Throwaways were an alternative rock group which performed from 1989 to 1995. They were formed by Sean Baxter (drums), Mat Butler (vocals and guitar), Marc Dorey (guitar) and Dave Kendal (bass guitar). In 1993 Matt Charles replaced Butler. The group recorded two studio albums, Angle Grinder (1992) and Postmadonna Primadonna (January 1994). Formation Meeting at high school in the mid-1980s in the provincial city of Geelong, Mat Butler and Marc Dorey proposed the formation of what would become Throwaways. Influenced heavily by mid-1960s British Beat acts such as The Kinks and The Who, and US acts such as the Velvet Underground and The Doors, they gravitated toward the then underground Australian scene of the era, where acts as the Hoodoo Gurus, the Stems, Huxton Creepers and the Go Betweens were producing a range of 1960s garage-influenced post-punk tunes. The first musical output at this point was limited to a rough demo of several songs recorded by Dorey and Butler on a portable cassette deck modified by Butler to permit lo-fi multitracking. In 1987 Butler & Dorey moved to Melbourne. At University College, Dorey met fellow resident David Kendal, and in 1988 Sean Baxter. A fellow resident of the college was Mark Maher ("Kram"), later of Spiderbait, with whom Throwaways, Guttersnipes and the Meanies would release the "Teeth" compilation. First lineup In late 1988 Kendal (bass), Baxter (drums), Dorey (guitar), Butler (vocals and guitar) held the first rehearsal of Throwaways (although the name was not coined at this time), in a corrugated iron shed at Kendal's Bacchus Marsh house. Also in attendance at this rehearsal was Ricky Drewitt (guitar). Essentially a free-from feedback jam, with occasional segues in to lyrical/chord motifs provided by Butler, the session laid the groundwork for the band's melodic noise aesthetic. The rehearsal saw the first airing of songs that later became fixtures of early live sets such as "Tarmac", "Violent", and "Girl in the Lava Lamp". This session culminated in the members propping their respective instruments up against amplifiers left at full volume, and exiting the shed to spend the rest of the night drinking beer and listening to the resulting wall of noise over several hours. Through 1989 the Kendal-Baxter-Dorey-Butler line-up rehearsed a 30-minute set of tunes that saw the initial 60s pop aesthetic mesh with a more hardcore approach to instrumentation indicated by the Detroit punk school, especially as practised by antipodean exponents such