ABOUT BLACK BANANAS: Jennifer Herrema is the artist behind Royal Trux, RTX, and Black Bananas…projects that have reshaped the language of rock, noise, pop, and underground music since the late 1980s. Her work moves as a single evolving system rather than a sequence of disconnected bands: disruptive, recombinant, and resistant to easy containment. Raised in Southeast Washington, D.C., Herrema came up within overlapping worlds of DIY hardcore, hip-hop, go-go, and heavy guitar music, absorbing sound and image through out her childhood before relocating to New York city as a teenager. Early Royal Trux recordings emerged as instinctive collage—fragments of American musical mythology assembled with cheap equipment, restless curiosity, and an indifference to expectation.
Black Bananas is also a deeply lived-in collaborative unit. Brian McKinley, an extremely agile & chameleon capable guitarist, connected with Herrema in Southern California in the early 2000s through mutual ties to Richard Kern’s Black Snakes, while also working across electronic-leaning mutual ties to Richard Kern’s Black Snakes, while also working across electronic-leaning projects including the DFA-affiliated NonStop with DJ Johnny Basil. Kurt Midness entered through New York’s underground rock scene, playing bass in Bad Wizard before the band joined RTX’s 2005 Transmaniacon European tour—where Herrema met him at the first show in Amsterdam.
Together, Herrema, McKinley, and Midness formed a core unit built on shared history, instinct, and real-time construction rather than fixed roles or static compositions. As Herrema has described Black Bananas, it is “an ultimate shape-shifting vehicle… just as much about performance, real-time creation, and visual art as it is specific tracks or songs.”
With Bad Bunch (2026, Fire Records), the first Black Bananas album since 2014’s Electric Brick Wall, Herrema extends that trajectory with a record assembled across more than a decade of work that continued through interruption, touring, reassembly, and ongoing movement. Work began in 2015 and remained active rather than set aside, revisited and reshaped across time.
Rather than unfolding in a single arc, Bad Bunch accumulated form through process. Songs were treated as source—cut apart, repositioned, rebuilt, and allowed to shift shape over time, forming through tension, layering, and return rather than fixed resolution. Black Bananas is not a new direction. It is the current state of a system that has been in motion all along.
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