Interview by Kris Peters
Everyone's favourite masters of funk-infused mayhem, Osaka Punch, are one of those rare bands that can entertain you just by walking on stage. Dead set.
The charisma and boundless energy that accompany the band everywhere they go translated beautifully on their 2023 album Mixed Ape, an album years in the making and at times thought to be harder to find than the elusive white whale. Fans had waited a decent chunk of time for the album, but responded in kind upon its release, solidifying Osaka Punch as a band for the people, by the… apes?
After embarking on a national run of shows to support Mixed Ape, Osaka Punch quietly retreated into the wilderness, family events and accidents superseding the need for public adulation. It has been a dark period for fans of the band wanting to get their funk on, but Osaka Punch this weekend come out of hibernation for what could very well be their only show of the year when they play with Mood Swing And Chevy Bass plus Versace Boys at The Triffid this Saturday, June 5.
I must admit that I am one of those people who missed the boys ripping it up live, so when the chance came to grill vocalist Jack Muzak as to why the band have seemingly deserted their fans, I took it with both hands, armed and ready for battle.
"It's been a while, for sure," he almost apologized when we question their tardiness, catching us off guard. "We've got a couple of cobwebs to blow out, but we've been jamming for a while. We had a little bit of a hiatus because our guitarist had a newborn at the end of last year, and it's his third kid. So he's got two, three boys now, but two kids and a newborn and in the interest of everyone's safety, we thought we'd let him just be a dad for six months. We were planning on recording by the end of this year, which we still want to do. But this'll be probably the one show of the year, I'd say, so we wanted to make it a big one. I think the Triffid's a good way to go. If you're gonna do one show, that's the place to do it."
In the full interview, Jack further discussed Osaka Punch's upcoming performance at The Triffid on July 5, where they will perform alongside Mood Swing and Chevy Bass. Jack highlighted the unique line up, featuring a live saxophonist and a keytar player, and expressed excitement about returning to the stage after a hiatus. He also mentioned their guitarist Chrispy's recovery from a car accident and his commitment to performing.
The discussion included recommendations for newcomers to their music, with Jack suggesting three songs to help familiarize them with their style. He noted the band's ongoing work on new material and the evolving music landscape, which is shifting towards singles over full albums. We talked about the reaction to Mixed Ape and if all of the songs went down as well live as the band expected, their genuine love for their fans and more.


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Interview by Kris Peters
German dark heavy rock force WOLFSKULL will drop their new album Midnite Masters on July 25.
Midnite Masters will see the band put a bold exclamation mark on their history and simultaneously ignite a new level: ten songs brimming with enthusiasm, power, and catchy melodies, while exuding the raw charm of classic heavy rock. Founded in April 2018 by guitarist and mastermind Feratu, WOLFSKULL immediately garnered attention in the scene with their debut EP, Hexum. The subsequent debut album, Ave Goddess, hit like a thunderclap in December 2022, leading to the band being awarded Album Of The Month in Metal Hammer and Guitar Magazine.
In 2025, WOLFSKULL returns louder, detached, and with even more drive. With the arrival of new second guitarist Mike Nero at the beginning of 2024, a noticeable breath of fresh air came into the band, which was directly reflected in the new material. In September 2024, the ten new tracks were recorded at Soundlodge Studio under the direction of Jörg Uken (Anvil, Suicide Angels, Dew Scented, Temple of Dread). Now, with the album on the cusp of release, HEAVY chats with vocalist Pete 9 and guitarist Feratu to dig deeper.
"I think this time around we were more keen on having a dusty rock and roll record with more up-tempo songs than Ave Goddess," Pete replied when we pressed him on the musical nature of the album. "But there's still a hint of melancholy here and there, but it's mostly a straight rock and roll record."
"I think we wanted to have more straightforward songs," Feratu added. "A little bit more rock songs that are not so mellow. But we wanted to have more dust; more rock, more kick-ass, and I think - without losing the typical trademarks of Wolfskull - I think you can find them in any song. That was the direction we wanted to go, and I think we have an album that is working each song with another."
In the full interview, the band shared their positive recording experiences and emphasized that the singles released thus far effectively represent the album's overall sound. They also explained the album's artwork, highlighting its strong female imagery as a tribute to female empowerment in rock music.
Feratu discussed the influence of the German music scene in 2018 on their formation, particularly noting their metal and punk roots, and reminisced about their earlier band, The Spook. We talked about the time between recording an album and releasing it and how that affects different bands in different ways, new guitarist Mike Nero and what he brings to Wolfskull, touring plans and more.


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Interview by Angela Croudace
Brisbane-Gold Coast hard rock outfit Scandal Tree are stepping into bold new territory with their latest single, Tooth Fairy—a darkly playful tale that showcases their signature blend of eclectic influences and collaborative chemistry.
“The idea behind it was a tooth fairy throwing a tantrum when they run out of milk teeth to collect,” says vocalist Huck, who brought the concept and twisted tone to life. Guitarist Jason originated the core riff, which Huck describes as having a Misfits vibe with a punk undercurrent. The resulting track leans into a gritty, genre-blurring sound—equal parts moody, intriguing, and heavy.
Having cycled through multiple line ups since forming in 2019, the band has evolved significantly over time. Huck, now fronting the band as their third singer, recalls first crossing paths with Scandal Tree during a COVID-era gig, eventually leading to a jam session—and the rest is history.
Guitarist Grant says the band’s changing line up has been central to their ever-shifting sound: “We started out with more of a ‘70s metal vibe, then went into hard rock, and now… we’re somewhere else entirely. Every member brings something different.”
That difference is on full display across their upcoming album, which promises to be a rollercoaster of styles—from punk to mellow doo-wop. “We didn’t want every song to sound the same,” says Huck. “Each one takes on a life of its own.” Having had the chance to listen to the album early, I can say that whilst it's hard to label these guys as one specific genre, given almost every track differs from its predecessor, I picked up some nods to Kyuss and Queens of the Stone Age, making for an enjoyable listen.
While they’ve battled injuries and line up changes, Scandal Tree has remained creatively active. Their songwriting process is intensely collaborative, often starting with guitar riffs from Grant or Jason, then shaped and arranged by Huck—who’s known for killing darlings in favour of song flow. “Sometimes we have to cut our favourite riffs, but it’s always for the best,” Grant says.
With a new video for Tooth Fairy set to drop July 4—described as “dark and a little Lynchian”—and tour plans in the works, Scandal Tree are proving their name is more than apt. Unpredictable, unpinnable, and definitely worth a listen.


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Interview by Angela Croudace
As Militarie Gun gear up to hit Australian stages alongside Touché Amoré, frontman Ian Shelton looks forward to everything from unruly shows to venomous local wildlife. “I guess my bucket list would be to see one of these disturbing Australian spiders in the flesh,” he laughs. “I don’t want to be in danger—but I’d like to see it.”
It won't be Militarie Gun’s first time down under, but their energy and evolving sound continues to resonate with fans worldwide. Known for fusing hardcore roots with melodic hooks, the band’s genre-defying sound has sparked debate. “It’s disingenuous to call us a hardcore band,” Shelton says. “We came from that world, but we just want to sound like Militarie Gun.”
Originality is embedded in everything they do—from their cathartic lyrics to unexpected collaborations like writing a WWE wrestling intro track. “Post Malone was meant to do it but got too busy. I woke up to a text and spent two days writing riffs,” he recalls. Raw emotion drives Shelton’s songwriting, a channel for experiences he says are too intense for everyday conversation. “The songs are the only appropriate place to put those feelings,” he shares. “I never hold anything back.”
That vulnerability connects deeply with fans, who often bring wild energy to their gigs. “Last time in Sydney, we played Do It Faster four times. By the end, it was just one guy on stage. The rest of us had jumped into the crowd,” Shelton laughs. Despite their rising profile, Ian rejects the idea of “making it.” “It’s not a career—it’s an artistic pursuit,” he says. “If you ever feel like you’ve made it, you’re not pushing yourself creatively.”
When asked what he hopes audiences take away, his answer is simple: “I hope they feel something—even if it’s anger. I don’t want to make anything people feel indifferent about.” As for advice to new bands navigating today’s fractured rock scene? “Be yourself—loudly,” Shelton says. “Turn your quirks up to 10. That’s what people connect with.”
With that in mind, expect more chaos, catharsis, and no holding back. The tour kicks off July 10 at the Triffid in Brisbane.


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Interview by Kris Peters
Sydney metal outfit Harroway have been crushing skulls since 2019 withtheir aggressive brand of metal, highlighting real life problems and issues. As such their passion has always been evident be it on stage orrecording, with their debut 2023 EP, I Don't Want To Be Here Anymore resonating on a global scale that led to a sold-out headlining tour that took the band across Australia before deservedly securing them supports for international acts such as We Came as Romans (USA), Invent Animate (USA), and Crossfaith (JAP).
The band have been absent from the air waves since last April's song Heresy but have returned with a vengeance on the back of their new single Narsociety. While still maintaining the fabric of their metal DNA, Narsociety also sees Harroway exploring more melodic elements entwined with clean vocals that have not previously been a major component of their music.
An amalgamation of the words Narcissist and Society, Narsociety paints an honestly bleak portrait of the modern reliance and dependence on social media and the darkness that easily consumes it. It is a brutally honest portrayal of what is becoming an increasingly dangerous subject, delivered with the raw hostility that has become Harroway's trademark.
HEAVY spoke with guitarist Anthony earlier this week to see how the response has been.
"It's been a bit of a different sound for us with having the new singer come in with a little bit of a higher register," he offered. "It's a little bit more melodic for us as well, but so far it's been really good. We've got some really good feedback from fans, friends, and family, and it seems to be going off at the shows too. People are really enjoying Chris's voice."
The Chris who Anthony is referring to is new clean vocalist Chris 'CJ' Webb. Having that lighter shade to the band's generally more aggressive music could be considered a brave move by the band, but Anthony insists it is something that has been added for the betterment of Harroway's music.
"It's definitely something we've wanted to introduce into our sound, both live and in the studio, before," he shared. "But it's been something we've struggled with to really execute on because, you know, Matt (Banks, vocalist) is excellent at what he does. He has an excellent vocal range and also his extreme vocals. As a guitarist and backup screamer, I can really appreciate the talent he has, but he really looked within himself and knew we needed somebody to bring us into that higher register."
In the full interview, Anthony discussed Narsociety in greater detail from both a musical and lyrical perspective. He ran us through the underlying themes and messages of the song and how it is a reflection on today's society and behaviour.
We discussed the captivating and cinematic music video that goes with it, the recent tour with Make Them Suffer and Justice For The Damned, playing Narsociety live for the first few times and how it was received and spoke about a couple of shows on the horizon. While remaining non-committal about a future album, Anthony gave a strong impression that Narsociety is only the beginning of their plans, revealing there are more singles to be released and promising the band still has big plans for this year.

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Interview by Kris Peters
Not often a band's music comes across our desk here at HEAVY that literally makes us sit up and take absolute notice, but when it does, and you then find out it is the first ever single release from the band…
Such was the case when we heard Next Time Send A Killer, the debut track from Berlin-based heavy outfit Luther. A crushing cesspool of malevolence, Next Time Send A Killer also contains a plethora of styles and influences that many a more seasoned band have tried without half the impact achieved by Luther in their sonic introduction to the world.
A sentence in the band's press release says, "through music Luther communicates emotions of isolation, betrayal, rage and escapism", and for once that was no exaggeration. At times angry, at others beautiful and others again a slit to the throat, Next Time Send A Killer is an amalgamation of everything you thought scared you as a child then dialled up a double notch. 
Thinking (but hoping we were wrong) this might just be a case of one great song followed by a dose of mediocrity, HEAVY reached out to the band, who sent us two unreleased songs and their music videos, and they were just as good, if not better.
Of course, we had to chat with Luther in order to introduce them to our friends, with vocalist Leo Luther kindly offering up some of her time.
"We formed in 2024," she began when asked to introduce Luther, "and we are somewhat of a… I wouldn't say supergroup, but that's the kind of concept. We are all people who were in different bands but in the same scene, and we met each other, liked each other, so we started this project."
We ask Leo to run us through Next Time Send A Killer in greater detail.
"This comes from me wishing to experiment with some very… angry music," she measured. "And I think that angry music is also like trap metal. I know it's not the most common sub-genre of metal, but there's also some metalcore and a little bit of djent in there, and that's how it was born."
We ask why Luther chose that particular song to introduce them and their music to the world.
"You're not gonna like this answer," she laughed. "Basically, in a band where you want to be successful, you need to have some sort of strategy. I was like, fuck the strategy, we're just gonna do what we want (laughs). So there are two songs that have this type of sound identity for us, and those are the songs we released with Next Time Send A Killer and Oyster, which were released together. Now we are working on a debut album that literally has nothing to do with metalcore. That was not the wisest choice, but I thought fuck it. We liked that song, now we like another one, so we're gonna do it that way."
In the full interview, Leo talked more about their debut single and the reaction to it. We discussed the next two songs to be released, Give The People What They Want and The Most Famous Rat In The Sewer, going into detail about the imaginative song titles for their music.
Leo mentioned the debut album and what we can expect, took us deeper through their musical styles and influences and ran us through the balancing act of getting things right in the creative process and more.

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Interview by Kris Peters
Speculation has been rife for years regarding a possible reunion between Sebastian Bach and Skid Row, and it will probably continue until one or both parties pulls stumps on their career, but at the end of the day, it doesn't really matter when both parties are still doing their thing, and doing it well. Of course, there are going to be those fans who would love to see the band as it once was, but for the realists, that will likely never happen.
Luckily for them - and everyone who loved hard rock and metal - that Sebastian Bach will always possess a love for the music he was part of bringing to life, and as such, always champions the cause wherever and however he can.
That cause comes to Australian shores this November, when Bach returns to these shores to play Skid Row's debut self-titled album in its entirety for the first time on Australian soil.
Fans can expect an explosive set featuring hits like Youth Gone Wild, 18 and Life, Big Guns, and I Remember You alongside select tracks from Slave To The Grind and throughout Bach's solo career, including last year's well-received Child Within The Man.
HEAVY spent some time with Sebastian Bach recently to talk about the upcoming tour and playing some of those songs for the very first time Down Under.
"The first record is only 45 minutes long, so that's not a full show," Bach pointed out when we asked what to expect. "We'll be doing new songs from my new record, Child Within the Man, and we'll be doing a couple of songs from Slave to the Grind. But we got some really good new songs like What Do I Got to Lose, which is the closest thing that I've had to a hit in 35 years."
We ask if there were any difficulties in playing the debut record in full due to the fact that when it was written, the band likely would not have given thought to the whole album being played in full one day.
"There's certain notes that are very challenging," he nodded. "In America, we did another tour where we did the album Slave to the Grind in its entirety with 40 cities, but what I learned, when you said was it challenging relearning the first record? I learned that the first record was more about singing, and Slave to the Grind was more about screaming. A song like Living on a Chain Gang off Slave, that is just me screaming at the top of my lungs for the whole song. On the first record, there's more pop and a pop sensibility. Slave to the Grind is way more metal, but the first record, Skid Row, it captures a real innocence about us as a band and about the times. It just has a real innocent quality to it."
In the full interview, Bach talked us through the touring schedule and his preference of playing more shows as opposed to having days off, the musical climate that spawned Skid Row's self-titled debut album and where the band fit in at the time.
We spoke about the massive intensity lift between the first album and the more aggressive follow-up Slave To The Grind and why the band went that way instead of playing it safe and rehashing a successful formula, what he has learned as a vocalist over his 40-year career, the significant changes in the music industry, how he maintains his vocal range and more.


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Interview by Kris Peters
Brisbane sleaze rock outfit Snake Bite Whisky have been terrorizing the airwaves since 2014, along the way releasing two albums in This Side Of Hell and Black Candy.
Their crossover appeal, coupled with an energetic live performance and precision playing, has seen the band make inroads overseas, particularly the seedier side of LA where their particular brand of rock was nurtured and grown.
With the recent arrival of two new guitarists and an opportunity to join the roster of growing Australian label XMusic, Snake Bite Whisky have embarked on the next stage of their musical journey which has already promised so much and seems set to reach new elevated heights with the release of some new material, spearheaded by the mellower love song of sorts called Living To Die which is out now.
Coming together from the ashes of a song started over 30 years ago, Living To Die showcases a softer side to Snake Bite Whisky while maintaining their trademark sound and loud guitars. It is not a new direction for the band per se, rather a revealing of another string to their musical bow that will appeal to fans both old and new.
HEAVY sat down recently with the band from rehearsal to find out more.
"It's been a long journey," guitarist Scuba Steve sighed when we asked how they are feeling about having Living To Die unleashed on the world. "It's been a long time in the making, and a lot of work and effort has gone into it, and it's come out the other side exactly how we wanted it. Actually, better than we thought."
In the full interview, the boys run us through Living To Die musically and what they were going for, the personal nature of the song, the extended intro and the thought process behind it, whether it is a stand-alone single or part of a bigger picture, the new members and what they bring to the band, signing with XMusic and more.

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Interview by Kris Peters
Coming together from opposing corners of the planet, Calva Louise are a band who not only benefit from the wisdom of a diverse cultural well to draw from, but also from a musical vision and delivery that far transcends most music in the modern world.
To categorise their music would be doing an injustice to the rich sonic palate offered up from the talented trio, but if push came to shove, you would be safe to say theirs is a musical blending of metal, punk and electronics. But the depth of their music goes much deeper than that.
Painting an almost cinematic dimension through eclectic and boisterous bodies of sound, Calva Louise have thrown pretty much every rule book out the window, instead following their own path and vision to create a dynamic and powerful sound that is truly something fresh and unique on the shrinking landscape.
After two early albums - Rhinoceros and Euphoric - it was the 2023 release of the mixtape Over The Threshold that broke Calva Louise through the barriers and into the ears of a hungry public tired of the same formulaic music. Such was its impact, Over The Threshold reached the ears of Pendulum's Gareth McGrillen, who messaged the band on Instagram, leading to him coming on board to record Calava Louise's new album Edge Of The Abyss, which is due for release on July 11.
HEAVY caught up with drummer Ben Parker and bass/vocals Alizon Taho to find out more about the new album and Calva Louise's musical journey.
"I guess it's a continuous evolution," Parker replied when we asked him to tell us about Edge Of The Abyss musically. "Our sound has been like that from the start, and this is closer to what I think we've always wanted to do. And every release we've done throughout the band's timeline has increasingly got closer to that. It's almost like a bit of a nonstop vision, and it evolves as it goes. Obviously, this album is still very much in the heavy vein - much like the last release, like probably even a little bit more so, I would say."
In the full interview, Ben and Alizon explained the DIY production process of the album, where each member recorded their parts remotely, culminating in collaboration with co-producer Mazar in Italy and Gareth McGrillen from Pendulum for additional production. They ran through the interesting concept for the album and how it follows their previous bodies of work.
Talk turned to their eclectic sound and the difficulties of blending genres together in the creative process, opening track Tunnel Vision and why it was chosen to introduce Edge Of The Abyss, working with McGrillen and what he brought to the overall sound and feel of the album and more.


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Interview by Kris Peters
Music means many things to many different people, but regardless of whether you listen to country or heavy metal, one common denominator remains. Music is supposed to be fun.
Which is exactly the way South Wales entertainment machine Punk Rock Factory approach each and every waking moment. Essentially a covers band who spice up everyone from Meatloaf to Michael Jackson to Abba to Disney classics with their own punk-fuelled tinge, Punk Rock Factory are a band who seem to bring themselves just as much joy as they do their fans.
Formed in 2014, Punk Rock Factory spent their early years refining their craft, toiling away without major success. But all of that changed at a time - ironically - when most of the world suffered during COVID. With more time on their hands due to the necessity of lockdown, the band invested their efforts into their social media and online presence, with immediate success.
They emerged from lockdown with enough momentum to carry their music throughout the music universe, culminating in invitations to play iconic festivals such as Bloodstock, Download and Slam Dunk to rapturous applause. These days, they are selling out venues worldwide, and the party is headed back to Australia this November.
HEAVY sat down with Peej (vocals, guitar) and Ryan (guitar) to join in the festivities. Being new to the band ourselves, we ask what to expect from a Punk Rock Factory live show.
"Fun." Ryan replied without hesitation. "It's always a laugh, man."
"Our shows are…" Peej jumped in. "I mean, the main word I would call them is ridiculous to be honest (laughs). It's full of guilty pleasure tracks and just good sing-along stuff, and we play a lot of like cartoons and TV stuff and Disney stuff, but we're not… I wouldn't say we're a child-oriented band. We're not the Wiggles. I do swear a lot when it's an all-ages show - I really do try not to - but fuck it, it's their own fault if they brought the kids (laughs). It's chaos, it's fun. We love being there and appreciate being there just as much as the fans do. The fact that people turn up night after night to come and watch us piss about on stage for an hour and a half is fucking great, and I think that comes across. We have such a laugh and the banter with the crowd… it's almost as if you're in a room with a load of your mates and everyone's involved and everyone's having a laugh and chipping in. That's the vibe of our show."
In the full interview, Ryan and Peej described their live shows as chaotic and interactive, emphasizing the importance of audience engagement to enhance the experience. They clarified that their performances, while featuring some cartoon and Disney songs, are not aimed at children.
The band shared insights into their creative process for punk rock covers, utilizing software like Moises to isolate song elements, and acknowledged the challenges of adapting complex genres. They reflected on their evolution since 2014, noting how they leveraged TikTok during the pandemic to expand their audience. We spoke about choosing songs to cover and what happens if they are too difficult, the process of breaking down and then reconstructing a song, what they get out of being in Punk Rock Factory and more.


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