The much-anticipated trip over the bridge to watch The Chats at the Bristol O2 had finally come, after being postponed a number of times due to COVID the place was finally packed full of mullets and Aussie brilliance.

The First support band Dennis Cometti (named after a retired sports commentator) started the carnage as a people crowd surfed their way to the front to ‘on the sauce’ (which is still on repeat in my head) A perfect setup for the evening to come.

After a stop at the bar, Londoners ‘Chubby & The Gang’ send the O2 mental with their souped-up UK HC. It seemed to go by in a flash of strobe lighting, dry ice and dimly lit red lights. With a mix of songs from both albums, Chubby led his band through a pulverising set that fitted in rather well with tonights up for it crowd. Chubby seemed really pumped and up for it feeding off the pit and onto the O2’s large stage, rather than some grubby little club where this style usually lives and thrives. Tonight Chubby & The Gang brought it on to Bristol and went down a treat.

Before placing ourselves out of the bear pit that is the front stalls and go for the safer option and prime spot on the balcony the lights dimmed and out they flew. In an absolute blur of limbs, The Chats hit the stage hard and the only thing moving faster than the songs was the lighting – strobing like crazy sending the pit wilder than a dozen boxing kangaroos. Everything was played at double, nah triple, nah quadruple speed, It seemed like a Chats classics masterclass. Favourites ‘nambored’, ‘temperature’ and ‘mum stole my darts’ sent the Kungfu kicking kids at the front absolutely mental.

With barely time to take a breathe Mr. Sandwith took a trip on some of the multiple liquids flung towards the stage and lay in the pool of beer that had gathered, in excitement he returned to his feet and smashed out a breakneck ‘smoko’ and their newest song, ‘struck by lightning’ and then it seemed to come to a crashing halt. Equipment was broken and chaos was all around which seems like the best way for a Chats show to go.

What felt like a prime frat house punk rock party Australian style – the set length was perfect it was all over and leaving the salivating mob with ‘Pub feed’ was about right. The crowd was duly told to fuck off and the band legged it. Soaked in beers and a cheerio-o their work tonight was done, Bristol was left to come down from The Chats tornado that just tore the O2 a new one. Until next time from a very, very sweaty O2 g’day and goodnight you bonza bunch of noisy swines.

Album number four from the sex bombs from down under and its more punk rockin – more filthy – more depraved – more coloured vinyl than ever before kids, but worry not,  Mick is still sporting the cape and speedos and as the cover artwork can testify he’s even gone for some sussies the dirty boy.  Covid hasn’t interfered with the bands’ depraved modus operandi and best of all vinyl junkies can pick up copies be it in the USA  or The UK and not have to weep at import fees and postage from Australia.


Grindhouse play hard and fast and with a nod and a wink to UK legends The Hip Priests they also write lyrics that’ll make yer nan blush and from behind the cape n speedos Mick ‘Two Fingers’ Simpson has the coin purse to pull off this rapid filthy slabs of Garage punk and by the sounds of it, they’ve spent their lockdown chomping on snags and bbq’s and rockin out hard!  They’ve taken the first three albums put them in a blender poured in some top strength lager and poured out their finest cocktail to date and taken the Grindhouse style & sound to the next level.  when you want your fix of depraved and sweary garage rock n roll and Turbonegro seem like a long distant dinosaur up step the boys from down under.


Hailing from the Gong, Melbourne and Geelong, Grindhouse has been prominent players on the bountiful Australian punk rock and garage scene setting the pace for others to follow and by releasing ‘Sex Punk Power’ its obvious they’ve taken it to the next level and set the bar for others to follow. ‘Sex Punk Power’  is mixed and mastered by the one and only Steven McDonald (Redd Kross, Melvins, OFF!) in Los Angeles and it’s given the band a bigger sound.

The dirty, punk-rock, garage sound is obviously still the mainstay but the overall sheen of the record is glossier.  sure, It still features the catchy filthy lyrics of front-man Mick ‘Two Fingers’ Simpson who knocks out some stunning riffs alongside guitarists Ricky ‘Pony Club’ Audsley and Shannon ‘Candy Cocaine’ Cannon who also provides excellent, female vocals throughout the album.  The lyrics are still the expletive-filled sweary kid from Viz style non-conformist Dwarves to the next level stuff I mean I was playing ‘Phone Sex’ in my headphones whilst walking down a canal path and felt I had to walk faster in case anyone was behind me it was unnerving stuff hearing the dual vocals whispering in my cans about kissing my hips.


Some of the riffs are exactly what’s needed – filthy hot rod stuff – take ‘Drive Straight’ is the pure rocket fuel that is an absolute punk-rock Banger. ‘Hello Hamburg’ is sleazy and like a soundtrack to Germanys Reeperbahn with added paranoia as the riff swirls round and round and on repeated play ever other words seemingly being the F-Bomb is exactly what’s needed – sure it’s not going to win any Pulitzer prize for poetry but fuck it just shake your shit and turn it up.

What you get for your bucks is twelve tracks of pure, heavy, Australian rock’n’roll that’s right up there with the best albums this year and why wouldn’t you love Mick whispering “Have You seen my mother fucking Pony” just before they riff on a bastardised Batman theme ‘Fathers On Bail’ an absolute classic. The chorus will stay in your head like a slow-release earworm.


There is variety as well mind from the vitriol and poisonous riff that is ‘Shit Together’ and the piano tonk of the album’s masterpiece ‘Do It All The Time’ a slow-burning Garage banger that slithers like a Bond theme they’d never have but should.


‘Teenage Heart’ blows off the cobwebs like a Stooges fueled stomper you wish Iggy would play again which makes way for the pure gold of the albums goodbye ‘Holden Goodbye’ with its Malcolm Young inspired slow groover that has those six-string wailing like a stray dog as Simpson sings his heart out on what is, without doubt, their best album yet.  Don’t snooze kids because this will become a modern-day garage punk classic Hot as fuck in many many ways – not afraid to stretch the boundaries of what they’ve done before even if it is marginal it’s the quality on display that wins the day.  Fantastic songs on ‘Sex Punk Power’ that deserve your ears so lend em and get involved.


Visit for more info
or email to order now!

Buy Here


Author: Dom Daley

Yet another killer record of well crafted fuzzy punk rock has landed in my inbox from down under. Public transport companies worldwide should take heed of the Australian alternative rock scene due it’s sheer reliability and quality service. Lining up nicely with their fellow alumni of Zombeaches, Stiff Richards and the classic go-to benchmarks of the Saints and Radio Birdman, but also showcasing their album to album growth here on record number 5.

First track proper ‘if you only knew’ storms in with the rock radio potential of Gaslight Anthem but with it’s roots still heavily in a dirty garage rock sound, demonstrating enough force to make the purists take notice.
The release continues in this vein, with the sound having formidable presence like that of an big old folk ensemble or the outnumbering force of the E Street Band. Just as track ‘too many years’ rolls around, you think the bubble has burst and the pace has relented. But after a sublime intro the band shows even more intensity, a chest thumping rhythm, excellent guitar effects all combined with an infectious sing along chorus.
The whole record maintains this same trend without sounding repetitive or predictable while keeping a strong momentum, showing great promise and well deserving in getting their name out there on the national scene. The only dismissive I can say about the album is it comes to an end too abruptly, but when you look at the groups solid output of five releases in the past five years no one could ever accuse them of phoning it in.
With a physical UK release on the cards at the end of the month and recent gigs by the band in Australia, here’s hoping that we can all look forward to a tour to promote it when the world hopefully pulls out of this nosedive.
Buy Here
Author: Dan Kasm

I came across the band purely by accident on one of your typical ‘social media’ conglomerates. Merely described as a “straightforward punk number”, normally I would move on with such an uninspiring description but decided to give it a click all the same. Being so impressed with the track ‘headlong’ I quickly discovered that this is the first track off their debut album and I am yet to be dissatisfied taking a chance on the ominous description. A very mature sounding punk record, Bob Mould Husker Du era guitars with stark post-punk vocals.

It would appear that the Melbourne 5 piece are the latest Antipodean arrival of enviable punk/alt-rock to hit our shores. And a most welcome addition. Sonically the guitars lean towards the heavier end of eighties college rock, not looking out of place on the classic rosters of Sub Pop or SST. Title track ‘cheers for the future’ even hits brain bleeding Sonic Youth levels of noise but still managing to sound really accessible for the listener.
The album is a well thought out release, just when you think you have it all figured out and can place it in a box, it steps sideways adding synths, electronic beats and even throwing in feminine backing vocals as you make your way through the record. All adding different layers and textures without taking anything away from the overall product. Blending dirgey guitar lines with more divine sounding Dinosaur Jr harmonic fuzz.
Available to buy on Bandcamp and to stream on Spotify, make Zombeaches your band of 2021!
Buy ‘Cheers To The Future’ Here

Dom Daley.

Australian rock and rollers are back in their corner taking another swing

Australia has got a fine pedigree for making top-notch punk rock n roll from the saints through Radio Birdman and more recently The Chats, Amyl & The Sniffers and who can ignore Main Street Brats and Living End and Cosmic Psychos.  Well kids add Black Heart Breakers to that list as their coming of age release is with us.  Rotting Out might only have six tunes on it but they are the best the band have written so far and show a quality of songwriting they’ve not displayed thus far and I’m somebody who liked what they’ve done before when I say liked I loved it.

Having knuckled down and earned their stripes by playing shows with the likes of Radio Birdman this Sydney four-piece have stepped up a notch and deserve your ears for what amasses to six songs in sixteen minutes and within those sixteen minutes, they capture some real genuine magic.  They marry some classic influences and make something that isn’t just a copy but have moulded their influences into something they can claim to be their own which isn’t something that every band achieves and isn’t easy to do.

‘Why Not Me’ starts with a thunderous bass and floor tom work out that harnesses some pace and aggression as we hurtle to the gang vocals that the likes of the Living End have made a living off.  The production is sharp and sympathetic to the passion that is obvious to anyone listening.  It’s great to hear a band firing on all cylinders straight out of the blocks and if this slab of punk rock and roll is an indication of what’s to come then play on!

The band has made no secrets of loving the Ramones and to be honest there might not be enough bands out there that hold dear the melodies that Da Brothers used to hack out but Black Heart Breakers understand this and thrive off it. ‘Melody’ might be about a young lady but if she’s listening then she’s gonna be one happy lady because this is excellent. The playing is noticeably better than anything they’ve done before as ‘Angels Take Me’ has some sumptuous basslines rolling through its melodic sub-three minutes of punk rock.

Had someone like Green Day released ‘Save Me’ people would be drooling over it and the gang vocals I bet are great live and having one converse foot firmly planted in Dee Dee’s lyric book it’s all good now let’s go Hey Ho!. But the best is coming over the horizon as ‘Burning Out’ introduces a horn section and as I raise an eyebrow as soon as the first toots hit my speakers I’m sold.  This is the finest few minutes that Hayden and the boys have had so far.  What a song! The breakdown is Clash-tastic and I mean that as a badge of honour and in no way a bad thing.  Fantastic track.

To take this mini album home ‘Giving Up’ is a laid-back tune about friendship that builds and builds sure it’s been done a million times but if the song works then do it and this works a treat.  I love the rolling drums on the build-up to the chorus and the solo is on fire! Tres bien boys tres bien.  One of the most rounded and best mini albums I’ve heard all year. Check out Black Heart Breakers because the world needs youngsters like these they make old men like me fall in love with music over and over again. Cheers!


Buy Here