The only problem with avant garde music is that you need to be in the mood to absorb it. Or on really strong prescription drugs.

Do you know anyone who’s listened to “Metal Machine Music” all the way through and hasn’t been scheduled under the NSW Mental Health Act, or who doesn’t think that much of John Cage’s output should be kept in one? 

Taste really is in the ear of the beer holder. So strap yourself in with a cold six pack or two nearby for the rough ride that is the debut of Smallpox Confidential, a mysterious noise combo from Adelaide fronted by Robert Brokenmouth.

Way back in the last century, there was a band kicking around Sydney called The Milky Bar Kids. They were minimalist rockabilly, stripped back to the bare basics of stand-up bass, twangy guitar and a tiny kit. They had simple songs, in the style of early Elvis, and they were wonderful.

Fast forward to a bar in Wales a year or two later and I laid eyes (and ears) on a similar band whose name is lost in the mists of time. Again, it was a bunch of people tapping the source of rock’s roots and it was as enjoyable for its raw simplicity as its songs. 

The international angle is important because the band being reviewed has that sort of history. Vocalist-guitarist Ben Edwards is an ex-Sydneysider based in Melbourne and has another line-up of Plastic Section based in Bangkok. 

Statement of the obvious: Three-minute pop punk songs (mostly) don’t get old. “Shake, Stomp & Stumble” - the debut album for Californian Greg Antista and his Lonely Streets - is littered with them.

This is a record of its SoCal birthplace. Orange County local Antista grew up in the 1980s with most members of The Adolescents, Agent Orange, Social Distortion and Middle Class as his buddies. He recorded and toured two albums with the band Joyride with Steve Soto (The Adolescents) in the early ‘90s. 

“Shake, Stomp & Stumble” wears all those influences on its sleeve. It’s a little punk, a lot pop and all of it smeared with large dollops of country and Americana. Antista has an emotive vocal with a touch of melancholy to it - when needed. Not a bad attribute if you're dipping your toe into country waters. Johnny Cash was a punk rocker, you know.

This is rated six bottles. Seven if you were at this gig and still have your hearing. What we know so far is that Lost Talk's first LP, "Symbol/ Signal" was released last year on Spooky Records. When I heard it I lost my shit.

"Selfless Shame Promotion" is a cassette-only physical release (and yes, you can get it on download so you can burn it onto CD and play it in your car and give the pedestrians a headache) released to remind you what the band are like, prior to a new LP and presumably gigs in your town.

The track list, in case I get lost, is A: Cheap Crimes/ Thin Skin/ Shoe Shine/ Igloo/ Annie; and B: Chrome Alone/ Spotless Temperament/ Enter the Muskrat/ Jesus-Centaur

PLAY REALLY FUCKING LOUD! 

It's rated 15 beer bottles. Out of five. Classic, fucking brilliant disc. Starts with a genre, fucks it over and you end up, amazed and wild-eyed, at the end of the night, guzzling from a bottle of polish spirit and yowling at the moon with irate citizens throwing the contents of their chamber pots ... OK.

First, E.T. Explore Me is possibly the perviest name for a rock band ever. Never mind 10CC or the Lovin' Spoonful, that's just wilful boys will be boys stuff. E.T. Explore Me, I mean, ew. 

In fact, E.T. Explore Me, EEEEWWWW! 

The only disappointment is that it’s six tracks and not a full album. The title “Vol 4” is an obvious nod to their hometown heroes and is as grimy and hard as the worst parts of Birmingham used to be, pre-gentrification.

Black Bombers are one serious raw power trio. Don’t dwell on the Sabbath heritage because they’re a step removed from their fellow Brummies’ relentless attack. Black Bombers lay down a looser groove and leave more spaces. There’s a multitude of influences at work including Motorhead, the Pink Fairies and Blue Cheer.