HEAVY Music Interviews

Interview by Ali Williams
Swedish metallers TUNGSTEN have a busy October ahead, although releasing their fifth studio album and embarking on their first European headline tour is a pretty reasonable excuse for having very little spare time. Their latest offering, Ashes, arrived on October 9 through Perception, a division of Reigning Phoenix Music, coinciding with the band's biggest touring commitment as headliners to date.
Vocalist Mike Andersson recently joined HEAVY's Ali Williams for a conversation about the new record, the band's musical ambitions and the considerable excitement surrounding a tour several years in the making. Since forming in 2016, TUNGSTEN have developed a distinctive approach to melodic metal, incorporating power metal, traditional heavy metal, industrial influences and elements of Scandinavian folk. The band features drummer Anders Johansson, formerly of HammerFall and Yngwie Malmsteen, alongside his sons Nick Johansson on guitar and Karl Johansson on bass and keyboards. With Andersson handling vocals, the four-piece have steadily built an international following through five albums and extensive European touring.
Their latest release follows 2024's The Grand Inferno, with the band spending much of 2025 developing new material between live commitments before entering the studio towards the end of the year. Across eleven tracks, Ashes explores a broader collection of musical influences while retaining the melodic arrangements and substantial choruses familiar to their audience.
Full interview and write up heavymag.com.au


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If you like your music thick, volatile, and dripping with pure, unfiltered Aussie attitude, you need to stop what you're doing right now. We are sitting down with Ben Hosking, the powerhouse guitarist from Newcastle's own groove-metal wrecking ball, Where The Devil. If you haven't witnessed these boys live yet, you are seriously sleeping on one of the most punishing and exhilarating acts in the local underground scene right now.
The main reason we’re spinning this yarn today is because the countdown is officially on for one of the most anticipated events on the heavy calendar: Hollowfest 2026. This absolute monster of a festival is gearing up to tear the roof off the Mansfield Tavern—a legendary staple of the Brisbane music scene—and Where The Devil are primed to deliver an absolute masterclass in sonic violence. Hollowfest has built a reputation for showcasing the absolute cream of the crop when it comes to local and national heavy talent, and throwing these boys into the mix is like pouring petrol directly onto a raging bonfire.
In this chat, Ben and I dive into the band's mindset ahead of the festival, how they plan to step up their game for the rabid Hollowfest crowd, and what it means to share the stage with so many killer homegrown bands. We also get a bit of a cheeky sneak peek into what the band has cooking in the studio and why Australian heavy music is currently in the best shape it’s ever been. So, grab yourself a cold one, crank this up to eleven, and check out the full chat below. Hollowfest 2026 is coming to break some necks, and Where The Devil are leading the charge!


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When you think of the ultimate chameleons in the global extreme music scene, one name consistently rises from the shadows to claim the crown: Mortiis. From his early days forging the fires of Norwegian black metal on bass for Emperor to completely reinventing himself as the grandfather of dungeon synth, Håvard Ellefsen has spent more than three decades refusing to play by anybody else’s rules. He’s an artist who doesn't just push boundaries—he completely obliterates them, evolving musically, visually, and conceptually with every single release.
Now, the enigmatic mastermind is preparing to bring his legendary, dark sonic landscapes back to our shores for a highly anticipated Southern Ritual Australian tour. This isn't just another standard run of shows; it marks a monumental moment for local fans as Mortiis brings a full live band to the region for the very first time. Audiences can expect a massive, immersive journey into dystopian despair, with the setlist heavily diving into the iconic sounds of The Smell Of Rain alongside a curated selection of his most atmospheric and industrial-tinged masterpieces.
To make this dark pilgrimage even more essential, he’s not coming alone. Sharing the headline billing are Siberian pagan folk innovators Nytt Land, who are set to mesmerise crowds with traditional throat singing and handmade instruments, alongside Turkish dungeon synth outfit Tir. It is shaping up to be an absolute masterclass in live atmosphere, visual theatre, and raw sonic intensity.
HEAVY caught up with the man behind the mask to get the full story on what it takes to bring this massive production Down Under. We chatted about the logistical chaos of transporting a full-band show across the world, what it feels like to revisit tracks from The Smell Of Rain in a live setting, his excitement to finally give his Australian fans the uncompromising, full-throttle theatrical experience they have been craving for years and more.


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Interview by Ali Williams
Long before Australian playlists started happily throwing funk, rock, hip hop, soul and heavy groove into the same digital bucket, SKUNKHOUR were already doing the hard, sweaty version of it onstage. No algorithm. No tidy marketing lane. Just real instruments, an MC, big rhythm, bigger nerve, and a refusal to flatten themselves into something easier to explain.  Now the band are taking that history back out on the road with the Back to Basics Tour, a title pulled from one of their earliest songs and a pretty cheeky understatement for a band with this much behind them. Speaking with HEAVY's Ali Williams, Aya Larkin says the tour is about “getting to some places that we haven’t been for a long time.”
For northern New South Wales and southeast Queensland, that sentence has some proper bite. SKUNKHOUR play Cooly Hotel on Thursday October 15, Norton Music Factory in Caloundra on Friday October 16, CrowBar in Brisbane on Saturday October 17, and Arts Factory in Byron Bay on Sunday October 18, before heading through Sydney, Melbourne, Coffs Harbour and Pacific Palms.  That Byron Bay date carries extra local flavour. SKUNKHOUR have often played The Great Northern, but the return to Arts Factory reaches further back. “We haven’t played since the nineties,” he says.
Full write up and interview heavymag.com.au

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French collective Nouvelle Vague are set to return to Australia for three exclusive shows, bringing their unmistakable reimaginings of iconic new wave and post-punk classics back to local audiences.For singers Melanie Pain and Phoebe Kilde, the upcoming dates offer an opportunity to experience the band in a different setting, with intimate club performances promising a more rock ’n’ roll atmosphere than their previous Australian appearances.“We’ve been doing festivals, big outdoor afternoon events,” Pain explained. “I’m really glad we’re coming and doing proper night gigs in proper clubs.”With an impressive catalogue of interpretations spanning artists including Joy Division, The Cure, The Clash and Depeche Mode, Nouvelle Vague have built a reputation for transforming familiar songs into something entirely their own.

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Few bands manage to weaponise raw, unadulterated musical chaos quite like Germany’s Half Me. Bursting onto the heavy scene with a catastrophic blend of modern metalcore, nu-metal bounce, and visceral post-hardcore, the Hamburg five-piece have rapidly evolved into one of Europe’s most formidable sonic juggernauts. Following the massive success of their devastating debut Soma, the band has refused to take their foot off the throat of the genre. Now, they are back to deliver another absolute masterclass in sonic violence with their highly anticipated sophomore album, Dogma.
Dogma is a savage, uncompromising step forward that captures Half Me at their most venomous, combining razor-sharp technicality with an oppressive atmospheric weight. It is an album born from friction, exploring the claustrophobic constraints of societal expectations, personal belief systems, and the internal rot that comes with them. It doesn’t just demand your attention; it violently grabs you by the collar and drags you through the dirt.
But the tracking room is only half the battle. The true test of heavy music lies on the live stage, and Australian fans are finally about to get their taste of the carnage. To celebrate the release of Dogma, Half Me are packing up their gear and heading Down Under for a highly anticipated Australian Tour. For a band built on high-octane energy and intense crowd reciprocity, bringing these brand-new tracks to Aussie crowds—renowned globally for being some of the most unhinged and passionate in the world—is a mouth-watering prospect. This run promises to be nothing short of a sweat-drenched, pit-spinning exorcism.
Ahead of the tour and the album dropping, I had the absolute pleasure of sitting down with vocalist Chris Zühlke and guitarist Christopher Hesse to dig deep into the messy, beautiful reality of making Dogma. We yarn about the intense pressure of backing up a landmark debut, the creative breakthroughs that defined their new sonic identity, and how they plan to survive the brutal Australian heat while delivering the most explosive live shows of their career.


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Get your dancing shoes polished and your neck muscles thoroughly warmed up, because post-hardcore royalty is finally heading back down under! That’s right, heavy music lovers—the absolute icons of progressive, chaotic, and infectious math-rock-infused bliss, Dance Gavin Dance, are gearing up to storm Australian shores for what promises to be an unforgettable run of shows. For years, this band has been rewriting the rulebook of alternative music, blending soulful melodies with face-melting riffs, and their upcoming tour is set to be one for the history books. Ahead of this massive trek, we sat down for a chat with the band’s drummer Matt Mingus and clean lead vocalistAndrew Wells.
If you’ve been living under a rock, Dance Gavin Dance has spent the last two decades solidifying their status as one of the most innovative and resilient forces in the scene. Navigating line-up shifts, genre evolutions, and the sheer chaos of the modern music industry, they’ve continually emerged stronger, sharper, and more creatively fearless. With Andrew stepping up into a defining vocal role alongside Matt’s legendary, intricate drumming, the band is entering a brand-new, electrifying era. This upcoming Australian tour isn't just a standard run of dates; it is a triumphant celebration of survival, reinvention, and pure musical adrenaline.
In this candid interview with HEAVY, Matt and Andrew open up about everything. We dive deep into what it takes to bring their notoriously complex studio sound into a live Australian setting, the unique energy that Aussie crowds bring to the heavy scene, and how the band's internal dynamic has shifted as they push into bold new sonic territory. From the logistics of long-haul flights to the raw excitement of connecting with fans who have waited years for this moment, the duo pulls back the curtain on the life of Dance Gavin Dance in 2026.


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The Australian heavy music landscape is littered with the carcasses of short-lived festivals, but every now and then, a beast rises from the underground with enough grit and staying power to change the game. Enter Hollowfest.
Masterminded by the chaotic minds behind groove-metal juggernauts We The Hollow, this rogue gathering has evolved from a passionate local showcase into a mandatory calendar fixture for the nation’s riff-worshippers. It is raw, it is unapologetic, and it represents the exact kind of DIY defiance that keeps our scene breathing.
At the epicenter of this beautiful madness is Scotty (A.K.A Fracture), a man who lives and breathes the culture. Balancing the dual roles of a punishing frontman and a stress-hardened festival promoter is a task that would break lesser men, but Fracture wears the chaos like a badge of honour. Ahead of this year’s massive iteration, HEAVY sat down with the guitarist/promotor to dissect the blood, sweat, and beers required to pull off an underground metal festival in the current climate.
In typical fashion, Fracture doesn’t pull any punches. We dive deep into the gruelling logistics of curating a killer, genre-defying line-up, the sheer terror of watching the budget fluctuate, and the unmatched euphoria when the first chord strikes and the pit finally erupts. He opens up about the sonic evolution of We The Hollow, how the band's bruising ethos influences the curation of the festival, and why community will always trump commercialism in the heavy music underworld.
This isn't just another gig; it's a testament to the strength of our community and a middle finger to anyone who says rock is dead. Grab a cold one, crank the volume, and check out our full chat with Fracture to get the ultimate inside word on Hollowfest.


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There are few bands in the modern Australian rock landscape that capture the raw, bleeding pulse of human emotion quite like Melbourne’s indie-pop-punk heavyweights, Slowly Slowly. Led by frontman and master songwriter Ben Stewart, the band has carved out an untouchable reputation for turning vulnerabilities into massive, stadium-sized anthems. They don't just write hooks; they craft sonic confessionals that force you to look in the mirror and reckon with whatever you find there.
Today, Slowly Slowly announced their highly anticipated sixth studio album, Everybody Tells The Truth, an album that already promises to push their signature emotional urgency into bold, uncharted territory. Following the massive success of Forgiving Spree, which comfortably debuted at number eight on the ARIA charts, Everybody Tells The Truth steps under the microscope to dissect honesty, facade, and the friction of the modern world. Led by the explosive new single Parallel, the upcoming record strips back the layers of polite comfort to expose the gritty realities of our shared human experiences. It is a record that demands your full attention, delivering massive rock melodies balanced by Stewart's razor-sharp, poetic lyricism.
But a spectacular new record isn't the only massive milestone on the band's immediate horizon. This December, Slowly Slowly will step back onto the main stage as they gear up for the massive Good Things Festival 2026 circuit. Sharing a loaded summer bill alongside rock and metal heavyweights like Limp Bizkit, Alexisonfire, and Polaris, Slowly Slowly will officially cement their status as true festival royalty. In a historic feat for the domestic alternative scene, they will move level with Make Them Suffer as one of the only acts to secure three appearances at the massive travelling mini-fest. It's a testament to the undeniable, high-octane energy of their live sets, which have become a benchmark for what modern Australian rock music should feel like in the flesh.
Ahead of what is bound to be a monumental summer of deafening singalongs and festival triumphs, HEAVY caught up with frontman Ben Stewart to dive deep into the creative fire behind Everybody Tells The Truth. We talk about the sonic evolution of the band, the terrifying beauty of absolute lyrical honesty, and what it feels like to join the legendary three-timers club at Australia's premier alternative music gathering. Grab a cold drink and settle in, because Ben Stewart is laying it all on the line.


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When you talk about skate punk royalty, few bands hold a candle to Sweden’s finest musical exports, Millencolin. For over three decades, these absolute legends have been providing the ultimate high-octane soundtrack to our lives, blending lightning-fast riffs, infectious melodies, and a relentless sonic energy that simply refuses to age. Now, the boys are gearing up to cross the hemisphere once again to blow the roof off Australia, landing a highly coveted spot on the massive Good Things Festival 2026 lineup, alongside a string of highly anticipated headline sideshows.
Aussie punks have always shared a deep, almost symbiotic love affair with Millencolin. From the golden early days of Same Old Tunes and Pennybridge Pioneers to their explosive modern anthems, their tracks have been permanently etched into the very DNA of the local alternative music scene. Every single time they step foot on our shores, it’s not just another standard rock concert; it’s a chaotic, beautiful reunion of the extended punk rock family, complete with sweat-soaked mosh pits and deafening crowd singalongs.
HEAVY caught up with Millencolin’s iconic guitarist Erik Ohlsson to dissect the upcoming festive madness, their enduring bond with the passionate Australian crowd, and what it feels like to return to one of the premier heavy music festival formats in the southern hemisphere.
With a killer festival lineup stacked completely to the brim with international heavy hitters and alternative rock icons, Millencolin are primed to show the younger generation exactly how true punk rock is done, playing Pennybridge Pioneers in full at all shows. But it’s not just the festival main stages they are targeting; their Melkbourne and Brisbane exclusisive club sideshows promise to deliver that intimate, sweaty, no-barriers intensity that hardcore fans crave. In this unfiltered chat, Erik opens up about the secrets behind the band's incredible longevity, the complex art of curating a flawless festival setlist, and why Australian hospitality keeps drawing them back. We also take a classic HEAVY trip down memory lane, finding out exactly where he was the first time they ever heard their own music blast through the radio speakers.


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Every now and then, a band bursts onto the alternative landscape with such violent, genre-shattering momentum that they force you to sit up, put down your beer, and take notice. Ladies and gentlemen, meet unpeople.
The fast-ascending UK four-piece has been absolutely tearing up the rulebook over the last year. They have systematically evolved from a fiercely buzzed-about underground secret into an absolute juggernaut destined to conquer arenas. They refuse to be pigeonholed by standard sonic definitions. Instead, they weaponise a beautifully chaotic cocktail of heavy riffs, theatrical flair, and massive, addictive melodies that get completely stuck in your skull.
Now, the band is poised to unleash their definitive statement of intent upon the world: their highly anticipated debut full-length album, we are unpeople, dropping on October 9 via the heavy hitters at SharpTone Records. It’s a record that takes their core philosophy of unity through shared human dysfunction and transforms it into a towering, uncompromising piece of modern sonic warfare. Ahead of the album's massive release, HEAVY Magazine caught up with the band to dissect the madness, the meticulous craft, and the sheer audacity fueling this record.
This isn’t just another debut; it is a phenomenal gateway into a completely fresh era of heavy music. Turn the volume all the way up, check out our full chat with the band below, and prepare to join the masses—because unpeople are taking over.


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G’day heavy music lovers, Kris Peters here for HEAVY Mag, and boy, do we have an absolute cracker of an interview for you today! If you call yourself a fan of the dark, melancholic, and crushingly heavy, then you better buckle up because the undisputed pioneers of gothic metal are finally making their long-awaited return down under. That’s right, the legendary Paradise Lost are bringing their gloomy majesty back to Australian shores this October, and the excitement across the local metal community is already reaching a fever pitch. 
It has been a hot minute since the British heavyweights last graced us with their presence, with their last Australian run taking place way back in 2017. But don't think for a single second that they’ve been sitting idle. Since they last stepped foot on Aussie soil, the band has kept the creative fires burning incredibly bright, delivering two spectacular releases to their faithful flock: Ascension and the critically acclaimed Obsidian. Both records have further solidified their status as absolute masters of the genre, proving that even after three decades in the game, Paradise Lost is still operating at the absolute peak of their musical powers.
The band is rolling into town with some serious momentum, hot off the heels of a massive, star-studded show in London this past August where they shared the stage with none other than fellow progressive titans Opeth and the dark masters Katatonia. If that monumental gig was any indication of their current form, Australian punters are in for an absolute masterclass in heavy music when the band lands here in a few weeks.
To get the full rundown on what we can expect from this highly anticipated tour, I had the absolute privilege of jumping on a chat with the enigmatic frontman himself, Nick Holmes. We dove deep into the band's excitement about returning to Australia, how it feels to finally bring these new tracks to life on the other side of the world, and sifting through 17 albums worth of music when choosing a set list. Nick also opened up about the band's evolving live dynamic, revealing to HEAVY that he probably enjoys hitting the stage now more than ever before. So, grab yourself a cold one, crank up the volume, and check out our full chat with the one and only Nick Holmes below!


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For Prayers, inspiration has never been something that can be forced. His latest Spanish-language EP, Oraciones, arrived almost by accident, after a session in his friend Alfonso’s Chicago kitchen turned into four songs written in a single day.“I captured lightning in a bottle with these four songs,” Prayers explains, describing the pressure-free process as his favourite way to create. What began with electronic beats eventually evolved into something more deeply connected to his Mexican heritage, with cumbia rhythms helping shape the EP’s direction.While Oraciones represents a new chapter, Prayers says it remains connected to everything he has created before. His music continues to explore identity, conflict and the duality at the heart of his self-created Cholo Goth world.The EP also became a way for Prayers to reconnect with his Mexican roots. Its artwork features a childhood photograph with his parents, while he deliberately built a Mexico-based creative team around the project.After years of feeling caught between cultures, Prayers says his recent trips to Mexico have helped him reconnect with a part of himself he had never fully known.Ultimately, Oraciones is both a tribute to his heritage and another example of Prayers turning lived experience into art.

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Every now and then a band bursts out of the underground circuit with the kind of pure, unadulterated sonic swagger that leaves your jaw firmly pinned to the floor. If you haven't yet been introduced to the auditory demolition that is Los Angeles power trio Primitive Ring, then pack your bags, turn your speakers up to eleven, and prepare to have your ears left properly ringing.
Born from a collective state of what they call "high-functioning de-evolution," this formidable outfit is a rock and roll brotherhood comprised of Bert Hoover, Jon Modaff, and the guitar-wielding madman himself, Charles Moothart. You might recognise these blokes from their stellar work in heavy hitters like Fuzz, Ty Segall’s band, and Frankie and the Witch Fingers, but Primitive Ring is a completely different beast altogether. This is a band that completely bends the knee to the primal instincts of melody and rhythm, fusing a retro '70s fuzz, proto-metal grit, and heavy psych-rock into something that hits you right in the chest like a runaway freight train.
After dropping a series of killer 7-inch singles, they unleashed their monstrous, self-titled debut album via In The Red Records earlier this year, proving that real rock and roll belongs to everyone and absolutely no one. It is loud, nasty, and beautifully uncontrolled. And the absolute best news for Aussie rock fans? Primitive Ring are making their highly anticipated Australian debut this October, landing on our shores as the special guests for none other than the legendary Mudhoney.
Ahead of what promises to be an absolute clinic in rock and roll debauchery, HEAVY sat down with Charles Moothart to get the full story. We dive deep into how this phenomenal brotherhood first collided in a garage session, the sheer chaos of taking these monolithic tracks onto the live stage, and what it’s like to tour Australia alongside grunge royalty. Charles doesn't mince words about the upcoming madness, giving us a taste of the pure, unfiltered energy they are about to unleash on unsuspecting crowds down under and more.

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Interview by Ali Williams
Forty-five years into SHONEN KNIFE, Naoko Yamano can still describe the band in three words: “pop, fun and punk.” It is remarkably efficient for a group whose history stretches from Osaka’s early-’80s underground to major-label releases, international festivals and enough world touring to make airport carpet a recurring feature of adult life.  Australia has occupied a sizeable patch of that history. SHONEN KNIFE first toured here in 1997 and have returned repeatedly since, but their October visit is considerably more ambitious than a quick lap through the eastern capitals. The Lets Knife: Re-Cut Australia/NZ 2026 tour gives Naoko, Atsuko and Risa more than two weeks on Australian roads, two festival appearances, regional dates and several cities the band has never played before. 
It also arrives with Let’s Knife Re-Cut freshly released in Australia and New Zealand through Valve Records. The album returns to Let’s Knife, the 1992 record that marked SHONEN KNIFE’s major debut, with the current line-up recording its 15 songs again more than three decades later. The sessions were recorded at GCR Audio in Buffalo, with Goo Goo Dolls bassist Robby Takac serving as executive producer. Familiar material including Riding On The Rocket, Twist Barbie, Cycling Is Fun and I Am A Cat has been put back through the band as it exists now, and Naoko confirms those songs will be well represented when they reach Australia.


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If there is one band that knows how to completely tear the roof off a venue and leave the crowd begging for mercy, it’s Virginia groove metal powerhouse Lamb of God. For over two decades, these absolute legends have been consistency personified, delivering some of the most punishing, riff-driven, and neck-snapping metal on the planet. Aussie heavy music fans are currently losing their collective minds because Lamb of God is heading back down under for a massive, stadium-sized 2026 co-headlining tour with long-time brothers-in-arms Trivium. It is the kind of dream-ticket tour line-up that doesn’t come around often, and with Scottish metalcore heavyweights Bleed From Within rounding out the bill, things are guaranteed to get chaotic.
Sitting at the very eye of this sonic hurricane is guitarist and founding member Mark Morton. Alongside Willie Adler, Morton has forged one of the most iconic, razor-sharp twin-guitar attacks in modern metal history, blending brutal thrash aggression with a signature, heavy-footed southern groove. Fresh off the release of their lethal latest record, Into Oblivion, the band is leaner, meaner, and ready to unleash hell. This isn't just another casual run of dates for the boys; it’s a full-scale metal celebration that kicks off tonight in Perth before absolutely decimating Adelaide, Melbourne, Sydney, and Brisbane.
Here at HEAVY we love nothing more than diving headfirst into the dirty details of how the heavy music magic happens. We recently caught up with the legend himself to chat all things decibels, live dynamics, and Australian chaos. In this massive, unfiltered chat, Mark pulls back the curtain on the delicate creative chemistry and ego-checking required to keep a legendary band firing on all cylinders for 20-plus years.
We also geek out heavily on the gear side of things, getting the scoop on his stunning, sold-out Gibson Les Paul Modern Quilt Artist Series signature guitar, how he feels about the untouchable uniqueness of the Lamb of God sound, and exactly what kind of absolute madness he expects when the band steps out on Australian soil. So, grab a cold beer, lock in your neck braces, and check out our full conversation with the riff master himself!


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Interview by Ali Williams
Interview by Ali Williams
THE CRIBS are bringing ninth album Selling A Vibe to Australia this October, and Ryan Jarman is considerably happier about the shows than the long-haul flight. It will be their first national tour since 2018; the pandemic prevented an Australian visit for 2020’s Night Network. Ahead of the return, the guitarist and vocalist caught up with HEAVY to discuss a new recording approach and the spontaneity he refuses to give up.  Ryan, bassist and vocalist Gary Jarman and drummer Ross Jarman still write together in the rehearsal room, working out the songs before recording begins. For Selling A Vibe, they favoured compact arrangements and strong hooks. Ryan describes the material as more pop-structured than Night Network and their earlier work with Steve Albini, while retaining the energy that comes from the three of them developing ideas together.
Full write up and interview heavymag.com.au

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If you haven’t crossed paths with Melbourne’s premier unholy crusty death metal outfit Küntsquäd yet, then honestly, what the hell have you been doing with your life? Led by the ferocious, guitar-wielding frontwoman Paula VC Damnzal, this four-piece wrecking crew has been absolutely tearing the Australian heavy scene a new one with their toxic blend of blackened grime, extreme death metal, and crust punk aggression. Fresh off dropping their latest devastating sonic assault, Satan's Cock, they are gearing up to take their chaotic live ritual across state borders.
And where better to unleash that unadulterated musical pummelling than at Western Australia’s ultimate heavy metal proving ground? That’s right, the legends are packing up their gear and heading over to Kirup for Dark Down South III Open Air. Taking place at the iconic Jim McDonald Oval this November, Dark Down South has rapidly earned a massive cult reputation as one of the last remaining true European-style camp-on-site heavy metal festivals left standing in the country. With so many events falling by the wayside lately, this is a pure, old-school, family-friendly, BYO-but-absolutely-no-glass metal haven that connects the absolute best of our homegrown underground with fanatical punters who live and breathe the heavy riff.
For Küntsquäd, this isn't just another standard interstate gig; it's a full-blown mission to leave the regional WA landscape entirely scorched and begging for mercy. Joining a massive, stacked lineup featuring international headliners Demente alongside a killer bill of national heavyweights, the band is primed to deliver a set that will teach the local metal groms exactly how a proper mosh pit behaves. It’s about unity, respect, and a shared love for the most extreme corners of music—all served up under the open skies.
HEAVY caught up with the absolute bloody legend Paula VC Damnzal and guitarist Nik to chat all things Dark Down South. We dig deep into what the band has in store for the Kirup crowd, how they plan to adapt the crushing, down-tuned production of the new record for an open-air environment, and why supporting independent metal festivals is more critical now than ever before. So, crack a Jack, crank the volume, and prepare yourselves for the incoming pummelling. Küntsquäd have spoken!

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Interview by Ali Williams
KATATONIA return to Australia this October with Nightmares as Extensions of the Waking State and crowds that can span several generations. The Australian run starts at Crowbar in Brisbane on October 7, with Atticus Chimps and PARHELION supporting. Released on June 6, 2025, the record is the thirteenth studio album from the Stockholm band whose music has expanded from death/doom into gothic and progressive music. When bass player Niklas Sandin spoke with HEAVY even he acknowledged the demands of saying the album title aloud. “It’s kind of a tongue twister,” he laughed. The group remain enthusiastic about touring the album, with Australian listeners next to hear the songs after the Japanese and New Zealand dates. 
Those listeners cover a considerable age range. Sandin describes crowds stretching from people only just old enough to attend through to fans in their seventies and eighties. “It’s a big, big variety, and a lovely mix of people,” he says. Decades can separate their birthdays without anyone needing to explain why they are still going to gigs.  He appreciates how concerts allow people with different values and backgrounds to enjoy something together, and extends that observation across live music. A shared interest gives people who might never otherwise meet a reason to talk. Sandin is amused by the reverse situation in sport, where people who get along perfectly well can suddenly fall out over the team someone supports. Enjoying a band together seems a considerably more pleasant way to spend the evening.
Full interview and write up heavymag.com.au




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If there is one undeniable certainty in the heavy metal universe, it is that when Sweden's premier Viking metal juggernauts Amon Amarth decide to unleash a new record, you drop everything, grab your drinking horn, and prepare your neck for an absolute beating.
For over three decades, Amon Amarth has been the gold standard for sonic warfare, delivering monumental, slab-heavy melodic death metal that lands with the subtlety of Thor’s hammer. But just when you thought they couldn't possibly raise the stakes any higher, the band has returned with their massive thirteenth studio album, The Allfather Awakens, out October 2 via Metal Blade Records.
To say this record is a definitive masterwork is a massive understatement. Recorded across two separate, high-intensity sessions at Jacob Hansen’s studio in Denmark, The Allfather Awakens sees the band step completely out of their comfort zone. Instead of locking themselves away in a traditional writing room, they began crafting these ten crushing anthems right in the middle of touring life, tracking songs one by one to ensure every single piece of music received undivided attention. Sonically, they’ve even ditched their modern digital setups to plug straight back into classic Marshall amps, resulting in a raw, organic guitar tone that absolutely roars with unbridled aggression.
The tracks themselves are nothing short of devestating. From the opening furious blast of lead single Gjallarhorn to the thunderous battlefield epic Eight Legs of Thunder, Amon Amarth sound completely revitalized. Yet, the true wild card on this record arrives in the form of Upphaf—a translated stanza from the prophetic Norse poem Völuspá that stands as the first-ever purely acoustic offering in Amon Amarth’s legendary catalogue. It is an introspective, dynamic shift that adds a beautifully haunting layer to their trademark shield-wall violence.
Ahead of the highly anticipated release and their massive 2026 world tour, HEAVY sat down for a chat with the iconic man behind the mic himself, Johan Hegg. Armed with one of the most distinctive, bone-rattling guttural voices in metal history and a legendary 35cm beard, Johan was in fantastic spirits. We dove deep into the unique, fragmented recording process behind the new album, the creative nerves of stripping everything back for an acoustic track, the timeless inspiration of Oden, and exactly what fans can expect when they bring these brand-new, historically charged battlefield tales to life on the global stage.

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Words and interview by Aysha Swanson
On Sunday, October 11, Sunshine Coast hardcore outfit Human Condition will return to Nambour Bowls Club for the launch of their debut EP S.C.H.C., bringing TwoSeventy, No Harm, Blatant Saint, Asbestos and Doping Control to the stage. Best of all, the whole thing is free and all ages. For Human Condition, S.C.H.C. represents the end of a long wait. The band have been playing together since 2024, with these songs existing in their live set long before they were committed to record. Finally having them ready to release is understandably exciting, even if there are some nerves attached.
“I’m just so excited to get it out, you know, after so long and, you know, having just little setbacks and to get in and finally get it out is so cool,” the band explains.
That anticipation has been matched by a recording process that became a learning experience in itself. S.C.H.C. was recorded and mixed by Harry from Scram, who helped the band navigate their first proper release while giving them space to figure out what Human Condition should sound like on record. “It’s been really fun and a big learning curve,” they explain.
The EP arrives through Fortify Records, with Nick from the label playing a significant role in pushing the band towards finally getting it done. After first encountering Human Condition at a show, Nick continued backing the band and eventually approached them about releasing their music. For Human Condition, that support represents something bigger than simply having a label behind them.
“The community in hardcore is just unreal,” they say. “Everyone just backs each other. Everyone wants to support each other. Everyone wants to uplift each other.”
That sense of community runs through the band's understanding of the Sunshine Coast scene, particularly Nambour. Human Condition credit the work of local promoters and bands with helping turn the town into a genuine destination for heavier music, where hardcore, punk and metal audiences overlap rather than existing in separate scenes. The band have also experienced that support further afield, with Brisbane's WetWork and Sydney's Scram among those they credit with helping and inspiring them. For a young band, those relationships have become just as important as the shows themselves.
Now, S.C.H.C. is finally ready to leave the live room and exist properly in the world. Released Friday, October 2 via Fortify Records, the EP marks the beginning of a new chapter for Human Condition.


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Every now and then a band bursts out of the local circuit with the kind of sonic swagger that leaves your jaw firmly pinned to the venue floor. Three decades ago a bunch of Frankston graffiti artists did just that when they decided to mash punk rock, metal, and hip-hop together, creating a beautiful monster that would completely reshape the Australian alternative music scene. They didn't just play gigs; they threw chaotic, adrenaline-fueled parties that became the definitive soundtrack for the Big Day Out and Channel [V] generation. Of course, I’m talking about the absolute bloody legends that are 28 Days.
After completely decimating the capital cities earlier this year on a sold-out run, the boys are proving they have absolutely no intention of slowing down. They are heading right back out on the road this month for a massive regional anniversary tour, taking their infectious energy to the heartlands where it all began. To make things even sweeter for the old-school purists, their monumental, number-one ARIA-charting masterpiece Upstyledown is finally getting its first-ever vinyl pressing, sending fans into an absolute frenzy.
From their humble beginnings at a Frankston skate park to touring the world, surviving devastating heartbreaks, and continuously doing things strictly on their own terms, 28 Days have earned their stripes as true Aussie rock royalty. They’ve proven time and time again that their music is completely indestructible. HEAVY caught up with the band's enigmatic frontman Jay Dunne to dive deep into thirty years of pure, unadulterated chaos. We chat about the wild ride of their history, the beautiful madness of regional crowds, the nostalgia of spinning Upstyledown on wax, and exactly how much fuel is left in the tank for a band that still rips it up harder than artists half their age.


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Interview by Ali Williams
TAPE/OFF will be hitting the stages again bringing with them their beloved alt rock/groove punk sounds with them. Their first show for the year will be at Zed51 that effectively will kick off their tour. Drummer Branko Cosic caught up with HEAVY Magazine’s Ali Williams to chat about their return and their genuine excitement to be doing so. There’s a certain amusement in watching the bloke who normally on the other side of an interview asking the questions. Cosic spends a sizeable portion of his working life listening to other people between his Wednesday morning breakfast show, Unnecessary Knowledge, on 4ZZZ, working for the ABC, producing and engineering, and the various musical projects that keep claiming whatever hours remain, being the interviewee is not his usual position. The important part was that TAPE/OFF are heading to Zed51 , and Cosic is very bloody happy about it.
Full write up and interview heavymag.com.au


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The Dandy Warhols’ Zia McCabe has spent decades making music, but her latest creative chapter is taking her somewhere unexpected: immersive art.Returning to Australia in November, McCabe says the band’s relationship with Australian audiences remains special, saying “once Aussies decide they love you, they love you forever.”
But alongside the Dandy Warhols’ upcoming shows, McCabe will unveil SEE HEAR NOW at Tasmania’s MONA, an interactive musical installation opening to the public on November 26.The installation grew from McCabe’s desire to transform spaces and create environments that tell stories beyond music for everyone. Visitors will trigger musical elements through movement and interaction, with layered sounds creating an ever-changing composition.
A stationary bicycle, for example, can power a fan that activates a wind chime, while a central drone ensures the room is never silent.For McCabe, the project also represents a shift in how she sees herself. Raised in an artistic family, she once viewed music as separate from the visual art practised by her mother, father and sister. Now, she says she has embraced being an artist beyond simply being a musician.

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Interview by Ali Williams
THE MARK OF CAIN aren't a band prone to excessive activity for the sake of it. They play when there is a reason to play, record when there is something worth recording and, still prefer enough amplifiers and cables on stage to keep several roadies gainfully employed. In 2026, there happens to be a very good reason to get busy. 
The Adelaide trio Josie Scott, Kim Scott and drummer Eli Green are preparing to return to the stage, beginning with Brisbane’s Zed 51 Festival at Roma Street Parkland on October 24 before heading to Melbourne, Sydney and Adelaide through November. Behind those shows sits the more significant development: THE MARK OF CAIN are well into work on their sixth studio album, with eight songs already completed and demoed, more in development and plans to finish the record early next year. 
When HEAVY’s Ali Williams caught up with bassist Kim Scott, it became clear that the current burst of activity wasn’t born from some grand strategy. Zed 51 simply gave the band a reason to interrupt the writing process and get back in front of people.
“That kind of became a bit of a catalyst for us to come out live again,” Scott explains. 
Full write up and interview heavymag.com.au


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There are few bands in the modern alternative rock landscape that can genuinely claim to have completely rewritten the rulebook, but Essex powerhouses Nothing But Thieves are definately one of them. From their explosive self-titled debut right through to the sprawling, neon-soaked conceptual masterpiece that was Dead Club City, these boys have consistently refused to play it safe. They have spent over a decade blending indie sensibilities, electronic pulses, and massive, stadium-sized rock riffs into a cocktail that is uniquely, undeniably theirs. But nothing—and I mean absolutely nothing—could have prepared the rock world for the fierce sonic beast that is their brand-new studio album, Stray Dogs.
When the advance tracks for this record first landed in my inbox, I did what any self-respecting rock fan would do. I locked myself in the studio, cranked the speakers until the walls started to vibrate, and just let the music completely wash over me. Stray Dogs is a completely different animal for the band. It is darker, grittier, and carries a raw, visceral bite that feels like a massive nod to their heaviest rock roots while simultaneously rocketing headfirst into uncharted territory. It is the chaotic sound of a band entirely comfortable in their own skin, yet completely unwilling to sit still or compromise their artistic vision. The basslines groove deeper into your chest, the guitars cut through the air like a buzzsaw, and the overarching atmospheric tension keeps you on the absolute edge of your seat from the opening note to the dying embers of the final track.
At the center of this musical storm is frontman Conor Mason, and if you have ever heard this man sing live, you already know he possesses one of the most versatile, jaw-dropping vocal ranges in rock music today. He can transition seamlessly from a haunting, delicate falsetto that will break your heart into a ferocious, soaring roar that can tear the roof off an arena. On Stray Dogs, Conor pushes his vocal instrument harder and further than ever before. He channels a raw desperation and a fierce, uninhibited intensity that perfectly matches the album's thematic undercurrents of isolation, survival, and finding your pack in a fractured world.
With the anticipation for this album reaching a fever pitch globally—and particularly here in Australia, where we have adopted the boys as our own—I recently had the pleasure of sitting down for a proper yarn with Conor to dig deep into the belly of this new record. We spoke about the intense creative grind that birthed these new tracks, the heavy sonic experimentation that took place behind closed doors, and how the band managed to capture such an explosive energy in the studio this time around. Conor is one of the most down-to-earth, genuinely passionate blokes in the business, and his insight into the blood, sweat, and tears that went into this release is nothing short of sensational.
So, turn the volume up, get yourself a cold drink, and settle in. Here is HEAVY's chat with the brilliant Conor Mason of Nothing But Thieves, talking all things Stray Dogs and more.


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Interview by Ali Williams
Sixteen years into a band, creative expansion can become a logistical problem. For PROTOMARTYR, the latest version apparently comes with horns, extra personnel and the growing realisation that every good studio idea eventually turns up on the tour budget demanding its own seat. The Detroit post-punk veterans are preparing to release their seventh studio album Hotel Usona on September 25, frontman Joe Casey dialled into HEAVY to chat with our Ali Williams about their new release and upcoming US tour. When asked how he would explain PROTOMARTYR to the uninitiated, his first assessment is brutally economical. “Really shitty. No, it’s great.”
He offers a slightly more useful version immediately afterwards. “I guess it started out as punk, and then we got better at our instruments, and so people call us post-punk now.” There is also Casey’s considerably harder-to-misinterpret summary: “We’re a loud yelly band from Detroit.” Fair enough. Sixteen years, seven records and an international audience later, PROTOMARTYR have earned the right to keep the sales pitch brief. The new record, however, has given the band a few fresh problems to solve. Guitarist Greg Ahee has pushed beyond simply making the guitars heavier, bringing trumpets and horns into the equation in an attempt to find weight somewhere other than the volume knob. “Greg the guitar player wanted to use horns because he wanted to try to be heavy in a different way, as opposed to just cranking up the guitar,” Casey explains. “Sometimes big massed horns can be scarier or louder than the guitar.”

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The global punk rock landscape would look vastly different without the bruising anthems, razor-sharp sociopolitical fury, and unwavering grit of Chicago’s finest, Rise Against. For over two and a half decades, Tim McIlrath, Zach Blair, Joe Principe, and Brandon Barnes have acted as the sonic conscience of alternative music, throwing their weight behind causes that matter while sound-tracking the lives of millions. Now, the powerhouse four-piece is gearing up to cross the Pacific once again for what promises to be one of the most explosive, boundary-pushing double-bills down under has seen in years.
While Aussie fans were treated to a brief, high-octane taste of the band in early 2024 when they tore through arenas opening for pop-punk royalty Blink-182, it has been nearly a decade since Rise Against commanded their own proper headline slots on our shores. The agonizing wait is finally over. Come November and December 2026, the band is returning to claim their throne, co-headlining a massive national run alongside Celtic-punk legends and longtime brothers-in-arms, the Dropkick Murphys. It is a pairing born out of mutual respect, raw sweat, and a shared philosophy that live music should be a unifying, sweat-soaked communion.
From the relentless velocity of Melbourne's John Cain Arena to the open-air intensity of Brisbane, Sydney, Perth, and Gosford, this tour isn’t just a victory lap; it’s a necessary release. Australian crowds have always held a fiercely loyal, borderline-feral affection for Rise Against, matching McIlrath’s soaring choruses and Blair’s blistering fretwork note-for-note, mosh-for-mosh. With a staggering, deep-cut-heavy discography to pull from, the band is preparing to unleash the full-throttle, headline-length sets that local diehards have been starved of since 2018.
Ahead of the highly anticipated summer tour, we sat down with the band's powerhouse guitarist, Zach Blair. Known for his explosive stage presence and deep-rooted passion for the global punk community, Zach opened up about the enduring bond between Rise Against and Australian audiences, the mechanics of co-headlining with a powerhouse like the Dropkick Murphys, why the heavy, fast, and unapologetic nature of punk rock is more vital now than ever before and more.
General onsale tickets are available from livenation.com.au and livenation.co.nz


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After decades spent establishing himself as a formidable guitarist across bands including Vicious, Lizzy Borden and Metal Church, Ira Black is entering a new chapter — one where he is stepping behind the microphone and putting his own story at the centre of the music.Apocalypse marks a deeply personal evolution for Black, who began exploring his voice during the pandemic after turning his attention to recording and songwriting. Having written around 500 songs during that period, Black eventually narrowed the material down to ten tracks that would become the foundation of the project.The journey began unexpectedly with a challenge: singing Led Zeppelin’s “Stairway to Heaven.” Initially frustrated by how his voice sounded, Black realised he was approaching vocals much like guitar — technically correct, but without enough feeling. That revelation changed everything.“I started writing lyrics that meant something to me,” Black explains, drawing from his upbringing, personal experiences and the cycles he wanted to break for his own children.That emotional honesty is particularly evident in “Black Box,” a song Black considers one of his songwriting pinnacles. Rather than allowing his heavier sound to obscure the lyrics, he deliberately prioritises clarity and melody.Apocalypse also explores humanity’s increasingly complicated relationship with technology and artificial intelligence, while the forthcoming album Phoenix delves into ideas of rebirth, mortality and the uncertain future.For Black, however, Apocalypse is more than another band. It is, in his words, “100% my soul on the line” 

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Interview by Ali Williams
Interview by Ali Williams
Faroese artist Eivør is celebrating the impending release of her latest studio album, Tungl. For over two decades she has been considered one of Nordic music’s alluring treasures with her voice and also the range of her music, managing to captivate audiences worldwide. She is also midway through a European summer festival run, having recently played the Czech Republic’s Brutal Assault, which she described as one of the coolest festivals she had played in a long time. Holland was next, Germany was waiting after that, and somewhere amongst the kilometres, hotel rooms and Nightliners sat a newly completed album and two freshly released songs. 
There is plenty happening in Eivør’s world, although trying to package exactly what she does into one convenient genre remains somebody else’s problem. Despite having developed a strong following within metal circles, particularly among listeners drawn to darker Nordic and pagan-influenced music, Eivør has never considered herself a metal artist. In fact, she has never been particularly interested in attaching herself to any specific genre at all. That has not stopped metal audiences claiming a sizeable piece of her.
Full interview and write up heavymag.com.au


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Swedish metalcore visionaries Imminence are a band that refuse to be put in a box. Just when you think you have their signature blend of crushing riffs and symphonic grandeur figured out, they tear up the rulebook and build an entire universe in its place. Following the massive global breakthrough of their 2024 masterpiece The Black, the band has entered a bold new era by signing with heavy music powerhouse Sumerian Records. Now, they are standing on the precipice of releasing their most ambitious, multi-dimensional project to date: their highly anticipated sixth studio album, Axis Mundi, dropping on October 2, 2026. 
If you thought you knew what to expect from the Swedes, think again. Axis Mundi—a title representing the central point where heaven and earth intersect—is a record defined by pure, unadulterated duality. It is an uncompromising sonic journey that balances devastatingly grotesque heaviness with breathtaking, cinematic breadth. To truly comprehend the massive scale of this record, you only have to look at the way the band introduces its world. They didn’t just drop a single; they unleashed a back-to-back double assault with the bruising violence of False Light and the orchestral majesty of Crestfallen, showing two completely opposing emotional forces that somehow tell a single, interconnected story.
But Imminence isn't stopping at the music. They are pushing the boundaries of what a modern heavy band can achieve by bringing a literal feature film version of Axis Mundi to select global movie theaters. The cinematic narrative woven throughout their striking music videos—following an immortal knight wandering endlessly in search of death—reaches its grand conclusion on the silver screen. It is next-level world-building that proves Imminence is no longer just writing albums; they are crafting living, breathing epics. 
HEAVY sat down with the band's charismatic frontman and violin virtuoso Eddie Berg to dissect the madness behind the new record. We dove deep into the sonic evolution of their new tracks and the sheer pressure of translating this massive theatrical vision into a live touring machine. Eddie opens up about how the band unlocked a brand-new creative toolkit for this era, the emotional catharsis of writing between the extremes of life and death, what it means to find your purpose when you are performing at the absolute peak of your powers and more.



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If you’ve been paying any attention at all to the breeding ground of chaotic, beer-soaked, sweat-drenched rock and roll coming out of the Sydney and Central Coast underground over the last few years, then the name NFÏ should already be permanently tattooed onto your brain. These local punk rock lords have built a reputation as an absolute must-see live experience, tearing up local institutions like the MoshPit Bar and Crowbar Sydney with sets that are as obnoxiously loud as they are brilliantly comedic.
They are the definition of proper, no-bullshit Australian punk.
Well, guess what? The boys are back, and they are bringing the absolute heat. Following up on the chaotic energy of their previous sonic assaults, NFÏ have just unleashed their blistering new full-length record upon the world. The title? Get Cooked Or Try Dying. And let me tell you, it is an absolute ripper of an album that demands to be listened to with a brutally cold tinny firmly gripped in your hand.
Recorded with the absolute legend Jay Whalley of Frenzal Rhomb over at The Pet Food Factory, this new collection of tracks captures the band’s signature raw, raucous energy and packages it into a series of anthems about all the stupid, everyday shit that drives us completely mental. From the maddening, soul-crushing experience of getting trapped in a maze of Swedish flat-pack furniture to the sheer, unadulterated joy of public nuisance behavior, NFÏ have managed to perfectly bottle the modern Australian existential crisis and set it to a fast, furious, three-chord punk beat. It’s got that classic, driving pub-rock grit infused with the rebellious attitude of the Sex Pistols and The Saints, but with that unmistakably distinct Aussie sense of humor that makes it entirely their own.
I had the absolute pleasure of sitting down with Christos from NFÏ to get the full, unvarnished inside scoop on Get Cooked Or Try Dying. We dive deep into the writing process behind these chaotic new tracks, what it’s like working with a punk icon like Jay Whalley, and how they manage to survive their own notoriously wild live shows without actually fulfilling the second half of their album title. We also chat about their upcoming tour plans, what keeps the fires burning in the local underground scene, and why they might just be the most honest band in the country right now.
So, crack open a cold one, turn your speakers all the way up to eleven, and get ready to dive headfirst into the madness. Ladies and gentlemen, give it up for Sydney’s finest purveyors of beautiful noise—here is my chat with the unstoppable NFÏ!

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La Dispute have always been a band that operates entirely on their own axis. For over two decades, the Grand Rapids, Michigan post-hardcore titans have bypassed traditional genre boundaries, instead crafting a visceral, emotionally exhausting world built on spoken-word poetry, jarring rhythms, and some of the most fiercely passionate storytelling ever committed to tape. They don't just play songs; they blood-let on stage, dragging their audiences through harrowing tales of grief, love, and the terrifying fragility of human existence.
Now, the band is gearing up to cross the Pacific once again for a highly anticipated Australian tour, bringing their legendary live intensity back to a fanbase that treats their lyric sheets like sacred texts. To get the lowdown on what promises to be one of the most raw and punishing live music experiences of the year, HEAVY sat down with the mastermind himself, frontman Jordan Dreyer.
If you’ve ever listened to a La Dispute record, you already know that Dreyer doesn't do things by halves. On stage, he is a tempest—pacing, gripping the microphone like a lifeline, and screaming with an urgency that makes you feel like the room is actively cave-in around you. Off stage, however, he is the exact antithesis: remarkably articulate, profoundly thoughtful, and disarmingly humble.
In this sprawling, unfiltered chat, Jordan opens up about the band's enduring, symbiotic relationship with Australian audiences—a crowd he notes has a unique, uncompromising appreciation for heavy, emotionally transparent music. We dig deep into the physical and psychological toll of performing tracks from Wildlife and Somewhere at the Bottom of the River Between Vega and Altair night after night, exploring how he manages to find new spaces of catharsis in stories he wrote more than a decade ago without losing his mind in the process.
We also chat about the sheer endurance required to front a band as sonically demanding as La Dispute, their recent album No One Was Driving the Car and how it was received, translating the aural significance of their music to the live setting, why Australia remains an essential, unmissable pilgrimage for the band and more. Strap yourselves in, heavy music fans. This is a fascinating glimpse into the mind of one of alternative music's most compelling and brilliant lyricists. Ladies and gentlemen, give it up for the one and only Jordan Dreyer.


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When the news broke that progressive metal titans The Ocean had lost two-thirds of their lineup, the heavy music community as a whole held its collective breath. Longtime vocal powerhouse Loïc Rossetti, alongside Paul Seidel and David Ramis Åhfeldt, all stepped away. For lesser bands, a mass exodus like that is a definitive death knell. It’s the moment you pack up the gear, raise a glass to the memories, and gracefully bow out. But if you know anything about founding guitarist and mastermind Robin Staps, you know that "giving up" simply isn't wired into his DNA.
Instead of letting the curtain close on a brilliant 25-year legacy, Staps dug his heels into the dirt, pivoted, and orchestrated one of the most astonishing creative rebuilds the genre has ever seen. Out of the ashes of uncertainty comes Solaris, the band's monumental 12th studio album, set to drop on September 25 via Pelagic Records. And let me tell you, this thing is a absolute beast of a record.
Clocking in as a near-70-minute psychological sci-fi epic, Solaris takes inspiration from Andrei Tarkovsky’s iconic film masterpiece, weaving dystopian cinematic soundscapes with the crushing, world-ending post-metal riffs that fans have been begging for since the Pelagial days. It’s massive, it’s introspective, and it introduces a radically revitalised global collective—featuring new vocalists Lane Shi and Enrico Tiberi, alongside guitarists Emmanuel Jessua and Marco Gennaro, all locking arms with Staps, bassist Mattias Hägerstrand, and drummer Jordi Farré. It is a terrifyingly ambitious next chapter that proves this band is far from dead.
HEAVY had the privilege of sitting down with Robin Staps to dissect the beautiful chaos of the last two years. We talked about the heartbreaking sting of the lineup changes, the frantic energy of rebuilding a musical empire from scratch, the existential themes buried deep within their staggering new singles Light Pollution and Belligerence, the overlapping story arc and more.


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Interview by Ali Williams
If organising an interstate show for your band meant first having to consult an aviation specialist, gather a road-condition report and possibly notify the Department of Defence, most would assume that you're either stuck in a fever dream and or that definitely be some A grade ganga you've gotten your grubby little mittens on. However this is standard band life for Northern Territory's MERTAS. Based in remote northeast Arnhem Land, the punk outfit must contend with return flights approaching $2K per person or a twelve-hour drive to Darwin, much of it along dirt roads. There are no traffic lights in their community, no Kmart and no Macca’s.
Consequently, the band’s first performances outside the Northern Territory are not just another booking on the calendar. Their arrival at BIGSOUND is a considerable achievement and one they are properly thrilled about. Speaking with HEAVY, MERTA’S Matt Kane explained that their band began with the dependable combination of skateboarding, mates and discovering music that immediately demanded further investigation. He grew up listening to hip-hop before a friend at the skate park introduced him to punk, Tool and other heavier acts. A stint providing vocals in a Rage Against The Machine-influenced project followed, before Matt learned guitar, contacted a few friends and suggested they have a jam.
That was essentially the master plan. They found music they loved, picked up instruments and started making their own. The band developed gradually, playing throughout Arnhem Land and building a strong connection with Darwin’s expanding punk and heavy music community. Their hometown location may complicate touring, but it has also encouraged MERTAS to become impressively self-reliant. Matt works professionally in photography and videography, allowing much of the band’s recording, filming and promotional work to be created from his bedroom.
Full write up and interview heavymag.com.au

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Interview by Ali Williams
NIGHTDIVE may be a relatively new band, but its members are hardly wandering into BIGSOUND armed with blind optimism and three rehearsals. Jack Robert and Mitch Clews have spent years working as session musicians, learning other people’s material, backing lead artists and making the whole operation sound considerably more competent. Now, alongside vocalist and guitarist Sam Tomlinson and the rest of NIGHTDIVE, they are putting that experience behind music carrying their own name.
The band released its first material in August last year and has moved quickly since, following its debut EP with two new singles, a second EP and its first national tour. BIGSOUND arrives before NIGHTDIVE has even completed its first full year, which is a decent result for five musicians still passing demos around Dropbox and politely debating which version is least likely to cause an internal incident.
Full write up and interview heavymag.com.au


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When you talk about the foundation of Australian heavy music, one name immediately commands respect. 
Mortal Sin. 
Emerging from Sydney in the mid-1980s, Mortal Sin became the undisputed pioneers of local thrash metal. Their 1987 debut album, Mayhemic Destruction, didn't just break the mould—it drew a definitive line in the sand, proving that Australian bands could match the speed, aggression, and technicality of the dominant American and European bay-area scenes. At the center of that historic sonic assault was founding vocalist Mat Maurer, a frontman whose fierce delivery and enduring dedication have shaped the landscape of heavy music down under for four decades.
Now, following a prolonged thirteen-year hiatus that left fans wondering if they would ever witness the madness again, Mortal Sin has made a triumphant, full-throttle return. Having roared back to life to celebrate their 40th anniversary, the band has spent the year pulverising crowds at European festivals like Keep It True and Alcatraz Metal Festival, proving that their iconic catalog has lost none of its bite.
But the biggest celebration is yet to come. This September and October, Mortal Sin is joining forces with American heavyweights Flotsam and Jetsam for the co-headlining Monsters of Thrash Australian tour. For the legendary Arizona band, this marks their first-ever maiden voyage to Australian shores in their 40-year career. Armed with their fierce new album Rats In The Temple, Flotsam and Jetsam are set to unleash a decades-deep arsenal of classic speed and thrash metal. Alongside them, Mortal Sin brings their renewed firepower, turning this four-date whirlwind tour into an unmissable, historic milestone for metalheads across the country. With a stacked lineup completed by local powerhouses Hidden Intent and Livewire, this tour promises to turn venues into absolute warzones.
We had the privilege of sitting down with Mat to dig into this monumental tour. In the interview, Mat opens up about the thrill of sharing the stage with Flotsam and Jetsam for their historic debut down under, the sheer logistics of rebuilding the band after more than a decade apart, how the current 2026 iteration of Mortal Sin channels the same raw, chaotic hunger they had in the late '80s and more.


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Few bands can drag a generation by the heartstrings quite like pop-punk royalty Yellowcard. When they wrapped things up a decade ago, it felt like the final curtain on a sound that defined the sweaty, sun-drenched glory days of the Warped Tour era, but true rock and roll never stays buried for long. In a massive creative renaissance, the boys are officially back, and they aren’t just playing the nostalgia card—they are completely tearing up the rulebook.
Following their triumphant return with the studio album Better Days last year, the band has just dropped the definitive statement of their comeback: Better Days (Deluxe), via the heavyweights at Better Noise Music. This isn’t your standard, lazy cash-grab re-release with a couple of rough acoustic throwaways tagged onto the end. This digital expansion is a massive 14-track powerhouse that acts as a living, breathing testimony to the band's evolution. It features mammoth collaborations with the likes of Avril Lavigne, Matt Skiba, Good Charlotte, and Steve Aoki, expanding their classic sonic blueprint into heavier, uncharted territory.
At the center of this whirlwind is the band's secret weapon, violinist and rock legend Sean Mackin. For over two decades, Mackin’s soaring, melodic violin lines have given Yellowcard a unique, distinct edge in a genre flooded with three-chord clones. On Better Days (Deluxe), his performance is tighter, sharper, and more emotionally resonant than ever before.
A massive piece of the puzzle on this record is the inclusion of the brand-new track Calvary Drive - a song that holds a deeply special place in the band's current chapter. As the very first demo the band worked on alongside powerhouse producer and blink-182 drumming icon Travis Barker, it was the definitive spark that lit the fire for the entire album. From that initial studio session sprouted a record that balances raw, aggressive energy with the deeply honest, vulnerable songwriting the band is celebrated for.
HEAVY had the pleasure of sitting down with the legend himself, Sean Mackin, to unpack the madness behind this stellar new release. We dive headfirst into what it was like working in the studio with Travis Barker driving the rhythm section, the thrill of bringing heavy-hitting friends on board for these killer new collaborations, and how it feels to pilot Yellowcard into a brand-new, revitalized era. Grab a cold one, crank the volume up to eleven, and check out the full chat below.


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JD Fortune is returning to Australia this October, bringing a full band and a set packed with the songs that helped make INXS a defining force in Australian music.Following the sold-out response to his 2025 Australian tour, Fortune says it was the connection with Australian audiences that made returning an easy decision.“The love was insane,” Fortune tells HEAVY. “The energy for the music… there’s something in the DNA because of those songs.”That connection is something Fortune understands intimately. After winning Rock Star: INXS in 2005, he went on to front the band, stepping into a catalogue that had already become deeply woven into the lives of millions of fans.Fortune says he has heard countless stories from people who associate songs such as Never Tear Us Apart and Don’t Change with weddings, graduations and even funerals.“I never take it for granted,” he says. “Music is like a time machine.”His upcoming Australian shows will see him performing the best of INXS, alongside Pretty Vegas and Devil’s Party, songs he co-wrote with the band. Rather than reinventing the material, Fortune believes the songs should be allowed to speak for themselves. Interview by Angela Croudace.

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Forget everything you know about the traditional, sanitized big-top circus, because a beautifully twisted, punk-infused counter-cultural storm is rolling through regional Australia. Straight from the beating heart of the underground party scene, Cirque Le Strange - the mind-bending brainchild of Oozing Future - is hitting the highway for its Regional Tour. This is not a show designed for the faint of heart or the easily offended. It is a high-octane, beautiful explosion of raw sweat, gender-bending performance art, and human-body-defying spectacles that demands to be seen to be believed.
For years, Australia's capital cities have gatekept the weirdest and wildest late-night cabaret and freak shows, leaving regional fans starving for authentic alternative entertainment. This highly anticipated regional tour changes the game entirely, bringing a hand-picked, heavy-hitting collective of carnies, queers, and sideshow royalty deep into regional hubs across Victoria and Queensland. Spanning ten chaotic stops from the historic bandrooms of Geelong and Albury to the sun-baked stages of Bundaberg, Rockhampton, and Townsville, this run of shows is a massive, unapologetic celebration of fringe culture.
The lineup reads like a fever-dream roll call of alternative icons. Headlining the madness is the legendary King of the Freaks himself - world-famous body modification star The Lizardman, recognizable globally from Ripley's Believe It or Not! Alongside him stands Soliana Ersie, widely celebrated as the bendiest woman in the Southern Hemisphere. Adding fuel to the chaotic fire is punk clown Captain Ruin, famed for causing absolute mayhem and hanging actual weights from his private parts, alongside the stunning Mx Burlesque Victoria winner Winter Greene, and the sheer, gravity-defying pole strength of Thembot.
This tour transforms standard regional pub venues into volatile, safe, and wildly liberating playgrounds where the line between performer and audience is completely obliterated. It’s punk rock in its purest, most visual form—subversive, shock-inducing, and deeply captivating. Ahead of this monumental, logic-defying trek across the country, we sat down with the masterminds and freaks behind the curtain. In true HEAVY fashion, we dug into the sheer logistics of taking an underground freak show on the regional highway, how they handle pushing the absolute physical limits of the human body night after night, and why regional Australia is more than ready to embrace the strange.
Secure your spot via Oztix, leave your expectations at the door, and prepare to join the rebellion—the freaks are officially coming to town.


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Melbourne-via-New Zealand heavy hitters Banks Arcade are a band completely devoid of boundaries, systematically smashing the modern metalcore blueprint to pieces and rebuilding it in their own chaotic image. Merging towering post-hardcore riffs with hip-hop swagger, electronic glitch-work, and raw, bleeding-heart lyricism, this four-piece has rapidly evolved into one of the most exciting and unpredictable forces in the global alternative scene. They don’t just play heavy music; they live it, breathe it, and constantly reinvent it. Now, off the back of a relentless global tear, the boys are gearing up for a massive homecoming, hitting Australian roads this October for a powerhouse national tour alongside American rap-metal juggernauts From Ashes To New.
This isn’t just another run of shows; it’s a collision of worlds. Teaming up with From Ashes To New makes for a fiercely high-octane double-bill that bridges the gap between classic nu-metal energy and the cutting-edge future of heavy music. For Banks Arcade, stepping onto these stages across Australia’s major cities is a statement of intent. They’ve spent the last couple of years cutting their teeth internationally and commanding festival stages, but there is a distinct, borderline-dangerous energy that ignites whenever they play in front of a homegrown Aussie crowd. It’s loud, it’s sweaty, and it’s completely unapologetic.
Adding massive fuel to the fire is the looming arrival of their highly anticipated new studio album, Second Place Superstar. Written and refined amidst a whirlwind of international touring, the new record represents a creative quantum leap for the band. It’s darker, heavier, and features the kind of massive, genre-bending hooks that demand to be screamed back at a stage from a packed, suffocating mosh pit. This tour will give diehard fans their very first taste of this new era live, transforming venues into volatile testing grounds for tracks destined to become future anthems.
Ahead of what promises to be one of the most explosive heavy music tours of the year, we sat down with Banks Arcade's magnetic frontman, Joshua O’Donnell. We dug deep into the raw creative headspace behind the new album, the sheer chaos of sharing a stage with From Ashes To New, and why Banks Arcade are refusing to play by anyone else's rules as they prepare to tear up the Australian highway.


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Interview by Ali Williams
Australia has been claiming a little piece of MUDHONEY for longer than most of the world had worked out exactly what to call them. The Seattle band first made it down here in 1990, possibly becoming the first of the emerging grunge contingent to do so. Speaking with HEAVY, guitarist Steve Turner still has a fairly simple correction for anyone getting too enthusiastic with the historical labels. “We still think of ourselves as a punk band.” 
That distinction probably explains quite a lot about MUDHONEY. Formed in 1988, they had records out and were already touring before Nirvana and Pearl Jam became global names. They were there before Seattle became an international obsession, remained there while record companies went looking for the next band wearing old clothes and carrying a distortion pedal, and kept playing after the attention moved elsewhere. Turner remembers the explosion around his friends with far more amusement than envy. MUDHONEY were already earning enough to tour, pay their bills and continue making music, an achievement that was hardly standard operating procedure for a Seattle band at the time. Then everything around them became enormous very quickly. 
"I was happy where I was at. I don’t want to be a rock star. I never wanted to be a rock star or anything. I just want to play some music.” Watching friends become extremely famous only strengthened that opinion. “I definitely don’t want that. I want one paycheck. Give me one of your paychecks and I’ll be happy.” Fair. Fame optional, cheque accepted.
Full interview and write up heavymag.com.au


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When it comes to genre-bending, heavy music demolition, few bands have lit up the global landscape quite like central Pennsylvania's rap-rock juggernauts From Ashes To New. 
They didn't just crack the door open for the modern nu-metal resurgence—they kicked it down, set it on fire, and built an empire from the remaining embers. Led by founding mastermind, producer, and co-vocalist Matt Brandyberry, the band has weaponised a volatile sonic blend of arena-sized rock choruses, electronic grit, and rapid-fire hip-hop verses that refuse to be boxed in. After sending shockwaves through the scene with their chart-topping 2023 release Blackout, the quintet returned to double down on their dominance. Their highly anticipated fifth studio album, Reflections, dropped via Better Noise Music, proving to be their most introspective, explosive, and uncompromising work to date.
Now, Aussie fans are finally getting the old-school throwdown they've been begging for. In partnership with premier alternative touring agency Destroy All Lines, From Ashes To New are locking and loading for their debut headlining tour of Australia. For a band that has generated billions of streams, sold out arenas across North America, and shared major festival stages with the absolute royalty of rock, this October run marks a massive, long-overdue milestone. Supported by Melbourne alternative heavy hitters Banks Arcade, the tour promises to bring the band’s notoriously high-energy, sweaty, and visceral live show down under.
Ahead of the tour, HEAVY sat down for a raw, unfiltered chat with frontman Matt Brandyberry. In typical fashion, he didn't hold back. We dug deep into the high-stakes gamble behind Reflections—including the brutal, agonizing creative decision to scrap an entire album’s worth of completed demos and start completely from scratch to capture a more authentic, visceral sound. He talked more about the tour and what to expect, highlighting the fact that in the space of just 2 years they have gone from their first tour of Australia to headlining their own shows.
We talked about the musical transition between the last two albums, future plans and more.


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If there is one band that has spent the last forty years flipping a massive, middle-finger to the rules of conventional music, it is the absolute legends in Fishbone. 
These boys didn’t just break the mold when they burst out of South Central Los Angeles back in 1979—they blew it to pieces, swept up the debris, and used it to build a completely new sonic monster. Fusing punk, ska, funk, metal, and soul into a hyper-kinetic weapon, they created the foundational blueprint that launched a thousand bands. Without them, the alternative landscape of the '90s simply doesn't exist. But while their studio records are undisputed masterpieces, anyone in the global heavy army knows that the true church of Fishbone is found live on stage. It's a place where gravity is merely a suggestion and frontman Angelo Moore rules over the chaos like a mad scientist.
Now, pack your bags and get ready, because the pioneers are heading back down under this September for a massive national headline tour. This isn't just any regular run of dates, either. The band is celebrating the massive 40th anniversary of their iconic debut studio album, In Your Face. For the old-school Aussie punters who remember the sweat-soaked, ceiling-shattering energy of their legendary tours here in the early 1990s, this is the ultimate homecoming. For the younger generation of heavy music fans, this tour is a rare, front-row masterclass in pure, unadulterated live performance from the absolute architects of the fusion genre.
The hype surrounding this run is reaching a boiling point. With founding keyboardist and trombone player Christopher Dowd firmly back in the mix, Fishbone recently snapped a nearly twenty-year recording drought with their stellar EP, Stockholm Syndrome. The new material proves the creative fire between Moore and Dowd is burning just as fiercely and subversively as it did in the 1980s. This upcoming Australian campaign promises a blistering collision of pure nostalgia and modern aggression, tearing through the hits of In Your Face while unleashing the biting, socially conscious tracks of their modern era.
Ahead of what promises to be an absolute series of masterclasses at historic rooms like Melbourne's 170 Russell and Sydney's Liberty Hall, HEAVY caught up with the incomparable Angelo - aka Dr. MadVibe himself - to get the lowdown. In true Angelo style, he holds nothing back as we dive deep into the endurance of Fishbone’s message, re-igniting the spark with original members, and exactly what happens when one of the most volatile live acts in rock history collides with the notoriously wild Australian crowd. Strap themselves in, heavy music fans, because this one is going to be special.


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Interview by Ali Williams
There are easier ways to run a band than placing half of it in Melbourne and the other half in Finland. THE ETERNAL have apparently decided ease is overrated. 
For guitarist/vocalist Mark Kelson, geography has become one of the least complicated parts of the equation. More than two decades into THE ETERNAL, he is preparing to release the band's eighth studio album, Obscured Horizons, while returning to Australian stages alongside AMORPHIS. The record was built between Melbourne and Helsinki by a lineup Kelson describes as the band's most stable, collaborative and creative yet. 
THE ETERNAL now operate as a genuinely Australian-Finnish band, with Kelson and Richie Poate (guitar) in Australia alongside Niclas Etelävuori and Jan Rechberger in Finland. Their sound still sits firmly in dark melodic metal with progressive elements, although Kelson is not particularly interested in spending too much time arguing over genre labels.
Full write up and interview heavymag.com.au


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If your idea of a good time involves enough hairspray to deplete the ozone layer, leather pants tighter than a second skin, and hooks that could catch a great white shark, then brace yourselves, Australia. The glorious era of Sunset Strip debauchery and power-pop majesty is heading Down Under this November for the RU PRETTY ENUFF Australian Tour. 
In what is shaping up to be one of the most unapologetic celebrations of pure, unadulterated rock ’n’ roll excess to hit our shores in 2026, the legendary Pretty Boy Floyd are teaming up with Chicago's premier power-pop icons, Enuff Z'Nuff for a travelling rock show you don't want to miss. This isn't just a basic trip down memory lane or a lazy nostalgia run—both bands are actively flying the flag for live music, armed with fresh material and the exact same fiery attitude that made them subcultural icons decades ago.
To get the absolute lowdown on what promises to be a dangerously loud run of shows, HEAVY caught up with none other than Pretty Boy Floyd's enigmatic frontman, Steve Summers.
Summers is a true survivor of the late-’80s Hollywood explosion, a frontman who fully understands that a rock show isn't just about playing chords—it’s about creating a goddamn spectacle. When Pretty Boy Floyd dropped Leather Boyz with Electric Toyz back in '89, they gave the world a permanent blueprint for sleaze rock. Fast forward to 2026, and they are currently touring the globe celebrating the 37th anniversary of that iconic debut while simultaneously proving they still have plenty of gas left in the tank. Armed with an explosive new album, Summers and the boys are ready to mix timeless anthems like Rock and Roll (Is Gonna Set the Night on Fire) with their latest hard-hitting material.
When we sat down for a chat, Steve was in fine form, buzzing about the prospect of bringing their high-octane set to Aussie crowds alongside their longtime brothers-in-arms, Chip Z’Nuff and his crew. We dove into how the band balances honoring their wild legacy while continually pushing forward with a distinct identity. Steve opened up about the enduring power of melodic hard rock songwriting, the realities of keeping the Hollywood flame alive through decades of shifting musical trends, and exactly why Australian rock fans still have an insatiable appetite for big riffs, massive choruses, and oversized hair.
With an incredibly stacked national lineup of local XMusic acts like Audio Reign, Snakebite Whisky, Karly Jewell, RUNT and Poizon'Us jumping on board to turn each night into a massive, full-blown scene celebration, this tour is going to be special. Grab a cold beer, adjust your leather jacket, and tune in as Steve Summers gives us the full, unvarnished preview of the upcoming tour, recalls the magic of the early Sunset Strip days, and explains why rock ’n’ roll will always set the night on fire.
Tix: https://xmusic.au/tours/


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Interview by Ali Williams
Some people describe themselves as busy and mean they answered three emails before lunch. Dave McCormack currently has CUSTARD shows, his freshly assembled David McCormack’s TRS80 project, recording, touring, assorted end-of-year plans and the small matter of being Bandit in one of Australia’s most successful television exports. McCormack caught up with HEAVY’S Ali Williams to give us the latest on it all. His assessment is considerably less dramatic. 
“Ali, I’m busy.” Fair enough. 
For CUSTARD, that activity includes a return to Brisbane for Z51 on October 24, a festival McCormack is clearly delighted to be part of after the band missed Z50 last year. It also arrives after CUSTARD recently joined SPIDERBAIT at The Tivoli, a show that put McCormack back onstage after a decent stretch without a gig and reminded anyone within viewing distance exactly how entertaining he remains when handed a guitar and access to a microphone. “We haven’t done a gig in ages,” he says. “It was just fun to get back out there.” Fun is not difficult to identify when McCormack is involved.
Full write up and interview heavymag.com.au


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If you call yourself a fan of heavy music in this country and you haven’t heard of The Black Wreath and the current campaign to ensure its survival it’s time to pull your head out of the sand. Tucked away in Ciccone, Alice Springs - right in the dusty, unforgiving Dead Centre of Australia - this absolute powerhouse has spent the last 15 years acting as the beating, bleeding heart of the outback metal scene. It’s a record label, a rehearsal space, a recording studio, and a brutal sanctuary for a plethora of music that has hosted over 400 artists from every corner of the globe. They are the brilliant, mad minds behind one of HEAVY's favourite festivals in Blacken Open Air as well as a host of other music driven events, but right now, the walls are closing in.
The spiritual home that is The Black Wreath is officially up for sale by owners, and if the local music community doesn’t step up this crucial piece of Australian heavy music history could be wiped off the map forever. Enter the Save The Black Wreath fundraising campaign. The mission? A massive, ambitious push to raise $1 million to buy the building outright and place it into a permanent community trust so nobody can ever take it away. With a massive Blacken Forever nationwide festival set to detonate simultaneously across six states on Saturday, 12 September - the final stay of execution - the clock is ticking down to the final wire.
HEAVY caught up with the man behind the legend, Pirate, to talk about the brutal reality of the grassroots music crisis, the overwhelming support from not just heavyweight bands and local businesses but also by the music community as a whole, exactly what it’s going to take to save this desert fortress of noise and more.
United we can do this kids. Head to THE BLACK WREATH for details on how you can contribute. For tickets and more information about the Blacken Forever event in your state visit tinyurl.com/blackenforever

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If there is one undeniable truth in the brutal, beautiful world of heavy music, it is that complacency is a killer. The moment a band thinks they have the game entirely figured out is precisely when the universe steps in to deliver a ferocious reality check. Nobody understands this balancing act of chaos and raw artistic instinct quite like Melbourne hard-rock outfit Ion Sky. Just when they were preparing to head into Pony Studios to track drums for the new album songs - firmly agreeing that the creative taps were turned off and no more songs would be allowed on the ledger—vocalist Mike Joseph threw a massive spanner in the works.
It started with an urgent, fired-up phone call to guitarist Jake James. Armed with little more than a searing opening line, a heavy, droning melody, and a frantic voice memo, Joseph essentially demanded they make room for one more. Within hours, a demo was built, the band was convinced to squeeze it into the session, and that eleventh-hour burst of sonic lightning has now manifested as their thunderous new single, The Dirt Will Humble You. Serving as the blistering opening salvo for next years highly anticipated upcoming album, Before We Die, the track isn’t just a regular release; it is a total declaration of intent that lays the gauntlet down with staggering ferocity.
What makes this track stand out in an already thriving Australian rock scene is the sheer, unapologetic weight behind its subject matter. It fuses their signature classic metal and post-grunge hybrid style with hooks that refuse to leave your head and a primal energy that captures the electrifying live presence the band has spent years perfecting. It is heavy, it is melodic, and it goes harder than anything they have put to tape so far.
HEAVY Magazine sat down with the ever-passionate frontman Mike Joseph to get the lowdown on the chaotic birth of this track, the madness of rewriting album structures at the absolute last minute, how a random voice memo turned into the band’s definitive favorite live anthem and more. Crack a cold one, crank the volume, and find out how Ion Sky are continuing to keep the spirit of dirty, uncompromising Australian rock alive and kicking.


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Alright, music lovers, strap yourselves in and clear some space on the floor because you’re going to need it! When it comes to the Australian heavy music scene, Brisbane has a legendary reputation for breeding some of the most fiercely uncompromising, sonically massive, and downright dangerous rock bands on the planet. But even in a city bursting at the seams with top-tier talent, few outfits have captured the raw, sweat-soaked chaos of a Friday night quite like Gutterfire!.
If you haven’t crossed paths with these absolute legends yet, let me lay it out for you straight. This is a band that completely refuses to be put into a neat little box. They call their signature blend of sonic warfare "upbeat doom," and if that sounds like a beautiful contradiction, that’s because it bloody well is! It’s the kind of high-octane, post-apocalyptic hard rock that makes you want to bang your head until your neck snaps, while simultaneously shaking your ass as the world burns to the ground around you. It’s equal parts fuzzy stoner rock, punk-fueled aggression, and melodic hooks heavy enough to drop a medieval knight.
Ever since Gutterfire! detonated onto the local circuit around the turn of the last decade the five-piece powerhouse have been on an upward trajectory. They took the underground by storm with their stellar debut record Chill, attracting interest from global heavyweights Wormholedeath Records and dropped face-melting tracks like I'll Be Along and Bonfire. They’ve shared stages with everyone from Electric Mary to Astrodeath, proving every single time that their live show is an absolute masterclass in pure, unadulterated energy.
And now, after a far too long absence, Gutterfire! have set the wheels in motion for a return assault on the national music scene, welcoming in two new members as they take the first tentative steps towards creating their second album. The creative process has been exciting thus far, with Gutterfire! recently completing the demo stage for a batch of new songs with a view to heading into the studio later this month to start laying them down proper. And, of course, the band will be road testing the new material live over a number of gigs between now and the end of the year, giving fans and punters not only an early glimpse into the next phase of Gutterfire!, but also possibly a small say in how the finished product turns out.
HEAVY sat down with the band to find out more.


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Every now and then, a band bursts out of the local circuit with the kind of sonic swagger that leaves your ears ringing and your jaw firmly pinned to the floor. If you haven’t crossed paths with Sydney ’s own theatrical rock powerhouse NECKO yet, you’re about to get a rude, blues-drenched awakening. Dubbed by some as the next torchbearers of massive arena rock, this formidable three-piece—featuring Alek Necko on vocals and guitar, Reno Torrisi on drums, and Alex Damon ripping up the bass and keys—has been quietly plotting a rock revolution. And let me tell you, their latest offering is an absolute monster.
The trio recently unleashed their new EP Necko II, a monstrous slab of music that takes everything you think you know about classic, blues-infused hard rock and turns it entirely on its head. We are talking about a record packed with immersive, medieval themes, navigating the jagged edges of newfound desire and gut-wrenching heartbreak. It is a rare blend of delicate whispers that draw you in, right before hitting you square in the chest with a powerful, stadium-sized roar. To make sure the sonic devastation hit exactly the right notes, the boys teamed up with GRAMMY winners Adrian Bushby and Al Sutton for production and mixing, capturing a raw, unapologetic performance that feels like a classic vinyl master brought to life in the modern age.
To celebrate this monumental release, NECKO is hitting the highway for their massive Come As One Tour, bringing their legendary high-energy live show to the masses. Known for their face-melting extended solos and a stadium-rock presence that commands the entire room, these guys don’t just play a gig—they put on a theatrical showcase. HEAVY caught up with Alek and Alex to dissect the inner workings of Necko II. We dive deep into each of the songs and find out how they represent Necko moving forward, what it was like working alongside heavy-hitting industry legends behind the soundboard, what fans can expect when they bring this raw wall of sound to life on stages across the country and more.

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Every now and then, a band comes along that leaves a massive, unforgettable dent in the heavy music landscape right out of the gate. If you have been paying attention to the underground metal circuit lately, you already know that Stockholm’s very own heavy metal prodigies, Bloodstain, are exactly that band.
Ever since they burst onto the scene and dropped their absolutely savage 2024 debut EP, I Am Death, they have been operating at a completely different speed. They didn’t just knock on the door of the New Wave of Swedish Thrash Metal; they completely kicked it off its hinges, quickly racking up streaming numbers and live reputations that leave older bands shaking in their boots.
Now, the wait is almost over. On September 25, the band is gearing up to unleash their highly anticipated, self-titled full-length debut album via Threeman Recordings and Sound Pollution Distribution. Produced alongside local metal royalty Alex Hellid of Entombed fame and mixed by the absolute wizard Ronnie Björnström, this upcoming record is a masterclass in how to honor classic heavy traditions while completely weaponising a contemporary, modern force. 
Singles like Something Sinister and Banner of Supremacy have already proven that Bloodstain is not just relying on narrow nostalgia. They are packing sharper riff discipline, massive hooks, and an undeniable stage instinct built for the biggest festival platforms in the world.
HEAVY caught up with the lads to chat all things surrounding the new album, finding their sonic identity so early in their career, and why this record represents the ultimate statement of who Bloodstain is.


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Every now and then, a release comes across my desk that doesn't just demand a loud, unapologetic spin—it violently grabs you by the throat and forces you to confront the world outside your window. If you fancy yourself a follower of the Australian heavy music scene, you already know we are living through a massive golden era of home-grown talent. But right now, it's Vault Hill, a devastating four-piece out of Melbourne, who are ready to completely flip the script with their savage new seven-track EP.
These guys first caught our attention back in 2022 with their debut offering, Amber Falls. It was a cracking introduction that perfectly fused teeth-rattling thrash intensity with the punishing, syncopated weight of modern metalcore. But what they’ve put together on this new record is an entirely different beast altogether. Spearheaded by the O'Brien brothers, Morgan (vocals) and Adrian (guitar), alongside a lethal rhythm section featuring Kyle Dean (bass) and Frankie Demaru (drums), Vault Hill have weaponised their songwriting and expanded their sonic palate in the process.
Vault Hill recently dropped their first new single in two years, The Pain We Keep Alive, which we were absolutely stoked to premiere exclusively here at HEAVY. Not only does the track showcase the band's musical growth, carrying the massive groove and sheer sonic hostility of heavyweights like Lamb of God and other major players,.but it also serves as the lead single from Vault Hill's upcoming 7 song EP Modern Way which be unleashed on September 25. But what makes this EP a truly vital piece of Australian art owes as much to its lyrical heart as it does the devestation of its music.
Inspired heavily by vocalist Morgan’s time spent living and working in the Northern Territory, the new material dives headfirst into the uncomfortable, often ignored truths of systemic inequality and the ongoing oppression of First Nations communities. It is a blistering critique wrapped in crushing breakdowns and torrential screams. It pulls no punches, reminding us that beneath the pristine, global-facing tourism ads, real people are hurting, and ignoring the problem only feeds the cycle.
This isn't just music to throw down to in the pit—though God knows the breakdowns will cause some serious neck damage—this is socially conscious heavy music of the highest order. I was lucky enough to track down Morgan and Adrian to chat all about the creative process behind the new material, the heavy message driving their lyrics, how they managed to capture such pure, concentrated lightning on this record and more.


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Let’s be completely honest for a second: nineteen years is a bloody long time to keep a fanbase waiting. But when you are dealing with a band as musically meticulous and unyielding as Gothenburg’s finest, Evergrey, you know the payoff is going to be absolute perfection. After a brutal postponement earlier this year due to unpredictable airspace chaos, Tom S. Englund and his crew are firing on all cylinders, ready to unleash their Great Southern Emptiness tour upon five cities that have been starved of their live magic since 2007.
Evergrey has never been a band to just lazily loop a few heavy guitar riffs and call it a day. For over thirty years, they have thrown out the traditional metal rulebook to paint massive, emotionally charged sonic landscapes. They bridge the gap between aggressive, straight-to-the-point heavy metal anthems and deeply layered, symphonic masterpieces. Their latest studio album, Architects Of The New Weave, stands as a flawless testament to this evolution. It earned well-deserved "Album of the Month" honors across global metal publications, and it proves that their creative well is nowhere near running dry.
When you have a staggering fifteen-album catalogue to pull from, building a two-hour live setlist is an absolute nightmare of a task. Yet, that is exactly what the band have been wrestling with ahead of this tour. Australian audiences are a notoriously passionate bunch, and trying to balance foundational classics with the colossal new material is a high-stakes jigsaw puzzle. From the intimate, sweaty walls of Brisbane's Crowbar to the reinvented layout of Melbourne's Max Watts, these venues are about to witness a band that doesn't just play songs—they command the room with a dark, theatrical energy that stays with you long after the house lights come up.
HEAVY caught up with keyboard player Rikard Zander to dive deep into the logistics of this highly anticipated return. We talk about the sheer relief of finally getting these dates locked in, the heavy responsibility of satisfying decades of fan expectations, and exactly why Architects Of The New Weave is translating into a beast of a live show. Grab a cold one, settle in, and get ready for the return of the progressive metal kings.


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There is nothing quite like the raw, unfiltered power of a band that breathes their entire soul into the music. It’s that exact, devastatingly beautiful energy that rising Texan metalcore heavyweights I Promised The World are bringing Down Under this month. For the very first time, the five-piece is packing their bags and hitting our shores for a massive nationwide tour alongside August Burns Red.
If you haven’t been paying attention to what these guys have been doing over the last year, quite frankly, where the hell have you been? After signing a massive global deal with Rise Records, the band dropped their phenomenal self-titled EP at the start of the year. It completely set the heavy music scene on fire, bursting at the seams with massive, early-2000s metalcore and screamo vibes that hit you straight in the chest. Tracks like Bliss in 7 Languages and A Pure Expression aren't just heavy—they are deeply emotional, riding a wave of raw catharsis born from pure tragedy.
Born out of frontman and guitarist Caleb Molina's profound personal grief after the tragic loss of his father to COVID-19 in 2020, this band is the living definition of triumph in the face of adversity. They’ve already conquered massive festival stages across Europe and the US this year, absolutely crushing sets at Hellfest, Outbreak, and FYA Fest. Now, they are locked, loaded, and ready to unleash that live intensity on Australian crowds from Brisbane down to Melbourne.
HEAVY caught up with the man himself, Caleb Molina, to chat all about the upcoming tour, how the band channels such heavy emotion into their live performance, what it's like sharing the stage with a powerhouse like August Burns Red, why Aussie fans need to get to the venue early to witness the sheer chaos of their debut sets and more.


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Interview by Angela Croudace
Few musical trajectories in recent Australian heavy music history have matched the breakneck, neon-soaked velocity of Germany's electronicore powerhouses, Electric Callboy. What began as a wildly packed, early-afternoon curiosity slot at Good Things Festival 2022 has evolved into a full-blown love affair with the Southern Hemisphere. Aussie audiences quickly proved they had an insatiable appetite for the band's unapologetic fusion of crushing metalcore breakdowns and pulsating, high-energy EDM. Every subsequent visit has seen venue sizes skyrocket, culminating in their massive Tanzneid World Tour, which hits major arenas across the country this month.
The secret to Electric Callboy's rapid rise lies in their ability to turn any venue into a chaotic yet unified celebration. Since frontmen Kevin Ratajczak and Nico Sallach ushered in the definitive TEKKNO era, the band has transcended traditional genre constraints. They trade grim, brooding metal tropes for bowl cuts, tracksuits, and unadulterated joy. Tracks like "We Got the Moves" and "Hypa Hypa" are designed for maximum crowd participation, blurring the line between a heavy music festival pit and a European rave.
Australia occupies a genuinely special place in the band’s hearts. It is a country where they have experienced everything from last-minute festival emergencies—like pulling in legendary drummer Frank Zummo with mere hours' notice—to headlining legendary venues like Rod Laver Arena. According to the band, flying down under feels less like a gruelling work trip and more like a reward, driven by the unique, welcoming chaos of local crowds who know how to party hard while looking out for one another.
Ahead of their biggest Australian headline run to date, we sat down with Jamie and Jake. In this exclusive chat, the charismatic duo opens up about their meteoric rise from the smaller stages to full-blown arenas, navigating the relentless pace of global touring, and how their families react to their viral success. We also dive into the creative evolution behind their latest anthems, the profound impact of stopping to smell the roses amidst the madness, and why Australian fans continue to give them some of the most unforgettable nights of their lives.
Turn up the techno, grab your sweatbands, and dive into our deep-chat with the unstoppable force that is Electric Callboy. To get tickets for Electric Callboy's Australian tour visit www.destroyalllines.com


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Australia, stretch your necks and brace your ear drums, because the metal gods have smiled upon us once again. After nearly three long decades of waiting, industrial symphonic black metal royalty The Kovenant are finally crossing the equator to make their monumental Australian debut this September. Let that sink in for a second. Thirty years. For decades, Aussie metalheads have had to settle for spinning worn-out CDs and watching grainy live footage from European festivals, wondering if we would ever see this legendary outfit land on our shores.
They aren't just coming down under for a standard greatest-hits run, either. The Norwegian visionaries are packing up their gear and heading to the southern hemisphere to perform their groundbreaking, absolute masterpiece of an album, 1998’s Nexus Polaris, in its entirety. When that record dropped, it didn’t just push the boundaries of extreme music; it shattered them completely, fusing the icy, unyielding malice of black metal with sweeping, galactic electronics and symphonic grandiosity. It is an album that shaped a generation of heavy music fans, and hearing it live from start to finish promises to be nothing short of a religious experience for the local heavy army.
But the news gets even better. Not only are they dusting off the leather and studs to deliver a masterclass in sonic extremity, but frontman and mastermind Nagash has dropped a massive bombshell ahead of the tour: The Kovenant are officially back in the studio and well advanced on a brand-new album, with most of the tracks already locked and loaded.
With massive, highly anticipated shows locked in for Melbourne and Sydney, these gigs are guaranteed to be an absolute bloodbath in the best possible way. The mosh pits will be lawless, the energy will be explosive, and the front rows are going to leave venues in absolute ruins. It is a legendary milestone for the Australian metal community, and God help anyone standing in the way when the first symphonic breakdown drops.
HEAVY caught up with the enigmatic Nagash to pull back the curtain on this historic tour. We get the full, unvarnished lowdown on why now was the perfect time for the reunion, the logistical madness of bringing such a massive production to Australia for the very first time, and what it feels like to revisit a legendary piece of work like Nexus Polaris all these years later. We also dig deep into the writing process of their upcoming record to find out exactly what the next chapter of the band sounds like.
18/09/26 - MAXX WATTS, MELBOURNE
19/09/26 - CROWBAR, SYDNEY
Tix: https://swdpresents.com/

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Interview by Angela Croudace
Australia, strap yourselves in. 
If you thought Sydney’s heavy hitters Polaris were done pushing the boundaries of the global metalcore landscape, you are dead wrong. These guys don’t just walk up to the line; they systematically tear it down and rebuild it with more grit, more venom, and more raw emotion than almost any other band on the planet today. They have consistently proven themselves to be the undisputed kings of the modern Aussie heavy music scene, but what they have cooked up next is bound to catch a few people completely off guard.
Today, we are diving deep into the black heart of their brand-new sonic weapon, Without You, as HEAVY sits down with vocalist Jamie Hails and bass player/clean vocalist Jake Steinhauser.
We all know that Polaris are no strangers to delivering absolute auditory violence, but Without You feels entirely different. It is a massive, towering beast of a track that balances their signature, bone-shattering breakdowns with a haunting, melodic vulnerability that will leave you absolutely breathless. It’s heavy, it’s beautiful, and it bites hard. The track showcases a band that is not afraid to evolve, trading none of their ferocious power while tapping into a deeper, more mature level of songwriting that proves exactly why they are dominating stages worldwide. This isn't just another song to add to the mosh pit playlist—this is a defining statement.
We sat down for a massive chat with the boys to get the absolute inside word on how this monster of a track came to life. We talk about the grueling creative process behind the music, the lyrical weight that carries the song's emotional core, and how they managed to capture such a massive sound in the studio. We also look ahead to what this means for the future of Polaris, their upcoming touring plans including Good Things Festival, how they keep pushing themselves to the absolute limit without ever losing their identity and more.


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Brisbane’s favorite rum-guzzling party pirates, Lagerstein, are back and ready to lay waste to your livers.
After what feels like an eternity off the map, the boys have finally dusted off the S.S. Plunderberg to deliver the most aggressively fun spectacle in Australian heavy music. If you’ve ever been lucky enough to witness a Lagerstein show, you know it’s not just a concert. It is a full-blown, beer-soaked wall of sound that hits like a tidal wave and leaves you nursing a hangover for a week.
The band made a massive splash by returning to the stage, returning to Australia for four headline shows. They absolutely tore the roof off Crowbar Brisbane for a legendary comeback party, but that was just the appetizer. The main course is officially nearly served, as the boys have just one more show left on this run at the legendary Corner hotel in Melbourne this Friday, September 4. Lagerstein have been on a single-minded mission to deliver the ultimate party times, the tour serving as a triumphant reminder of why these larrikins are an absolute institution in the local scene. They don't just play music; they build an absolute community of pure, unadulterated joy out of raw heavy energy.
Behind the scenes, the creative engine hasn't slowed down either. Between downing beers and steering the ship, the band has been quietly working away on the next chapter of their stellar discography, plotting a brand-new record that promises to be bigger, louder, and rowdier than anything they’ve done before.
We recently sat down to parley with the one and only Majestic Beast, getting the absolute lowdown on the chaos of the tour so far, the inner workings of their upcoming album, and how the hell they manage to keep this insane party sailing year after year. Grab a cold one, raise your horns, and dive into our fun chat with Australia’s premier pirate metal outfit!


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Synth-driven producer Perturbator is heading back to Australia next month, joining HEALTH's tour as support after the two acts crossed paths through mutual popularity in the region. In a new interview, the artist explained the tour was an easy yes: a chance to return to a country he already loves, paired with an invitation from friends whose Australian fanbase is thriving. It's not his first rodeo here, and he's clearly fond of what he's found before — from the food and the "opposite" weather to, unsurprisingly, the kangaroos. But it's the crowds that stand out most. He described Australian audiences as wild and riotous in the best way, calling the shows some of the most memorable of his touring career. The tour also lands at an interesting point in his creative evolution. What started as a bedroom-producer project has grown into a globally touring act, and his sound has shifted well beyond the synthwave tag that once defined him — something he says was a deliberate break after 2016's The Uncanny Valley. These days, he leans into whatever feels honest, drawing inspiration from film, video games, and even brutalist architecture. With a soundtrack still on his bucket list, Australian fans can expect a set shaped by an artist unafraid to keep moving forward.

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Interview by Ali Williams
CRASH TEST DUMMIES have reached a particularly agreeable stage of their career. They can tour when they want, play songs that have already survived several decades of public consumption, slip some new material into the set without causing mass panic, and frontman Brad Roberts no longer feels obliged to work quite as hard as he once did. Catching up with HEAVY’s Ali Williams, Roberts was happy to announce their return as well as share some memories and insight on the band's journey so far. 
The Canadian band are heading back to Australia in April, following a previous visit that went well enough for another run to be organised almost immediately. For Roberts, that response carries more weight than any grand discussion about longevity. People came. They enjoyed themselves. They wanted the band back. CRASH TEST DUMMIES were equally happy with the arrangement. “We had such a successful tour last time that we booked gigs almost immediately after finishing the ones that we did,” Roberts tells HEAVY. 
There was, however, a substantial period when touring wasn’t part of the CRASH TEST DUMMIES routine at all. After stepping away from the road for some time, an invitation around 2016 unexpectedly put the machinery back into motion. Roberts remembers the moment he wanted to start touring again - mid performance with the Winnipeg Symphony Orchestra. Not exactly the sort a conventional way of planning your bands next international tour , but there is something wonderfully reassuring about a musician with Roberts’ history casually deciding to tour again albeit mid-performance. The performance went so well that the band found themselves asking a very simple question: why weren’t they doing this anymore?
Full write up and interview heavymag.com.au


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If there is one band that embodies the absolute, steel-plated spine of traditional heavy metal, it is Germany’s legendary sonic architects, Accept. For half a century, these heavy metal pioneers have been forging the blueprint for speed, power, and razor-sharp riffage, leaving a trail of broken necks and shattered eardrums in their wake. 2026 marks an unbelievable milestone for the band, celebrating 50 years of uncompromising, high-voltage metal warfare. To honor this monumental golden jubilee, the band is unleashing a massive, career-spanning anniversary album, Teutonic Titans 1976-2026, out September 4 via Napalm Records. This is not just a standard compilation; it is a definitive, roaring testament to five decades of heavy metal mastery.
To capture the true essence of Accept's enduring legacy, mastermind and guitar virtuoso Wolf Hoffmann did not just dust off old master tapes. Instead, the band entered the studio to completely re-record several foundational anthems from their formative late-70s era, injecting modern sonic muscle into vintage gems. This double-album extravaganza perfectly bridges the past and the present, pairing these revitalized classics with pristine, remastered definitive versions of their iconic 80s hits and modern-era crushing tracks. From the frantic speed of Fast as a Shark to the thunderous, crowd-shaking stomp of Balls to the Wall, Teutonic Titans 1976-2026 stands as an absolute masterclass in heavy metal songwriting.
What truly sets this release apart is its raw, organic energy. Hoffmann eschewed modern digital replication techniques, plugging his iconic Flying V guitars directly into vintage, roaring Marshall stacks to capture the exact, biting guitar tone that defined the European metal movement. The result is a sonic journey that feels incredibly cohesive, proving that Accept's timeless brand of leather-clad aggression sounds just as vital, dangerous, and exhilarating in 2026 as it did when they first burst out of Solingen in 1976.
Ahead of the highly anticipated release and a massive, career-spanning 50th-anniversary world tour, HEAVY sat down for an entertaining chat with the legendary Wolf Hoffmann. Armed with his trademark infectious enthusiasm, sharp wit, and a guitar mind like no other, Wolf was in jovial spirits. We dove deep into the meticulous creative process of rewriting and tracking their oldest material, the nostalgic rush of looking back at five decades of metal history, the more than 50 guest artists on the album, the enduring power of the German metal scene, and exactly how they plan to bring this massive, historical celebration to life on stages across the globe and more.


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Interview by Ali Williams
Calling a band TEENS does leave you open to a few fairly obvious questions, particularly when nobody involved can reasonably blame puberty for their decision-making anymore. Thankfully, Tasmania’s TEENS are well aware of this. 
The name has survived longer than originally anticipated, having been hacked down from the considerably more cumbersome Teens of Thailand lifted from a Desert Sessions song. Shawn Arnold admits the original was “really cringe”, while the eventual decision to stick with TEENS appears to have been made with considerably less ceremony. “All band names are a bit shit,” he reasons, “so we’ll just stick with it.” Fair enough. Problem solved. 
Behind the compact name is a Hobart-based band that has quietly spent the past few years tightening its current line-up, building a catalogue and developing a live reputation strong enough to earn a place among this year’s BIGSOUND artists. For a Tasmanian band, that opportunity carries a little extra weight. The mainland isn’t simply an afternoon drive away, and touring regularly involves handing an alarming portion of the budget to whoever happens to own an aircraft.
Full interview and write up heavymag.com.au


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Interview by Ali Williams
Being a Perth band with East Coast ambitions requires several things: good songs, patience, a tolerant bank account and an acceptance that Australia is ludicrously large when you are paying to move musicians and their gear around it. GLOAM know this very well. Founding member Rowan Hardy sat down with HEAVY’S Ali Williams to chat about the bands beginnings and their progress leading into their BIGSOUND debut. 
The Perth outfit are heading to Brisbane to share their sound with the East Coast, an opportunity that Rowan admits the band has barely had the opportunity to explore. They made the journey across the country last year, but BIGSOUND brings something considerably more useful than another isolated interstate show. For several days, an enormous chunk of the Australian music industry will be crammed into Fortitude Valley, and GLOAM plan on making full use of the situation. 
There is excitement, certainly, but Hardy isn't approaching the week with a clipboard full of career objectives and a rehearsed networking face. He is just as keen to see other bands, naming Indigo Blaze, blue diner. and Win Big among those already on his radar. For a band geographically removed from much of the national touring circuit, simply being in the same postcode as artists they respect has value.
Full interview and write up heavymag.com.au


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Interview by Ali Williams
There are band names that require an explanation. Then there is CATPISS, a name that mostly requires people to stop laughing long enough to ask the question. For Newcastle guitarist Jacob Dewberry and his bandmates, there was no tortured artistic manifesto behind it. Their drummer found inspiration in the deeply intellectual halls of Facebook meme culture, where a collection of stupid band names provided the necessary spark. Somewhere in that nonsense, CATPISS was born.
Jacob’s grandmother isn’t a fan of the name but that probably confirms they made the right choice. Names aside, CATPISS have plenty worth paying attention to, particularly with the Newcastle punk outfit heading to Brisbane for BIGSOUND, where they will join a substantial crop of Australian artists getting the chance to show exactly what they can do in front of audiences, industry and anyone prepared to sacrifice sleep for several days of live music.
For Jacob, simply making the BIGSOUND cut still feels slightly ridiculous. “It’s massive,” he admits. “I can’t believe that we got through for it, really.” The disbelief is genuine, but CATPISS haven’t wandered into the opportunity by accident. Four years of playing, writing, releasing music and putting genuine effort behind the band has built them steadily from a fairly loose beginning into something with considerably more weight behind it.
Full interview and write up heavymag.com.au


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Interview by Ali Williams
There are plenty of ways to introduce yourself at BIGSOUND. L.O.W have chosen the wonderfully uncomplicated option of turning up with five members, a stack of hardcore songs and absolutely no intention of pretending they belong on the polite end of the program.
For a band that has spent just over two and a half years building itself out of Wollongong, landing a place on Australia’s biggest music industry showcase is a considerable step. For bassist Luka Flanagan, it also comes with the odd experience of attending BIGSOUND from the opposite side of the fence. Flanagan has been there before through his day job in music, but this time there will be an instrument involved.
“I’ve been to BIGSOUND a few times through work,” he tells HEAVY, explaining that being there as an artist rather than an industry attendee will be an entirely different exercise. That change of perspective is significant for L.O.W, particularly because hardcore bands are hardly flooding the BIGSOUND timetable. Flanagan is well aware of it too, happily describing L.O.W as one of the event’s token heavy acts.
Full interview and write up heavymag.com.au


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Interview by Ali Williams
LATEX GRENADE have heard the question before: are they punk or are they metal? Apparently, asking them to choose has achieved very little. 
The San Diego outfit has spent years allowing both sides of its musical personality to coexist, despite record labels once suggesting the concept of a band playing whatever the hell it wanted was unnecessarily complicated. Now, after an extended gap between substantial releases, they have returned to the studio for their second full-length album, and the time away has given them plenty to write about. 
Lead guitarist and vocalist, Geoff Davis sat down with HEAVY’s Ali Williams to chat about their latest release “It’s been a pretty biblical couple months,” Davis tells HEAVY, with the new record arriving after a period in which LATEX GRENADE largely disappeared from the release cycle. A single surfaced a few years ago, but Davis estimates it has been around five years since the band delivered an EP or album.
Full write up and interview heavymag.com.au


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Interview and words by Kyra Jade
It's that exciting time of year where Australia goes absolutely mad for Good Things Festival. All the speculation surrounding who will be on the line-up and most importantly who can guess the most correctly to earn all bragging rights!
LØLØ has secured her spot on this year's amazing line-up along which means she is finally coming to our Aussie shores to serenade us! Known for unapologetically expressing her emotions and thoughts through her music, she's out there saying the things that ultimately make us girls, well girls. Worn-out taglines for women like, "don't be such a girl about it" OR "you're being dramatic" only fuel LØLØ to write her next hit song that's guaranteed to turn the sourest of souls sweet again.
LØLØ has taken every opportunity that's come her way since being discovered on Spotify by non-other than Chad Gilbert of New Found Glory. With festivals like Lollapalooza, Sad Summer, Slam Dunk, Download, Rock Am Ring and the iconic Warped Tour under her belt, she has cemented her place firmly in the alt/ rock/ punk scene, thus laying down the modern blueprint for pop-punk.
This chat was fun; my thick 'okka' accent took the wheel as we dug into the lore of our native animals. Upon reflection I was hardly selling Australia, more likely scaring the living daylights out of LØLØ. It's not my fault kangaroos actually want to fight you, our spiders are the size of dinner plates and koalas have STD's - don't shoot the messenger!
I have to say that researching LØLØ's journey to success was something I really enjoyed. There's so much more to this talented musician then meets the eye - an interviewer's dream guest you could say! Admittedly, it can be hard to connect with people through Zoom on a strict 15 minutes timeframe. This wasn't the case here, I was lucky to be greeted by a kind smile that gave way to a super fun and easy interview. I left the call happy knowing there are amazing people like LØLØ in the industry for young artists to look up to.
Check out the full interview below, I hope you enjoy. 
Until next time, legends!


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Aussie metalheads, strap yourselves in because the tour of the century is officially locked, loaded, and headed down under this November! If you haven’t already heard the earth-shattering news, the absolute icons of heavy metal, Iron Maiden, are bringing their monumental Run For Your Lives 50th Anniversary World Tour to Australian shores. And because the metal gods clearly smile upon us, they aren't coming alone. They are bringing none other than thrash metal royalty Megadeth along for the ride.
Let’s be honest for a second: this isn't just another standard gig line-up. This is a massive, history-making double bill that we quite frankly didn’t see coming. We’ve got Maiden hitting outdoor stadiums in Melbourne and Sydney for the first time in their legendary 50-year history, alongside massive arena stops in Adelaide and Brisbane. They're promising a killer, once-in-a-lifetime setlist pulled entirely from their groundbreaking first nine studio albums. That means everything from the raw power of the self-titled debut right through to the epic majesty of Fear of the Dark.
But a massive stadium show needs a special guest capable of burning the stage to the ground first, and who better than Dave Mustaine and his crew of thrash pioneers? Megadeth recently celebrated a massive milestone with their latest studio release hitting the number one spot right here in Australia. Fresh off the back of their blistering run at Knotfest a few years ago, the band is proving they still have plenty left in the tank. With rumors swirling that this epic global run might be a final world tour epilogue for the thrash titans, the anticipation is hitting an absolute fever pitch.
Here at HEAVY, we live and breathe this stuff. So, when the opportunity came up to have a sit-down chat with the mastermind himself, Dave Mustaine, to talk about this impending Australian takeover, you better believe I jumped at the chance. Dave is a man who never pulls his punches, and he was in fine form talking about what it means to share a stage with Maiden, how much he loves the relentless energy of Aussie crowds, and what fans can expect when Megadeth unleashes absolute chaos on these massive stadium stages.
So, before you scramble to secure those last-minute tickets, grab a cold beer, turn the volume up to eleven, and check out our exclusive chat with the one and only Dave Mustaine. Australia, get ready to run to the hills, because the countdown is officially on!


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When you think of theatrical, boundary-pushing heavy music, one name immediately commands the global spotlight: In This Moment. Led by the mesmerizing, chameleonic frontwoman Maria Brink and riff-master Chris Howorth, this band has spent nearly two decades turning live alternative metal into a dark, cinematic art form. Now, the Grammy-nominated force is back to claim their throne, unleashing their highly anticipated ninth studio album, Witch, on August 28 via Better Noise Music. It marks a bold new era for the group, following up on the raw energy of 2023's Godmode with something much more ritualistic, intense, and deeply introspective.
Witch isn't just another collection of heavy moments; it’s a full-blown musical incantation. Across 11 tracks, the album showcases the band's legendary sonic spectrum—the fury, the femininity, and the absolute fire. Brink describes the record as her personal "declaration of inner transformation," a visceral deep-dive into alchemizing pain, ancient trials, and personal persecution into pure, unadulterated strength. Musically, it’s as heavy as it is haunting. Lead single Crawl seethes with an inescapable, gut-punching riff and a vocal performance that will bring you to your knees, while early teasers Heretic and Sleeping With the Enemy have already proved that In This Moment is operating at the absolute peak of their powers.
True to form, the band isn't stepping into the dark alone. They’ve summoned an eclectic coven of special guests for this record, including Aussie alt-provocateur Kim Dracula on Heretic, post-hardcore titans Dayseeker on I Want To Believe, and an unexpected, star-studded cover of Pink Floyd's classic Another Brick In The Wall featuring the iconic Kat Von D. It’s an ambitious, uncompromising body of work that takes the band's signature fusion of industrial groove and soaring melodic hooks, and pushes it right to the absolute edge.
HEAVY caught up with Chris Howorth to unpack the magic and malice behind Witch. In the full interview, Chris dives deep into the creative process behind the new material and what it was like collaborating with such a diverse group of artists. We also chat about the upcoming Taste of Chaos tour with Hollywood Undead, how they plan to translate these complex, mystical themes into a jaw-dropping live spectacle, and why the concept of the witch resonates so heavily in modern times.


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Western Sydney deathcore titans To The Grave have never been a band to play nice or bite their tongues.
Over the last few years, they’ve systematically carved out a reputation as one of the most brutally uncompromising, intense acts on the global heavy music circuit. But if you thought their previous material was the peak of their hostility, you aren't prepared for what's next. To The Grave's sonic monstrosity Liberation Front is a terrifyingly heavy masterclass in musical warfare that takes their signature blend of suffocating breakdowns and socio-political fury to a dangerous new level.
Liberation Front isn’t just an album; it’s a violent wake-up call. A call to arms if you will. Packed with the kind of volatile energy that makes you want to put your head through a drywall, the record finds To The Grave sharpening their technical knives while doubling down on their fierce animal rights advocacy and anti-establishment worldview. Vocalist Dane Evans sounds absolutely possessed, delivering a vocal performance so harrowing it defies human anatomy, backed by a rhythmic assault that feels like a multi-car pileup. 
It is heavy; it is uncomfortable; and it is utterly essential listening for anyone who likes their music with teeth. To celebrate this release, To The Grave are doing what they do best - hitting the tarmac for an eight date Australian headlining tour that promises to leave venues in absolute ruins across the country. Known for their chaotic, high-octane live environments, To The Grave live shows are legendary for their lawless mosh pits and sweat-soaked intensity. This time around, backed by the sheer weight of Liberation Front, the band is bringing an entirely new level of production and savagery to the stage. They are out to prove exactly why they hold the crown for Australia's heaviest export, and God help anyone standing in the front row when the first breakdown drops.
In a first for HEAVY, we spoke with Evans while busy in his tattoo studio laying down some ink to dissect the chaotic birth of Liberation Front, the madness of preparing for a nationwide trek, and why To The Grave refuse to compromise on their message.


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Words and interview by Kyra Jade
Yes I know, I come off clunky here. In my defence I had a few interviews back to back this particular day...I'm not one to shy away from leaving in my little discombobulated moments that make me human.
HEAVY caught up with Chelsea Wolfe on the cusp of releasing her new album, The Dark. With a career spanning over many years; garnishing many amazing accomplishments in that time, I was spoilt for choice for topics to chat about. 
Ultimately we spoke about the art of being able to put into words complex feelings and emotions we experience as humans, the fact that Chelsea walked on Tiny Desk so that Napalm Death could fly and touching on the importance of reconnecting with your elders and sharing knowledge between generations.
Until next time, legends!


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Every now and then, a track lands on the HEAVY desk that doesn’t just ask for your attention—it kicks the front door off its hinges, grabs you by the collar, and demands you sit down and listen. That is exactly what happened this week when the absolute powerhouses in KALATONE dropped their blistering new sonic assault, Nostalgia.
If you’ve been tracking these guys like we have, you already know they aren't a band to content themselves with playing it safe. They are a unit built on sonic evolution, consistently twisting heavy music into something entirely their own. But even with their formidable track record, Nostalgia feels like a massive leap forward into a darker, heavier, and completely uncompromising headspace. It is a track that marries crushing, low-end riffs with a sweeping melodic vulnerability, proving once again that heavy music doesn’t have to sacrifice emotion to remain completely irresistable.
The single perfectly balances frantic, groove-driven verses with a chorus so massive it is destined to ignite festival stages and leave venues in absolute ruins. It is a relentless, four-minute masterclass in musical dynamics, showcasing a band firing on all cylinders and completely comfortable in their own skin.
With the hard rock music scene clamouring to see what the band will do next, we caught up with the band to get the lowdown. In typical HEAVY fashion, we threw them completely into the deep end. We dug deep into the creative fire that sparked this new track, unpacked the intense sonic layers that make it a standout release, and discussed the other four tracks on their debut EP Pathways in more depth plus more.


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Few packages hitting Australian shores this year carry the sheer, unapologetic sonic weight of the upcoming Australia 2.0.2.6 tour. Headlined by LA neo-industrial heavyweights HEALTH, alongside French synthwave master Perturbator, the line-up is an absolute dream for anyone who loves their music dark, heavy, and deeply visceral.
But if you think this run is just about the headliners, you are dead wrong. Opening the entire touring cycle is King Yosef, a Portland-based artist who refuses to be pigeonholed. Known for weaponising a volatile blend of industrial hardcore, metal rage, and blown-out electronics, Yosef is a certified force of nature. Off the back of his latest sonic assault, Spire of Fear, he is coming to tear local stages apart.
When HEAVY caught up with the mastermind behind King Yosef ahead of the September tour—which kicks off at Brisbane's The Tivoli before steamrolling through Sydney, Melbourne, Hobart, Adelaide, and Fremantle—the excitement was palpable. This isn't just a standard metal gig; it is an immersive, multi-sensory purge designed to celebrate and dissect the digital decay of the modern era. Yosef has built a reputation for delivering uncompromised, vein-popping live energy that sets the perfect tone for a line-up of this calibre.
We sat down with the man himself to get down and dirty about the upcoming Australian tour, how he approaches translating his chaotic studio creations into a massive live setting, what it’s really like to share the stage with titans like HEALTH and Perturbator and more. Grab a beer, dial in, and find out exactly why this is one tour you absolutely cannot afford to miss.


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Words and interview by Kyra Jade
I don’t know many people who wouldn’t jump at the opportunity to interview Mastodon’s drummer Brann Dailor. We all have our bucket list interviews and this had Simon, AKA HEAVY MAG'S 'Professor of Mastodon', written all over it. The universe had other plans this time and Si’ was living it up in Bali. This meant it was my turn to jump in and make the most of this chance to ask all the quirky questions that have been burning a hole in my brain. Oh, and hopefully make our Professor proud…
This year hasn’t been without intense heartache and loss for Mastodon with the passing of Brent Hinds. I couldn’t publish this interview without firstly expressing my deepest condolences to all band members and commend the way they’ve held themselves whilst navigating such a hard time. As adoring fans we may feel we are so connected to our favourite bands through their music that we lose sight of reality sometimes. I think it’s important to remember that to the members of Mastodon Brent wasn’t only a fellow band member, he was family. Their bond built through years of experiencing massive highs and crushing lows together; ultimately building a brotherhood only they understand. For this reason I made a decision to respect Brann’s space by keeping my questions light-hearted in hopes this might give him somewhat of a breather.
There’s no shortage of things I wanted to talk about. Sometimes it takes me forever to write merely four questions to ask in an interview, for this one I was wondering how I would cram two pages of questions into 20 minutes? Things like… What was the scoop on their gig at Georgia's Aquarium, are fish a tough crowd to play for? Why would someone who doesn’t know how to draw decide to illustrate a different clown each day of COVID totalling a whopping 101? Why?! What’s it like having your song picked on Drumeo? The list goes on…
Brann is not only a huge fan of Ozzy Osbourne, he’s blessed with a treasure trove of memories I can only dream of; including being invited to play at the Back to The Beginning, Black Sabbath's farewell concert! Who better to watch gush over the Godfather of Metal and geek out with than this guy, right?! I’ll shamelessly take any and every opportunity to talk about Ozzy. Having conversations with people who were in his orbit somehow makes me feel like I’m a part of their world, if only for a second.
Mastodon’s new album Marrow Deep is very close to its release date of August 28. Though it may technically be my job to share my thoughts on new music, I don’t think it’s necessary to try to sell this one. I’ll simply be stating what you already know deep down inside. It’s a masterpiece. It may be fiercely complex and deeply thought provoking, although it still manages to give you that sprinkle of crazy we crave - all while being generous in sharing their raw emotion and feelings.
Hope you enjoy this interview as much as I did.
Until next time, legends!


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Interview by Ali Williams
There are still very much mixed opinions out there in music land when it comes to tribute bands. Hard core fanboys will state "there is only ever one ..."(insert band name here), others will be highly critical unless its a carbon copy of the original artists , and on the other side of that some will say they have a place only if the artists is now frontman for that big band in the sky, "so they better make it sound like their own not the original". 
Honouring the music of legendary acts such as Chris Cornell is a task that not many could say they could easily achieve or at least not to other musicians. His work moves, it unsettles, it still catches people off guard, and still exposes every vocalist who has ever confused enthusiasm with ability. So when Mark Menghi stepped into that world with KING ULTRAMEGA, he did not do it with a quick nod, a famous guest list and a hope that everybody would behave nicely in the comments section. 
He did it slowly, carefully, obsessively, and with enough respect to make the whole thing feel less like a project and more like a responsibility. 
Speaking with HEAVY’s Ali Williams, Menghi explained that KING ULTRAMEGA began during the pandemic, back when musicians were stuck at home, the world was sideways, and apparently some people coped by making excellent music instead of reorganising the same cupboard twelve times and pretending it counted as personal growth.
Check out the full interview: heavymag.com.au


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Interview by Ali Williams
Calling a performance One Last Time sounds decisive until the band involved is Lynchmada. Bassist Daryl Russell has already watched one emphatic farewell lead to another show four months later, so he is sensibly refusing to manage anybody’s expectations beyond Saturday. This could be the end. It could also become further evidence that Lynchmada are considerably better at metal than they are at remaining finished. 
Speaking with HEAVY’s Ali Williams ahead of the band’s appearance at Necrosonic, Daryl described the return with magnificent understatement as “a whole lot of a lot, and a whole lot of nothing.” 
This Saturday, August 22, the Gold Coast five-piece will return to Brisbane's Mansfield Tavern for Necrosonic Festival 2026, taking the HEAVY Stage at 6.15pm for an exclusive performance. After years out of regular action, the band had more to contend with than remembering where everybody stood. Rehearsals were required, muscles needed reminding and an entire back catalogue had to be physically negotiated by men now old enough to understand the consequences of poor posture.
Full interview heavymag.com.au
NECROSONIC tickets: https://tickets.oztix.com.au/outlet/event/571c76f6-8314-43fd-a6ee-cc7c67a199cf

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Interview by Ali Williams
There are busy years, and then there is whatever FALLUJAH have decided to do with 2026. 
When Kyle Schaefer joins HEAVY’s Ali Williams from Nashville, the band are in the middle of an international schedule that has already taken them through Europe and Latin America, with Japan, the United States, Canada and Australia still sitting on the itinerary. For Schaefer, who has spent roughly five years with FALLUJAH, it is comfortably the most geographically ambitious year he has experienced with the band. 
Australia gets its turn in September when FALLUJAH return for ShredFest alongside OBSCURA and the rest of a lineup built squarely for people who consider excessive fretwork a perfectly reasonable form of entertainment. More importantly, this will be FALLUJAH's first Australian visit since the release of Xenotaph, giving local audiences their first chance to hear the album where it was intended to live: at substantial volume, in a room full of people. 
It will be the band's third trip to Australia and Schaefer's second. The distance involved means international goodwill alone does not get a band here. Flights, equipment, personnel and the routine expense of moving a touring operation across a country this large require an audience at the other end, and Schaefer is well aware that FALLUJAH have one.
Full interview heavymag.com.au


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Interview by Angela Croudace
After seven years Simple Plan are finally returning to Australia’s Good Things Festival, and guitarist Jeff Stinco couldn’t be more excited to be back.
Speaking ahead of the festival lineup announcement, Stinco admitted he couldn’t believe it had been seven years since the band last played Good Things. What he remembers most is the festival’s diverse lineup, which allowed him to discover and enjoy artists from across different genres. But above everything else, he says, returning to Australia is the highlight.
“It’s amazing to be back in Australia,” Stinco said, describing the country as somewhere he has always loved visiting. From the food and sights to reconnecting with fans, Australia holds a special place for the guitarist, who even admits he could have imagined living here.
Simple Plan’s return also comes after decades of highs and lows, something Stinco says has taught him an important lesson: resilience. The band experienced unsuccessful records, difficult tours and even periods where they returned to playing smaller Australian clubs. Rather than giving up, they continued pushing forward.
That determination remains part of Simple Plan’s identity today. Stinco says the band still operates with a surprisingly small team, with the members heavily involved in everything from social media to their stage production. For him, maintaining that hands-on approach helps preserve the band’s authenticity.
And fans attending Good Things can expect a celebration of Simple Plan’s entire history. Stinco promises they are “pulling all the stops,” bringing everything from the band’s history to its funnier moments, while also revealing that they are working on new material. He stopped short of promising new songs at the festival, but teased that the set will be longer and packed with the classic Simple Plan experience.
“It’s going to be pretty fun. It’s going to be a big party.”
After seven years away, it sounds like Simple Plan are ready to make their return to Good Things one worth remembering.


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If you call yourself a fan of traditional, hard-hitting German rock and power metal, then the name Mad Max should already be permanently tattooed onto your musical psyche. For over four decades, these absolute legends have been tearing up stages and delivering riffs that could shatter concrete. They are a band that refuses to slow down, refuses to compromise, and quite frankly, they just keep getting better with age. Now, they are back to reclaim their throne with a brand-new slab of audio warfare titled Stories Of Destiny, and let me tell you, it is an absolute monster of a record.
From the second you drop the needle on this bad boy, you are hit with that classic, unmistakable Mad Max DNA—thunderous rhythms, soaring anthemic vocals, and guitar solos so blistering they will melt your face clean off. But Stories Of Destiny isn't just a nostalgia trip; it is a vital, forward-surging masterclass in how to keep heavy music alive and kicking in the modern era. It is cinematic, it is emotionally charged, and it proves that the creative fire burning inside this band is hotter than ever before.
I had the absolute privilege of sitting down with the driving force behind Mad Max  - Jürgen Breforth - to dissect the blood, sweat, and tears that went into forging this new masterpiece. We talk about the concepts behind the tracks, the evolution of their signature sound, and exactly what it takes to maintain this level of ferocious energy after forty years in the game. So, crank your speakers up to eleven, crack open a cold one, and get ready. Heavy Metal Thunder is about to strike. Welcome to the world of Mad Max and the Stories Of Destiny!
"I have to say it's kind of an anniversary album you know," Jürgen began, "because I founded the band in 1981 and now 45 years later I'm celebrating 45 years with the band but I didn't want to call it anniversary album that's too simple for me and my drummer axel cruise who's with me for 40 years now he joined the band in 85. He came up with the title Stories of Destiny, and that pretty much nails the story of the album because each and every song on the album stands for a kind of a decade of the band."
Find out more in the full interview.


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Interview by Ali Williams
If you call yourself a true-blue supporter of the Australian heavy music landscape, then the name Segression shouldn't just ring a bell—it should trigger absolute, unadulterated audio warfare in your eardrums. 
For three decades, these Wollongong legends have stood as one of the country's most relentless and enduring metal forces, a band forged in fire and built on pure, unfiltered groove and aggression. They’ve shared massive stages with the likes of Slipknot, Pantera, and Ozzy Osbourne, cementing their reputation as a premier live assault unit that never compromises. After scoring a stellar No. 2 spot on the iTunes metal charts with their recently dropped retrospective, The Best of Segression, the boys proved that their focused brand of sonic artillery is sharper and heavier than ever before.
Now, the cosmic alignments of the heavy underground have summoned these titans back from the void for something truly monumental. This Saturday, August 22, the legendary Mansfield Tavern in Brisbane is set to transform into a sacred ground of absolute chaos for the third annual Necrosonic Festival. The line-up is an absolute monster, featuring international tech-death visionaries Rivers of Nihil alongside homegrown elite like Psycroptic, Gravemind, and a resurrected The Berzerker. But right at the absolute heart of this 12-hour, 30-band auditory bloodbath is an exclusive, highly anticipated 30-year milestone reunion set from Segression. The altar has spoken, and the message is clear: if you aren't in the pit for this rare, fleeting return to the stage, you're missing out on a certified piece of Australian heavy music history.
Ahead of what promises to be an unhinged, sweat-soaked day of brutal riffage and flying bodies, HEAVY caught up with the band to see how the camp is holding up before descending upon Brisbane. We threw down the ultimate festival challenge, dug into their blueprint for surviving a massive marathon day of metal, and got the lowdown on which classic tracks are going to absolutely level the main room. Grab a cold one, lace up your most reliable pit shoes, and find out exactly what happens when one of Australia’s hardest-hitting bands prepares to reclaim the throne.
NECROSONIC tix: tickets.oztix.com.au/outlet/event/571c76f6-8314-43fd-a6ee-cc7c67a199cf


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Interview by Ali Williams
For over a decade, Swedish melodic power metal outfit Metalite has stood at the absolute cutting edge of heavy music, carving out a distinct identity by fusing futuristic science fiction narratives with high-octane energy. Founded in 2015 by guitarist and main songwriter Edwin Premberg, the band quickly garnered a massive international following with their stellar debut, Heroes in Time. They further cemented their reputation as modern electronic metal pioneers across subsequent records like Biomechanicals and A Virtual World. 
By successfully wedding cinematic synthesizers, heavy guitar riffs, and soaring hooks, they built a highly distinct sonic universe. Now, they are prepared to unleash their most conceptually expansive and musically punishing statement yet. On 25 September 2026, Metalite will officially release their highly anticipated studio album, Discovery, via Perception / Reigning Phoenix Music.
Discovery serves as a direct, sweeping sci-fi sequel to their previous narrative arcs, continuing an epic storyline that explores human evolution, advanced technology, and space survival in an increasingly unstable digital age. Musically, the album introduces a massive step forward in overall production and performance. Mixed and mastered by the legendary Danish producer Jacob Hansen, who is famed for his work with Volbeat, Evergrey, and Amaranthe, the record delivers a crushing, heavier low-end. It masterfully showcases an aggressive wall of sound that doesn't compromise the band’s signature melodic shine. This brand new record also marks the studio debut of new drummer Erik Junttila, who infuses the technical compositions with a blistering, fresh rhythmic precision.
Ahead of the full release, fans have already been treated to a diverse spread of singles that showcase the sheer breadth of Discovery. High-energy tracks like Our Time Has Come and Starchild set a fast, triumphant pace, while the heavy rhythms of In Case of Emergency offer a powerful commentary on loyalty and mutual support amidst modern chaos. More recently, the deeply evocative single Echoes of You revealed a darker, highly emotional side to the album, emphasizing the haunting nature of persistent memories and demonstrating the profound vocal range of frontwoman Erica Ohlsson. From complex synth arrangements to bone-shattering guitar work, Discovery stands as a bold declaration of innovation in modern power metal.
We had the absolute pleasure of sitting down with Metalite mastermind Edwin Premberg to talk all things Discovery. In this insightful conversation, we pull back the curtain on the creative process behind writing songs around an overarching science fiction narrative and dive into the band's deliberate evolution toward a heavier, more low-end-driven mix. Furthermore, Edwin reflects on the sheer technological leap of producing complex modern music—vividly charting his own journey from writing primitive early tracks on a vintage Amiga 500 computer to commanding a limitless digital recording studio. Grab your headphones, step into the cyberspace matrix, and join us as we dive into the bold new era of Metalite.


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If you’ve got your finger anywhere near the pulse of the Australian metal/alternative scene, you know exactly what last night was. It was the official launch of the highly anticipated Oddworld Underground Australian Tour, and it all kicked off last night in Western Australia at the legendary Amplifier Bar in Perth.
We are sitting down with the absolute kings of eccentric heavy tunes, the one and only Ocean Grove, with frontman Dale Tanner shunning valuable rehearsal time to bring us up to speed. These Melbourne nu-metal misfits have spent the last twelve months completely tearing up international stages, including a massive run across the UK and Europe supporting fellow Aussies Thornhill. After leaving a trail of beautiful destruction overseas, Ocean Grove are finally back on home soil for their first proper headline run in what feels like an eternity. Last night sparked a relentless nine-day, five-city assault that will see the band unleash captivating chaos through Adelaide, Melbourne, Sydney, and Newcastle, before wrapping it all up with a massive final show at The Princess Theatre in Brisbane on Saturday, August 22.
Ocean Grove aren't doing things by halves either; recruiting New Orleans metalcore heavyweights Cane Hill who mark their monumental return to Australian shores for the first time in a decade. If that wasn’t enough to push the boundaries of your local venue, Western Sydney’s hardcore-metal powerhouses Deficit are on the bill to provide absolute live spectacles, alongside the stunning cinematic shoegaze textures of Adelaide’s very own Blinder.
This tour promises to be an absolute headline run for the ages; a full-throttle celebration of what makes the alternative heavy music scene in this country so incredibly unique. HEAVY caught up with Dale just hours before stepping onto the stage to talk about bringing the Oddworld universe back home, the absolute madness of touring with international heavyweights, and what fans can expect when the doors finally open.


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Interview by Angela Croudace
If you like your heavy music served with a massive side of absolute, unadulterated chaos and a theatrical bite, then grab yourself a slice of the dance floor and brace your necks. The Swedish metal visionaries collectively known as Avatar are finally making their way back Down Under, and trust me when I say this is shaping up to be one of the absolute heaviest and most anticipated spectacles of the entire year.
Renowned across the globe for their legendary performances, ludicrous levels of musical skill, and a seemingly endless catalogue of killer anthems, Avatar have long been your favorite metal band’s favorite metal band. We are talking about a group so highly respected that Iron Maiden routinely invites them out on tour, and the late, great Vinnie Paul once claimed that Dimebag Darrell himself would have been jealous of their monstrous guitar riffs.
Ever since Avatar stormed their way onto the international circuit, these guys have refused to follow the traditional rules of engagement. They smashed their way onto the charts with the universally acclaimed Dance Devil Dance, and they are continuing that streak of pure creative madness with their latest dark masterwork, Don't Go in the Forest. Their single Death and Glitz is a perfect example of what makes this band so special. It is a track fueled by crushing grooves, hypnotic hooks, and a uniquely perverted, detached sense of storytelling that only Avatar can deliver.
For Australian audiences, these upcoming live dates are not just regular rock shows; they are an invitation into an entirely different, beautifully twisted universe. This is a band that commands the side of the stage at every major European and American festival, with members of metal royalty standing by just to watch them work their magic. Now, it is Australia's turn to step inside the circus tent and experience the sonic violence firsthand.
HEAVY grabbed the ultimate opportunity to sit down with the band's enigmatic, charismatic frontman, Johannes Eckerström. In true Avatar fashion, we went completely down the garden path to talk about the preparation behind their chaotic live assault, the creative evolution of their newest material, what it feels like to bring their signature blend of death and glitz back to local soil, and why Australian fans can no longer be denied.
So turn the volume right up, check out the full chat below, and make sure you grab your tickets NOW before they vanish.


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Interview by Ali Williams
CORELEONI have a new album on the way, Generection and guitarist Leo Leoni sounds exactly as you would hope somebody still making rock records after more than thirty years would sound: pleased to be there and keen to keep going. 
The album came together quickly. The band collected ideas, got together and worked through them while everyone was still fired up, and within a few months the record was finished. It was actually completed by the end of last year before switching record labels, which pushed the release back several times.
Check out heavymag.com.au for the full interview

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Interview by Ali Williams 
There are bad weeks, and then there are weeks where the rehearsal studio you spent a year building burns for 4 days, TEMPLES ON MARS guitarist and vocalist James Donaldson joined HEAVY’s Ali Williams somewhat later than originally planned, although his excuse was considerably better than forgetting to check the calendar. Back in the end of June, the London building housing the band’s newly completed rehearsal space and studio went up in flames, bringing 150 firefighters and 25 fire engines to the scene and taking 4 days to extinguish. 
Nobody was hurt, which remains the only part of that story worth celebrating, but the timing was particularly brutal given TEMPLES ON MARS had only just finished creating the space in the first place. 
Building their own headquarters had been a practical answer to the expensive and restrictive reality of London rehearsal rooms. After spending the better part of a year getting everything operational, the band finally had somewhere they could rehearse and record on their own terms. After having a rehearsal there on the Wednesday night, by the following Friday , they were receiving photographs of the entire building burning.
Full interview heavymag.com.au

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Interview by Angela Croudace
For Sonny Lanegan, frontman of Noir Addiction, music is about creating something authentic enough to pull listeners into its world.
Speaking about the band’s latest EP, Pretty Things Don’t Last, Sonny explained that its songs explore love, obsession, addiction and the desire to escape life. While each track stands on its own, he believes the EP becomes connected when heard as a whole.
The band’s sound blends electronic textures, industrial influences, alternative rock and pop hooks, with Sonny revealing that Money for the Honey began with a beat rather than a guitar riff. Inspired by the music he grew up listening to, the 1990s, he says he asks himself one question when writing: “Will I buy this album?”
That authenticity is central to Noir Addiction, especially after Sonny stepped into the role of vocalist following the departure of the band’s original singer. Despite the pressure and anxiety of creating the EP under tight time constraints, he is proud of what emerged.
With live shows receiving enthusiastic responses, Noir Addiction are now looking toward the future, and hopefully Australia. For Sonny, the goal is simple: to create music that gives listeners the connection and comfort he found in the bands he loved growing up.


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Brisbane has a fiercely proud history of producing world-class rock performers, with the production line rolling out yet another slab of excellence to continue the momentum. The newest addition is Runt, a powerhouse four-piece alternative rock and grunge outfit that refuses to play by the rules. Describing their massive sound as having an "underdog chip on its shoulder," this hungry local lineup strips away the facades of modern studio trickery, instead focusing on an unapologetic, face-melting assault built on huge riffs, hypnotic hooks, and visceral melody.
The brainchild of singer, guitarist, and main songwriter Jesse Attard - who some would know as having played Angus Young with Accadacca across the world - Runt are a band born from the road and custom-built to survive. Attard quietly amassed a deep treasure trove of killer material while touring internationally as a hired gun, but realised these songs needed an assortment of like -minded, talented musicians to do them justice. Settling on guitarist John Dempsey, bassist Damian Bell, and drummer Robbie Wheeler, Attard had the foundations for success and took the next step as a fully fledged original band.
The music industry is officially on notice. Runt’s highly anticipated, self-titled debut album drops like a bomb on August 7, 2026, through independent Australian powerhouse label XMusic. Moving completely away from predictable commercial trends, Runt approached their debut not as a lazy playlist, but as a lean, curated collection of stories where each track has its own distinct pulse, purpose, and attitude. Sonically, this record leans hard into the dark, atmospheric, and beautifully heavy territory carved out by 1990s grunge heavyweights like Alice In Chains, Soundgarden, and Stone Temple Pilots, but with a distinctly unique flavour that stamps a fresh take on the genre.
HEAVY sat down with Attard to find out more.

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Australian progressive metal fans, it is finally time to stop pinching yourselves because the wait is officially over. Sweden’s undisputed kings of cognitive, emotionally driven heavy music, SOEN, are finally hitting our shores this October. For a band that has spent the last decade and a half redefining the very boundaries of modern prog with their intoxicating blend of crushing riffs, soaring melodies, and intricate rhythms, an Australian tour has been a glaring omission on their map. But thanks to The Phoenix, the group is making the long trek downstairs for their highly anticipated Reliance Tour.
Led by the rhythmic powerhouse Martin Lopez and the fiercely captivating vocals of Joel Ekelöf, SOEN has built a reputation as a band that doesn’t just play music; they craft worlds. Ever since their groundbreaking 2012 debut album Cognitive, they have consistently evolved, layering their sound with deep atmospheric tension, crushing sonic weight, and a level of melancholic beauty that few can replicate. They possess that rare live alchemy that turns a standard metal gig into a borderline religious experience.
Starting Friday, 16 October at 170 Russell in Melbourne, before moving to Sydney’s Manning Bar on 17 October and wrapping up at Brisbane’s beloved heavy haven, the Crowbar, on 19 October, this run promises to be an absolute masterclass in live performance. Adding absolute fuel to the fire, Aussie homegrown instrumental progressive royalty The Omnific are jumping on as special guests, celebrating their monumental 10th anniversary.
HEAVY caught up with the mastermind himself, Martin Lopez, to get the absolute lowdown on what took them so long to get here, how they plan to condense a massive, career-spanning discography into a single, explosive headlining set, what Australian fans can expect when Sweden’s premier sonic architects finally unleash their live show on our stages and more.
SOEN + THE OMNIFIC October 2026 Australian Tour Dates
Friday 16th October MELBOURNE, 170 Russell
Saturday 17th October SYDNEY, Manning Bar
Monday 19th October BRISBANE, Crowbar
Tickets thephoenix.au


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Brisbane is about to get hit by an absolute wall of sonic destruction. The third annual Necrosonic Festival is locking and loading for its most brutal ritual yet, taking over the legendary Mansfield Tavern on Saturday, August 22, 2026. We are talking 12-plus hours of pure, unadulterated musical chaos spread across three massive stages. While the international heavyweights in Rivers of Nihil and local tech-death royalty Psycroptic are rightfully drawing plenty of attention, it is the deeper, darker corners of this stacked Australian lineup where the real magic happens. Enter Barriers.
Hailing from the southern heavy hotbeds of Adelaide and Melbourne, this crushing four-piece outfit does not just play heavy music—they manipulate it. They have engineered a sonic identity that stands defiantly apart from the standard cookie-cutter template. By blending the progressive complexity of Meshuggah, the expansive, atmospheric dread of Cult of Luna, and the sheer, mid-paced tectonic groove of Gojira, Barriers have created a monster. It is raw, minimal, and completely unsettling.
If you have spun their debut EP, Decay, you already know the band relies heavily on dark contrasts. They masterfully balance suffocating doom with sudden, violent bursts of death metal intensity. Frontman and producer Kyle Bloksgaard injects a vocal dynamic that handles deeply personal torment just as easily as it spits socio-political venom. 
At HEAVY, we love throwing down a challenge. We sent out our traditional Q&A sheet to the entire Necrosonic lineup, warning every band that a failure to reply meant buying the HEAVY crew a beer at the venue. While we were quietly hoping to score a mountain of free pints, the Barriers boys ruined our plans by being some of the very first to get back to us! They are hungry, they are focused, and they are ready to lay waste to Brisbane. Do not sleep on this set.
HEAVY spoke with Kyle to get the lowdown.
Necrosonic tickets and more information: https://necrosonicfestival.com/

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Five Finger Death Punch are back with absolute chaos on their tenth studio album, Legacy. Formed in Las Vegas, the multi-platinum metal titans are marking their 20th anniversary by delivering an aggressive masterclass in modern hard rock. If you thought 2022's AfterLife pushed their boundaries, this new record proves that 5FDP are actively evolving without losing their signature, in-your-face snarl.
The record kicks off like a sledgehammer to the jaw with the fierce album opener, Legacy, instantly setting a thunderous tone for the ten tracks that follow and showcasing guitarist Zoltan Bathory's striking, original guitar punches alongside Andy James’ technical precision. Frontman Ivan Moody sounds completely possessed here, teetering his vocals between pure desperation and soaring, melodic, hook-laden possibility.
What makes Legacy work so fabulously is its relentless, structured information density; the songs are succinct, intentional, and strip away all unnecessary filler. Coinciding with their massive 2026-2028 world tour, the album masterfully captures heavy themes of exhaustion, frustration, and ultimate artistic survival. 
HEAVY sat down with Bathory to find out more.


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If you like your heavy music served with a side of absolute, unadulterated chaos, then grab a cold beer and brace yourself. Gold Coast alternative metal titans Sunk Loto are officially heading back out on the road this August for their highly anticipated Dead Shadows Tour. Trust me when I say this is shaping up to be one of the absolute heaviest and most intense runs of the year.
For those who need a quick history lesson, Sunk Loto dominated the Australian heavy music landscape in the late '90s and early 2000s, standing shoulder-to-shoulder with international giants like Korn and Deftones. Their seminal 2003 masterpiece, Between Birth and Death, became a gold-standard textbook for Aussie metalcore. Then, they abruptly vanished into the ether for fifteen years.
When they burst back onto the live circuit in 2022, they didn't just play shows; they absolutely decimated venues across the country to a multi-generational, bloodthirsty crowd. Last year, they threw even more fuel on the fire by welcoming guitar wizard Rohan Stevenson (from I Built The Sky) into the fold, instantly locking in an explosive new creative energy.
Now, the boys are back to unleash their brand new single, Dead Shadows, tracked alongside the legendary producer Forrester Savell. To celebrate, they are completely ditching the sterile festival barriers and massive production rigs. Instead, they are opting for the sweaty, high-octane violence of intimate, grassroots rooms.
This brief, relentless East Coast trek will see the band tear through the Coolongatta Hotel on August 7 before two shows at Brisbane’s Crowbar on August 8 and 11, Sydney’s Crowbar on August 13, and finish by ripping the roof off Melbourne’s legendary Corner Hotel on August 14. Tickets are already flying out the door, and if you know anything about a Sunk Loto mosh pit, you know the band actively instigates absolute madness from the barrier to the back wall. Fans can expect a massive, curated setlist packed with deep cuts that haven't seen the light of day in decades, mixed with the crushing weight of their new material.
HEAVY sat down with Stevenson to chew the fat over the creation of Dead Shadows, navigating their brutal new lineup dynamics, and exactly what kind of beautiful insanity they plan to bring to Australian stages next month.
Tickets https://teamwrktouring.com/


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Interview by Ali Williams
PARADISE LOST have spent close to four decades making misery sound magnificent. While countless bands have shuffled through genres, line-ups and ill-advised creative awakenings, the UK veterans have built an entire legacy from heaviness, melancholy and the endless human capacity to stare into the void and find a decent guitar melody lurking inside it. 
After almost a decade-long absence, Paradise Lost are finally returning to Australia. Guitarist and songwriter Gregor Mackintosh joined HEAVY’s Ali Williams to discuss the band’s long-awaited visit, their latest album Ascension, the record he threw away before writing it properly, and why owning an album once required commitment, patience and occasionally forcing yourself to enjoy something because the record shop refused to take it back. 
The Australian dates arrive at the end of a substantial journey through Japan and China, opening their Downunder at Brisbane’s The Triffid on October 18 before heading to Sydney’s Factory Theatre on October 19 and Melbourne’s Max Watt’s on October 20. Understandably, Mackintosh is eager to return, although asking him for the exact itinerary produced the kind of uncertainty normally reserved for musicians who have sensibly chosen not to examine how many airports stand between Yorkshire and Brisbane. 
“I don’t know how my itinerary works,” he admitted.  Probably best. Nothing good comes from learning too early how long you will be sitting upright while crossing continents. 
Check out the full interview for more.


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Brisbane’s Mansfield Tavern is locking its doors and bracing for total structural failure. The third annual Necrosonic Festival is descending on Saturday, August 22, 2026, delivering 12-plus hours of unrelenting extremity across three stages. While international powerhouses Rivers of Nihil and homegrown technical death metal legends Psycroptic are set to co-headline, the middle tier of this massive bill holds some of the most devastating weapons in the Australian heavy music arsenal. If you want a band that will completely tear the skin from your face with clinical, heavy precision, look no further than Melbourne deathcore juggernauts Gravemind.
These guys have spent years mastering a sound that functions like a well-oiled killing machine. They don't just write breakdowns; they engineer sonic earthquakes that blend punishing, technical riffs with vast, cinematic atmosphere. 
Following the massive success of their critically acclaimed sophomore album Introsphere, released via Greyscale Records, Gravemind have proven they are not content with sitting safely inside the boundaries of traditional deathcore. They weaponise melody, injecting dark progressive layers and experimental dynamics that keep listeners totally off-balance before delivering a swift, blunt-force trauma to the jaw.
HEAVY sat down with vocalist Bailey to find out more about what to expect at Necrosonic.
Tickets to Necrosonic and more information https://necrosonicfestival.com/


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If you call yourself a fan of heavy music and your pulse isn't already racing, you need to check your vitals right now. The absolute masters of Floridian metalcore, Wage War, are officially gearing up to bring their massive, unrelenting It Calls Me By Name world tour down under. This isn't just another casual standard run across the ocean, folks; this is a full-blown, sonic assault that is set to completely decimate every single venue it touches.
The demand out there is already completely mental. We have already seen the Melbourne show get a massive venue upgrade to The Forum because Aussie heavy music fans simply cannot get enough of what these guys bring to the table. Brisbane and Sydney are staring down the barrel of selling out entirely. If you are sitting on the fence waiting to grab your tickets, you are going to miss out on one of the most essential heavy packages of the entire year.
What makes Wage War such a beautiful, brutal force of nature is their incredible ability to balance sheer, unadulterated chaos with absolute melodic perfection. They throw down some of the most bone-shattering, snarling breakdowns you will ever hear in your life, but they seamlessly back it up with these infectious, soaring hooks that just get completely buried in your head. Tracks from their brand-new EP It Calls Me By Name, alongside their massive back catalogue, are built specifically to ignite the mosh pit.
And let’s talk about the supports, because this line-up is completely stacked from top to bottom. Sharing the stage on this absolute monster of a tour are Nashville hardcore legends Orthodox, who bring a filthy, aggressive edge, and Melbourne's very own rising heavy juggernauts Heavensgate.
HEAVY caught up with vocalist Briton Bond and guitars/clean vocals Cody Quistad to chat more.


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Interview by Kris Peters
If you like your heavy music served with a side of absolute, unadulterated chaos, then grab a cold beer and brace yourself, because Swiss deathcore juggernauts Paleface Swiss are heading back Down Under. After completely decimating venues across the country on their sold-out 2025 run, the Zurich four-piece have just announced a massive seven-date Australian headline tour for January and February 2027. Trust me when I say this is shaping up to be one of the absolute heaviest and most anticipated tours of the year.
Ever since they detonated onto the global metal scene, Paleface Swiss have earned a formidable reputation for unleashing some of the most volatile and relentlessly aggressive live shows on the planet. Led by the maniacal vocal delivery of frontman Marc "Zelli" Zellweger, the band has been steadily conquering the heavy music world, a fact proven by their latest record, Cursed, smashing its way into the top ten of the Spotify Global Charts. Now, armed with a brand new EP, The Wilted, and a hunger to tear our rooms apart, they are ready to level up the aggression for Aussie crowds.
But they aren’t coming alone. To ensure maximum sonic devastation, they are bringing Canadian metalcore powerhouses Counterparts - fronted by the unfiltered Brendan Murphy - and Colorado’s crushing hardcore-groove outfit Fox Lake along for the ride. The tour kicks off at the Astor Theatre in Perth on Wednesday, 27 January, before hitting Adelaide’s ferocious Froth & Fury Festival, Melbourne's iconic Forum, Canberra, Sydney, Brisbane, and wrapping up in Townsville. It is a massive, comprehensive lap of honour that proves just how much these Swiss heavyweights love the insane energy of the Australian metal community.
I had the absolute pleasure of pulling up a virtual barstool with the main man himself, Marc "Zelli" Zellweger, to find out exactly what the band has in store for us. We chatted all about the chaotic memories from their last Australian visit, the intense sonic evolution behind their latest brutal material, and what it feels like to lead one of the fastest-growing forces in modern extreme music. Zelli is always one of the most passionate, down-to-earth guys to speak to in the business, and his excitement for this upcoming run is completely infectious. So, turn the volume up to eleven, check out our full chat below, and make sure you secure your tickets before they inevitably vanish!
Tickets www.thephoenix.au

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Interview by Kris Peters
When American metal titans Motionless In White announce a new record, the heavy music community stands up and takes notice. 
Celebrating two decades of sonic devastation, Chris Motionless and his gothic-metalcore troupe are poised to unleash their highly anticipated seventh studio album, Decades, on July 17. It is a monstrous, career-defining release that effortlessly honours their dark history while forcefully kicking down the doors to the future.  From the industrial venom of the lead singles to the monumental collaborations featuring massive names like Slipknot's Corey Taylor plus Skylar Grey, Decades is a masterclass in survival, raw passion, and artistic evolution.
HEAVY sat down with frontman Chris Motionless to find out more.
"It's an exciting time," he enthused when asked how he is feeling about the new album. "We have been working for what feels like literally forever on the record, (laughs) so it's still very weird for me to think that we even have singles out… It's just a very different shift in life, but it's really cool because finally the music gets to see the light of day."
We ask Chris to tell us more about Decades musically.
"This one was definitely - as every band's gonna tell you (smiles) - trying to go above everything we've ever done," he replied. "Catchier. Heavier, blah blah blah, but it's true. We definitely wanted to make sure that everything that we do, that I think the fans love the most, was considered heavily on this one. We really wanted to try and make sure that their feedback was listened to and that we were integrating what fans love the most and then what we love most about the band, and I think that's maybe the reason why things feel pretty positive so far."
We bring up the heavier aspect alluded to on Decades, asking what he means specifically by heavier.
"I would say it's a mixture of everything," he measured. "I think the music may not be so much heavier all around, but there's definitely much more energy. There's so much more fast-paced, or more… just much more energy in every way. There's only one sad, emotional song, per se. Usually, we have three or four, but this one's only got the main one, and the rest is constant rolling energy that I think really helps the album feel different from any other Motionless record. The lyrical content, yeah. Some of it's heavy, some of it's fun. It's a good mixture of everything. I wouldn't say that there's too much, like, you're gonna hear and go (exhales deeply) I need a break from that. It's more meant to be an exciting and uplifting experience."
In the full interview, Chris dives deeper into the musicality of Decades, including the well-documented writer's block he had early in the process, what snapped that and how it impacted the rest of the album. He talked us through the opening track, Decades, and why it was chosen to introduce the album, as well as the momentum shift between songs on the album and how Motionless In White allow for a smooth transition.
We talked about the different genres expressed in Motionless In White's music, and how they find the balance in the creative process, the first time he heard one of their songs on the radio and more.


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The Meanies are absolute legends of Australian punk rock, and they are tearing through 2026 like a runaway train. Formed in Melbourne back in 1988, these sonic maniacs have spent nearly four decades delivering chaotic, high-energy pop-punk packed with hooks and bruises. Fronted by the indestructible Link Meanie, they are a band that leaves everything on the stage - literally - known for chaotic live sets that frequently end with broken gear or broken bones. After surviving decades of rock 'n' roll storms, they are still one of the most vital, loud, and uncompromising underground bands in the country.
If you think these veteran punks are slowing down, you are dead wrong. The rest of 2026 is completely packed with heavy riffs, interstate chaos, and killer new wax. The band is currently crisscrossing the country on a huge national run. They are teaming up with their longtime brothers-in-arms, Spiderbait, acting as the main support on the massive Ivy & The Big Apples anniversary tour. This means they are bringing their blistering noise to huge venues like Adelaide's Hindley Street Music Hall on 25 July and Canberra's legendary venue The Baso on 30 July.
Right after the arena-sized rock shows, The Meanies are jumping straight back into the sweaty club trenches. They have joined forces with Queensland punk unit Dad Fight for a brutal split 7-inch vinyl release featuring fresh tracks from both bands. Dubbed "the old bull and the young calf, together at last," they are launching the wax with a lethal East Coast tour. 
HEAVY caught up with Link Meanie to find out more, asking how the body is holding up these days.
"Oh, pretty shit," he laughed. "Yeah, I was just rueing selling the comfy chair that I had here, and now I'm just sitting on a drum stool. My back's fucking killing me! I've done so much damage over the years that I knew it would come back and bite me at some stage."
We follow up by asking Link if he finds the need to do more stretches and warm-ups now before hitting the stage.
"The only time I was ever fit in my life was probably the turn of the millennium when I was doing Kung Fu, and I was actually quite fit then," he smiled. "God, I'm a couch potato now (laughs)."
In the full interview, we chat more about life on the road and the perils of ageing. We discussed still touring with Spiderbait and Link's memories of the very first time they played together, as well as a list of upcoming shows this year.
The run of shows with Dad Fight was discussed, including the nurturing role The Meanies play when hitting the road with the next generation of bands. We talked about the 7" split single release between The Meanies and Dad Fight and where to get it, as well as the possibility of a new album in the near future and more.

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