TISM
TISM, an acronym for This Is Serious Mum, is an Australian alternative rock band formed in Melbourne on 30 December 1982.[1] The ensemble maintains anonymity through pseudonymous stage names for its members, including Ron Hitler-Barassi on vocals and Humphrey B. Flaubert handling vocals and programming, enabling a focus on satirical lyrics that mock popular culture, consumerism, and the music industry via absurdism and pointed critique.[1] Comprising seven performers, TISM has produced multiple studio albums since their debut Great Trucking Songs of the Renaissance in 1988, achieving commercial milestones such as gold certification for Machiavelli and the Four Seasons (1995) and an ARIA Award for Best Independent Release.[2][3] The band's irreverent style has cultivated a cult following, punctuated by intermittent hiatuses and reunions, including a high-profile return to touring in 2022 after over a decade's absence.[4]History
1982–1984: Formation, early performances, first breakup and reunion
TISM was formed on 30 December 1982 in Melbourne, Australia, by Damian Cowell (under the pseudonym Humphrey B. Flaubert for vocals and drums) and Jack Holt (as Jock Cheese for guitar and backing vocals), with additional early members contributing to the lineup.[5][1] The group's inception occurred amid Melbourne's underground music scene, where they adopted pseudonyms and anonymity as core elements, positioning themselves as a satirical alternative rock outfit that mocked pretentious trends in local acts, such as perceived overly serious performances by contemporaries like Nick Cave.[5][6] The band's early live shows in 1983 emphasized absurdity and provocation, featuring members in masks, outlandish costumes, and humorous antics designed to deflate audience expectations of conventional rock seriousness.[1] Their debut public performance took place on 6 December 1983 at Duncan McKinnon Athletics Reserve in Melbourne, marking their entry into the scene with a style that blended rock instrumentation with deliberate novelty and subversion.[7] These gigs highlighted TISM's commitment to satire over musical gravitas, drawing small but intrigued crowds in the underground circuit.[8] Following these initial outings, TISM disbanded in late 1983, with the split attributed to the shows' limited success and tensions between pursuing genuine artistic intent and maintaining a purely comedic novelty act.[9][4] The breakup was brief, however, as persistent interest from fans and promoters in their irreverent approach led to a swift reformation, establishing a pattern where all subsequent concerts were marketed as "reunions" to underscore the band's self-aware chaos.[10][11] This early cycle of dissolution and revival cemented TISM's ethos of instability and humor as foundational to their identity.[9]1985–1990: Debut releases, Great Truckin' Songs of the Renaissance, and Hot Dogma
In 1985, TISM began performing regularly in Melbourne's pub rock venues, fostering a cult following through their irreverent, high-energy shows that blended satire with punk influences.[12] The band's DIY ethos was evident in their independent releases, starting with a 10-track demo cassette that showcased early recordings and helped circulate their material among local audiences.[12] Their debut single, "Defecate on My Face" backed with "Death Death Death Amway Amway Amway," was recorded on October 6, 1985, at York Street Studios and released in 1986 as a 7-inch vinyl packaged in an oversized 12-inch sleeve, emphasizing their subversive packaging and humor.[13] This was followed by the EP Form and Meaning Reach Ultimate Communion later that year, further establishing their presence on Melbourne's independent scene.[14] These early outputs, distributed via small labels like Elvis Records, highlighted TISM's parody-laden songwriting, which mocked suburban banality and cultural pretensions while gaining traction in underground circuits.[15] The band's first full-length release, Great Truckin' Songs of the Renaissance, arrived on September 26, 1988, as a double LP on Musicland/Elvis Records, comprising 24 tracks including studio recordings, live cuts, and spoken-word segments.[16] The album's title deliberately juxtaposed erudite Renaissance references with proletarian "truckin'" imagery, satirizing artistic self-importance through lowbrow lyrics on themes like apathy in tracks such as "I'm Interested in Apathy" and "Saturday Night Palsy."[17] It peaked at No. 48 on the ARIA Albums Chart in October 1988, reflecting modest commercial interest amid their growing notoriety for chaotic live performances.[18] Hot Dogma, TISM's sophomore album, was issued in 1989 on vinyl via Phonogram, expanding to 24 tracks on CD the following year with additional material like "Life in Hell."[19] Recorded with sharper production, it sharpened social critiques targeting consumerism and existential ennui, as seen in songs like "ExistentialTISM" (a pun on existentialism amid mundane gripes) and "They Shoot Heroin, Don't They?" (parodying drug culture clichés).[20] Tracks such as "The TISM Boat Hire Offer" lampooned advertising hype, while "While My Catarrh Gently Weeps" twisted Beatles references into absurd bodily complaints, underscoring the band's escalation from broad parody to pointed jabs at apathy and societal inertia.[21] Released independently before wider distribution, it reinforced TISM's underground appeal without mainstream breakthrough.[22]1991–1998: Commercial breakthrough with Machiavelli and the Four Seasons and www.tism.wanker.com
In 1992, TISM signed with Shock Records, marking a shift toward broader distribution that facilitated their commercial ascent. The band's third studio album, Machiavelli and the Four Seasons, was released on May 1, 1995, and peaked at number 8 on the ARIA Albums Chart, representing their highest charting release to date.[23][4] Singles such as "(He'll Never Be An) Ol' Man River" received significant airplay on Triple J, contributing to the album's visibility amid tracks laced with satire targeting suburban conformity, consumer excess, and cultural pretensions.[24] The album's success earned TISM the ARIA Award for Best Independent Release, underscoring their breakthrough from niche indie status to national recognition.[4] Amid rising popularity, TISM expanded their live performances across Australia in the mid-1990s, including appearances at major events like the 1995 MMM Australian Music Week Concert at the Prince of Wales Hotel in St Kilda.[25] Media engagement intensified, with the band upholding anonymity through pseudonyms such as Ron Hitler-Barassi for vocalist Peter Minack, conducting interviews via fax or in confrontational styles that parodied rock star tropes and evaded personal revelations.[26] This approach generated buzz in outlets like ABC's Double J, where their irreverent personas amplified intrigue without compromising the collective's faceless ethos.[26] By 1998, TISM released www.tism.wanker.com on June 2, positioning it as a satirical jab at nascent internet culture through its domain-mimicking title and inclusion of web-based promotions like online fan chats.[27] The album debuted at number 26 on the ARIA Albums Chart, achieving reasonable sales but falling short of label expectations for blockbuster performance.[28] Critics later noted its prescience in lampooning digital hype and connectivity obsessions, themes that resonated amid the dot-com boom's excesses.[5] Promotional efforts included the Caveat Emptor tour with Regurgitator and the Fauves, further solidifying TISM's festival-circuit draw.[29]1999–2004: Festival Records era, De RigueurMortis, and initial disbandment
In 1999, following their tour supporting www.tism.wanker.com, TISM signed a contract with Festival Mushroom Records, which facilitated the reissue of their earlier catalog and positioned the label as their primary distributor for new material during this period.[5] The partnership marked a shift toward broader commercial support, though it concluded after three releases when the contract expired, leaving the band without a major label backing.[5] The band's first and primary output under Festival Mushroom was the album De RigueurMortis, recorded between August 2000 and July 2001 at various studios including the TISM Mobile Recording Unit. Released on October 29, 2001, the album explored themes of mortality through its title—a pun on "rigor mortis"—and satirical takes on fame's absurdities, such as in tracks critiquing celebrity culture and existential futility. It debuted at number 24 on the ARIA Albums Chart and number 3 on the ARIA Alternative Chart, reflecting sustained but diminishing commercial momentum compared to prior releases.[30][5] During 2001–2003, TISM maintained their reputation for chaotic live performances, characterized by high-energy stage antics including audience interactions, prop-based satire, and occasional disruptions that tested venue tolerances, though specific bans from this era remain undocumented in major reports. These shows supported De RigueurMortis promotion and aligned with the band's formula of blending absurdity with social commentary, but underlying creative fatigue began to surface amid repetitive satirical tropes and evolving audience expectations in a post-9/11 cultural shift. By 2004, TISM released The White Albun on June 24 via the independent imprint genre b.goode, a double-disc set featuring studio tracks, live recordings from their final Earthcore Festival performance on October 27, and experimental elements like a 40-minute rock opera bonus. The album failed to enter the ARIA top 100, signaling commercial exhaustion. Following the Earthcore gig—their last before hiatus—the band disbanded silently, with members citing in later reflections the saturation of their core satirical approach and personal factors including health issues among key contributors as factors in the decision to pause activities.[31][5]2005–2019: Sporadic live appearances and post-hiatus projects
Following the release of The White Albun in 2004 and the band's subsequent disbandment, TISM undertook no live performances between 2005 and 2019, marking a prolonged hiatus during which the group's anonymity remained intact without public stage activity.[32] This dormancy contrasted with earlier sporadic reunions, as members focused on individual pursuits rather than collective endeavors under the TISM banner.[33] Damian Cowell, recognized as the band's primary vocalist (under the pseudonym Humphrey B. Flaubert) and a central creative force, channeled similar satirical and irreverent energies into solo and collaborative projects. In 2007, he debuted DC Root (later stylized as Root!), releasing albums Alfalfa Truck (2009) and Rudd! Rudd! Rudd! (2010), along with the EP Get Your George Jetson On (2011), which echoed TISM's punk-infused humor through lyrics critiquing politics and pop culture.[34] Cowell then formed The DC3 in the early 2010s, producing works that maintained experimental electronic elements, before launching Damian Cowell's Disco Machine in 2015 with the album Disco Machine vs. Monty Python, blending disco grooves with comedic deconstructions.[35] By 2019, Cowell had issued at least eight albums across these outfits since 2004, alongside ventures into stand-up comedy and a graphic novel, preserving a thread of TISM-like absurdity in his output.[36] Other members, adhering to the band's pseudonymous tradition, contributed sporadically to underground scenes without breaching collective anonymity or reviving TISM branding. The period saw no new band recordings or tours, yet Cowell's endeavors kept elements of the group's caustic wit circulating in niche Australian music circles.[37]2020–2021: Reissue campaigns and archival releases
In January 2020, TISM's back catalogue became available on major streaming platforms, including Spotify, marking the initial phase of a broader reissue effort to digitize and distribute their discography after years of limited accessibility.[38] On October 13, 2020, the band announced a comprehensive reissue campaign through David Roy Williams, encompassing CD and vinyl editions of their core albums alongside two novel releases: the live album On Behalf of TISM I Would Like to Concede We Have Lost the Election, documenting their final 2004 performance across 31 tracks, and The TISM Omni-Album, a conceptual vinyl pressing of 100 minutes of silence parodying extended-play formats.[39][40] The digital counterpart, The TISM Deluxe Omni-Album, followed on December 21, 2020, via Bandcamp, incorporating bonus tracks such as needledrop recordings of the silent vinyl sides to emphasize the release's satirical intent.[41][42] These efforts extended into 2021 with additional archival material, including the release of Live at the Corner Hotel, 30 May 1988, capturing an early performance, and announcements for three further albums of unreleased or rare recordings, such as demos and rehearsals, reflecting ongoing curation of the band's historical output.[43][44] The campaign, conducted amid COVID-19 lockdowns, leveraged online platforms to sustain fan engagement, evidenced by the production of physical formats like red vinyl variants and the band's first vinyl pressings in 30 years, signaling persistent demand for their catalog without new studio material.[45]2022–present: Reunion, Death to Art album, and ongoing tours
In June 2022, TISM announced their return to live performances after an 18-year hiatus, scheduling appearances at the Good Things Festival in Sydney on December 3 and Brisbane on December 4.[46][1] These shows marked the band's first since 2004, drawing significant fan interest and featuring satirical exchanges with fellow performers like Regurgitator.[47] Building on this momentum, TISM released their seventh studio album, Death to Art, on October 4, 2024—their first full-length record in 20 years since The White Albun.[48][49] The album critiques contemporary art scenes and cultural phenomena including excessive wokeness through satirical tracks like "Death to Art" and "'70s Football."[49] The Death to Art Tour followed as the band's first headline outing in two decades, commencing October 20, 2024, at Brisbane's Riverstage with capacity crowds exceeding 10,000.[49][50] Subsequent dates included November 9 at Melbourne's Sidney Myer Music Bowl and November 29 at Sydney's Hordern Pavilion, supported by Eskimo Joe, Machine Gun Fellatio, Ben Lee, and The Mavis’s.[49][51] Setlists integrated new material with staples such as "(He'll Never Be An) Ol' Man River" and "Death Death Death," receiving positive reception for energetic delivery and crowd engagement at major venues.[52][53] As of October 2025, no additional headline tours have been announced, though the 2024 run demonstrated sustained demand with sold-out performances across key Australian cities, signaling a scaled reactivation rather than full-time revival.[54]Band members
Pseudonyms and anonymity
TISM has employed pseudonymous stage names for its members since formation, with prominent examples including Humphrey B. Flaubert for vocals and drums, and Ron Hitler-Barassi for guitar and additional vocals. These aliases draw from literary satire—Flaubert referencing the French novelist Gustave Flaubert—and provocative historical connotations, such as "Hitler" combined with the Australian rules football surname Barassi, to lampoon intellectual pretension and authoritarianism while underscoring the band's rejection of conventional rock stardom.[26][55] To maintain detachment, the band adopted rigorous anonymity protocols, appearing publicly in balaclavas or masks and eschewing standard promotional practices that personalize fame. Media engagements were deliberately obscured, such as interviews conducted via megaphones from remote positions, exemplified by a 1990s session where questions and answers were relayed across the expanse of the Melbourne Cricket Ground. This methodology extended to using stand-ins like cardboard cutouts for visual representations, prioritizing the absurdity of the message over individual identities and critiquing the music industry's emphasis on celebrity.[26][23] The persistence of these practices is attributed to shielding members from repercussions tied to the band's acerbic, often politically incorrect lyrics, which targeted societal hypocrisies without personal accountability diluting the satire. While rumors persist regarding motivations like evading fame's ego-corrupting influence, empirical instances of partial reveals—such as isolated post-performance exposures—have not eroded the overall veil, reinforcing the strategic value of mystique in amplifying their cultural commentary.[56][57]Known identities and roles
Damian Cowell, performing under the pseudonym Humphrey B. Flaubert, served as TISM's primary vocalist, chief lyricist, and occasional drummer or programmer throughout the band's active periods. His identity became publicly known in 2004 following TISM's initial disbandment, when he launched solo projects including Damian Cowell's Disco Machine, explicitly linking his work to the band's satirical style without fully breaching the collective anonymity during TISM performances.[37][58] Peter Minack, associated with the stage name Ron Hitler-Barassi, contributed as a co-vocalist and performer responsible for on-stage antics and backing vocals, with his involvement confirmed through later personal projects and band-adjacent disclosures post-hiatus.[59] This revelation aligned with individual pursuits rather than official band endorsement, preserving the group's masked persona in live settings. Eugene Cester, linked to the pseudonym Eugene de la Hot-Croix Bun, handled keyboards, additional vocals, and compositional elements, emerging via familial connections—such as his relation to Jet vocalist Nic Cester—and consistent references in music retrospectives. These partial disclosures, often tied to non-TISM endeavors, highlight how members balanced personal visibility with TISM's core ethos of obscured identities to emphasize content over celebrity.Membership timeline
TISM maintained a consistent seven-piece lineup from its formation on 30 December 1982 through the early 1990s, utilizing pseudonyms such as Ron Hitler-Barassi (vocals), Humphrey B. Flaubert (vocals and programming), and Jock Cheese (bass and guitar), supplemented by guitarists including Leak Van Vlalen, keyboardist Eugene de la Hot-Croix Bun, and supporting players on drums and additional instruments.[26][5] The band's sole significant lineup adjustment occurred in 1991 when guitarist Leak Van Vlalen departed, replaced by Tokin Blackman (initially billed as Tony Coitus) for subsequent recordings and tours, beginning with the 1992 EP Beasts of Suburban. This change preserved the core structure without altering the pseudonymous roles or overall personnel count, enabling stable operations through albums like Machiavelli and the Four Seasons (1995) and www.tism.wanker.com (1998). Minor live substitutions arose occasionally in the 1990s due to scheduling, but recording credits and primary performers remained unchanged.[5][60] Following the release of The White Albun in July 2004, TISM disbanded without any member departures, as the split reflected collective decision rather than internal conflict. Between 2005 and 2019, irregular live appearances featured subsets of the established members, but no formal reconfigurations occurred. The 2022 reunion for the Good Things Festival and subsequent tours, including support for the album Death to Art, reassembled the post-1991 seven-piece group with original personnel under their longstanding pseudonyms.[4][13]| Period | Key Lineup Notes |
|---|---|
| 1982–1991 | Formation with Leak Van Vlalen on guitar; core seven-piece stable.[5] |
| 1991–2004 | Tokin Blackman replaces Leak Van Vlalen; no further core shifts.[5][60] |
| 2004–2022 | Disbanded; sporadic subset appearances post-2004.[4] |
| 2022–present | Full reunion of 1991–2004 configuration.[4] |
Musical style and themes
Sonic characteristics and influences
TISM's sonic profile is rooted in alternative rock with punk-inflected energy, characterized by rapid tempos, distorted guitars, and rudimentary production that emphasizes raw, unpolished aesthetics over technical refinement. Early recordings, such as those on their debut album Great Truckin' Road Show (1990), feature aggressive drumming and brash chord progressions that evoke a deliberate amateurism, reflecting the band's origins among non-musicians experimenting in Melbourne's underground scene.[26] This approach prioritizes chaotic propulsion over studio gloss, with tracks often built around insistent rhythms and minimalistic arrangements to amplify satirical intent without musical pretension.[1] Subsequent works incorporated synthesizers and electronic samples, shifting toward a hybrid sound blending rock instrumentation with techno elements, as evident in the prominent beats and synth layers on www.tism.wanker.com (1998).[59] These additions created a layered texture—combining guitar-driven riffs with programmed percussion and occasional orchestral flourishes—while maintaining a fast-paced, high-energy drive suitable for live delivery. Production remained intentionally lo-fi in parts, using samples to inject absurdity and undercut seriousness, such as looped motifs that mimic commercial jingles or noise bursts disrupting conventional song structures.[6] Influences draw from satirical experimentalism, particularly Frank Zappa's fusion of rock, absurdity, and critique, which TISM echoed in their irreverent use of genre conventions and multimedia chaos.[61] Unlike polished prog or punk purism, TISM's sound integrates these to support thematic disruption, with live performances amplifying the raw edge through costumes, props, and anonymous personas that foster a frenzied, participatory disorder distinct from their recorded output's controlled amateurism.[26] This duality—studio restraint yielding to onstage anarchy—underscores their commitment to sonic subversion over sonic perfection.Lyrical content and satirical approach
TISM's lyrics feature dense wordplay, absurd hypotheticals, and irreverent jabs at societal vanities, employing everyday banalities to deflate pretensions of cultural and intellectual elites. Recurring motifs such as apathy, casual sex, mortality, and Australian rules football serve as prosaic prisms through which the band critiques bourgeois self-importance and the amplification of trivialities by media apparatuses. For instance, the track "I'm Interested in Apathy" from the 1989 album Great Truckin' Road Show posits disengagement as a deliberate stance against coerced enthusiasm for fads and ideologies, highlighting the exhaustion induced by perpetual hype.[62] The band's satire maintains an even-handed disdain for ideological hypocrisies, targeting self-congratulatory progressivism on the left and expedient conservatism on the right without favoring either. Damian Cowell, a core member under various pseudonyms, has articulated this approach as "pricking the left's self-righteousness and the right's mendacity in equal measure," a consistency evident across their catalog's refusal to align with partisan pieties. Songs like "(He'll Never Be An) Ol' Man River" from Machiavelli and the Four Seasons (1995) juxtapose graphic depictions of heroin overdose with ironic appropriations of Paul Robeson's dignity, subverting expectations of solemnity to expose the performative moralism surrounding celebrity downfall and substance abuse.[58][63] In the "Rooted" series, exemplified by "I Rooted a Girl Who Rooted a Guy Who Rooted a Girl Who Rooted a Guy Who Rooted a Girl Who Rooted Shane Crawford" from The White Albun (2004), TISM deploys a Six Degrees of Kevin Bacon-style chain of sexual liaisons culminating in tangential connection to Hawthorn Football Club captain Shane Crawford, mocking the cultural obsession with vicarious fame via bodily proximity. This construct illustrates a mechanistic causality in social prestige—random interpersonal links yielding illusory significance—while grounding the ridicule in football's parochial rituals to underscore the hollowness of aspirational hierarchies. The approach extends to broader absurdities, such as equating personal trivia with epochal events, thereby eroding the gravity ascribed to media-orchestrated narratives of success and scandal.[64]Evolution of style over time
TISM's musical style originated in the mid-1980s with raw, rudimentary bedroom recordings that emphasized punk-infused indie rock, avant-garde experimentation, and satirical parody through simple guitar-driven arrangements and catchy, hook-laden pop-rock structures.[26][16] This approach, evident in debut Great Truckin' Songs of the Renaissance (26 September 1988), prioritized energetic, unpolished delivery over technical refinement, capturing the band's initial chaotic parody of suburban Australian life and cultural absurdities.[17] By the mid-1990s, TISM transitioned to a more produced and layered sound, departing from guitar-centric alt-rock toward a hybrid of rock and electronic dance elements, including prominent drum machines, sequenced keys, and techno influences that fused with grunge-era guitars for greater rhythmic drive and commercial appeal.[23][26] The album Machiavelli and the Four Seasons (4 May 1995), recorded over five days in September 1994 and mixed in December 1994, exemplified this polish, enhancing melodic catchiness while amplifying thematic critiques through denser sonic textures that supported broader multimedia satire.[23] Post-2000 releases sustained this electronic-rock integration, with programmed beats and digital production tools mirroring advancing music technology and enabling sharper societal commentary, as in The White Albun (24 June 2004), which maintained the band's rhythmic intensity amid evolving cultural targets.[65] The 2024 reunion album Death to Art (4 October 2024) reflects a further maturation, blending guitar riffs and 1980s-inspired dance grooves with electroclash elements in a fuller ensemble sound, yet retaining an unyielding satirical edge against contemporary pretensions, though with reduced raw transgression compared to origins.[66] This evolution underscores a progression from visceral punk parody to sophisticated, tech-infused critique, prioritizing thematic depth over initial abrasiveness.[66][26]Discography and releases
Studio albums
TISM's debut studio album, Great Truckin' Songs of the Renaissance, was independently released on 26 September 1988 through Musicland.[16] The follow-up, Hot Dogma, marked the band's first major-label effort, issued by Phonogram on 1 October 1990 and reaching number 86 on the ARIA Albums Chart.[67][68] Machiavelli and the Four Seasons, released on 4 May 1995 via Phonogram, achieved greater commercial success, peaking at number 8 on the ARIA Albums Chart.[69] The fourth album, www.tism.wanker.com, came out on 2 June 1998 under Genre B.Goode and entered the ARIA Albums Chart at number 26.[70] Delectable Morsels followed in 2002 as a collection of newly recorded rarities and B-sides, distributed by Genre B.Goode.[71] The White Albun, the band's sixth studio release, was self-produced and issued on 24 June 2004 through Genre B.Goode.[72] After a two-decade hiatus, TISM returned with Death to Art on 18 October 2024 via MGM Distribution, debuting at number 15 on the ARIA Albums Chart.[73]EPs, singles, and compilations
TISM's extended play releases include the debut EP Form and Meaning Reach Ultimate Communion, issued independently in 1986, which captured their initial raw satirical style through tracks like "Saturday Night at Chez de Renz" and was later reissued in expanded form in 2021.[74] Later EPs such as The "C" Word and Cunts V Cunts emerged in the digital era, extending their profane humor into standalone formats post-reunion.[75] Singles often served as vehicles for pointed parodies and cultural jabs, with early efforts tied to album promotions via B-sides that later informed compilations. Post-2020 reunion singles marked a return after nearly two decades, including "Mistah Eliot – He Wanker" in 2021, "I've Gone Hillsong" on December 1, 2023—targeting religious institutions—and "Death to Art" in 2024, alongside "'70s Football," bridging gaps to full-length output with themes of nostalgia and critique.[76][13] Compilations aggregated rarities and non-album tracks, emphasizing B-sides from 1987–1989 singles in Gentlemen, Start Your Egos (1991), which incorporated the 1986 EP alongside alternate versions and live cuts like "The Back Upon Which Jezza Jumped," reissued on vinyl in 2021 to highlight early obscurity.[74][77] Collected Versus (2022) compiled singles discography, including previously unreleased material and thematic ties to their satirical oeuvre via the Goode/DRW label.[78][79]| Title | Type | Release Year | Notes |
|---|---|---|---|
| Form and Meaning Reach Ultimate Communion | EP | 1986 (reissued 2021) | Debut EP with core satirical tracks; independent release.[74] |
| Gentlemen, Start Your Egos | Compilation | 1991 (reissued 2021) | B-sides, rarities, and EP tracks from 1987–1989 era.[77] |
| Mistah Eliot – He Wanker | Single | 2021 | Post-reunion digital release.[76] |
| '70s Football | Single | Post-2020 | Standalone satirical single.[75] |
| I've Gone Hillsong | Single | 2023 | Critiqued megachurches; first new single in nearly 20 years.[76] |
| Death to Art | Single | 2024 | Recent digital single extending anti-artist themes.[76] |
| Collected Versus | Compilation | 2022 | Singles collection with unreleased tracks via Goode/DRW.[78] |
| The "C" Word | EP | Post-reunion | Digital EP with explicit content.[75] |
| Cunts V Cunts | EP | Post-reunion | Confrontational-themed EP.[75] |