls each visit fondly. “Australia has always shown us so much love. It’s my favourite place to tour.”
Looking ahead, Silverstein’s dual-album release—Antibloom and Pink Mist—is already making waves. Told revealed that the decision to split the music into two records came from a desire to give each song the attention it deserved. “We’re perfectionists. Every detail matters to us, and I think fans can hear that.”
As Silverstein enters their next chapter, the band’s drive remains relentless. “We’re still here, and we still give a shit,” Told said. “And we’re just getting started.”



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Interview by Kris Peters
Forty years is a long time, no matter what it refers to, but when it relates to a band that is still going strong after four decades in the music industry, it takes on even greater significance.
Known for their lunatic personas and stage antics backed by solid musical skills and songwriting chops, D-A-D made their international breakthrough in 1989 with the album No Fuel Left For The Pilgrims which spawned the hits Girl Nation, Jihad, Point Of View and the MTV favourite and global smash single Sleeping My Day Away.
Songs such as Laugh ‘n’ a 1/2, Bad Craziness, Grow and Pay, Everything Glows and many more are a part of some people's lives just as important as their own children, and Australian fans get the chance to allow their children to hear them live when D.A.D return to Australia in May.
Get ready for an unapologetic, hard-hitting rock ‘n’ roll show from Denmark when D-A-D return for their Greatest Hits Tour, treating fans, old and new, to a sonic journey through the band’s illustrious career. Every time the band steps on stage, another party starts, with vocalist Jacob Binzer joining HEAVY to warn us what we might expect.
"I'm packed and ready to go," he laughed. "I wish I could spend more time down there, but it's the start of the festival season in Europe, so unfortunately, we have to head back straight after. I think I can spend a couple of days in Melbourne after the last show, which I will enjoy, but then we are back to Europe. But Australia, you know what? The first time back in the early nineties, when we went to promote and play for the album back then I went up North to Cairns and I went on a motorcycle safari with a local guide, and I want to do that again. So please join in if anyone down there can help. A motorcycle safari in Cairns. How about that?"
In the full interview, Jacob provided insights into the band's upcoming Australian tour, set to begin on May 20 in Perth, with additional performances in Brisbane, Sydney, and Melbourne. He discussed the challenges of curating a greatest hits set list from their extensive catalogue, emphasizing the importance of selecting songs that resonate with Australian audiences, such as God Praise to Man, 1900, and Sleeping My Day Away. He explains how different songs seem to go better in different parts of the world and why.
The conversation also touched on the band's loyal fan base and the vibrant atmosphere of their live shows, particularly in Australia, where they aim to create an energetic experience. Jacob reflected on the success of their breakthrough album, No Fuel Left For The Pilgrims, and the significance of celebrating 40 years as a band, their achievements and musical legacy after 40 years and more.


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Interview by Kris Peters
The incomparable CHELSEA WOLFE has announced her return to Australia and New Zealand in May 2025. Three years after her sold-out tour of Oceania, the Queen of Darkness will bring her visceral, vivid live performance back to Perth, Adelaide, Brisbane, Sydney, Melbourne, Auckland and Wellington. She will tour with her four-piece band, as well as bringing along experimental Australian producer APHIR, performing as support for all shows.
Wolfe will perform a career-spanning set on this tour, including songs from her new album She Reaches Out To She Reaches Out To She, which was released in February. Her latest album is a rebirth in process. It is a powerfully cathartic statement about cutting ties, as well as an important reminder that healing is cyclical and circular, and not a simple linear process. 
Featuring elements of electronica, trip hop, industrial music and goth rock, the album has been hailed as one of her finest works. The record has been followed by two EPs containing reimaginings of the songs. Wolfe last performed in Australia in 2022 for Tasmania’s Dark Mofo, along with a full national tour, her first in a decade.
Her return in 2025 will mark 15 years since her debut The Grime and The Glow was released, sparking a career that has influenced and inspired a dedicated cult following worldwide to appreciate life in both its darkness and light.
HEAVY spent some time with Chelsea ahead of the tour. We start by asking what has changed in her world since she was last out here in 2022.
"I feel like I've grown and changed as a person," she offered. "I've toured so much with these songs, I've learned so much from them. I learned so much from writing them, and I'm learning so much from playing them. They're very personal and also very universal. So it's like each night I notice a different lyric or something and kind of, you know, get present with that for a moment."
In the full interview, Chelsea expressed excitement for her upcoming tour in Australia and New Zealand, where she will perform a mix of new songs and older favourites, while also discussing her growth as an artist and the connection she feels with her fan base. She reflected on her previous solo tour experience, the evolution of her music style from overproduced to lo-fi, and the integration of atmospheric elements in her live performances.
Chelsea also highlighted her latest album, and the two remix EPs with acoustic versions, showcasing her artistic journey and the creative thought behind her stage setup and more.


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Interview by Angela Croudace
Heavy metal legend Ross The Boss is set to electrify Australia next week, and he couldn't be more excited. Reflecting on his previous visit, Ross recalls the overwhelming love he received from Aussie fans. "The reaction nerfed me," he laughed. "The intensity, especially in Melbourne, was unbelievable."
Ross, a founding member of Manowar, spoke passionately about the creation of Sign of the Hammer, revealing that the band often recorded more tracks than needed, seizing every opportunity in the studio. A highlight was recording at Richard Branson's famed Manor Studio — a surreal experience that included sleeping in rooms once occupied by historical figures like William the Conqueror.
This upcoming tour features what Ross calls the best version of the RTB band yet, boasting powerhouse musicians like Dirk Schlächter (Gamma Ray) and drummer Sean Elg. “We’re coming to melt faces,” Ross promises, highlighting the group’s precision and raw power.
When asked about his time in Manowar, Ross candidly shared that he wished he'd been firmer with his bandmate Joey DeMaio. "Sometimes I should’ve put my foot down more," he admitted. Despite past challenges, he now channels his passion purely through his guitar, still rooted in the soulful blues influences of B.B. King and Albert King.
Ross also touched on the emotional impact his music has had. "People tell me it saved their lives," he said, visibly moved. "It’s an honour I don't take lightly."
As Ross prepares to unleash a storm of classic anthems down under, he leaves fans with one promise: “We’ll give you 150%. When the final note rings out, we want you to feel it in your soul — and want us back.”


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Interview by Kris Peters
Since their inception, OK Go has been something more than a band and something different from an art project.
With a career that includes award-winning videos, New York Times op-eds, collaborations with pioneering dance companies, tech giants, NASA, animators and Muppets, and an experiment that encoded their music on actual strands of DNA, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.
Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Timothy Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation and continue to add to a curriculum vitae filled with experimentation in a variety of mediums. Their work is in the permanent collection of MoMA, and their achievements have been recognized with twenty-one Cannes Lions, twelve CLIOs, three VMAS, two Webbys, The Smithsonian Ingenuity Award, and a Grammy. The band has also partnered with the Playful Learning Lab at the University of St. Thomas to create OK Go Sandbox, an educational non-profit that provides free resources to teachers that use OK Go's videos as starting points to teach STEAM concepts.
The band last week released their first album in over a decade, And The Adjacent Possible, with Kulash stopping by HEAVY HQ for a chat.
"It's been fantastic," he smiled when we ask how the early reception has been for And The Adjacent Possible. "It's wonderful to get the music into people's brains. It's swimming around there in the ether somewhere, and when you pull it out… you don't write the songs. You find them. You define them from the world, then work so hard to get them into shape. You can share them with people, but then there's this arduous period where you do the business stuff, and I'm just so happy that it's finally out and people can listen to it and feel the emotion. The only point of music is that sense of human connection, and it's so wonderful to be getting real reactions from real humans now."
We ask Damian to dive deeper into the album musically.
"It feels like this is the first time that we weren't going for anything," he measured. "We actually felt comfortable enough with what and who we are that we were able to say these are the things we like. Since the last album our guitarist had kids, I had kids, then there was the pandemic, then I directed a film and that put several years between the records, and before we knew it even though we had never officially shut down the band or gone on a hiatus, we'd taken enough of a step back that instead of feeling like our foot had to be on the pedals with 'what do we do next' we could just come back to and recognize who we are and that our flag was planted a long time ago, and we don't have to plant a flag."
In the full interview, Damian discussed And The Adjacent Possible in greater detail, including the singles released and how they summarise the album as a whole. We talked about the music video for A Stone Only Rolls Downhill, which was shot on 64 phones with 64 different videos placed over a moving mosaic, which led to discussion about their elaborate music videos and the process behind them.
We spoke about musical ideas and converting them to reality, any extra pressures coming back from a ten-year lay off, the meaning behind the album title and more.


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Interview by Kris Peters
Brisbane rock outfit Sound Affliction are the latest signing to Australia’s fastest growing rock label XMusic, and they have made an immediate impact with their powerful, emotionally charged new single, Sober. Blending huge riffs and driving rhythms with deeply emotive lyrics, Sound Affliction will soon be your new favourite rock n roll band.
The band's latest single and first for XMusic, Sober, is a haunting reflection on loss and resilience, exploring the pain of losing someone dear and the challenge of moving forward alone. With its universal themes and raw emotion, the track is the perfect introduction to Sound Affliction and with plenty more singles in the pipeline, the bands' versatility will soon be on display.
Though Sound Affliction might be unfamiliar, the band’s line-up is stacked with seasoned talent. Frontman Matt, previously of Scandal Tree and Don’t Come Monday, commands your attention with a vocal range that shifts effortlessly from raw intensity to soaring majesty. Guitarists Dan (Black Whiskey) and Wayne (Scandal Tree, Cactus Dill Dos) are a dual-edged harmonious sword, weaving shredding riffage with melodic beauty to create songs that sound instantly familiar but also completely new while drummer Travis, also from Don’t Come Monday, drives the band’s engine and can take it from zero to a hundred in an instant. On bass Kev Brown (Pyre & Ice), brings a massive low-end anchor to the band's massive sound.
HEAVY spent some time recently with Dan and Wayne to find out more.
"We came up with a bit of a demo track a while ago on it," Dan began when asked about Sober, "and we all thought, you know, it's not a complicated song, but it's nice and simple, and it's got that real catchy drive to it. It was one of those that knocked together quite quickly so we flicked it over to Matty, who does all the lyrics, and he was going through a bit of a rough patch at the time and sort of poured his heart on the vocals, which gives it its own sort of haunting melody. It's one of those songs we thought could be good for us because it's got a good feel to it."
In the full interview, Dan and Wayne spoke more about the sonic impact of Sober, the personal feelings of sorrow at its core and the relatability of the subject matter. They revealed the song is the first taken from a future album, but doesn't necessarily provide a complete representation of what to expect.
We discussed Sound Affliction signing to XMusic and what it means for the band moving forward, upcoming shows and more.

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Interview by Kris Peters
Wednesday 13 is arguably one of the hardest-working musicians out there. From his solo project to celebration tours featuring Murderdolls songs, Wednesday not only lives the excesses of rock and roll debauchery; he sets the bar as well.
Each of his musical undertakings, including Frankenstein Drag Queens From Planet 13 as well as Murderdolls and Wednesday 13, have the same menacing undertones of gore, horror and theatrics, but despite the obvious similarities, Wednesday 13 is much more than a one-trick pony.
Blending the above elements with punk, humour and a ghostly sense of the macabre, Wednesday 13 has his roots deeply embedded in hard rock but transcends the barriers of a plethora of styles and genres that combine to make his music a necessary evil in a world growing increasingly sterile.
2022's Horrifier was met with widespread media and public adulation, but these two things have never mattered when it comes to Wednesday's musical output. It is more about the sense of ambivalence and the irresistible thread that binds everything together that keeps the fire in Wednesday's cauldron burning.
Such is his contribution to music that Wednesday could easily be forgiven for playing it safe with each new album cycle, but in true Wednesday 13 style, safe was the furthest thing on his mind with his new album Mid Death Crisis, which will be unleashed on April 25.
More a step back into the things and a time that gave birth to Wednesday's musical psyche, Mid Death Crisis benefits from production by Alex Kane (Life, Sex & Death, Enuff Z'Nuff, Antiproduct) and a mix courtesy of Steve Evetts (The Dillinger Escape Plan, Prong, DevilDriver) that devilishly encapsulates the musical strengths of both while remaining quintessentially the afterbirth of Wednesday 13.
Wednesday spent some time with HEAVY to discuss the album in greater detail. We started by asking if he is confident heading into the album release date.
"Very confident," he replied without hesitation. "With my last few albums I put out, I didn't know if the audience was going to like it as much as I did. And when I was experimenting from albums like  Condolences and Necrophaze and all those records, I look back now and those are the experimental records because I did some different things with them. And those were ones I took some chances with, and I wasn't sure if the audience would like them. But they did. This is the one record where I feel pretty confident that they're going to like it. I know it's hit all the bases with what I was trying to go for."
The album is widely touted as a return to Wednesday 13's musical roots, an opinion we put to the man himself.
"I think so," he measured. "After COVID and everything, I had a little time to look back on my career and 20 years of doing Wednesday 13. And I just kind of looked at the whole career and went, well, what do you like best of all this? I started looking at it all, and I went, well, where I started was the most honest and real place for me. And that seemed natural. And I kind of went back to that look, and I went back to that sound, and it was easy to do. It just felt right, and this is more of a hard rock record than it is a metal record, but it's not just like I tried to imitate my first record or anything. It's just in the same spirit, and I feel good about it, like I did on that first record."
In the full interview, Wednesday 13 described Mid Death Crisis as an energetic experience, carefully structured to reflect a live performance, and emphasized that sonically it encapsulates his career and aligns with fan expectations.
He highlighted the song When the Devil Commands as the lead single, crafted to appeal to both existing fans and new listeners, with lyrics inspired by his childhood experiences during the Satanic Panic. He discussed his songwriting philosophy, focusing on natural inspiration from classic horror and pop culture. Additionally, he spoke about his collaboration with Taime Downe, noting its significance due to his admiration for Faster Pussycat. We spoke about his song titles and where they come from, coming up with fresh sounding material the more you write, future and current tours and more.

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Interview by Angela Croudace
Rivers of Nihil’s self-titled album marks more than just another release in their discography—it signals a rebirth. Bassist and vocalist Adam Biggs, one of the band’s founding members, sat down to talk about the evolution of the group, the challenges of stepping into a new vocal role, and crafting an album that captures both urgency and introspection.
Following their conceptual four-album seasonal cycle, the band viewed Rivers of Nihil as a way to define who they are now. “It almost feels like our first record again,” Biggs explains. “We looked back at all the eras of the band and pulled what worked best. This is Rivers of Nihil as it stands now.”
A major shift came with Biggs taking on full-time vocal duties after the departure of their previous frontman. It’s been a challenging transition. “It took a lot of practice and trial and error with my voice,” he admits. Balancing demanding vocals with intricate bass lines required intense focus and routine—but now, he says, “it’s starting to feel more natural.”
New blood also brought fresh energy. Guitarist and vocalist Andy Thomas officially joined the line up, contributing not just riffs, but his distinct voice. “I wanted to rise to the challenge,” Biggs says. “I wanted him to do awesome work with us.”
The new album is both heavy and hauntingly relevant. “The theme is sort of this macro danger of modern life,” Biggs explains. “Fear of war, pandemics, political unrest. But we try to approach it from a human perspective—there’s paranoia, yes, but also a thread of hope.”
Instrumentation expands too, with banjo, cello, and a new saxophonist adding depth. But unlike previous records, the band prioritised how the songs would hit live. “We wanted this to go over in a room full of excited, sweaty people,” Biggs laughs.
At its heart, Rivers of Nihil is an album born of evolution, resilience, and reflection—a fitting fresh start for a band that refuses to stand still.


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Interview by Kris Peters
In case their band name wasn't enough of a hint for you, listening to their music will ram the point home that Newcastle, UK outfit Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs are a musical force unto themselves and their care factor should you disagree is a resounding zero.
Since bursting onto the scene in 2014, Pigs have almost gone out of their way to ensure they drank from no-ones well of musicality other than their own, uniting normally opposing forces of music with flawless inhibition for maximum results.
Essentially a rock band but with enough alter egos and personalities to conquer the world, Pigs have always quietly gone about their business, in the process drawing fans and their peers increasingly into their own sonic paradise and sweeping all before them in eclectic waves of passion.
In setting their fifth musical child out into the wilderness earlier this month, Pigs also unleashed a powerhouse of musical disparity that highlighted their growing stature while simultaneously sending purists reaching for their notepads to scribble down notable forms of blasphemous intent. That album is titled Death Hilarious, an album name that says pretty much everything you need to hear about Pigs without lowering the needle to the record and setting off down another magical and whimsical adventure, destination unknown but satisfaction guaranteed.
Openly touted as a body of work infinitely more hostile than previous release Land Of Sleeper, Death Hilarious evokes the same type of reaction as a person would feel standing in the mosh pit at one of Pigs notoriously frenetic live shows.
It was a deliberate hardening of the arteries by Pigs, once more showing their disdain for familiarity as their journey into the abyss grows darker and more dangerous along the way.
Vocalist Matt Baty kindly gave up some of his time to chat with HEAVY in what turned out to be an engaging, informative view of the music industry as a whole and Pigs place in it.
"We're a weird band," he shrugged when we ask what Pigs were going for musically with Death Hilarious. "In the sense that we don't all get together before we start writing an album and discuss what direction we'd like to take it in, which I think is pretty odd and probably not very efficient (laughs). We just get together in a room and everyone will have worked on different things or have different fragments of ideas for songs. And we just get together in one room and present those with each other. Some things kind of click amongst all of us, and some things don't. And those things we'll just park for a rainy day and see if it works at a later date. But we'll kind of focus on everything that people bring that all of us as a five-piece unit are all in on. From that point, once we start developing the skeletons of what the songs are, Sam - he also records and produces our albums - takes them further."
"I think with this one, the songs were presenting themselves as being a bit more… maybe a bit more assertive and a little bit more aggressive," he continued. "A little bit more immediate. So that's where Sam took the production as well and maybe just pushing things a little bit harder and slamming it against the wall a little bit more than they were on Land of Sleeper."
In the full interview, Matt shared insights into the positive reception of the album and the tour, describing it as their best experience yet due to enthusiastic fan engagement. He emphasized the challenges of measuring success in the current music landscape, where streaming metrics often overshadow live performance feedback. Matt elaborated on the band's collaborative songwriting process, which allows for organic song development without a predetermined direction. He noted that their latest album aims for a more straightforward sound compared to previous works, with production enhancing the music's immediacy. The title Death Hilarious, inspired by Cormac McCarthy's Blood Meridian, was chosen for its representation of the band's identity and humour.
Matt highlighted the band's journey in defining their sound, showcasing a variety of styles across albums, and mentioned specific tracks that exemplify their creative exploration before admitting he still doesn't know exactly what Pigs definitive sound is, but is also happy to keep exploring the realms of musical possibility.


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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
Ne Obliviscaris’ clean vocalist and violinist Tim Charles sat down with HEAVY to reflect on the band’s journey, the legacy of their landmark album Citadel, and what it’s like bringing classical violin into extreme metal.
Formed in 2003, the Melbourne-based band didn't reach the international stage until their second album, Citadel, released in 2014. “It was our first proper record deal,” Charles explains, “and that made all the difference. Suddenly we were in stores worldwide and able to secure booking agents and festival slots overseas.” The band’s debut, Portal of I, was self-released, and though praised by fans, lacked the reach Citadel was able to achieve with the support of Season of Mist.
Celebrating its 10th anniversary, Citadel was recently remastered by Mike Lewis, who also helmed the band’s latest release, Exul. “We wanted to bring a bit of the Exul touch to Citadel,” Charles said. “It’s slightly more open, a bit heavier, and filled with little details that bring new life to the mix.”
Tim also shared his excitement about returning to the stage with the epic 23-minute track Painters of the Tempest in its entirety — a feat not attempted in nearly a decade. “It’s still one of our best songs. Performing it live again was incredibly satisfying.”
Known for weaving violin into every corner of Ne Obliviscaris’ sound, Charles discussed how his classical training shaped the band's musical direction. “I was always inspired by guitarists like Jeff Loomis and John Petrucci,” he said, “and I’d think — how can I do that on violin?” With few metal violinists to look up to, Charles essentially invented his own approach, blending classical, jazz, and metal into a seamless force.
The band’s recent collaboration with Swedish act Imminence, whose own frontman plays violin, shows that the path Charles helped forge is inspiring a new generation. “It’s been amazing to see more non-traditional instruments in metal,” he says. “Hopefully, there’s more to come.”


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Interview by Angela Croudace
Ghostseeker may have emerged from the chaos of Melbourne's COVID lockdowns, but their momentum is anything but confined. With their debut full-length album Divergence set to drop on April 25, the band has already made waves—especially overseas.
“Honestly, it’s resonated more internationally than at home,” says Daniel Breen (aka Breenie), one half of Ghostseeker’s dynamic vocal duo. YouTube and a partnership with Germany’s Reigning Phoenix Music catapulted the band beyond borders. “They gave us the reach we never could’ve had,” Daniel says, adding that a suspicious-sounding email from the label almost went ignored—until a follow-up video message proved the offer was real.
Divergence takes a bold conceptual turn. “We wrote it from the perspective of conspiracy theorists,” Breenie explains. “Like, if AI really is the end of the world—what does that look like?” Seven of the ten tracks lean into that dark, fictional narrative, while the remaining three stay rooted in the raw relatability that launched Ghostseeker’s debut EP.
When it comes to AI in music, Breenie is refreshingly open-minded. “One of my favourite artists right now is this guy who makes metalcore using Plankton’s voice from SpongeBob. I just like good music.”
Collaboration fuels the band—especially between Daniel and co-vocalist Celeste Bojczuk. “We clicked right away. We bounce ideas off each other, pick our parts, and craft lyrics together. It’s a laid-back, fun process.”
The chemistry extends to the entire band, both in the studio and on the road. “We’re best friends. No egos. Everyone contributes.” Touring isn’t always glamorous—Daniel jokes about 10-hour drives between one-night-only gigs—but he’s hungry for a full European run. “Thirty shows in thirty days? That’s the dream.”
Whether he’s skateboarding, playing with his dog, or chasing the next song idea, Daniel Breen embodies Ghostseeker’s grounded-yet-forward-thinking energy. If Divergence is any sign, this is only the beginning of their global takeover.

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Interview by Kris Peters
Guitarist/songwriter/vocalist Samantha Fish is rightfully recognized as one of the premiere guitarists of her generation. With a blending of emotion, finesse, and raw aggression, Fish encapsulates the essence of musicianship while also allowing herself creative room from which to grow and flourish.
Her sonic output features, and draws from, multiple genres including rock, country, funk and bluegrass, but it is her ability to integrate genres and manipulate musical styles that has seen her forge a successful career which includes a Grammy nomination for Death Wish Blues (her 2023 collaboration with rocker Jesse Dayton) and opening for The Rolling Stones on their final 2024 U.S. tour date.
Fish's upcoming album Paper Doll is the culmination of years of commitment to the music scene, delivering nine tracks with enough scope and musical disparity to appeal to lovers of many forms of music. But it's not the amount of strings to Fish's metaphorical bow. It is the way she unites each delicate moment, drifting between lashings of hard rock staunchness to softer, more intimate confines with a Delta Blues spine.
It is a coming together of genres that in many hands would sound forced, or contrived, but Fish manages to find not only the balance at the core of her music but also pushes the parameters of experimentalisation over convention. Put simply, Paper Doll is Samantha Fish's most accomplished body of work to date, and something that brought her music to the attention of HEAVY on the other side of the world.
We sat down with Fish recently to go over the album, starting by asking if the pressures of an album release cycle are something that affects her as the release date approaches.
"There's this weird feeling when you finish a record, at least for me," she smiled. "I know every artist feels this way. You walk out of the studio and this giant weight has been lifted off your shoulders. It's almost euphoric when you're done with the record and thank God, because it's always fun. But for me, it's always like this mountain that I have to climb to get through it. It feels great. But then It feels like you have this secret that you have to keep for 6-9 months to a year that you can't share with anybody. So I finally feel like I'm able to let people in on the little secret."
We asked what her focus was on going into the musical side of Paper Doll.
"With this record, I wanted to lean into my strengths," she replied. "What are my superpowers? What makes me different? What makes me unique, leaning into my voice, my guitar, my songwriting? I wanted to make something that felt urgent, felt like rock and roll, but was still rooted in the music that I love and inspires me, which is blues music. North Hill Country blues specifically. It's a deep well of inspiration for me. I just wanted to write great songs and write and record with an urgency that people would hear and want to listen to again and again and again. Timeless records, that's my goal."
In the full interview, Samantha described the completion of the album as a euphoric experience, emphasizing her aim to create timeless music that highlights her vocal and guitar skills while incorporating a hard-edged rock and roll style. She noted that this album is more aggressive than her previous works, with the opening track, I'm Done Runnin', serving as a strong introduction. Samantha also highlighted the importance of track sequencing in engaging listeners, aiming to encourage them to experience the album as a cohesive journey rather than just individual songs.
She shared insights into her writing process, revealing that much of the album was created while on tour, where she draws inspiration from her experiences. This album is particularly significant as it is the first she recorded with her touring band, capturing the energy and chemistry developed on the road. The conversation also touched on her rumoured plans to visit Australia in 2026 and more.


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Interview by Angela Croudace
Australian metalcore powerhouse Make Them Suffer are riding high in 2025 with a prestigious APRA Music Award nomination—an accolade that has vocalist and keyboardist Alex Reade feeling a well-earned sense of pride.
“When we found out about the nomination, we weren’t sure what it meant at first,” Reade admits. “But once we did our research, we realized—this is something we’ve worked so hard for. After everything we’ve put into the last three years, the grind of touring, this kind of recognition really matters.”
The category for Most Performed Heard Rock/Heavy Metal Work was taken out in 2024's inaugural year by Parkway Drive and is something that Reade sees as a major step forward for the genre and its diverse artists. “It’s so good to see not only heavy music being acknowledged, but also the visibility of women within it,” she says. “We’re reaching a point where it’s just normal. It’s respected.”
Reade joined Make Them Suffer ahead of their 2023 self-titled album, which she calls a “dipping of toes” into the band’s true potential. “This album showed what the band is capable of, but I don’t think people have seen anything yet,” she says. “The next chapter is going to be something really special.”
The band’s evolution—from COVID-era uncertainty to global tours and packed venues—has forged a new, galvanized identity. “There was a time when no one knew if we’d keep going,” Reade reflects. “But the response to Doomswitch and this new chapter has been massive. We’re solid now. We’re a team.”
With an 18-date regional Australian tour lined up, including stops in less-frequented towns like Narre Warren and Forster, the band is embracing their roots. “This tour feels like a celebration of Australia,” Reade says. “We're bringing the full heavy energy but in a way that's more intimate, more connected.”
With Justice for the Damned and The Gloom in the Corner joining the run, Reade promises one thing: “It’s gonna be heavy. And it’s gonna be fun.”

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Interview by Kris Peters
Brazilian thrash metal outfit Nervosa have been trailblazers for heavy metal for 15 years, playing at most of the major festivals and countries on the global touring circuit except one.
Australia.
But that blight has been rectified, with Nervosa currently in the country and playing the first of three shows in Sydney as we speak.
Setting the world ablaze with their latest blistering full-length Jailbreak, Nervosa embark on a new chapter in the band’s history as it’s their first record featuring founding member Prika Amaral as permanent vocalist. Plus, the band enacted more exciting changes on the album, with the addition of the immensely talented and well experienced Helena Kotina as second guitarist, Hel Pyre on bass and Michaela Naydenova on drums.
Kotina was nice enough to take time out to talk with HEAVY about an hour out from the first show.
"I really don't know why it took so long for Nervosa to come here," she almost apologised, "but it's really a huge pleasure. We have three shows, and also we celebrate the 15 years of Nervosa. So it's the first time in Australia, and it's a special time also to be in Australia with this anniversary tour. So it might have taken a bit long, but it's a really special occasion for us."
In the full interview, Helena told us how long they have been here preparing, ran through what we can expect, what they are expecting from us, three songs to listen in order to know the band better, her joining the band and more.


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Interview by Kris Peters
Sydney based death metal outfit Anoxia are one of the rare breed of bands who are prepared to live and die by the sword they carry.
By bringing a new sound to a bygone era of heavy metal, Anoxia embraces the legacy of death metal bands that have come before them such as Morbid Angel, Suffocation and Death, but sprinkle enough of their own - more modernized - DNA through the menu to make a fresh and tasty new main course where brutality is the King.
After announcing their arrival with their 2020 Demo Torturous Degradation, Anoxia hit the stage sprinting, dropping their debut EP Languish In Suffering in 2023 which has seen the band amongst the first port of call for international touring acts such as Skeletal Remains and homegrown machines Psycroptic and King Parrot.
But it is with the impending arrival of their debut full-length Revel In Sin on April 17 that Anoxia looks set to launch a global assault on the metal scene. Building on the crushing devastation promised with Languish In Suffering, Revel In Sin ramps up the intent, delivering more hooks, more pace, and more intensity.
HEAVY caught up with guitarist Elias and bass player James to dig deeper.
"We released our EP in February 2023," Elias began. "So, it's been a little while now. We've just been touring a lot, playing a lot of shows, then took some time off to write and came up with Revel in Sin, so we're very excited. We feel like it's the next level in our progression as a band and as musicians, writing and just growing by fusing our old-school death metal style with some thrash metal elements as well. James came on board last August just to in the finalization of the writing stage as well, so he'll be on deck for the album launch as well."
We press them both about the musical direction on Revel In Sin.
"We are all about the old school, early 90s US death metal," Elias affirmed. "So we're just building on that. The EP was four songs which we're proud of, but the album is just us levelling it up a bit in terms of speed, diversity and dynamics. It's very much in the vein of the EP, but just a few notches up from where we left off. There's different dynamics - fast in some places then slow - so we're just changing it up, but focussing on those hooks and keeping it intense."
In the full interview, Elias and James talk more about Revel in Sin, highlighting the band's evolution in musical complexity by merging old-school death metal with thrash elements. Elias emphasized the single Rule by Cold Steel as a key representation of their sound, while James noted the album's progression from their previous EP, incorporating classic death metal elements with new dynamics. The band is promoting the album through a series of shows in Melbourne, Canberra, and Sydney, as well as a nationwide tour with Atheist, aiming to broaden their audience. 
We also discussed the advantages of being managed by Your Mate Bookings for securing larger tours and enhancing the band's professional image, alongside insights into their live performances and fan interactions.


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Interview by Kris Peters
Rising Australian rock outfit Vermantics are a band with a purpose.
But although they might still be finding out the intricate details of just what that is as they make their way through the trappings of the music industry, one thing they are already sure of, even in their formative year,s is the need for independence. The need to forge, then follow your own path.
Vermantics are at that tender stage of any band's career where they are currently hot property, and as such, people from all walks of life and expertise have an opinion on their lives, their sound, and their musical output.
But they are also confident enough in their own ability and vision that, while taking any and all advice on board, stick to their own musical needs, throwing caution to the wind but doing so on their terms.
This is clearly evident on the band's latest single Come Alive - with the music video premiering today, April 17 via HEAVY - a song that retains the raw elements from its birth and is delivered from the heart, complete with imperfections. It is raw, live-sounding, and infinitely better for the touches added - or left out more accurately - in the studio.
HEAVY sat down with vocalist Stefan Fedele to find out more.
"The previous stuff we put out was a lot more produced and had a lot more effects," he affirmed. "It was just a bigger production, whereas this one is definitely more on the raw avenue, and things are played in real time. The vocals haven't been tuned anymore and the drums are played with no cutting. So yeah, all those things make a big difference, and it's heading in the way that we want it to. This is where we're at right now."
In the full interview, Stefan spoke about the accompanying music video for Come Alive, which is designed to reflect the energy of the band's live performances. He explained the strategy of releasing the audio of the single ahead of the video to build anticipation and allow listeners to engage with the music directly. He also mentioned that Come Alive is the first track from their upcoming EP, The Pictures You Paint, which aims to showcase the band's artistic vision.
We spoke about Vermantics' upcoming Melbourne show as well as their first international tour in May, discussing how to approach your first tour of another country and more.

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Interview by Kris Peters
The 2025 APRA MUSIC AWARDS are almost upon us, and after the overwhelming success of last year's debut category Most Performed Hard Rock/Heavy Metal Work, anticipation is once again high amongst Australia's fastest-growing music genre as five more Aussie acts are in the running to be recognized globally for their achievements.
Not that winning awards are the be-all, end-all for band's, but a bit of reward for effort is never a bad thing!
This year sees Make Them Suffer, Northlane, Polaris, Windwaker and Speed nominated for the gong, with Windwaker's frontman Liam Guinane joining HEAVY earlier today to talk all things APRA and beyond.
"Honestly, it was quite unexpected given the calibre of bands that we're up against," Guinane said of Windwaker's nomination. "So I'm quite honoured to be considered next to some of these pillars of heavy music currently in Australia. It feels terrific to be put amongst those names and to be a part of it. I'm really looking forward to the night. It seems like it's going to be a fantastic evening and, yeah, very much uncharted territory for us being recognised like this (laughs)."
In the full interview, Liam discussed the band's recent nomination for the APRA Music Awards, expressing both surprise and honour at being recognized alongside established Australian bands. The conversation included thoughts on the competitive landscape among Australian bands, with Liam emphasizing Windwaker's distinct sound and broader appeal. He also considered whether to prepare a speech, leaning towards improvisation but recognizing the need for some preparation.
We spoke about some of the lighter sides of the awards, including the chance of a heavier band performing on the night, last year's winners Parkway Drive and getting fashion tips from Winston McCall, Windwaker's latest tour and how the new songs were received live and more.


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Interview by Kris Peters For more than three decades, the name Chocolate Starfish has been synonymous with Australian rock music, with singer Adam Thompson one of the most engaging and enigmatic frontmen to ever grace the stage in this country. Despite the success of Chocolate Starfish and the constant touring that comes with it, Thompson has also found time to branch into other areas of the artistic world, most notably the Chocolate Starfish Bat Out Of Hell Show, where, obviously, the band performs the classic Meatloaf hits from that album and beyond. While not exactly a new project for Thompson, it is one that is close to his heart, and he has embraced the role as if it were his own - and God help anyone who tries to say it's not… This year Bat Out Of Hell - Return will see Chocolate Starfish traversing the country once more, but this time there's going to be strings attached. Literally. The electrifying show that continues to thrill audiences everywhere will be augmented by the stirring swells of a six-piece string section, escalating the rich production to mesmerizing heights. Featuring the classic album in its entirety, Bat Out of Hell - The Return promises everything audiences have come to know and love about a Starfish show – it’s an entertainment experience not to be missed. As a prelude to the main event, the band will be supported by a specially curated trio performing Chocolate Starfish favourites, starring Kate Daley and her dazzling vocals, Peter Mitchell on saxophone and Les Gyori on violin. The star of the show, Adam Thompson, sat down with HEAVY to talk about Bat Out of Hell - The Return and more. "We had a lot of success a couple of years ago with the Bat Out Of Hell show, and we just thought, look, if we're going to do it again, let's take it to another level," he began. "About a year and a half ago I did a George Michael show at the Myer Music Bowl with David Campbell and a few others, and it was with an orchestra and I just loved it. I said to the boys, why don't we up the ante and see if we can use a string section because it's so made for those sorts of shows. I know Meatloaf back in the day did several of them, and that album is just made for strings. "It's an eight-piece string section," he continued, "and the dynamics of the performance will change because previously we only had synth for something like For Crying Out Loud or Heaven Can Wait. For some of those slower songs you'll have that lush tone that the string section brings. So just to feel that groan of the cello on (sings) 'now the chilly Californian wind, is blowing down our bodies again…' oh man, it's just going to be goosebumps, right?" In the full interview, Adam spoke more about the Bat Out of Hell show along with works by Jim Steinman, enhanced by the inclusion of a string section. Adam shared his excitement about the tour, reflecting on the success of previous orchestral performances and the necessary mental and physical preparation for the run of shows, which will travel from Melbourne to Perth. He emphasized the importance of pacing and structure in performances, particularly with the addition of string players, while maintaining his unique style. The conversation also highlighted the growing audience for Chocolate Starfish, especially among families, and the positive ticket sales, with some shows nearly sold out. We discussed fans reactions to Adam's personality shining through during his Meatloaf performance, the importance of sprinkling his own DNA through the show, and more.

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Interview by Jack Harlen
Sydney rock outfit Brooklyn Comic have built a steady name for themselves based on honest songwriting and powerful live performances.
The band’s music blends emo, hardcore, indie and alternative rock, tackling themes such as loss, self-doubt, heartache and personal growth. As proud allies of the LGBTQIA+ community, Brooklyn Comic is also committed to fostering inclusivity and acceptance, both in the music industry and in the wider world.
After giving fans a taste of what they have to offer through previous singles, Brooklyn Comic are now preparing to launch their debut full-length album Define Happiness, which is set for a slow waterfall release in 2025. But first the band are planning to drip feed content, with the recently released single Plot Heavy a tasty morsel of what is to come.
HEAVY's newest member, intern Jack Harlen, spent some time with vocalist Jayme Weston and guitarist Declan Rivers from Brooklyn Comic to get the rundown.
We start by asking about the early reception for the single.
"Pretty amazing," Jayme beamed. "I think it's done better than anything else we've released thus far. We put a lot of work and a lot of effort into these songs that are coming out this year, so it's good to see that reception come back."
In the full interview, the boys spoke about the story behind Plot Heavy, the music video and what it is about, where the song sits in the overall scheme of the album, what themes run through Define Happiness, upcoming shows 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
Marketing plays a massive part in the world today, with the music industry no exception. A band can have all the chops in existence and originality dripping from their brow, but still reach next to no one without a clever marketing campaign or just plain luck.
But when a band gets it right…
As is the case with Australian hardcore outfit Lost Souls, who found the winning formula with brilliant use of animation through not only their music videos but also their daily existence. The band release their debut album Lore on April 18, but in the necessary pre-album campaign their debut single Childhood Died - a Star Wars themed epic - went viral and had everyone asking ‘who are Lost Souls?’. The single racked up millions of streams, garnered the attention of reaction channels around the globe, and was nominated for Best Blegh at the Nik Nocturnal Awards. They backed it up with the sequel The Return, followed by the Attack on Titan tribute My Soldiers Rage, which took social media by storm courtesy of a ping-pong ball breakdown viewed around the world 20 million times before the single was even released. Next came the ADHD masterpiece Dopamine, with a killer riff inspired by microwave popcorn, and their latest single MOSHLORD features their new bestie Jonathan Vigil of The Ghost Inside. And all of this without even releasing their first album!
It is indeed a success story to marvel at, but to see for ourselves what all the fuss is about, HEAVY sat down for a unique one-on-one chat with frontman Kev that has to be seen to be believed and/or appreciated.
We start by asking how he is feeling this close to the release date.
"Oh, dude, I'm just absolutely so stoked," he beamed. "We worked really hard on this album. I guess every band loves their own album (laughs), but it just feels like we haven't got any fillers on there. I'm just really pumped for everybody to hear the different kind of lyrical content we're covering and hear all those fat breakdowns and killer riffs."
With such a massive global response already, HEAVY mentions that the band has to be feeling a touch of extra pressure to deliver.
"Just having the album out is a success in itself," Kev measured. "We've always just made music for ourselves and when we write these songs, we put our everything into it. And when people hear it and resonate with it, it's fucking awesome, dude, but it's not the reason we go out there and do it. So even having the album out there… Childhood Died sat on YouTube for about a year with maybe 900 to a thousand views, and not that I don't appreciate everything that's happened, but when it was sitting there clocking up one to 10 views per week it was weird. It felt like you could put an identity to each one of those people. So you'd see it go up a little bit, and you're like, oh fuck. I hope that that specific person, wherever they are, enjoyed it. So there is a point where the numbers get so big, you can't even fathom it. It just becomes like a big number. So for us, just having this album recorded is a success and anything that comes after it, dude, that's a bonus. Do you know what I mean?"
In the full interview, the discussion centred on Lost Souls' upcoming debut album, Lore, set for release on April 18. Kev expressed pride in the album, emphasizing its lack of fillers and diverse lyrical content. HEAVY noted the album's metalcore roots and its emotional intensity, which aims to resonate physically with listeners.
Kev highlighted that the released singles only hint at the album's depth, which includes experimental tracks and profound lyrics. They also reflected on their recent viral success, attributing it to factors like social media dynamics while maintaining that their primary motivation is creating music for themselves. The conversation also touched on the pressures of releasing their debut album, with Kev sharing insights into the bands creative process, including a unique opening track inspired by the Library of Alexandria. We discussed Lost Souls' marketing strategy, particularly the effectiveness of animated music videos, while acknowledging the need for a balance between music production and social media management. Plans for touring were confirmed, with the band intending to wait until after the album release to schedule shows.


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Interview by Kris Peters
Acclaimed musical innovator and six-time Grammy nominee, Steven Wilson, will bring his highly anticipated The Overview Tour to Australia this November. His arrival will follow a massive run of UK, European and American dates and celebrates the release of his eighth solo album, The Overview, out now via Fiction Records.
Australian fans can expect a captivating live experience from one of contemporary music’s most boundary-pushing, genre bending artists. Accompanied by accomplished and seasoned veterans including Nick Beggs on bass (Mute Gods, Steve Hackett), legendary jazz keyboardist, Adam Holzman (Miles Davis, Ray Manzarek), Craig Blundell on drums (Steve Hackett, Frost) and Randy McStine on guitars (Marco Minnemann, The Fringe) this world-class line up will bring the expansive, progressive soundscapes to life in a way that can only be experienced in a live setting.
The Overview is a 42-minute conceptual journey inspired by the “overview effect” of astronauts viewing Earth from space, and marks a return to the long-form progressive style Steven Wilson redefined with the iconic Porcupine Tree and his earlier solo work. Featuring two ambitious tracks and immersive spatial audio production, The Overview blends progressive sprawl with cinematic electronics and lush, immersive vibes all wrapped in spatial audio wizardry.
It’s a bold addition to his repertoire which also includes six Grammy nominations, three consecutive UK Top 5 albums and a string of iconic remixes for artists including, Pink Floyd, The Who, King Crimson and Tears For Fears. The Australian tour promises to be a thrilling and dynamic experience. Expect a set packed with The Overview’s mind-bending sprawl, alongside cuts from his acclaimed and peerless career.
HEAVY had the pleasure of chatting with Wilson, in an enlightening chat that proves why the man is so highly regarded in the music industry. One of the questions we asked focused on the length of his songs and whether the global shortening of attention spans comes into his thinking when writing.
"The simple answer is I try not to think about the listener when I mark art," he answered honestly. "That sounds very selfish and self-indulgent, and it is, but I've always believed that artists - if I can pretentiously call myself that - should never be thinking about their audience when they create the art, I think by definition it is a selfish act, and you just hope that people want to go with you on that journey. You hope that people will give you the benefit of the doubt. I have a fairly loyal fan base that listen to everything I do. Even if they moan about it, and they complain it's not what they want they still go with me on that journey (smiles), which I think is something that I've built up over the years, that kind of loyalty. 
Also, I think there's a sense of providing the alternative. There's always been this notion in pop and rock of alternative music. Providing the alternative to whatever is the mainstream at the moment. The mainstream at the moment, as you suggested, is very immediate, short, synthesized pop music. Usually sung by female solo artists. That seems to be very much the prevalent, mainstream, pop formula. So here I am kind of providing the alternative to that. There are people that want that. There are people who want to engage on a deeper level and are prepared to sit and listen to a longer piece of music. So in that sense I see myself as the alternative to the mainstream, and there's always an audience for that."
In the full interview, Steve runs us through his busy schedule, tells us what has changed since his last visit, his backing band and what they bring to the live show, The Overview and how fans responded, the conceptual story it is based on and how it transpired to verse, the balance of writing long compositions in the face of people's shortening attention spans, the musical atmosphere generated in his music and the process of bringing it to life, constructing set lists when so many of his songs are lengthy and more.


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Interview by Kris Peters
It's been almost ten years since Finnish melodic death masters Insomnium last graced Australian shores, but that means nothing now with the band is set to bring their signature blend of haunting melodies and crushing riffs to fans Down Under this May.
Founded in 1997 in the Karelian city of Joensuu, Insomnium first gained recognition in 2002 with their wintry debut In the Halls of Awakening. Quickly building on this with fierce death/doom juggernaut Above the Weeping World (2006) or melancholic masterpiece One for Sorrow (2012), the band surprised everyone with their sublimely beautiful, achingly forlorn Argent Moon EP in 2021, only to shed their skin once more with Anno 296 in 2023, proving emphatically that Father time has no grip on pure metal.
HEAVY recently spent some time with bass player/unclean vocalist Niilo Sevanen to get the rundown on what we can expect. We start by asking what has changed with Insomnium in the eight years since we last saw them.
"Well, our guitarists keep changing," he laughed. "Jani Liimatainen left the band last year, or the previous year actually, and now we have a touring member guitarist, Tomy Laisto, touring with us, and he's an excellent friend of ours. Excellent player, very good singer, super nice guy. And he's kind of a permanent live member at the moment. Let's see what happens with our guitarist situation in the future. But at least at the moment, we're touring with Tommy and Australian's are going to get to witness his vocals and his playing. I can promise he's an excellent guy."
For the benefit of those who may not have witnessed Insomnium live before, we ask Sevanen to run us through a typical performance.
"On the albums we are very serious and sad and melancholic and dramatic," he began, "but I think the live show is more about having fun. So we are having a good time there. We hope people are enjoying too. It's a lot of headbanging and good times, and we try to deliver a very energetic show every time, no matter how jet-lagged or tired we would happen to be. But once you go on stage, you forget everything, and you get your energy up and for that hour or hour and a half, you'll be on and after that, it's time to rest again. But for the shows, we give everything we've got."
In the full interview, Niilo provided more details about their current tour, expressing confidence in the live performance of the new material, noting positive crowd reactions and describing the shows as energetic and fun. Additionally, he mentioned their collaboration with fellow Finnish band Omnium Gatherum, enhancing the concert experience for fans.
Reflecting on the band's origins, Niilo recounted how he and Markus started Insomnium in 1997 in Joensuu, Finland, inspired by melodic death metal bands. He highlighted the vibrant 90s music scene in Joensuu, and the challenges faced by aspiring musicians today. Niilo explained the band's evolution from imitating their influences to developing a unique sound that blends progressive metal, black metal, folk metal, and doom metal.
He emphasized the organic nature of their creative process, where all members contribute to songwriting and arrangements, ensuring the music aligns with their identity, and more.


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Interview by Kris Peters
Depressive black metal outfit GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, set to be released on May 9 via Nuclear Blast Records. The band, in their 12th year of existence, are not in the business of softening the edges. Rather, the frontman (Nameless aka Dennis Mikula) is leaning more toward his antisocial traits, serrated like a rusty knife yet beautifully honed over years of toil.
HEAVY caught up with Nameless this week to get the rundown on what to expect, and start by asking how he is feeling with the release date approaching.
"You know, I don't really like releasing just singles," he measured. "I just want the whole album out for people to check out. But it's coming up, so I am excited to get it out there and start touring on it."
He raises a good point with the release of singles, because although snippets of an album work for the most part, for band's like Ghost Bath who create a more immersive musical experience, the effects can be just the opposite.
"I mean, I get why it's done," he answered, "it builds hype and people will hear the single then say oh, I want to hear the whole album now, so it makes sense, but personally, I don't like to listen to just one song by a band."
We ask Nameless what he was going for musically with Rose Thorn Necklace, to which he replied.
"Musically, I was going for my own take on depressive black metal, but more in a vein where it's like… I don't know… a little bit dancy in parts but still dark. I always try to do a contrast between beauty but with the heaviness, and that usually comes from the more melodic, pretty guitar parts contrasted with the vocals either being high-pitched shrieks or low growls. I like to play with contrast a lot, and that's kind of what I was going for."
In the full interview, Nameless further discussed Rose Thorn Necklace, emphasizing its representation of his personal interpretation of depressive black metal through a blend of melodic and heavy elements. He expressed a preference for listeners to engage with the entire album rather than individual singles, as each track plays a vital role in the overall emotional experience. Nameless also shared insights into his evolving songwriting process, noting a transition from collaborative efforts with the band to independent creation for this album and more.


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Interview by Kris Peters
He may have been taken from us far too soon, but the legacy and memory of guitar great Randy Rhoads will live forever. Rhoads' name is revered in the music world, where, for a period from the late 1970s through to the early 1980s, his playing and presence left a shadow of brilliance that is as strong today as it was back then.
The virtuoso guitarist, who co-founded Quiet Riot and propelled Ozzy Osbourne’s solo career with Blizzard of Ozz (1980) and Diary of a Madman (1981), remains one of heavy metal’s most important figures. Before his untimely death in 1982 at just 25, Rhoads redefined guitar-driven rock, blending classical influences with blistering metal to pioneer the neoclassical metal subgenre. His iconic riffs, featured in timeless songs such as Crazy Train and Mr. Crowley, and innovative techniques, including two-handed tapping, vibrato bar dive bombs, and intricate scales, set a new standard for the 80s metal scene and inspired countless guitarists.
Recognised with a 2021 Rock and Roll Hall of Fame induction, Rhoads’ legacy endures as a cornerstone of heavy metal evolution, with his signature Jackson Rhoads guitar symbolizing his revolutionary impact. To most of this current generation and beyond, the life and music of Randy Rhoads will always be that of past reflection, unable to bear witness to the great man on stage with precious little preserved on camera or film.
But this December, thanks to XMusic, fans can get as close to the glory days of guitar as possible when A TRIBUTE TO RANDY RHOADS - The Stories and Music Behind the Legend - hits this country for a performance that includes live renditions of Rhoads' finest moments as well as an in-depth Q&A session. This is more than just a tribute performance, with Rhoads' long-time friend, confidant and co-founder of Quiet Riot, Kelly Garni, heading the evening alongside Rhoads' first-ever guitar teacher, Scott Shelley.
It promises to be an unforgettable celebration of Randy Rhoads - a true guitar legend - whose influence still resonates in every power chord and soaring solo played today. HEAVY had the pleasure of speaking with Kelly Garni ahead of the tour, and among the topics of conversation was the sheer magnitude of putting together and the need for a performance of this scale.
"I don't pursue these things," he stressed. "People come to me, and they ask me to do them. There's a very, very large fan base for Randy Rhoads, and pretty much I'm the last man standing (laughs). Of course, I don't have Kevin (Dubrow, vocalist), who I sure do miss. Although if you read my book, you wouldn't believe that in a million years, but boy do I miss him. He was a great, great guide for me, and I learned a real lot from Kevin. But anyway, I've been approached several times, and I've been all around the country over the last few years here in America, and now Japan twice. People want anything left of Randy, and I guess I'm what you get. It's an honour to represent my best friend. Of course, anybody would do that for their best friend, if they're any kind of a friend. And so, since people are so excited to hear that music again, I happily oblige and go and do these shows."
Garni had many tales to tell, among them how Alice Cooper shaped much of what was to eventually become the sound of Quiet Riot, albeit without having ever met the two impressionable youths.
"When we saw Cooper, we said we're gonna be rock stars, whether anybody likes it or not," he smiled. "And you know, in my mind, Randy did, but I never really did. And I never really wanted to. And that's okay because things had changed over the years to where I didn't want to be in the music business any more, but because of my association with Randy, I find myself very heavily involved (laughs). And I gotta say, to see and meet all the fans who come to these shows is really, really something that makes you feel good in your heart and your soul."
In the full interview, Kelly addressed the excitement among fans and the importance of celebrating Rhoads' legacy, highlighting the involvement of key figures from Randy's early career to enhance the authenticity of the tribute. He spoke about the rest of the band, including musicians from Snake Bite Whiskey and the Van Halen tribute band Van Hager, along with a Q&A session featuring Scott Shelley, Randy's first guitar teacher. We spoke about the Q&A session and the personal nature of the questions and how emotional it could get.
Reflecting on his and Randy's musical journeys, Kelly shared insights into their early influences and the challenges they faced, including Randy's struggles with confidence and vocal abilities. He recounted the band's evolution, including a misguided image overhaul that led them to adopt a look that felt disconnected from their original sound. We also spoke about important moments of Randy's life and the impression he left on others, including Kelly, the ever-lasting legacy left behind by his untimely death and more.

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Interview by Kris Peters
In just ten short years Melbourne musical powerhouse Valhalore have entrenched themselves as a vital cog in the growing Australian music industry, their unique blending of melodic death metal with power and symphonic elements - infused with folk influences - has resonated with audiences both domestically and abroad.
Over the years they have toured with the likes of Alestorm, Arch Enemy, Blind Guardian and HammerFall, winning over legions of fans along the way with their attitude and work ethic. With the release of their sophomore album Beyond The Stars on April 11, Valhalore look set to expand their presence even more with a sound capable of transcending genres and sweeping all in its path.
HEAVY spoke with frontman Lachlan Neate and guitarist Anthony Willis to get more details. We start by asking how they are feeling about the album release.
"Absolutely thrilled," Neate beamed. "After waiting four years to release this music, it's pretty surreal that we're finally near the finish line."
We ask the guys to dive deeper into Beyond The Stars musically.
"In terms of the themes of the album, it describes a person's journey from the beginning of their life to the end," Willis explained. "Each song deals with the different highs and lows, ups and downs, different emotions that one would experience throughout their life. And each song represents those different moments. Then at the end of the album, the final song really deals with what happens to you after we die, and can we become something greater than ourselves?
So in that regard, the album is a bit of a concept album, and it's cyclic. Each of the songs that we have written pertains to this journey of someone's life experiences."
In the full interview, Lachlan and Anthony further explained that Beyond The Stars is a concept piece that reflects the emotional journey of a person's life, shaped significantly by the band's experiences during the pandemic. 
Anthony emphasized the importance of the album's track listing for creating a cohesive listening experience, while Lachlan noted that the writing process involved contributions from all six band members and the producer, marking a shift from their previous solo work. This collaborative effort has allowed the band to develop a unique sound that integrates diverse influences, enhancing their musical identity.
Valhalore plan to promote the album with a series of four theatrical shows in May, starting in Sydney and Melbourne, where they will perform most of the new material alongside older songs. Lachlan expressed excitement about the production-heavy nature of the performances, aiming to provide an engaging experience for fans and more.
Get Beyond The Stars here: https://valhalore.rpm.link/beyondpr


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Interview by Kris Peters
A band relentlessly poised on the cutting edge of heavy music, THE PLOT IN YOU have cultivated ongoing critical acclaim and fan adoration since first forming 15 years ago. Hailing from Ohio, the group announced themselves to the scene via their 2011 debut album, First Born, paving the way for their soon-to-be-signature balanced and innovative take on metalcore tropes. Whether weaving elements of alternative, electronica, pop, R&B and beyond into their raw yet thunderous sound, one thing is always certain when it comes to THE PLOT IN YOU: expect the unexpected and hang on for an exhilarating ride.
No strangers to Australian audiences, THE PLOT IN YOU previously ticked off an entirely sold-out headline run down under in 2023, before once again wowing Aussie crowds at Good Things Festival in 2023 off the back of their crushing single Forgotten. And as anyone who has previously experienced THE PLOT IN YOU in a live setting will attest, this is an act not to be slept on.
In 2026, prepare for the return of THE PLOT IN YOU to Australian shores, with the band announcing a national headline run next January, joined by special guests FIT FOR A KING (USA), BOUNDARIES (USA) and BANKS ARCADE. Kicking off on Wednesday 21 January in Fremantle, THE PLOT IN YOU will visit Adelaide, Chelsea Heights, Melbourne and Sydney, before closing out this mammoth visit on Friday 30 January in Brisbane.
HEAVY caught up with vocalist Landon Tewers not long after the tour announcement. Last time they were out here The Plot In You had to put up full house signs everywhere they played, and we remind Landon of this and point out that the band must be dearly loved on this side of the world.
"Honestly, I think it's collectively all our favourite market to play," he replied. "Even from back when we were way, way smaller coming over, it was always an amazing experience. People seem to really appreciate heavy music in a different way over there. It's always a privilege and an absolute blast coming over there."
We ask what has changed with the band since their last visit.
"Oh man, so much," he returned. "The EPs that we put out seemed to really transcend and connect with a lot of people, which is cool. It will be fun to come over there and play a lot more new stuff. In that time I feel like we have toured so much, and we've gone to so many new places too. We did Japan for the first time. We did South America for the first time. It's cool seeing how things are translating all over the world. It's a pretty unique and bizarre thing to experience, and we're really grateful."
In the full interview, Landon spoke more about The Plot In You's live show and why it is warmly regarded as one of the best going around, tailoring set lists depending on what country they are playing in, where Aussie crowds sit on a global scale of rowdiness, bringing Fit For A King and Boundaries along for the tour and why. Banks Arcade who are representing Australia on the run of shows, the three all-ages shows and the joys of influencing the ears of the next generation of music lovers, finding the balance of sounds and genres in a live setting and more.


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Interview by Kris Peters
It's that time of the year again where Australia's finest musical talents assemble to reward their achievements over the last 12 months and beyond.
The APRA Music Awards celebrate excellence in contemporary music, honouring songwriters and publishers who have achieved artistic excellence and outstanding success in their fields. To be held in Melbourne on April 30 this year, the APRA Music Awards have, for the second year in a row, acknowledged the growing presence of harder edged and heavy music by presenting the Most Performed Hard Rock/Heavy Metal category - won in its inaugural year by Parkway Drive.
More than just a token nod in the direction of change, APRA has fully embraced music of these genres, recognizing and paying due respect to a style of music that has grown to such levels it is now impossible to ignore.
The nominees for Most Performed Hard Rock/Heavy Metal in 2025 are Make Them Suffer, Polaris, Windwaker, Speed and Northlane, with HEAVY jumping at the chance to speak with Northlane frontman Marcus Bridge to find out how confident the band is going into the awards.
"It's exciting stuff, and it's with a bunch of other great bands," he smiled. "It's cool to be with so many bands that we've all grown up with and built our careers with at the same time and see the new generation taking that spot."
We ask Marcus how important recognition such as this is for the future of Australian hard rock/heavy music.
"I think it just shows over the last five to ten years how heavy music has grown worldwide," he mused, "and especially the Australian bands. Whenever we're touring overseas, I feel like Australian heavy bands are the talk of the town, especially in the US and Europe. Just because there are so many awesome bands working so hard to get over there. And I think in the end, it's kind of putting Australian music on the map in a different way around the world. So it's really, really cool to see that it's being recognized in that way. I'm just hoping that it keeps on growing and keeps on getting bigger."
In the full interview, Marcus discussed Northlane's nomination for the 2025 APRA Awards, expressing excitement about the recognition alongside other Australian bands and the support from APRA. Marcus reflected on the growing international attention for Australian heavy music and the importance of regional tours, emphasizing the unique energy of smaller venue audiences compared to city crowds. He also addressed the band's musical evolution, with Marcus outlining their approach for the next album, which will build on the last EP's while allowing for experimentation with various styles.
We took a look at the lighter side of the APRA Awards, including the potentially crippling effect Frenzal Rhomb had on such bands being invited to perform live and more.


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Interview by Kris Peters
At the turn of the last century - around the same time the world was supposed to succumb to the flash in the pan that was the Y2K bug - a group of four Sydney punk reprobates called Frenzal Rhomb were plotting their own assault on the world.
But instead of technology, this was a stealth attack by music.
After previously making their name as carefree, wreckless, uncompromising punk rockers through albums Coughing Up A Storm, Not So Tough Now and Meet The Family, Frenzal Rhomb elected to go a little more mainstream on their fourth album, A Man's Not A Camel. So much so that the album contained a bona fide ballad - I Miss My Lung, and another on the cusp of being a ballad with You Are Not My Friend.
Granted, A Man's Not A Camel provided some staple Frenzal moments with songs like It's Up To You, Do You Wanna Fight Me and the irresistible I Know Why Dinosaurs Became Extinct, and it also contained more than enough lashings of Frenzal humour, but it was also far enough on the right side of the musical ledger to have the song Never Had So Much Fun nominated for an ARIA Award in the Best Pop Release category.
I shit you not. Thankfully a singing budgie by the name of Kylie Minogue pipped them at the post, otherwise who knows how far down the rabbit hole Frenzal Rhomb would have gone?
And now, 26 years after it first came out, Frenzal Rhomb are celebrating the 25th (ish) Birthday of A Man's Not A Camel with an extensive Australian tour that will see the band travelling to places some of you might not even know exist.
HEAVY tracked down Frenzal frontman Jason Whalley to take a trip down memory lane.
"That record seemed to resonate with people," Whalley nodded, stroking his chin. "It had all those songs on it like Never Had So Much Fun and You Are Not My Friend and I Miss My Lung and all that jazz. There's a lot of songs on there that, let's be honest, weren't very good. But it had a few songs on there that seemed to resonate with people. We are doing this tour where we're celebrating this record, but to be honest, we play all the good songs off that record every time we play anyway. We are pulling out some deep cuts too. I've had to relearn a lot of lyrics. I actually looked up the lyrics on the internet to try and figure out what they were, to try and relearn them."
We ask if that means the whole of A Man's Not A Camel album will be played in full on tour.
"100% not," he countered. "We wouldn't do that to our audience. There's a few songs on there that just have not stood the test of time. I mean, even a week after it was released, we weren't playing them. When you see bands doing their whole album, I'm always like, come on, mate, they weren't all bangers."
In the full interview, Jay discussed Frenzal Rhomb's upcoming shows in more detail, revealing the tour will include 25 shows in various locations that were missed during their last tour, allowing the band to reconnect with fans. He expressed enthusiasm for the tour and reflected on the band's evolution in songwriting on A Man's Not A Camel, noting a shift towards a more pop-oriented sound while emphasizing the importance of song quality over tempo.
The conversation also covered Frenzal's experiences with the album's reception and their nomination at the ARIA's, where he recalled a memorable performance in hospital attire due to his broken arm. We discussed the album's release in the US under Fat Mike's Fat Wreck Chords, highlighting changes made to the tracklist and the unnecessary suggestion of a name change for the American market, plus more.

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Interview by Angela Croudace
For fans of death metal, Benediction needs no introduction. With a history that spans decades, the band has continually pushed boundaries, proving that their music is not only timeless but still relevant today. As the band gears up for the release of their highly anticipated album Ravage of Empires, we sat down with Daz Brookes, one of the founding members, to chat about their enduring success, the return of Dave Ingram, and what’s next for the legendary group.
It’s been over 30 years since Benediction first made its mark on the death metal scene, but for Daz, it still feels like the dream is alive. "I’m living the dream, man. That’s what I wanted to do when I was a kid, and I’m still doing it at 56 years old," he says. "I still get the same buzz I did when I was younger. I’m still excited about gigs and new releases. I’ve got no intention of giving up yet."
Perhaps one of the most significant moments in Benediction's recent history was the return of Dave Ingram to the fold for Scriptures. After a 21-year hiatus, the reunion marked a new chapter for the band. Daz recalls, "It was almost like he'd never left. It felt natural, like nothing had changed, despite all the time apart. We’d had some awkward years after he left, but time heals all, right?"
Their reunion was not just about the past, but about reinvigorating the band for the future. "When it came down to writing the album, Dave put his vocals exactly where we’d expect him to," Daz explains. "It felt like he’d never been gone."
On the new album, Benediction continues to evolve musically. "We don’t do album fillers," Daz insists. "We want every track to be strong, and that’s what we’ve been doing for years now." Despite the challenges of distance - Daz and guitarist Peter Rewinsky live in the UK, while Ingram resides in Denmark and Gio in Italy - the band’s writing process remains a collaborative one. "We send riffs back and forth, and when we all come together, it’s like a well-oiled machine."
When asked about the current state of death metal, Daz doesn’t mince words. "It’s become a competition for speed and extremity," he says. "Everybody’s trying to outdo the last band, and it’s kind of losing its essence. When we perform, whether it’s in front of 70,000 people or 500, it’s the same feeling. People are singing our songs, and that’s what it’s all about."
Benediction’s music remains grounded in simplicity. "We don’t need to reinvent the wheel," Daz adds. "We just do what we do, and people respond to that. Simple is good."
As the band heads into their Europ


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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 Kris Peters
In an age where people and their personalities are becoming increasingly sanitized it is refreshing to come across an artist still unafraid to say things as they are without self-censorship or undue thought to repercussions. A singer/songwriter who adheres to the old school ethos of respect and honesty rather than rainbows and butterflies, and who isn't afraid to get her hands - or her music - dirty.
Melbourne based rock dynamo Envy Marshall is all of that and more. A fiercely independent artist with an unapologetic attitude, Marshall openly confronts her own independence and themes of equality and the smashing of gender stereotypes. And all of that within just one song.
Marshall recently released the track Like A Man, showcasing her powerhouse vocals, razor-sharp lyrics, and undeniable charisma. With its infectious chorus, gritty guitars, and a hypnotic mid-tempo groove, Like A Man is a rallying cry for authenticity and empowerment. Envy’s lyrics cut through the noise with glaring honesty, blending cheeky wit with raw honesty, as she chastises at one point 'stop telling me to act like a woman when you know that I f**k like a man.'
But one look through her resume, and it's obvious Marshall isn't just here to make up the numbers. She is here to make a difference, and that's one thing few people can claim to truly aspire to. HEAVY caught up with Marshall between L.A showcase gigs, where she is aiming to strike next.
"The words and the lyrics have a bit of shock value to it," Envy began when asked about the positive reception afforded Like A Man, "but I also think it's because people are really wanting music like this now. I didn't write it to be popular. I didn't write it because I wanted anyone to react to it. I wrote it because I just really freaking needed to say it. And the response has been really good."
HEAVY mentions the confronting nature of the song but also emphasizes the point that if you get through that initial moment of being taken aback, there is a much deeper underlying message.
"You can see some women who first of all go, ooh, and then come up to you later and go, I love you," Envy smiled. "You know what I mean? It's nice because I really care about women. I love men and I love women and whatever you want to be called, I love you. But to have a woman come up to me and give me a hug and say, thanks, that was awesome. That means a lot. Especially when there's not a lot of female fronted rock bands writing songs for women."
In the full interview, the discussion focused on Envy Marshall's experiences and upcoming projects in the music industry. Envy shared her journey from Adelaide to Melbourne in 2017, highlighting her collaboration with Paul Woseen from The Screaming Jets, who played a significant role in her artistic development. She emphasized the importance of rebellion in rock music and her recent promotional tour in Los Angeles, which has opened up new opportunities for her career. Envy also discussed her song Like a Man, which has garnered significant attention and aims to challenge societal norms while empowering individuals. 
Envy also provided insights into her upcoming video release for Like A Man and her current album project, which promises a blend of rock with influences from other genres plus more.

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Interview by Kris Peters
Grinding Eyes craft a uniquely dark sonic landscape, fusing psychedelic shoegaze, drone rock, and ambient garage punk. The Sydney band released their third studio album, Out of Focus, last Friday, further capitalizing on the momentum built through their 2018 self-titled album and 2021’s Taste the Monochrome.
Known for their relentless touring, Grinding Eyes have shared stages with The Jesus and Mary Chain, Uncle Acid & The Deadbeats, Swervedriver, Graveyard, Moon Duo, Dinosaur Jr., Monkey Wrench, Superchunk, New Candys and Mudhoney, as well as Australian bands, Amyl and the Sniffers, Cosmic Psychos, Spiderbait, The Drones, Straight Arrows, DMA’s, Psychedelic Porn Crumpets, POND, King Gizzard & The Lizard Wizard, and Tropical Fuck Storm.
The band’s line up also boasts members from past and present bands The Mess Hall, Treatment, The Laurels, Bliss and Kimono Drag Queens, further cementing their deep roots in Australia’s underground music scene. But Grinding Eyes are more than just the sum of their past bands. They are a sonic extension into another realm of musical experimentation held back without boundaries or expectations.
Vocalist Matt Wicks joined HEAVY to tell us more.
"With this album, I suppose we sort of concentrated a little bit more on the sounds where previously we've pretty much done everything live," he measured. "We would dive straight in, start recording, do a lot of long sessions and sort of see what comes out. On this one we tried to refine it a little bit more, do most of the songwriting and we actually played most of these songs live for a couple of months. So they became a life of their own. We wanted to really harness more of a tighter sound where we could mess with it more in the studio than just having the sort of raw organic rock and roll feel of it."
In the full interview, HEAVY spoke with Matt about the release of Out Of Focus following a year of delays. Matt expressed his relief regarding the album's completion and highlighted the band's creative evolution, mentioning that they have already started writing new material. The album features a mix of musical styles, reflecting their organic songwriting process.
During their forthcoming Australian tour, the band intends to perform a substantial portion of the new album alongside some older tracks. Furthermore, they will support Pig's Pigs Pigs Pigs Pigs Pigs Pigs on their European tour later this year.

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Interview by Kris Peters
Two decades into any career and you would be forgiven for starting to grow stale or formulaic. Be it an office job, labouring, or even in the music industry, the old saying familiarity breeds contempt holds firm. But try telling that to Scottish metal outfit Bleed From Within who, after 20 years in the music scene, have reached their peak - their Zenith, if you will.
The Glasgow firebrands are one of the hardest working acts in metal: playing shows globally with everyone from Megadeth to Slipknot, all while writing and regularly releasing monstrous, exhilarating songs. The upward journey reaches new heights on their seventh album, Zenith, which contains the band’s heaviest, catchiest and most intrepid music to date.
The band's first two albums, Humanity (2009) and Empire (2010), made Bleed From Within cult figureheads in the deathcore scene, before Uprising (2013) broadened their palate with groove metal adrenaline and melodic death metal prowess. It also marked their major-label debut, catapulting them onto tours with heavy royalty.
In 2018, the band returned with the ferocious Era. Then, follow-ups Fracture (2020) and Shrine (2022) proved their greatest triumphs to date, intertwining vocalist Scott Kennedy's snarls with Steven Jones' majestic singing. The millions of streams gathered by such singles as The End of All We Know, Into Nothing and Levitate proved Bleed had become the next big thing. Now, on Zenith – announced ahead of career-affirming tours with Slipknot, Trivium and Bullet for My Valentine – the quintet are primed to leap into superstardom.
HEAVY spoke with frontman Scott Kennedy to go deeper into Zenith.
"It feels like we've been waiting so long to drop this album," he sighed. "So, I'm buzzing for it to finally get out. I think it's the best collection of songs we've ever done and I'm desperate for people to hear it."
We ask Kennedy to talk us through what Bleed From Within were going for musically with Zenith.
"To be honest, with Bleed From Within there's never really any concepts or anything like that," he replied. "It's more just about - for me personally - the songs are always about what I'm going through at that point in my life. I always try to write from the heart and write songs that are really meaningful because I don't want to go on stage and sing a song that doesn't really mean anything to me. I don't just want to go on and sing any old shit to the crowd. With Bleeding From Within it's just always about writing the best collection of metal songs that we possibly can, and I truthfully believe that this is the best collection of metal songs we've ever written."
In the full interview, Scott discussed Zenith further, expressing his excitement about what he considers their best work to date. He highlighted the opening track Violent Nature for its heavy and fast nature, and elaborated on the collaborative songwriting process among band members, emphasizing a natural evolution in their music.
Scott also mentioned Bleed From Within's experimentation with various musical elements, including strings and guest vocalists, to achieve a distinctive sound. The discussion wrapped up with a mention of upcoming tour plans and festivals following the album's release.


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