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


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

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


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

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

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

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



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

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

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


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