The Good the Bad and the Zugly (or GBZ) used to be the bastard child of the 90s Oslo punk scene, young spirits carrying the torch of Turbonegro, Gluecifer and Anal Babes to remind us of a time when punk rock was a promise of infantile nihilism and pure vicious fun!

Now, after five studio albums and a decade of touring their infamous live shows, the once so virile Norwegians have hit the inevitable 18-wheeled semi-truck that is middle-age. As for any prolific punk rock ensemble you would think this meant sure death, drowning themselves in self-pity, diaper changes, heteronormative male-insecurity due to changing gender roles, mortgage, marriage and heavy bodily decay. While most of these are still true, the pitch black satiric humor that has characterized GBZ throughout their career seems only to be fueled further on by the growing bitterness instilled in these five hemorrhoid infested critters. The songs are getting faster, the riffs raunchier, the vocals more desperate, and their song titles - for which GBZ have always been acclaimed - more poignantly ridiculous.

The band started out with a bunch of now out-of-print 7“s before the release of their debut album «Anti-World Music» in 2013, «Hadeland Hardcore» in 2015 and «Misanthropical House» in 2018. The latter got the band a Norwegian Grammy for best rock album in 2018. In 2020 they followed up with «Algorithm & Blues», before unleashing «Research and Destroy», arguably their best album to date, in 2022.

No longer only a relic of the 90’s Oslo scene, GBZ have crafted their own branch on the Scandirock tree of heritage, one that has vastly grown due to a dedicated following that only seems to multiply with every album release. This can only mean that GBZ is filling a void in the hearts of many a depraved deviant, scratching that itch one cannot reach neither by compulsive masturbation nor abusive online behavior. There is once again a purpose to GBZ - there is still much more to be said.