Glorious Bankrobbers formed in Stockholm in 1983 and quickly became known for wild, high-energy live shows, starting with their 1984 debut produced by Kee Marcello. By 1989 they’d reinvented themselves with “Dynamite Sex Doze,” a landmark Swedish sleaze/action rock record whose title-track video hit MTV’s “Headbangers Ball,” helping them break out beyond Scandinavia. After signing to EMA Telstar, they toured the U.S. and captured the moment on “Live at CBGB’s N.Y.C.,” which cemented their cult status and influenced later Swedish rock bands.
The years that followed brought lineup shifts and label issues: singer Olle Hillborg joined Norway’s Backstreet Girls, while other members carried on as Mental Hippie Blood. The band reunited in 2007 with “The Glorious Sound of Rock ’n Roll,” earning strong reviews and sharing stages with acts like Nazareth, White Lion and Mustasch, before the death of drummer Oden paused everything.
But the silence didn’t last. In 2023 and 2024, they returned with “Back on the Road” and “Rock ’n Roll Church,” revealing a tougher, heavier sound shaped with producer Robert “Humbucker” Persson and a new rhythm section. And now, in 2025, the comeback continues with “Intruder” on Wild Kingdom Records, recorded at House of Voodoo Studio — not just another chapter, but a proper statement.
There’s something deliciously old-school about the way “Intruder” announces itself — but it doesn’t do it with instant noise. Instead it builds, letting the tension rise, nodding to that more NWOBHM edge before it really bites. And straight away you get that sense of why they were such an influence.
“We Can Go Higher” is basically the thesis statement: swagger, lift, hooks — the kind of tune that reminds you influence isn’t about who shouts loudest, it’s about who writes the stuff that sticks. Then “Rollin’ In Hollywood” leans into the most classic of classic rock moves, like they’ve pulled up a barstool next to the jukebox and decided to own it.
“Rabbit Hole” is an absolute belter — honestly, somewhere Nicke Andersson is preparing a cover of this. “Come Rain Come Shine” is a welcome switch into something more heartland, like The Stones playing Tom Petty: loose-limbed, lived-in, and built for miles, not minutes.
From there, “Black Jonas” goes reflective and immediately darker in tone, before “Ready For The Good Times” arrives with a grin — and, really, when are they not? Has there ever been a song more ready for good times than this one?
“Down” feels like a revamped take on the classic blues “Goin’ Down,” if it was rebuilt for arenas in the 80s — bigger shoulders, louder chorus, more strut. “Vampire” proves they’re metal to their boots when they want to be, and “You Let The Devil In” is an idea that’s just for fun, nothing else — which, frankly, is sometimes exactly what you need.
Then there’s “Jane” — and like L.A. Guns know, there’s always a Jane. This stripped-down string thing feels like it should’ve had a black-and-white “Headbangers Ball” video in 1989, all attitude and atmosphere. Finally, “Starstriped Western Boots” is nothing more and nothing less than three minutes of classic-sounding Swedish sleaze with Hanoi Rocks in its heart.
Most of all, there’s a genuine feeling that the Sheriff’s back in town. And for once, this is one intruder that you’ll welcome.
RATING: 8/10
