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.


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Author: Dom Daley

This album is my first time hearing a full album by the band as I have heard some songs here and there over the years. Stylistically, this falls right into my punk n roll wheelhouse and has grown on me a bit with each listen. It has not done enough to consistently keep me coming back to it. Other albums in this style have generally connected with me more than this one, but there are moments here I do enjoy. I don’t think I will be the only one that is a bit hit and miss with this one.

Opener ‘No No No’ has some cool backing vocals and guitar parts through the chorus but otherwise leaves me a little flat. There is a sense of urgency present, but it doesn’t ever really grab me. The guitar solo is cool, but I catch my attention drifting. ‘Love Exorcist’ has a cool riff and groove but suffers as it needs to be up front in the mix for me. Again, the guitar solo hits the spot, and the chorus has a nice shouty hook.


‘Diane’ is a surprise cover and perhaps should have been placed later on the album as it distracts from their originals and competes in my brain between the original and Therapy?’s haunting cover from the 90’s. While this is an alright version, I much prefer the two previous versions. It does not help that it comes before ‘Supersonic’ which is a burner with a huge hook and a catchy guitar riff for reinforcement. This is a hit single in some other dimension. This also would have been my first song on the album. Glen Clarke’s vocals perfectly fit the song, and Robin Schafer’s guitar riffs leap out of the speakers. ‘Dance Dance Dance’ continues to hit the mark as a slow build to some amped up rock n roll akin to a train thundering down the tracks with no let up in sight. The addition of Ross the Boss on lead guitar will likely bring the band some added listeners.


The band change gears with a slower tempo in ‘Generator.’ I really like that they are mixing things up here, and my feelings on this song have really depended on my mood. I wish there was more to the chorus, or it was used less. Acoustic guitar opens our side one instrumental closer ‘Gismo.’


Side two opens with the Supersuckers sounding ‘Drinkin Out Loud.’ I like the song but also realize I would rather just put on a Supersuckers song which is unfortunate. The little breakdown with the crowd noise in the background is a nice touch though. ‘Get Drunk with Me’ follows which in terms of the song titles I find appropriate. Schafer again lays down a nice riff that serves as a hook in itself. The rest of the song though doesn’t really establish its own identity. If I heard this playing in a bar, I would likely tune it out midway through the first verse and randomly come back to it throughout the song. They highlight that intro riff again at the end which does give the song extra life for my ears.


The band changes things up again with the more power pop feel of ‘One You Love’ and is another of my favorites from the album. Adding vocals by Lisa Kekaula again provides another shot of something different over the course of the album. I wish there was more power in the mix of the album, and I have a feeling this song will move at a slightly faster tempo live. Ross the Boss makes another appearance on ‘Killslayer Bob’ with a guitar intro that is really cool. The Beach Boys style backing vocals in the chorus are awesome here. It is the songs that I like that make this whole thing frustrating at the moment as I am quite sure there is an album by Black Sheriff that I would absolutely love if the stars aligned.


Coming to the end of the album, ‘Happy Camper’ brings in some Johnny Cash at the beginning, but this one just completely loses me. To reference the Supersuckers comparison again, when they go country, it feels very genuine as another side of the band. This just comes across to me as unnecessary filler. ‘Black Angel’ returns to the rocking vibe of the album, and it really suffers because of the previous track. I may isolate this song onto some of my own playlists to let it stand on its own as I like the chorus and the extended part near the end. I just check out after ‘Happy Camper’ when I listen to the whole album.


Black Sheriff have created an uneven 5th album for me which frustrates me as I can see them doing a lot of songs I enjoy. This will likely be one where I eliminate some songs from my listening to see if it holds my attention better that way. Songs like ‘Supersonic’ and ‘Killslayer Bob’ will have to be able to serve as the ones to keep me listening. At the end of the day for me right now, I’m just left feeling meh…

‘Time to Burn’ is available now.




Author: Gerald Stansbury





Three imaginative boyos, TRAMPOLENE, release a new single ‘Shoot The Lights,’  

Jack Jones on ‘Shoot The Lights’ “ for me it’s about when you’re scared and trapped indoors together with someone you love, for what feels like forever, it’s touch you need, life you want, and shoot the lights when you dare.”
Pre order the new album Here

A band who are always welcome on RPM is CNE and as they release the video for the excellent ‘Let The Wheels Roll’.  Here it is for your viewing pleasure.  Visit for more info or email to order now!

The Chuck Norris Experiment just released this awesome video for Let The Wheels Roll from the recent split EP with Scumbag Millionaire!

We have a few copies of the record left, so enjoy the video, have a laugh, and get a copy of this amazing 7″ while you still can!

The Chuck Norris Experiment and Scumbag Millionaire…two high energy rock ‘n’ roll bands from Gothenburg, Sweden that need no introduction. The Chuck Norris Experiment contributes two exclusive tracks, including an acoustic version of my all time favorite CNE song “Dinosaur Fire!” If you were at the Savage Magic Label Night last February, you saw them play it this way live first time ever for my birthday! Scumbag Millionaire contributes one exclusive track and a track from their debut LP Speed that was never released on a single (until now). These four rippers combined with the amazing layout by our good friend Dario make this one hell of a release!

Who are Stacy Crowne?

We are four strong individuals who love coming together to play our songs. Every one of us has his own wheelhouse in terms of genre and at some point in our lives, we have all been part of different projects ranging from indie to stoner rock all the way to reggae and back. For me personally, soul is an important influence that breaks out of me in a James Brown kind of scream once in a while.


Where do you call home for the band?

Cologne, or as it is known in Germany, Köln, is our home. We are all born and raised here and apart from Pete we even sort of grew up together and went to the same school. Most notably, Cologne is known for the perfume 4711 (it stinks!) but is also full of history and culture. It is home to a couple of pretty good rock’n’roll bands and has/had some cool live music venues and festivals.

How did you come together?

I guess it all started in Dom’s parent’s basement. They are both musicians and were kind enough to put up with us butchering Turbonegro and Hellacopters songs. I always wanted to form a rock band with Dom but another friend beat me to the punch and formed an indie rock band with Dom on drums and Andi on lead guitar. I was always a little jealous but managed to poach them both for what later became Stacy Crowne. We went through a couple of line-up changes until, finally, we found the right drummer in Pete. That was around 2011, Stacy Crowne was founded a little later. 


Previous recordings?

Our first release was an EP recorded at a local studio in 2014. We weren’t entirely sure what we wanted to sound like but the songs are still in our setlist today. At some stage Carey from Savage Magic Records got hold of one of the CDs and we’ve been working with him ever since. In 2016 we release a split 7″ with The Empire Strikes and last year we released our first LP, We Sound Electric. We also just made another split 7″ with hardcore punk band Christmas and have another release in the pipeline for later this year. 

Post-pandemic – what are the plans?

Hit the ground running from where we left off, basically. A bunch of shows in Italy and Spain had to be cancelled due to the pandemic which we’d really like to make up for. Otherwise, we’ll just keep working on new material. Luckily we have a decent home studio where we can record and work on stuff in our own time. These ‘Corona Sessions’ have been very productive. So next year will see another few smaller releases and eventually our second LP. 

Buy the album Here



I’m not a massive believer in fate or why things happen but I was asked to give a record a listen and possibly review it.  The dilemma I had was it was originally released late 2019 but hey the world has been on stop for some months anyway sure I’ll listen.  Then when I was putting together the pictures and links for this review I got a message from a label and asked if I’d ever heard a band named Stacy Crowne.  Now here’s where it gets spooky up until a few weeks ago I hadn’t but they did a split with a band I love (Christmas as it goes) and I reviewed the single last month and was really impressed with the sounds coming outta Stacy Crowne and then things snowballed The singer got in touch I played the record and then the label got in touch over something else entirely and bang as I type I have one of those boxes pop up whilst I’m spinning the record on my laptop its only Stacy Fucking Crowne! now that might just be a coincidence but we all know the evil powers of Rock and Roll and how they work so it might well be a sign and horns up for the band because I took it as the rock and Roll Gods telling me to turn the fucker up and band out my review and let everybody know how damn good this slice of Hard Rockin’ action is!

Strap yourself in kid this might get bumpy! From the opening ring of the overdrive, this is most definitely in the same ballpark as the scene back a couple of decades that had Gluecifer and The D4 ruling the roost along with Hellacopters and a hint of Supersuckers and Turbonegro.  If anything this is understated which is a shame (I missed it when it was released)  because opener ‘Oblivion’ sets the tone but by no means is the standout track maybe its the loosener opening couple of shots to accompany the big one and you have to build up to that nobody dives straight in or you’ll crash and burn but its got all the vital ingredients to Rock and Fuckin’ Roll but ‘White Lies’ adds the tambourine which is nice as the band cruise through the gears with a song not a million miles from Captain Poon and Biff Malibu its loud got a cool hook and plenty of punch but remains cool as without a bead of sweat on their brow nor a hair out of place this is good no I mean Good!

There’s always time for a bit of Boogie along the lines of Backstreet Girls ‘Tightrope’ with a really tight chorus with layered BV’s almost power-pop wearing big boys leather gloves and mirror shades if you know what I mean? and the keys added really lift it.  Great track.

When they just want to rock out they do so with consummate ease (‘Some Equals None’) they add some neat bass runs on ‘Get Loaded Now!’ Basically if you ever hankered after a record that has loud guitars but not for the sake of it loud and ever wanted riffs and plenty of crash bang wallop then ‘We Are Electric’ is an album you have to hear. The title track or ‘We Are The Rest’ delivers in spades and throw in some of that dirty rock that bands like American HEartbreak or The Four Horsemen touched upon but also delivered great records.


If I had to pick a standout track then it would have to be ‘Lovebite’ sure it sings from that classic Gluecifer hymnsheet but damn it’s a good song with gang vocals and laid back verses it’s quality and some splendid guitar playing, especially on the breakdown. It only leaves the power ballad of ‘Too Easy’ to cruise off into the sunset.  Only joking its not a token power ballad but it is like one of the Hellacopters road movie tunes, a little more laid back than the others maybe, and with some dueling guitars noodling for good measure its been a blast.

I’m only gutted I didn’t pick this up late last year but hey we can’t be on top of everything and I’m glad I’ve had the pleasure of playing it over and over now.  I won’t be making that mistake again.  Just buy it.

Buy ‘We Sound Electric’ Here or Here 

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Author: Dom Daley

Hailing from Houston, Texas, The Satanic Overlords of Rock ‘n’ Roll have arrived to unleash their debut album and to apparently let us know that the soundtrack in hell is filled with punk n roll anthems with plenty of guitar solos and hooks. Several bands came to mind while enjoying this album with their sound based in both the spirit of punk n roll bands like the Hellacopters, Electric Frankenstein, and Gluecifer, but they go deeper than that by also bringing to mind 70’s hard rock bands and at times the New Wave of British Heavy Metal across these 8 songs. I need to get my butt out of the house to catch one of their live shows.

‘Devils Law’ rides the flames up to Earth first with a brief intro giving way to a ‘1,2,3,4’ and before we know it we are hit with a lightning fast riff that throws up against the wall. One of the areas where this record suffers a bit is the band were recording this on probably a tight budget so Cheech’s drums don’t hit as hard as I am sure they will on future recordings. One of the ways I have found to address the sonic “limitations” is to crank it up really loud and get immersed in the songs. Donnie Stokes’ has the perfect voice for punk n roll as it carries with it an attitude and roughness that also gives way to an ability lay down some great vocal hooks in the choruses of these songs. Bill Fool and John Tolczyk lay down some awesome riffs and solos in this one before the band hit us with another chorus. ‘Glass Eye’ features a hook filled chorus but does not connect with me as much as most of the other songs here. The tempo feels more restrained, and the guitars are buried more in the mix here with only the solo really getting a chance to rise above it. Hearing this one live might change my mind though as I imagine it hits a lot harder in that environment.

‘Blood on the Backdoor’ unleashes the guitar riffs again and hits the sweet spot that Electric Frankenstein does so well by laying down multiple hooks between the music and the chorus to make the song immediately feel like an old friend. I can’t remember what listen it was when I started singing along to this one, but it seems like it was really fast. The guitars are high in the mix here with plenty of room to carve into your brain. This one also wastes no time and is segueing into side one closer ‘The Worm’ before you even know what hit you. The guitar riffs initially don’t erupt as much here but hit the mark with the sound feeling very much like you hear on those classic NWOBHM albums. Another huge chorus designed for audience participation, and the guitars get more of a chance to shine near the end of the song.

Getting us started on the flipside, ‘New Bomb’ rages out of the gate and hits you like a bullet train. Every listen conjures images in my head of a crowd going ballistic with this one playing, and bodies slamming into one another. ‘Unholy Ghost’ offers no reprieve with Lencho Cevallas getting to throw in a bass run to get the song going and then some more opportunities to get featured in the mix throughout the song. This has another chorus that immediately stuck to my head and has been a go-to song for me on this album. The guitar solo really provides a different feel to a song that otherwise would be right at home on an Electric Frankenstein record with Scott Wilkins on vocals.

Another hook hits us hard with ‘Sacrificial Lamb’ throwing some piano in the mix, and I must admit that I was initially singing something other than ‘Sacrificial Lamb’ when I was listening to this with no regard for song titles. My ears still pick up something different, but I am not going to project that out to any of you so these misheard words will belong to just me. ‘Demon’ ends this séance with another hook filled shot of action rock that features a simple vocal hook with the guitar riffs providing a strong hook on this epic closer. The final minute or so provides as outro that bookends the beginning of the album in a cool way.

This isn’t going to redefine the punk n roll genre or revolutionize the world, but the Satanic Overlords of Rock ‘n’ Roll make it a better world with this album now in it. Eight songs feel a little different for this style as my expectations fall more towards a 10 song album or 5 song EP. At the same time, I grew up when albums had fewer songs so they could fit on vinyl. This album has lots of evil charm, and, as I mentioned earlier, I really want to hear these songs in their natural live environment now. While it will not compete in my top albums of the year list, I can see this being an album that will continue to get plenty of plays.

‘The Satanic Overlords of Rock ‘n’ Roll’ is officially released June 7th

Buy Here


Author: Gerald Stansbury