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.
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 as The Saints and Radio Birdman, with occasional forays into Who-esque jams.
While the band clearly won over the punk-oriented crowd with a swift 15-minute set culminating in a self-indulgent display of feed back and instrument destruction, the competition's judges were not so swayed, and The Throwaways failed to make the next heat of the contest.
During Easter 1991 the group performed at The Tote, sharing the stage with Hoss, The Meanies, Guttersnipes, Spiderbait, Nursery Crimes and Unclean Spirits.
He was replaced by Mat Charles, whose arrival introduced a new aesthetic strain inspired by Captain Beefheart and early 80s goth/punk practitioners such as the Birthday Party and Einsturzende Neubauten.