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The project receives a decisive impulse in New York. With remarkable fearlessness, they reach out to numerous clubs – shortly thereafter, they are already on stage in Brooklyn. This energy shapes their further path and is still palpable in their music today. Cousines Like Shit describe their style as "Avant Trash": a quirky mix of Lo-Fi aesthetics, indie pop, punk, and experimental lightness. Distinctive guitars meet reduced, atmospheric arrangements, complemented by the characteristic two-part harmonies of the cousins. Thematically, they dissect human quirks, relationship dynamics, and societal absurdities with a sharp eye and self-irony. Linguistically, they playfully navigate between directness and exaggeration.

After the EP "Young And Online," their debut album "Avant Trash" lays the programmatic foundation of their artistic self-understanding. Songs like "Barbie," "Vivid Sassy," or "Ziggy Ziggy" encapsulate that raw energy that oscillates between nonchalance and precise observation.

With their second album "Permanent Earthquake," Cousines Like Shit consistently develop their sound further. The songs take a subtly more electronic direction without losing the core of their signature style. Powerful guitar layers blend with pulsating basslines and pointed hooks; above it all lies their unmistakable harmony singing. They once again collaborate with New York producer Madison Velding-Vandam – the resulting recordings carry a palpable urban urgency and expand the band's spectrum with new sonic facets.

Cousines Like Shit represent an uncompromising approach to pop music: reduced yet multifaceted, ironic yet emotionally direct. "Avant Trash" is less a genre label than an attitude – a confident invitation to subvert conventions and find the unique within the seemingly unfinished.