They’re four girls with guitars and this is their debut album. It twangs a lot and is laced with reverb in all the right places. It rocks like my vintage mono jukebox and the songs are ace. That’s it in a nutshell, but of course you want more…

Being an all-female band is fraught with dangers, not the least of which is that a certain percentage of sneering (probably male) arseholes won’t take you seriously. Don’t make that mistake. The Villenettes play this ‘60s garage psychobilly hellcats thing with skill and feeling.

Is it really a surprise in 2015 to hear rocking garage soul that has its origins in the UK played better than almost anyone else around by a band that comes from Auckland in New Zealand? Meet Thee Rum Coves.

These guys (and girl) should be the toast of the summer festival circuit in Europe. They deserve to fill the vacuum left by the demise of The Jim Jones Revue. Thee Rum Coves have everything going for them for a shot at success in Europe…except geography. Not that this should matter.

It’s said you should never judge a book by its cover and the same goes for records. This is apparently Album Number Three from this Oslo, Norway, six-piece and they sound nothing like the middle-aged lay preachers standing ankle deep in water under a bridge that they appear to be. Hallelujah.

The Dogs (not to be confused with the late French band or the still kicking one from L.A. via Detroit) rock like they mean it. They worship at the shrine of the ‘60s garage/‘80s garage revival scenes but they bring enough manic energy to these songs that makes them stand apart from the rest of the pack. Cock an ear to the furious “Stay Away From Her” with its Dicatoresque vocal and melodic bass-line behind its driving guitars to know as much.

It’s time to kiss and make up. When “Individuals” was released back in 1982, as a follow-up to the Sunnyboys’ barnstorming eponymous debut, it was justifiably unloved by many.

The songs were…good…but slower. Its lead-off single, the curious “This Is Real”, was stilted and a million miles removed from the infectious “Happy Man” and “Alone With You”. The biggest drawback, however, was the record’s lifeless production which reduced the sound of the Sunnyboys to an empty husk. It lacked warmth and sounded distant.

Hey Kit Convict - the people of Medway called and they want their Billy Childish back.

Just kidding. But there is an strong resemblance between the music from most of Billy’s 55,000 albums and what Kit Convict and his stripped-back combo pump out.

This is short, sharp, simple and very catchy garage punk. I know “garage punk” is a broad descriptor and a little imprecise - hence the Childish reference. That the influences for this Melbourne band are obvious isn’t a problem. Like Billy, they’ve gone digging until they hit the right, rich vein and they’re mining from it.

For a musician who spends many of his recording hours in a bedroom, Brat Farrar is more Punk Rock than you or I will ever be. This is the second album of short and snappy homemade songs from Melbourne-via-Europe Sam Agostino (one-half of Digger & The Pussycats) and it delivers in spades.

There’s a lot to love about “Brat Farrar II” if only because it sounds like “Brat Farrar I”. In fact, you could interchange many of these songs on an iTunes mix playlist (or something similar) and be hard pressed to pick what came from where.