New Audio: Renowned NYC-based Act Boss Hog Return After a 17 Year Hiatus with a Subversive, Sensual, and Bluesy New Single

Currently comprised of husband and wife and founding duo of Cristina Martinez (vocals) and Jon Spencer (guitar, vocals), equally known for his two other bands Pussy Galore and the Jon Spencer Blues Explosion; along with Jens Jurgensen (bass), who had a stint in renowned punk/metal band The Giraffes; Hollis Queens (drums, vocals) and Mickey Finn (keys), Boss Hog formed back in 1989 as a sort of accidental side project, when the band’s founding duo of Spencer and Martinez were told of a last minute vacancy on the bill at CBGB’s. Spencer and Martinez reached out to friends and collaborators and quickly put together a band featuring members of The Honeymoon Killers and Unsane, along with Spencer’s Pussy Galore bandmate Kurt Wolf. That first gig together was reportedly an underground sensation — partially because Spencer played the entire set completely naked. And although the band has gone through a series of lineup changes, over their 28 year run, the band have developed a reputation for releasing disturbing and sexually incendiary material through some incredibly renowned record labels — including Amphetamine Reptile Records, In The Red Records, and DGC/Geffen.

BROOD X is Boss Hog’s first full-length album in almost 20 years, and from the album’s first single “17,” the material on the album is a wild and heady mix of dusty, shuffling, sleazy, whiskey-soaked blues, snarling punk rock attitude, noisy no-wave-inspired art rock, shoegazer rock and seductive baroque-inspired pop to create a sound that not just uncompromisingly defies genre conventions while expressing the bilious and strange mix of hopelessness, fear, uncertainty, fury, bitterness and the uneasy, desperate longing to make sense of an absurd, dangerous, new world run by an ignorant maniac. Part existential howl into an indifferent void and part a clattering yet sensual and subversive call to have art be your solace in desperate times, the song may arguably be a call to get out there and resist through one of the most human ways we can — through art.

 

 

 

 

 

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