This pigeon pairing of albums by Switzerland's finest garage trash band The Monsters isn't so much chalk and cheese as the musical equivalents of festering offal and last week's maggot-ridden steak. They're offensive, distorted representations of rockabilly and its variants, chopped up and put through an industrial shredder. Which is exactly why you need them.

Whoever took the danger out of rock and roll forgot to tell The Monsters. Thank fuck for that. "Masks" is the "lost album" from 1989 andthe product of The Monsters going into a studio for the first time. Long-gone label Record Junkie Records (an off-shoot of the shop where Beat-Man worked) saw fit to issue it and it's been long out-of-print.

Monsters leader and Voodoo Rhythm label owner Beat-Man thinks "Masks" is embarrassing - although not to the point that he stopped short of re-issuing it. He need not recoil from the amateurish nature of parts of this record. It's raw, lyrically perplexing and a lot of fun, recorded to two-inch tape in the most basic of studios with needles bordering on the red.

Everybody into this sort off music raves about The Mummies and fair enough, but for mine The Monsters are better. I mean, there's nothing on "Masks" likely to surprise, but the guitar sounds grates in all the the right places and the drummer in this line-up had a bit of swing. Beat-Man's vocal swings from angry yelp to tonsil-shredding croak. Plus, they massacre "Wild Thing" in a way The Troggs could only dream of.

"The Hunch" (named after one of Hasil Adkins' nom de plumes) dates from 1992, is half-studio and half-live and much better recorded. There's a bunch of covers sprinkled throughout and one of the cuts ("The Creature Form The Black Lagoon") made it onto Dionysus Records. It's proof garage punk doesn't have to sound like abysmal shit to stay true to its roots.

Hands up who wasn't a Cramps fan in the late '80s and early '90s? This version of "Drug Train" is pretty great. "Day Of The Triffids" and "Drag Is Back" have their rockabilly roots on show and pulse with energy.

The live side picks up a couple of songs from the first record ("Teenage Werewold", Wild Thing") and prominent covers ("Be Bop A Lula" and "The Witch"), and is a little light on the bottom end but who's going to pick nits? My guess is they ran out of studio time or got bored. This stuff should never be too polished.