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Biohazard Drawing as much from Public Enemy and Bad Brains as from Black Sabbath
and Minor Threat, Biohazard's 1990 debut shattered any preconceived notions
of what a metal band was supposed to sound like. With its combination of
speaker-shredding riffs, raw nerves, and social commentary, the album served
undeniable notice. The years that followed saw them tear down the walls
that separated rap and metal and black and white audiences. The genre was
hungry for a new form of expression and Biohazard definately spoke the
language. With mid-90's albums like Urban Discipline(1992), State Of The
World Address(1994), and Mata Leao(1996), being studied like the damn Zapruder
film, Biohazard wound up schooling an entire generation in genre-building,
creating a new hybrid that would eventually find its way to the mainstream.
More importantly, the Brooklyn band grew to become the voice and the conscience
of the Everyman, striking a chord among the collective by writing emotionally
charged songs that are as compelling and thought provoking as they are
disturbing.
Over the coarse of their careeer, Biohazard has been described as one
of the major standards by which future hard music acts will be judged.
But as New World Disorder will prove, Biohazard has now transcended the
genre they help define. Streamlined and razorsharp, the King/Def Jam/Mercury
debut is without a doubt their heaviest recrod to date. New World Disorder
comes two years after the release of the bands first live album, No Holds
Barred. They were on the road for almost three years non-stop, sharing
the stage with acts such as the Red Hot Chili Peppers, Pantera, Sepultura,
Cypriss Hill, and others. One listen to New World Disorder and it's obvious
that the time spent touring with the "new" guitarist, Rob Echeverria (ex-Helmut),
has revitalized the band. "We've made a record that captures the energy
of our live show and the true spirit of the band." says vocalist/guitarist
Billy Graziadei.
Billy Graziadei - vocals guitar
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"One Day a Great Fire
Shall Come"
