Since the early 90s, Brutal Juice have been laying down heavy, twisted, challenging music-songwriting that's as cerebral as it is outlandish, and performances that are as soulful and vulnerable as they are violent and hypnotic
Born in Dallas and raised in the gonzo college town of Denton, TX, Brutal Juice started out as an acid-fueled excuse to turn amps to 11 and play with feedback loops during all-night backyard parties or in pizza parlours and art galleries turned pop-up music venues.
They didn't even have "a sound" at that point; dabbling in funk, metal, ambient noise, folk, punk--they neither made nor observed any rules.
They eventually became a mainstay at Denton's annual Fry Street Fair, cutting their teeth in front of the hedonistic crowds that had attended the legendary festival since the 70s-- a last vestige of Texas Hippie culture. Folk art, body hair, LSD, and a mind-blowing variety of original music from area bands, many containing alums and dropouts from UNT's world-famous jazz school, left a permanent mark on the band's sound, their philosophy and their politics.
Brutal Juice went on to tour constantly in the US and Europe, and recorded for Jello Biafra's Alternative Tentacles, and eventually Major Label Interscope Records, releasing their critically acclaimed "Mutilation Makes Identification Difficult", recorded at Willy Nelson's Arlen Studios in Austin TX, and mixed by Sylvia Massey (Tool).
They toured with Gwar, Neurosis, Toadies, The Meatmen, Fear, and many other bands before breaking up in the late 90s.
Now back together with the original lineup, Brutal Juice has recorded their most ambitious work yet.
Recorded by Grammy Award winner John Congleton (St Vincent, Swans, Baroness) "Welcome to the Panopticon" blends Classic old-school metal . Gothic psychedelia, and Floyd-tinged Southern boogie rock with their signature post-punk angular assault to bring you a concept album that unearths arcane reptilian conspiracies, dives into the abyss of modern dehumanization, and surfaces, screaming and gasping its denunciation of the technotronic oppression that menaces us.