Cheap Tissue’s cover of “New Promotion” by Belgian punk rock group Hubble Bubble is a jeering and sardonic sing-along, taking jabs at Nazism. Give it a listen below.

The following is the band’s interpretation of lyrics that are essentially indecipherable and undocumented: “Silver Badge, Iron Breast / Looking Sharp, Dressed in Black / Straightened Tie, Brush your boots / All Correct, You’re looking good.”

The band answered a few questions…

Why Hubble Bubble?

We had a practice where it was only three of us and we just kinda started messin’ around with it because we all like the song and it was easy to do as a 3 piece. During that time we also realized that you could loop in “Oh Oh I love her so” by The Ramones because they have the same intro (essentially), so we were just having fun with going back and fourth with blending the two songs at first and it just kind of stuck around in our rotation. We also kept it and wanted to put it on our album because not very many people even know who Hubble Bubble is or that Plastic Bertrand was an original member of the band before leaving to pursue a solo career.

Political angle?

The song is totally anti-facist. Granted, it’s obviously of a completely different era. We usually stray away from strong political aspects/views in our song writing, while instead focusing on social issues.. But, that was another reason we did the song. America’s current regime is starting to look very reminiscent of things most of us had hoped the world (especially a world power) would have learned from.

What did you try and do differently in your version?

It was really difficult to decipher the lyrics. There’s nothing online. I looked. Hard. I found a couple things, but they didn’t seem to be correct. So I did what I could to get them as close as I could and made up the rest. We did a falsetto instead of whistling.. changed the rhythm up a tiny bit.. Added fuzzy single guitar notes… yada yada yada. We just tried to keep it true while still doing it in our own style.

Upcoming Shows:
Jan 10, 2018 – Los Angeles, CA at The Echo
Jan 17, 2018 – Los Angeles, CA at The Echo
Jan 24, 2018 – Los Angeles, CA at The Echo
Feb 16, 2018 – San Francisco, CA at Thee Parkside

About the band:

Like a howl from the gutter at bogus posturing and chic bandwagoning, LA’s Cheap Tissue plays hard, fast, and doesn’t give a good fuck about fashion. Drenched in amphetamine sweats and blown amps, the quartet’s self-titled debut is 12 tracks of unapologetic, blitzkrieg rock. Produced and engineered by Lolipop Records impresario Ignacio Gonzalez, the sound is a melting pot of the raw, DIY punk that shaped the bandmates’ youth, who grew up seeing confrontational acts like Sham 69 and Circle Jerks in questionable, druggy SoCal venues. Never ones for agit-punk, Cheap Tissue is more interested in the party than grim-faced rumination on politics and anarchy. It’s that commitment to fun, and honor for a lifestyle that was never a passing, teenage trend, that unites the members of Cheap Tissue.

Cheap Tissue was spawned from late night jam sessions between guitarist/vocalist Andrew Taylor and Jesse Youngblood (guitar/vox). The sonic DNA uniting the two was a shared love for the Damned, Dead Boys and late 70s, 80s punk that was at once gritty and inviting. Kicking out songs at a lightening pace, Taylor and Youngblood recruited punk lifers John Tyree (Bass) and Matt Spizer (Drums) soon after, and the band hasn’t slowed down since. Announcing their full-throttle intentions right off the bat, the band’s first shows were opening for punk vets the Vibrators and the Zeros. Winning over the tight-knit crowds, whose bullshit radars are sharply honed to detect any phoniness, is no easy task, unless you live, bleed, and die rock and roll. Cheap Tissue passed the test on the first night.

Early, raw demos caught the attention of Lolipop Records, Echo Park’s de-facto home for honest garage/punk/power pop releases. Recorded in one blisteringly hot session, fueled by nicotine and cheap beer, the band laid down the tracks for their eponymous debut. The songs speak to the disaffected, marginalized, but never to be discounted rock crowd that refuses to be swayed by fads or trends. Taylor and Youngblood’s incisive, semi-autobiographical songs offer scathing social commentary on drugs, scenesters, and fickle “rock” fans.

While the band celebrates late nights and last calls, the downside to excessive partying is captured in fragmented oblivion. “Up My Sleeve” details a crippling heroin addiction that nearly ended Taylor’s life, and his fight to save it: “I always seem to melt down and push in the pin / Ha, call me back tomorrow ‘cause I’ve fallen back again / Don’t you worry no don’t you worry / I’ll be back on the upswing in quite a hurry.” While the bandmates have all danced around the volcano, the album is a dedication to salvation that lives amongst good friends and reckless nights, and possibly in rock itself.

Anyone willing to lose themselves, and pledge allegiance to nothing, is more than welcome to come along.

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