Album Review: The Blowies debut LP came in time for election
When South by Southwest (SXSW) was cancelled in March, musicians around the world scrambled to reassess the situation. Austin venues were immediately forced to reevaluate their options, having lost the annual gathering that brings in more revenue than any other time of year. Musicians had to cancel planned shows; many resorting to innovative live streaming events. Austin-based punk duo, The Blowies were no different.
The Blowies had all but completed their debut album by that point. The band was set to perform shows at the South by Southwest Music Festival, and then the world turned upside down. During the lockdown, Tucker Jameson and Sam Thompson remained productive, remotely collaborating from their makeshift home studios to put the finishing touches on their then-delayed debut LP. The result is an invigorating commentary of current American politics, loaded with satire. To maximize the effect, the band aimed to release the delayed project prior to the November election. The self-titled, debut album from The Blowies finally released the record on October 16. Just in time for the final, chaotic weeks of the Presidential election cycle.
Immediately, with the opener of “Dick in Chief,” the sentiment thematically spiraling throughout the album immediately hooks the listener, with a sound reminiscent of classic late-70’s punk rock. The conveyance of said themes is in no way subtle. Not to fall into comparitive clichés, but think of Dead Kennedys with melodic elements of Green Day’s “American Idiot.” Fans can grab a CD (with pink earplugs) at The Blowies merch store
The track, “Selfie Fucks” is a witty social commentary on the ego propelled through social media. “AK” piggy-backs this with an exploration of insecurity and the need for specific objects to mask it.
“Tiny Hands” and “Russian Democracy” further survey the more specific details of the subject introduced with the opening track. We’re not sure Donald Trump wouldn’t stroke out listening to these damning, satirical tunes.
“Just Drink Beer Say Yes” inspires one to let loose and enjoy the moment. “Wifey” is a comedic, light-hearted love song, and touches on social disconnects. Both break from the political subject matter weaved through most of the LP.
The band’s cover of the 1976 Runaways punk anthem, “Cherry Bomb” goes far beyond doing the anthem justice. The duo essentially updated the tune to reflect the current mood in America, pointing out perhaps that nearly 50 years later, not much has changed culturally in America.
The Blowies’ sound is simultaneously familiar and innovative, channeling original punk sounds very lightly laced with 90’s pop-punk melodies. But The Blowies are far from pop. They are one-hundred percent punk rock, through and through. With this LP, the Austin duo satirizes an abundance of current subject matter, lampooning the current state of affairs.
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