With the help of workers from Modern City Records, a button and LP manufacturer based in Lyon, France, Visual Vitriol assembled a Texas punk poster overview that spanned six walls throughout the compound, Grrrnd, which is a legal squat made from the remains of an abandoned business complex in the warehouse district of the city. The event also featured an armful of bands that pierced the neighborhood with their intense musical barrage.
Helpful crew members and band legionaries, who not only aided the show but also pressed the Texas Biscuit Bombs LP art and inserts, consisted of members of well-known bands from the dank district, including the furious pop-punk mutants Telecommande, who routinely yanked riffage from the Spits in crazy tuneful glee, and the Dischord echoing emo-bursts of 12XU, plus the impromptu band Validation, who covered a whole slew of Texas punk “hits” deep in the brutal sweaty night, including forceful songs from Really Red, the Dicks, Big Boys, and Offenders.
One of the intriguing features were two larger-than-life sized blow-up pictures of Biscuit of the Big Boys that were placed on the walls behind both stages and illuminated throughout the entire concert. The ghost of Biscuit, and his own uncanny art and spirit, shaped the festivities until the very end.
The poster show featured an array of over-sized flyers from Portland, a much-compressed historical wall that spanned thirty cross-cultural years, and a whole room dedicated to the art emanating from Texas itself, with entire sections devoted to Really Red, Tim Kerr of the Big Boys, and Randy Biscuit Turner of the Big Boys, not forgetting another timeline that highlighted a wide swath of Texas greats, like the Hates and Mydolls.
Visual Vitriol, Left of the Dial, and David and Julie would like to thank the owners and operators of Modern City, Celine and Remi, for their prolonged dedication to the cause, and their deep sincerity in regards to the historical and cultural importance of both Biscuit and punk art in general.