The year is 2026, the rollercoaster ride that was Carter The Unstoppable Sex Machine has long since been shut down and covered in tarpaulin to make way for a 21st century theme park of bland pop.
Formed in 1987 by Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary. Join Jim Bob and Fruitbat, as they take a retrospective look back at the complete Carter U.S.M. singles, from 1988 to 1997.
First released in 1995, Straw Donkey is an essential introduction to Carter The Unstoppable Sex Machine, featuring the U.K. Top 20 singles ‘The Only Living Boy In New Cross’, ‘After The Watershed (Early Learning The Hard Way)’, ‘Rubbish’…
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Formed in 1987 by Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary.
Released in 1995, Worry Bomb was Carter USM’s fifth album and their fourth in a row to break into the top ten of the UK album charts. It would also be the first to feature their new drummer, Wez, marking a shift away from the famous drum machine sound.
The album mixed things up musically, balancing mellow acoustic tracks like ‘My Defeatist Attitude’ with Carter’s signature high-energy indie rock, including ‘Let’s Get Tattoos’ and ‘The Young Offenders Mum’ which both hit the UK top 40.
To mark the 30th\u202Fanniversary…
Released exclusively for Record Store Day Black Friday 2025, Avon Calling! captures the band in full flight, raw and raucous at 1994’s Phoenix Festival. The set finds Carter firing through classics like ‘The Only Living Boy In New Cross’ and ‘Sheriff Fatman’, fresh cuts ‘Let’s Get Tattoos’ and ‘The Young Offender’s Mum’, alongside a cover of Buzzcocks’ ‘Everybody’s Happy Nowadays’.
Equally revered and despised in their native England, Carter the Unstoppable Sex Machine has been on the cutting edge of the U.K.’s dance-pop scene since their first hit single in 1989. Instead of following the disco-derived pop songs of the Pet Shop Boys, Carter relies more on the underground club/dance scene, bringing such techniques as spoken word samples, drum and riff samples…