The Jonx believe in the expressive power and malleability of the rock idiom as a vessel through which to make the modern condition tolerable, at least to themselves. Recognizing this, astute observers have compared them to bands like the Minutemen, NoMeansNo, The Jesus Lizard, Wire, The Grifters, Television, The Vehicle Birth, and Alice Donut.

Jeremy Hart of Space City Rock writes,

“…I was drawn back to the early days of post-punk noise, back when nobody knew what the hell people like Pere Ubu and Sonic Youth were doing, so they just called it “punk.” Listening to the band was like rifling through old Fugazi, Minutemen, and June of 44 albums, what with all the shouted-sung vocals, weird time signatures, and disjointed guitars that sound like noise until you listen real closely and hear the sound coalesce into a half-buried melody.”

The Jonx have shared stages with some amazing and legendary musicians, such as Mike Watt, Rocket From The Tombs, Don Caballero, Lozenge, Electric Eel Shock, Jana Hunter, Oneida, Turing Machine, The Octopus Project and many many others.

The Jonx began as a quartet in December of 2002, with Shawn Durrani on bass, Daniel Mee on drums, and Viki Keener and Stu Smith on guitar. In 2004 Shawn and Viki both left the band to pursue other interests, and Trey Lavigne joined on bass.

The Jonx recorded a three song EP, ‘Jonx‘, in May 2003, and a six song EP, ‘The Wrath of Shawn‘ in January 2004, both with the original quartet. Their first full-length album ‘The Return of the Death of the Legacy of the Revenge of the Jonx‘ was recorded and released in 2005, and is available through the iTunes Music Store, and at cdBaby.com, as well as in finer independent record stores in Houston and Austin.

Lance Scott Walker of 002 Magazine writes,

“…though their songs might have a thousand little twists to them, they aren’t built on them. These are really pop songs, and this is a really, really fun record – all tight and fast like an old SST punk record”

David A. Cobb, of Houston Calling and the Houston Press named the record as one of his favorite releases of 2005, saying,

““Bizarrely original — you have to hear it to believe it.”