This debut album promises/threatens "a gallery of grotesquery" that combines ordinary tales of madness with surreal flights of fantasy.
The brains and brawn behind the band come from Natalie Sharp who was born in Cumbria but now plies her trade in London.
Sharp's elaborate costumes and eccentric body art has already given her theatrical live appearances a certain notoriety. One show was witnessed at Brudenell Social Club in Leeds by W&H's very own Chris Nosnibor and he described it as a "fucked up spectacle that will likely scar the audience for life".
Transferring such confrontational performance art to disc is a thankless task but her debut album manages to sound mad, manic and, above all, great fun.
The cover image of a painted mannequin head being force fed synthetic whipped cream is a pretty good visual representation of the sound.
Assisted by Philip Winter ("brute n bass") and Will Kwerk ("knob twiddling"), the analogue synths, crisp guitar riffs and pulsing drum beats mean that it is all highly mannered and manufactured yet also deliberately raw and unsophisticated.
The band's fetishistic elements can be gleaned from the list of interests on their Facebook page: "cream, slime, glue, frolicking and vibrating".
With vocals pitched somewhere Siouxsie Sioux and Lene Lovich the post punk details are also easy to identify.
The first two tracks - Home and Knicker Elastic - are excellent attention grabbers and, while the momentum established by these frenzied tunes is not always maintained, the rest is still highly entertaining.
The spoken word intro on Cornflakes is a welcome break from the plastic pop formula and the closing track : Hammered In Homebase is an arresting slice of dub disco that brings to mind The Slits.
It provides a fitting finale to this singular celebration of DIY indie-pop culture.