HEAVY Music Interviews

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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