An integral part of numerous inspiring moments with Biohazard and Powerflo, Billy Graziadei continues to be one of punk’s driving forces as he uncages his debut solo album under the moniker Billybio. Feed The Fire is a powder keg of hardcore dexterity and discontent, fire and brimstone punk rock as contagious as it is a snarling intolerant of the ills coursing through the world. Bred from a rich fusion of flavours the album is a fury of anthemic rock ‘n’ roll with a roar which makes you want to take part whilst paying keen attention.
As Graziadei declares, Feed The Fire is “100% me. No influence from anyone else. This is who I am and what I’ve become. I’m a product of everyone I’ve met, talked with, shared my stories with…and a bit of their stories as well.” It growls and bites as it inflames and badgers thought and spirit whilst unleashing some essential slices of punk rock.
With friends such as guitarist Dan Palmer (Death by Stereo/Zebrahead), bassist Ra Diaz (Suicidal Tendencies), and drummer Simo Perini alongside Graziadei, the Tue Madsen produced release instantly got under the skin with opener Freedom’s Never Free. Marching into view, the track explodes on the senses, raw grooves and Graziadei’s vocal grievance fuelling the attack. It is an ear grabbing invitation which simply hits another level as the track twists into one virulent chant of defiance, an inescapable trespass to which submission and involvement is instant.
Latest single and the album’s title track follows, unleashing its own contagion from its first breath. With teeth bared through its first riff and vocal uproar, Feed The Fire quickly launches itself with creative tenacity; guitar and rhythms as explosive as the vocal incitement which again fuels insatiable catchiness.
No Apologies, No Regrets rises up with a more deliberately predacious intent, slowly rising to its full height before hurling its goodness and dissonance at ears while in turn Generation Z uncages infectious multi-flavoured rock ‘n’ roll with zeal. The first is a web of temptation and altercation, as inventive as it is furious with its outstanding successor a contagion of hard and punk rock which needed mere seconds to have body and vocal chords adding their mutual zealous discord.
Through the likes of Sick And Tired, an infectious dispute and enterprise bred persuasion, and the feuding Sodality which erupts from the dark smoulder of the momentary breath that is Remedy, the album only tightened its grip on ears and appetite pushing its claws deeper into the passions with the musically and emotionally acrimonious Rise And Slay, the track a delicious predatory harassment of metal, punk, and ravenous rock ‘n’ roll.
Offering up thirteen slabs of confrontation, there is truly no weakness or less than irresistible moment within Feed The Fire as emphasised in turn by the bracing punk call of STFU, the haunting and intimidating melodic siren that is Trepidation, and Untruth with its virulent resentment and imagination; all dramatic treats easily devoured.
The album is concluded by firstly the bruising anthemic blaze that is Enemy, another moment which has heart and vocal chords rigorously on board and lastly Disaffected World. The final track is arguably the most manipulative incitement of them all especially through the vocal and seriously tempting sonic tocsin which interrupts the song’s primal uproar.
Punk rock in its many forms has had a prize year in releases across 2018 with possibly, most likely, its finest moment now provided late by Billybio; an uprising sure to be the inspiration it deserves to be.
Feed The Fire is out now via AFM Records across most stores.
https://billybio.com/ https://www.facebook.com/BillyBIOHAZARD/ https://twitter.com/billybiohazard
Pete RingMaster 18/12/2018
Copyright RingMaster: MyFreeCopyright
Shillelagh is simply punk rock yet hardcore unafraid to embrace the spices of other pungent flavours to its infectious animus; the result a venomous contagion which has the body bouncing and appetite drooling before the imagination is enslaved all over again by a riveting cover of the Bauhaus classic Bela Lugosi’s Dead. Infesting it with the kind of energy and boisterousness felt at the Batcave venue back in the day, Dead Cross ensure the shadows and haunting atmosphere of the original are still an invasive temptation; Crain casting veins of melodic acidity which alone beguiles the senses.
Illusion of Choice draws on the grungier side of the Temple of Lies sound, fusing it with their ever ferocious and enticing blend of metal. Instantly the track is on the boisterous balls of its feet, rhythms scything and riffs snarling as vocals and hooks collude in a virulent temptation with a touch of Disturbed meets Spineshank to its short but fiercely persuasive body before Modus Operandi lays down its individual creative intent. Often tempting like a fusion of Monster Magnet and Suicidal Tendencies, the track has ears and imagination hooked in no time, every twist a captivating moment, each turn a fresh treat merging the familiar with the unpredictable; an essence which applies to the whole of The Serial Killer Suite.
The gentle melodic opening of Get Your Fight On! is a suggestive pull next which intrigues more than ignites the imagination but soon leads into the waiting rhythmic prowess of Lombardo and the sonic enterprise of Pleasants and Pogan. It too works its way from a relatively calm tempting to an incendiary blaze where it really grabs the appetite and passions as heavy metal flames unite with punk and thrash dexterity for an anthem which might not hold all the sparks of its predecessors but leaves only an eager want to delve into its cauldron all over again.
From the hungrily abrasive and riotous punk ‘n’ roll of Gervigleði er ógleði, the album has ears and appetite in league with its ferocious intent. It is a great opener quickly matched in success and persuasion by the thrash prowl of Fullur á Facebook. Grooves and hooks collude with rapier like swings from Stjuni in the second song, luring in the listener before uncaging a ravenous assault and devilment reminding of the crossover thrash sounds of the previously mentioned California hailing band.
The dramatic invention continues with Dominus Caeli, a track opening with a flirtatiously seductive bassline from Lorenzo ‘Tarzan’ Colucci which then incites further jazz/funk exploits from rhythms and guitar. Like an abrasive fusion of Toumaï and Trepalium, the track grumbles and rumbles with punk lined irritability whilst creating an unstoppable and virulent contagion of grooves and raucous aggression. Further building to a hungry prowl courted by unhinged vocal teasing, the song is a thrilling slice of rabid, in sound and invention, metal fired rock ‘n’ roll.
Tony 5 swaggers in next, its body similarly spawned to that of its predecessor but swiftly sharing its own consuming tenacity. As biting rhythms and swinging grooves embrace the excellent mix of clean and aggressively rasping vocals, the song is a cantankerous affair but with a body of spiralling twists and sonic resourcefulness which makes other’s references to bands such as System Of A Down and Gojira understandable. As the first, the track is a ravenous swamping of ears with superb clarity within its smothering touch for the swarm of progressive tenacity within to equally entice and shine.