If you look at their musical journey, it might appear that SoCal pop/punk/rapcore outfit Zebrahead have led somewhat of a charmed life. From their very inception through meeting at a practice room to playing to a handful of people, where 12 of them were scouting from record labels, a sceptical person could claim things have fallen into place for the band. But if you know the band and know their music, you would know that while luck - in any incarnation - is always welcome, there is one core ingredient of Zebrahead's collective musical psyche that has had more influence on their trajectory than anything else.
Fun with a sense of humour. Listening to co-founding member and vocalist Ali Tabatabaee run through Zebrahead's history, the one common thread is their ability to laugh in the face of potential adversity and brush any setbacks off with a shrug of the shoulders and the knowledge of what to do better next time.
Their musical style is offbeat and eclectic, mixing a fusion of pop/punk with hip hop and punk sensibilities to create an ever-evolving and expansive sonic universe that is as endless as it is unique. But there is one factor that has been essential to the continued growth of Zebrahead, and that is their live performances. Known and loved for their energetic output and on-stage banter, Zebrahead bridge the gap between intensity and frivolity with boundless energy, approaching each gig like a party with new best friends that just haven't been met yet.
This October, after seven long years, Australian fans get to witness this first hand when Zebrahead make their triumphant return for five shows starting in Perth on October 7. Having heard the hype but never speaking with the band, HEAVY jumped at the chance to spend some quality time with Ali, and we're glad we did! We started by asking what has changed with Zebrahead in the seven years since their last visit.
"Man, I feel like the main thing is Adrian (Estrella) is in the band now," he replied. "He's the other vocalist. We haven't been back since before the pandemic, dude, so it's been a minute. We have released three EPs since then - III, II, I - with Adrian, and we're going to be playing some of those songs when we come over. But also when we're not touring, we've been working on new music. So we're excited to get back home after Australia and get into the studio and record the songs that we've been working on. So that's mainly it, man. And then once that's done, hopefully next summer, start touring again."
Talk later turns to the early days of Zebrahead and the musical climate that spawned the band.
"Man, at that time, Orange County was kind of popping off," he recalled. "You know, we had bands like Offspring. We had bands like No Doubt that were doing really well, so the record labels were really focused on Orange County. We actually got very lucky because of that. Our first show we played this Christmas show, and it was just our girlfriends and the guy who ran the club who gave us the show. He'd never heard of us. He came in to get the money from the cash register or something, and he heard a song. Then after we were done, nobody was there. It was empty. And he goes, 'Hey, I have a friend who's a manager, and you guys are interesting because you have hip hop and punk and stuff. I kind of want him to come and watch you play. Is that something you'd be into?' And we're like, sure, of course, who's gonna say no?"
In the full interview, Ali talks more about the Australian tour and what to expect, their energetic live shows and how they will translate to our crowds, having Thomas Nicolas Band as national support, plus the early days of Zebrahead and where they fit in.
We talked about Zebrahead getting signed and how their career grew from there, the blending of genres in their music and how they came about, musical experimentalisation and how they regulate it, future music and more.


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The story of Spiderbait is an unlikely but heart-warming one – three friends from a small Australian country town taking on the music scene, and emerging triumphantly thirty years later, friendship intact, and now one of the biggest and best rock bands on the national landscape.
The trio’s popularity spans three decades and shows no signs of abating. They’ve released seven acclaimed albums, all of which have racked up Gold, Platinum or Double Platinum status, and have combined Australian sales of over a million units. Spiderbait have also chalked up almost every Australian accolade possible, taking home multiple ARIA Awards, topping charts and becoming the first Australian band to take the crown in triple j’s prestigious Hottest 100 of 1996 with Buy Me A Pony.
Australian rock ‘n roll royalty, and with a catalogue of music that’s distinctive and uncompromising, Spiderbait will be a part of The Croxton Block Party, a huge two-day festival celebrating 10 years of the venue, to be held in the carpark across from The Croxton Bandroom on November 1 and 2. The stacked line-up includes Tropical Fuck Storm, Cash Savage and the Last Drinks, Spiderbait, Ratcat, Floodlights, Party Dozen, Grace Cummings, and more.
To celebrate the occasion, HEAVY sat down with Spiderbait's Kram to find out how more about the show.
"It's going to be great," he enthused "I think we've played at Croxton… I can't remember when we played it last. I know King Gizzard played there, and I remember getting up with Wolfmother as well. And yeah, it's just gonna be great for us to actually play there and be part of this great show. And there's a great line-up of acts over the two days."
We ask if Spiderbait have any special plans to mark the occasion, to which Kram offered. "Well, we're just about to release the reissue of The Unfinished Spanish Galleon of Finley Lake, and we've pressed it on vinyl because I think it's the anniversary of that record's release. So we might try and do a fair few songs off that record for this show. It's gonna be sick. The Croxton Bandroom has been a great live music venue for the last 10 years, and it's such an iconic room. I'm happy that they're doing the show outdoors to make it like a block party, which obviously is what it's called. It's also celebrating that part of Melbourne, the North side. So many bands have come from there, including us."
In the full interview, Kram further highlighted the significance of community support for live music venues and suggested that government incentives could help preserve these cultural spaces. He reflected on the transition of music from underground to mainstream, noting the enduring popularity of bands from his era and the challenges of replacing iconic venues. He announced the release of the 30th anniversary vinyl edition of The Unfinished Spanish Galleon of Finley Lake, highlighting its importance in marking Spiderbait's evolution and confirming that pre-sales will start on September 25 plus more.
Tickets for The Croxton Block Party HERE


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Interview by Ali Williams
Teenage Joans members Tahlia Borg and Cahli Blakers took time out to chat with HEAVY about their new track, My Hearts Dead, and their current tour with Slowly Slowly.
Hailing from Radelaide, Teenage Joans were winners of JJJs Unearthed High back in 2020, and since then they have flooded the air waves with a string of melanchol,y pretty punk rock hits. In their short time on stages, they have racked up some impressive achievements from playing the same stage with Foo Fighters to rocking it on the festival runs at Laneway, Good Things, Groovin the Moo, Unify and more.
The girls are excited to be touring with fellow Aussies Slowly Slowly, being huge fans of the band themselves, and are looking forward to warming up the crowds for the shows. Their music resonates with fans as they aim to give their punters the full homegrown experience, being very hands-on with all they produce from their music to videos and even their merch. Not only do Teenage Joans enjoy the DIY aspect, they also feel that part is integral to their image and what they want to pass on to their audience to feel connected. Their most recent track was filmed and produced themselves, mainly due to a lack of funds after returning from a US tour, but that aside, they feel it matched well with the essence of the track and conveys synchronicity.
Tahlia plays drums and vocals, and Cahli does vocals and guitar and plays bass in the studio, keeping true to their theme of being hands-on and independent artists. They’ve described their sound as being as if Blink-182 played Kesha, which is fairly accurate on all levels. The girls have also done a session of JJJs Like a Version where they wanted to cover a Kesha track that didn’t make the cut, but was the drive and inspiration behind their latest song, My Hearts Dead, which is a compilation of who they are musically and personally.
Being just schoolgirls when they started out, they talk about doing gigs on school nights, having their parents as roadies and manning the merch stands for them, saying it has helped them navigate growing up in the spotlight as young females in the music industry. They also discussed playing with their idols, new music, future direction and their hometown gig on October 31 plus more.


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Interview by Kris Peters
Since the Australian Women in Music Awards (AWMA) inception in 2018 almost 2000 individuals have been recognised with a nomination, with 1946 nominations from 2018 to 2024. Designed to provide an outlet to celebrate and reward women in the Australian music industry, AWMA has become a vital platform for recognising the vast contributions of First Nations and culturally diverse artists, musicians, technicians, photographers, journalists, leaders, artists with a disability and music practitioners from every corner of the sector.
To be held on October 9 at Fortitude Music Hall in Brisbane, this year's ceremony features a spectacular line-up, including KATIE MILLER HEIDKE, MISSY HIGGINS, BABYSHAKES DILLON, and recently appointed AWM Chair SARAH MCLEOD.
Founding Executive Producer and Program Director Vicki Gordon explains: "Our inaugural AWMA in 2018 paved the way for some of the most important change the industry has ever seen, igniting collaboration and support nationally for female and gender-diverse artists and music practitioners, First Nations and Multicultural artists and artists living in remote and regional areas. As we head into our sixth year, we are proud of the change and the shift AWMA has enabled - but there is so much more work to be done.”
With the AWMA's drawing near, HEAVY sat down with Vicki to discuss the Awards, covering everything from the past, present and future of this wonderful initiative.
"Things are pretty intense at the moment," she smiled when we asked how preparations were going. "We're just under four weeks out from delivering the conference and the awards ceremony, and there are a lot of moving parts. It's become massive; a really, really big event. There's a lot going on with organising the artists and the programming for the awards ceremony. (Things like) the finalists, the conference programme, the speakers and the facilitators."
We ask Vicki to go into more detail about the AMWAs, including what motivated her to establish the awards in 2018.
"I've worked in the music industry for a long time," she measured. "I've been a label manager, an artist manager. I've had the extraordinary opportunities to work with First Nations artists for the last three decades, right across this entire country, and I've been a video producer. I've worked in lots of areas, and in my time in the industry, it was always so obvious to me that women were really absent, particularly in a lot of the technical and production areas. I have been observing that for a long, long time. In the early 90s I established the Australian Women's Rock Institute, and that was way before Australian Women in Music Awards. I set that up primarily to address the status of women in the music industry, which was pretty appalling at that time."
In the full interview, Vicki outlined the extensive preparations for the event, involving a large team focused on artist programming and conference logistics. As a not-for-profit charity, the event relies heavily on ongoing fundraising efforts and collaboration between a number of sectors, which she explained in greater detail.
Vicki also mentioned her proactive approach to planning for the 2026 awards, highlighting the cyclical nature of organising such events. She shared her long-standing commitment to addressing the underrepresentation of women in technical and production roles within the music industry, which led her to establish the Australian Women's Rock Institute and the awards themselves.
The conversation also touched on the importance of gender equality in the music sector, with Vicki emphasising the need for continued advocacy and research. She introduced the Women in Tech forum, featuring Brittany Long as a speaker, and addressed concerns about inclusivity for male attendees, affirming that their participation is welcome. The inclusion of heavy metal and associated genres in AWMA was discussed as well as Vicki's vision for the future of the awards. 
The discussion included details about ticketing for the awards and conference, as well as highlights of the event, such as the unique black carpet event and the awards ceremony featuring notable performers and more.


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As with every other year, anticipation surrounding the first line-up announcement for Good Things 2025 was almost at a fever pitch. Social media experts and promoter wannabe’s all shared their projected line-ups, but most were well off the mark.
Good Things is possibly one of the hardest festival line ups armchair critics get to sink their teeth into, with the diversity and seemingly flippant mashing of genres meaning pretty much any band from any genre could make the final cut. And this year was no exception.
When TOOL were announced as headliners, a large number of punters were already scrambling for tickets, but a quick scan through the rest of the line up proves the eclectic tastes of organisers and the variety of live music on show for fans of most persuasions.
Rock? Tick. Weezer, Garbage.
Pop Punk? Tick. All Time Low, New Found Glory.
Punk? Tick. Refused.
Metal? Big tick. Machine Head. Knocked Loose, Lorna Shore.
But one of the best things about festivals like Good Things is the chance to come across bands you might never have otherwise heard of, and for many people, one of those bands this year will be American rock outfit Dead Poet Society, who are well known in most other parts of the world. HEAVY caught up with Jack and Dylan from the band to talk about their debut visit to Australia.
The name Dead Poet Society may not mean all that much to Australian audiences just yet, but you can bet by the time Good Things 2025 has swept through the country, that equation will have changed drastically.
Since forming after meeting while attending Berklee School of Music in Boston, Massachusetts in 2013, Dead Poet Society have elected to drive their journey on the hard road, starting off as an indie group before steadily making their way through the musical maze. Their hard work and dedication proved fruitful when, in 2018, Spotify editorial staff added the single American Blood to their playlists, after the band had built a strong organic following on social media and the streaming platforms. Josh Katz of the band Badflower, was one of their early fans, notably of their song CoDA, which he championed to his label Big Machine and others, resulting in interest from several labels, including Spinefarm, where they later signed and released their debut album -!- in 2021.
Fast-forward four years and Dead Poet Society are currently touring North America alongside Chevelle and Asking Alexandria, with their flights already booked for Australia this December.
HEAVY sat down with Jack and Dylan from the band to find out more about the band and their debut trip Down Under. As such, we ask what they are expecting from Australian crowds, warning them that we can get pretty rowdy.
"That's what I'm hoping for," Jack smiled. "I've heard you guys are wild, and we love a wild audience."
On the flipside of that, we don't know what to expect from a Dead Poet Society live show, so we ask what a typical show from the band looks like.
"It's pretty high energy," Jack promised, "and sweaty. We try to redline ourself the entire set."
In the full interview, Jack and Dylan talk more about Good Things Festival and who they are most looking forward to playing with, their first trip to this country and how they are approaching it, their thoughts on the diversity of this year's line-up and what it means to them to be a part of it.
We talk about their formation at school and how it came about, planning their future and then working towards it, new music and more.


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Punk rock has seen many bands proudly fly the flag for its roots, ideologies and defiant attitude, but few would argue that one of the best and most influential punk bands ever is the Dead Kennedys.
Since 1978, the band have flown in the face of almost anything with even a slight breeze, along the way releasing a multitude of songs that have shaped a generation, including Holiday in Cambodia, California Über Alles, and Kill the Poor. Their flippant attitude, coupled with brutally honest content, has seen the Dead Kennedys not only reach the summit of all that is music but remain there, virtually unchallenged for the better part of five decades.
After a seven-year absence, the punk rock upstarts are finally returning to Australia and New Zealand to regal fans with a dose of unbridled anarchy when they start their Give Me Dystopia Or Give Me Death tour in Auckland on September 16 and wind things up in Sydney on September 27. With three shows already sold out and the rest close enough to, HEAVY sat down for a chat with guitarist East Bay Ray to shoot the breeze. One of the things we ask is what fans can expect from the Dead Kennedys live.
"Well, the fact that we're still alive and moving is a good thing," he laughed. "Back in the day, there was a lot of political bands and stuff - and we're still political - but the reason we're still around is the music. And if I do say so myself, this is something I shouldn't be saying it, but we really rock out. We're a good rock and roll band, and we have a very unique sound."
In the full interview, East Bay Ray further noted that the Dead Kennedys music remains true to their identity, with the tour titled Give Me Dystopia or Give Me Death reflecting both their past and the current political climate in the U.S. The discussion also covered the band's origins in San Francisco's punk scene, their musical influences, and their commitment to blending political commentary with humour.
He recounted a notable incident in 1982 when they were arrested in Brisbane, illustrating the repressive political environment of the time. When asked about new music, Ray confirmed they have written new material over the years, though audience reactions have been mixed, as fans prefer classic songs. He remarked on the current vitality of the hardcore punk scene and humorously addressed the topic of the band's eventual retirement and more.


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When Melbourne noise machine and champion for the underdog Blood Duster called time in early December 2017, the Australian music scene lost one of the greats. Not just in terms of music, but, more importantly, in terms of old school ethos. The punk mentality of fuck you and whatever you rode in on that had by then thankfully settled into the heavier side of music.
The band were an enigma. They cursed, they bled, they had an opinion, and they had an agenda. Which was purely based on fun and enjoyment of their music. The fact that every year since has seen some form of (false) whisper about an unlikely reunion has only helped strengthen the myth surrounding the music. Hell, HEAVY would not have even heard of the band were it not for their infamous CUNT shirts, which is another thing about the band that has remained intriguing.
But this year was different. 2025 became the year when Blood Duster said yes to returning to Australian stages and said fuck it to any previous trepidation. And the lucky festival to secure that much sought-after signature?
Blacken Open Air.
As bass player Jason Fuller tells us during our chat, Blacken have come knocking every year since 2017, urging - sometimes pleading - with the band to make a resurgence at the hallowed grounds of the outback metal festival, but each request fell on deaf ears. Until now.
Blood Duster will play their first gig on Australian soil in almost a decade as one of the headliners of Blacken Open Air 2025 (September 19 - 22), and HEAVY jumped at the chance to speak with the man behind the myth and behind the legend, Jason Fuller. We start by asking why now is the right time for a return outing.
"When we finished the band, we really kind of…" Fuller measured… "We felt like once you're releasing records; once you're destroying records before they can even be released, you've kind of reached peak annoyability for everyone (laughs). We did everything we had to do, and we were starting to do shows just for money, and it felt totally dishonest considering what Blood Duster is. It's supposed to be a party. We were at this point where we reached the peak of what we were gonna do and were getting annoyed with having to do it. So we just killed it. It's been eight years or whatever, and we just want to hang out with each other and have a party. All the heavy lifting is done. We don't have to fucking write anything. We don't have to go into a fucking release cycle. We don't have to worry about any of those things. We can just turn up, play some songs and have a ball. So that's where our heads at with all that."
In the full interview, Jason talked more about why Blood Duster chose Blacken as their first gig back on home soil, the temptations and offers over the years, what to expect from Blood Duster live, what other bands he is looking forward to catching up with and the value of friendship within the metal community.
We spoke about the diversity in Blacken's roster, the early days of Blood Duster and the musical climate that created them, their blending of genres before it was cool to do so and the future of the band after this show. And, of course, we talked about THAT shirt, with Jason recalling some funny moments because of that piece of merchandise and the album it spawned from.


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Rock stars at the age of 16, Finnish warriors The Rasmus have weathered the inevitable trappings of early success to morph into one of the world's leading rock outfits.
Known for their musically dark atmospheres, The Rasmus have also managed to connect on a deeper level with a plethora of music lovers who can relate to the band's genuine feelings of despair. Once labelled as outcasts, or 'weirdos' if you will, The Rasmus have always embraced their perceived differences and championed the cause of the underdog; the downtrodden. The 'weirdos'.
Which is why the title of The Rasmus' new album - out on September 12 - is both confronting and comforting. Weirdo, the 11th album from The Rasmus, deals with feelings of inadequacy and discontent, reinforcing the fact that it is okay to be different. Okay to walk your own path. And okay to be on the outside.
Weirdo comes after an extensive promotional lead-in, which started with the album's lead single Rest In Pieces, which debuted last October. More singles followed with Creatures Of Chaos, Break These Chains, and Love Is A Bitch, each track further exploring what is no longer a sensitive subject for vocalist Lauri Ylönen. With the album out tomorrow, HEAVY caught up with Ylönen to dive deeper into Weirdo.
"I'm feeling excited," he smiled. "A little bit nervous, still, after all these years. We've been putting a lot of emotion and a lot of time into this album for the last two or three years, and it's finally going to be released. It's a bit nerve-racking to let it go. But so far it's been a really good response, and the fans have been liking the new, little heavier sound. It's a strong album."
We read back an earlier quote from Ylönen, which said, "I find it comforting that our 11th album is pretty much the same message as our first album released in 1996" and ask him to elaborate.
"It is maybe the main message of the band," he measured. "Just be yourself, no matter what. I think that's always been a struggle for me, but as I've grown up, I've been able to find my soulmates; people like me have come to me because it was almost like an invitation. To dress up like that, to put makeup on like that, do my hair like that, especially back in the days when there was no social media and that kind of easy access to people. You had to send messages out there, like, please find me."
In the full interview, Lauri shared insights into the personal nature of the lyrics on Weirdo, including a ballad dedicated to his son, and discussed the album's overarching message of authenticity. Lauri also reflected on the band's musical evolution, comparing their discography to a diary of life experiences, and highlighted a collaboration with Lee Jennings on the title track of the new album.
We spoke more about the importance placed on fitting in with society, finding your own path and surrounding yourself with positivity. Talk also turned to next year's debut tour of Australia and what to expect, and more.
Order your copy of Weirdo here: https://therasmus.lnk.to/weirdoalbum


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By Angela Croudace
German melodic death-doom outfit Nailed to Obscurity have just released their highly anticipated new album, Generation of the Void. For frontman Raimund Ennenga, the record represents the band’s boldest and most diverse work yet.
Following the critical success of Black Frost, the group set out to explore wider sonic territory. “We wanted the next one to be more diverse, more dynamic,” Ennenga explained. “On one side, you have the extremity of Glass Bleeding with blast beats, and on the other, songs like Allure, which is a full ballad. We even pushed into more accessible territory with tracks like Spirit Corrosion, which I would call catchy in a way.”
This push into new territory demanded that Ennenga redefine his own vocal role. Known primarily for his harsh delivery, he embraced clean vocals more extensively than ever before. “I had to find the sweet spot for my voice,” he said. “It feels like more mature singing now, and we really wanted to make sure it worked both on the record and in a live setting.”
Recorded across Woodshed Studio in Germany and Jacob Hansen’s studio in Denmark, the album benefits from a balance of fresh experimentation and polished production. Hansen’s calm yet meticulous approach provided the final layer of refinement. “It’s still unbelievable that this is our album,” Ennenga admitted. “Jacob was on our wish list for years, and he lifted the songs to a new level.”
Lyrically, Generation of the Void reflects a more cinematic scope while also resonating with the turbulence of recent years. Themes of isolation, social unrest, and emotional weight run throughout, offering listeners both intensity and catharsis.
Though no Australian tour is currently locked in, Ennenga expressed the band’s enthusiasm: “We would love to come down under one day—it would be really special.”
Generation of the Void is out now.



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Two decades into their career, Ohio metalcore outfit The Devil Wears Prada are still intent on exploring their sonic boundaries. Despite - as most bands do - having a core, recognisable brand of music, The Devil Wears Prada remain unrestrained by the confines of expectation, preferring to allow their creativity to dictate the direction of their music rather than expectation.
This has never been as evident as with The Devil Wears Prada's upcoming ninth album, Flowers. The new album marks the start of an incredibly epic cycle and phase for the band, representing perhaps their most significant creative leap forward yet.
HEAVY sat down with vocalist Mike Hranica for some clarity.
"This one has been years and years in the works," he began, "even since the record was finished being mixed feels like years ago, but that's an exaggeration (laughs). We're excited for folks to hear it."
We ask Mike to tell us more about the epic new cycle of the band alluded to in the press release.
"In terms of looking at the cycle, what we just did with Color Decay coming out of the pandemic was certainly unprecedented compared to the seven other full-lengths we released every year or so," he measured. "We really looked forward to this cycle. We feel like we're in stride in terms of the band and marking 20 years in and full steam ahead."
Talk turns to the musicality present on Flowers.
"There's a lot of pop sensibilities," he offered. "When you look at the genre and the label of metalcore, you think of the heavy with the singing. When I think about what this record is, I think it leans a little bit rocky - at least from the exterior - but there are certainly songs that by all means fit the metalcore description. I think it's very chorus-oriented and working with the pop sensibilities to the choruses and the theatrics having more of a place than ever."
In the full interview, Mike dives deeper into the musical side of Flowers, details how it marks the start of an epic new cycle for the band, runs us through the dual single release and accompanying short film and how they lay the sonic platform for what is to come.
He discusses the opening track That Same Place and the thought process behind it, the meaning behind the title, whether Flowers is an overall representation of hope or despair, their continued musical evolution and how it stands The Devil Wears Prada amongst their peers, their upcoming tour of Australia with Bullet For My Valentine and more.


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