Welcome to the crazy world of acid trash/garage punk rock n roll  that’s populated by the wonderful Come ‘n Go.

They’re busting guitar strings and spitting out no bullshit licks, throwing a bit of Swiss chic punk around like there is no tomorrow. In short, this album is very good.

It’s on the Voodoo Rhythm label and production is handled by Markus Staehli (Roy and the Devils.) “Tumbling Heights” is the fourth offering from The Come ‘n Go, who formed in Biel/Bienne in Switzerland in 2001. These punks have had some line-up changes over the years, but seem to have settled on Marina (drums and vocals), Philippe (guitars and drums), Franz (guitar), Rob (bass), Alain (vocals, harmonica and keys) and Markus (noise.) Benu guests on guitar on “What It Is”.

No ballads were written in the making of this album.

If you’ve heard or seen The Stukas, you knew that already. The Stukas are Sydney’s most enduring punk act, luxuriating in the glow of being known as their hometown’s “most hated band”. They play old school, take-no-fucking-prisoners punk rock.

But you probably knew that already, too.

Monkeypig covers a lot of ground in the space of its 10 punk-pop songs. An entirely self-sufficient and self-produced band now based in Newcastle, north of Sydney, it’s the vehicle for front-of-house operator and band-member-around-town, Christian Ryan.

“March of the Jack Boots” was recorded in a home studio in the bushy Sydney suburb of Engadine. No offence to Engadine, but it’s an unlikely well-spring of musical creativity. Ryan recorded, mixed, mastered, sang lead vocals and played almost all the instruments. He wrote every song except one (a co-write). The label is his own. Considering the record’s humble origins, he must have a good ear because the album sounds great.

They’ve spent years trying to smell like rotting prawns in a hot European sun and on their newest album, the succinctly titled “M”, Swiss garage-trash combo The Monsters can finally lay claim to being tighter than a fish’s arse.

“M” celebrates 30 years of fuzz mania with a dozen songs of dubious intent that are delivered with grim precision. Some of this stuff makes a Helmet record sound sloppy, You couldn’t insert a cigarette paper between the furious boogie riffing of “Dig My Hair” or the dramatic “I Don’t Want You Anymore” if you tried (although why you’d want to do that is beyond me.) At the same time, The Monsters manage to sound unpolished.

Raw garage rock ’n’ roll in the Australian pub rock tradition, with an obvious nod to ‘70s hard rock and the “Pebbles” collection. A record made distinctive by the classic Aussie twin-guitar attack. Those were my first thoughts on this CD from a band made up of members of Psychotic Turnbuckles, Sheik the Shayk and Buffalo Revisited.

It was recorded in Zen Studios, the capital city of Sydney’s inner-western Garageland region, by Geoffrey Lee over seven years, and what hit me straight away is that none of the live intensity has been lost. It captures a raw and live garage/pub band warts, belching and all…I can see a bloke over there who once drunkenly spilt beer on me and that other idiot that pushed me over in the mosh pit. And then I’m lifted up by another and patted on the back…

It’s OK to like pop. Real pop, that is. You won’t hear it on mainstream radio. What they play is a watered-down variant that’s polished and homogenised within a centimetre of its life. So go straight to the source, go online or (gasp) experience it at a gig, cherry-pick what sounds good and forget the rest. That’s where a band like Some Jerks comes in.

Recommending music is such a personal thing that we behind the bar are often criticised for going over-the-top in some of our evangelistic rants. Well, fuck you: No, there won’t be an apology for that, because we (mostly) review the shit that we like. Speaking of evangelism…