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BILLY BAO: Fuck Separation . 2007. S-S records . 10″ vinyl

Fuck Separation izenburu probokatzailea izan daiteke Bilbotik heldu den talde batentzako (eta bai, egia da Billy Baok beste punki askok bezala ez duela gustuko nazioaren kontzeptua, bere mugekin eta kanpoan nor gelditzen den edo barruan nor dagoen erabakitzeko ahalmenarekin). Baina punk musikak ere bere arauak eta mugak ditu. Hortaz, lan honetan Billy Baok punk kantuaren kontzeptua bera, bere hasiera eta bukaerekin, hautsi nahi du. EP formatura moldatuz, beren burua hausten duten 10 minutuko 2 “kantu” ditu diskak: A aldean hasten den kantua B aldean amaitzen da eta B aldekoa A-n, cross-fade erraldoi baten bidez.

Aunque en el contexto vasco el título pueda parecer provocador (y si, es verdad que a Billy Bao y como a otros muchos punkis le da asko cualquier concepto de nación, con sus fronteras que delimitan y decidan quien esta dentro y quien esta fuera). Pero el punk también tiene sus fronteras y limitaciones. En Fuck Separation Billy Bao trata de romper el concepto de canción punk como unidad con su principio y su final. Billy Bao se adapta al formato EP con 2 temas de 10 minutos que se rompen a sí mismos: el que empieza en la cara A acaba en la cara B, y el que empieza en la B acaba en la cara A, todo esto mediante un cross-fade gigante.

Fuck Separation might seem a provocative title from a band coming from the Bilbao- the biggest city in Basque Country, where many people want an independent state from Spain and France (and yes Billy Bao like many other punks does not give a fuck about any nation concept with its borders and delimitations, saying who is in and who is out). But punk has also its rules and limits. In Fuck Separation Billy Bao destroys the concept of the punk song as a unity with its beginning and its end. Billy Bao adapts to the EP format with two ten minutes tracks, that fuck each other: The track that starts in side A finnishes in side B. The track that starts in side B finnishes in side A, through a giant crossfade. So you better listen to the whole thing motherfucker!

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www.mattin.org/Billy_Bao.html / www.s-srecords.com


Billy Bao: vocals
Mattin: guitar
Xabier Erkizia: guitar
Alberto Lopez: drums





S-S RECORDS by Scott Soriano

Don’t tell the INS, but Billy Bao is here. These internationalists destroy all boarders with the grinding bludgeon of pummeling sound. Two lonnnnnnggggg songs churn relentless riffs into wretched pounding and go back. Sub-metal, dirt dirge primitivism that attacks the shit nation state. For one from Billy Bao’s last one check out “Bilbo’s Incinerator” Embrace the degeneration of rock & roll! Fans of Brainbombs, Stickmen with Rayguns, Pissed Jeans, Drunk with Guns, etc. take note. White vinyl. Screened sleeves.


KDVS Radio, California by DJ RICK

It’s hard to think of “Bilbo’s Incinerator” as a catchy song until you hear this 10″. This is the even more deranged and ugly side of Billy Bao. Surely this record is the most severe ass-kicking you will receive this year.


AUDIOLAB blog

Nuevo álbum en vinilo de 10″ (primero de los tres grabados por el combo bilbaíno durante este último verano!) de la infame banda BILLY BAO, en esta ocasión de la mano del sello norteamericano S-S records. “Fuck Separation” es probablemente el mejor trabajo hasta la fecha de la banda liderada por el nigeriano-bilbaino. Un trabajo tan conceptual como visceral que mediante un crossfade gigante llena de esputos de rock bastardo y pesado nuestros oídos.

BILLY BAO talde zitalaren 10″-ko binilozko diska berria (pasa den udan grabatu duten hiruetatik lehena!) argitaratu du S-S records disketxe iparramerikarrak. seguruaski “Fuck Separation” da nigeriako bilbotarrak gidatzen duen taldearen gaur arteko diska hoberena. Kontzeptuala bezain bizia den lana, crossfade ikaragarri baten bidez gure belarriak rock sasikume eta pisutsuz betetzen dituena.


GURE HITZAK por Jon Imbernon

el ultimo ep de BILLY BAO me ha dejado muy pillado la verdad … no me esperaba algo asi, han tirado de guitarras super bestias, riffs de guitarra casi monoliticos, en 2 temas hiper machacones de noise-rock super bestia incluso con toque sludge… pero aki esta la gracia (y la parte experimental tambien) ambas canciones se cruzan en la mitad de cada una. me explico, cada cancion empieza en una cara y acaba en la otra, en la mitad de cada una hay un cross fade que pasa a la cancion que empieza en la otra cara, aparte decir que durante el trance se crea aun mas sensacion de caos y ruidera aun si cabe..
me ha parecido la puta polla vamos…

ESTO NO ES SIMPLEMENTE NOISE-ROCK O SLUDGE, ES MUSICA VERDAREMENTE ARRIESGADA QUE VA VARIOS PASOS MAS ALLA DENTRO DE SU ESTILO, COMO DEBE SER, LA OXTIA!


ROCK IN NICE: NICE ROCK AND UNDERGROUND MUSIC pour Razz

Mais non, c’est pas un carré blanc ! C’est le nouveau 25 cm de BILLY BAO chez S-S Records. D’ailleurs super packaging. Ca se voit pas là, mais le blanc est incrusté d’une carte du monde et du nom “Billy Bao” en énorme à l’arrière, classe au touché. Faut pencher le disque pour le voir.
Sinon, autant prévenir tout de suite, ce machin c’est deux titres, enfin non… juste un seul coupé en deux à la barbare au milieu. 10 minutes pile poil sur chaque face (je sais pas si c’est de l’intox ou pas, y a marqué 10:00, ça sent la frime).
Donc, évidemment c’est un peu un ovni. On dirait NIRVANA qui joue du FAUST à fond les manettes. Durant 20 minutes y a un seul riff avec deux moments de flottement qui change le ryhtme d’une manière un peu zarb’. A la fin j’avais l’impression qu’il avait mis deux fois le titre en décalé l’un sur l’autre!
Le mec gueule comme un taré, mais c’est mixé dans le bordel ambiant. Vraiment pas évident d’avoir un avis correct sur ce genre de musique. C’est bien mais c’est chiant. C’est chiant mais c’est quand même bien. Dommage que ce soit bien parceque c’est chiant. Jamais vu un truc aussi chiant, mais qu’est-ce que c’est bien, etc, etc, etc…

Et je dis : on dirait VENOM qui joue du NEU ?? Ca passe mieux ?


WFMU best 10 records of the year por Acapulco Rodriguez

Consumer Electronics: Nobody’s Ugly, No Fun LP
Broom Dusters: Sound From The Bottom Of The Tokyo Underground, Siwa LP
M.B.: Symphony For A Genocide, Hospital / w.m.o CD
Mattress: In the Pocket, Malt Duck 7″
Peter Brotzmann & Sonny Sharrock: Fragments, Okka Disk LP
Angelblood: Mambo Mange, Locust LP
Billy Bao: Fuck Separation, S-S 10″
Blank Dogs: The First Four Weeks, Freedom School 12″
Eat Skull: Eat Skull, Meds 7″
So Cow: Moon Geun Young, Myoclonic / Almost Ready 7″


ART FOR SPASTICS by Dj Rick
20 BEST EPs of the year 2007

Billy Bao “Fuck Separation” 10″ (S-S)
Blank Dogs “Yellow Mice Sleep” 7″ (HoZac)
Blank Dogs “The Doorbell Fire” 7″ (Sweet Rot)
Daily Void “Mass Communication Culture” 7″ (Boom Chick)
Eat Skull “Seeing Things” 7″ (Meds)
Electric Bunnies “Eskimo” 7″ (Florida’s Dying)
El Jesus de Magico “Funeral Home Sessions” 7″ (Columbus Discount)
Factums “See Inside” 7″ (Polly Maggoo)
Hank IV “Dirty Poncho” 7″ (Plastic Idol)
Human Eye “Spiders & Their Kin” 7″ (Cass)
ICK “La Parade des Sans Illusions” 7″ (Enfant Terrible)
Dan Melchior und das Menace “The Pink Scream” 12″ (Shake Appeal)
Mutators “Paper Words” 7″ (The Broadway to Boundary)
Nothing People “In the City” 7″ (S-S)
QEK Junior “Wohnanhängar” 7″ (Kernkrach)
Slicing Grandpa “Chaos Midnight” 10″ (Strain Theory/Scatalogical Liberation Front)
So Cow “Moon Geun Young” 7″ (Almost Ready)
Talbot Tagora “Cat Face” 7″ (self-released)
Thomas Function “Relentless Machines” 7″ (Tic Tac Totally)
Tyvek “Summer Burns” 2×7″ (What’s Your Rupture?)


APPLES AND HEROIN by s.kobak

Rotten attitudes birth a primal, infectious hardcore sludge document on Billy Bao’s new 10”. While not necessarily groundbreaking in light of the dearth of fantastic Drunks with Guns-inspired newcomers, Billy Bao perform with such conviction and intensity it affects the listener’s attitude. Unlike those bands, Billy Bao aligns itself more with anarcho punk than noise or black metal. Then again, pinpointing the band in a genre seems counterproductive. Named after their lead singer, they exemplify the current hardcore atmosphere with primal rage, slow riffs and wild feedback solos. Their songs linger naturally and resolve themselves appropriately, encompassing various styles into their structures. Comprised of two side-long tracks, the album pummels listeners with monolithic riffs and smart, angry verse. Both songs melt down fantastically, as their violent riffs burst at the fringes into feedback and drones while free jazz drums Lyrics separate the band from their peers. Billy Bao seems more concerned with the current political climate but they’re smart enough not to directly address it like dime-a-dozen Profane Existence wannabes. Instead, they describe the strife birthed from political oppression, both in the punk scene and the world at large. On “Borders of Mass Deception,” Bao describes the racist upheaval over secure borders with Mexico, shouting, “Bodies floating in the sea/Holidays in the beach/Work in your dreams/From A to B.” His pained vocals sound like a cross between Jake Sayles from Filth and Mike D. Williams from Eyehategod. “Jail Logic” presents a similar Sabbath-infested hardcore riff and a virtual call to arms for the band. Bao yells, “Punk has its rules, its reliable methods for producing satisfactory products/But the reality that must be taken as a point of departure is the one of dissatisfaction/It’s necessary to destroy the conventions of punk.” The band sounds like its playing two songs as percussion double tracks and cacophony underlines the main riff. If one chooses to focus on the extraneous elements of the song and ignore the familiar riff, it may sound like a trainwreck. When taken as a whole, the song sounds like the birth of a new, exciting turn for hardcore.



DUSTED MAGAZINE (New York) by Doug Mosurock

Third-world punk discoveries never cease, it seems – Billy Bao was grafted from the oppressive climate of Lagos to the streets of Spain, and aided in being given a wider voice by blacktop noise guitarist Mattin. Wildfire ensued, and yet it’s been years since the debut single (reviewed in the very first edition of this column, no less), and the subsequent minimal CD EP had scratched a militant crease into the minds of a newly enlightened punk rock audience. There’s an LP looming on Parts Unknown, but first up comes this two-song 10”, and it’s thicker and meatier and a whole lot less esoteric than previous offerings, two cross-faded 10 minute barrages of dirt-track muddin’, a wall of force. That one song ends where the other starts, and vice versa, is handled as hamfistedly as the chords slammed out to infinity, but somehow it stays in the groove, even as the rhythms drift off into another; it works as a compositional conceit, almost despite itself. Brutal, bludgeoning blows to the head and chest from the heart of the underserved. Essential listening from and for an angry, fed-up world. Edition of 600, white vinyl, white-on-white silkscreened sleeve.


WHITE DENIM Top Singles of 2007

1. Navid Tahernia ‘Speicher 56′ 12″
2. Brainbombs ‘Stinking Memory’ 7″
3. Mr. Oizo ‘Transexual’ 12″
* 4. Billy Bao ‘Fuck Separation’ 10″
5. Uffie ‘First Love’ 12″
6. Vampire Weekend ‘A-Punk’ 7″
7. Pink Reason ‘By a Thread’ 7″
8. Tyvek ‘Still Sleep’ 7″
9. Los Llamarada ‘The Very Next Moment’ 7″
10. The Rebel ‘Tarscoffsky’s the Snackrifice EP’ 12″
11. Waste Management ‘Get Your Mind Right’ 7″
12. Second Sex ’s/t’ 7″
13. Vicious ‘Igen’ 7″
14. Farah ‘Law of Life’ 12″
15. The Secret Society of the Sonic Six ‘Isolated Incidents’ 12″
16. Blank Dogs ‘Yellow Mice Sleep’ 7″
17. Birth Refusal ‘Cove Core’ 7″ & CD
18. Tyvek ‘Summer Burns’ 2×7″
19. Danava ‘Where Beauty and Terror Dance’ 7″
20. Sex Vid ‘Tania’ 7″


Foxy Digitalis (USA)


From the stark design (white-on-white silkscreened cover, white vinyl, minimal text sheet) to the bold title and the music itself, this release signifies heaviness and radicality; no superfluous ornaments here. The music starts all of sudden, it’s there, without an introduction or a fade-in: voice (Billy Bao), two guitars (Xabier Erkizia and Mattin) and drums (Alberto Lopez), in a bare, full-force rock mode, simple, repetitive, the screamed vocals barely discernible. Two or three chords are enough, and rather than changes there are accentuations, controlled burst of feedback or slight rhythmic variations, which further adds to the monolithic quality of the music. The flipside continues in this vein, yet even more intense, as it introduces a notion of latent chaos, never breaking loose, but always present in the wall of grinding guitar cum percussion noise that towers behind Bao’s vocal frenzy.

At closer inspection there is, however, more to this 10” than raw vitalism. Indeed, there is an elaborate formal and conceptual base underpinning these two tracks. As the text sheet reveals, both are exactly 10 minutes long. This correspondence is matched by the lyrics: they not only intermingle visually, as the text sheet’s layout arranges them in the form of a ‘X’, but they also refer to the two sides of the record and while “Borders of Mass Deception” (A-side) ends with the lines “From A to B, to be their shit”, “Jail Logic” (B-side) ends with “From B to A, I will split your brain” – reflexive strategies that are derived from modernist and conceptual art and add an unexpected complementary ‘layer’ to the force of the music.

‘Radicality’ and ‘pure’ heaviness might seem to have worn out as musical concepts but this work – as in fact quite a few others with Mattin’s involvement – suggest that this assumption has yet to be fully verified. Nevertheless these two times ten minutes of conceptualist noise rock ultimately leave me with ambivalent thoughts. Apparently, Billy Bao aim at a re-actualization of punk as a platform for radical music and thought. “Jail Logic” is explicit about that:

“Punk has its rules, it’s reliable methods for producing satisfactory products. But the reality that must be taken as a point of departure is the one of dissatisfaction. It’s necessary to destroy conventions in punk.”

Viewed in this light, “Fuck Separation” as a whole may be read as both a formulation of this claim and a way to realize it. After all, Billy Bao leave no doubt about both sides, of the record as well as of their statement, being interrelated.

Yet, as much as I’m impressed by the music’s power, as much as I value the conceptual base and as much as I respect this release as a political statement, I remain skeptic if – today – radicality can be expressed and attained through direct appellation or would rather demand more ambivalent strategies to allow a flexible position and circumvent getting lost in the void of agitation or entertainment. 8/10 — Magnus Schaefer (5 February, 2008)


Afterburn Records (Australia)

Scotti's Top 12:                                     Dec 2007 /Jan 2008


1. Billy Bao - Fuck Separation 10″ (s-s records)

2. Death - Keep on Knockin’ 7″ track (Detroit ‘76)

3. John Michael Green - Still The Innocent LP (Canada 70’s)

4. XTC -Respectable Street track (from ‘Black Sea’)

5. Claw Hammer - Ramwhale LP
(so good to be knocked out by it again after all these years)

6. Steel Pulse - Sound System track (1979)

7. The Boys -’Kamikaze’ track (from the 1979 alb ‘To Hell with…’)

8. Jethro Tull - Storm Watch LP (i swear i don’t have a thing for 1979 !)

9. Joanna Newsom - Y’s CD (still not done with it yet)

10. Peter Searcy - Couch Songs CD
(ex: Squirrel Bait frontman from a few years back)

11. The Iceman -Book (oh boy, what a read that is !)

12. C.A. Quintet -Trip Thru Hell CD (every home needs one)



ROCKDELUX (Barcelona, por Esteve Farrés)

Un 10¨ blanco de los bilbaínos Billy Bao en el sello S-S de Sacramento,
California. El rock mutante y ruidoso de su debut, donde todos los
extremos se tocan, del noise al thrash metal, atraviesa el charco a la
conquista de América con ¨Borders Of Mass Deception¨ y ¨Jail Logic¨,
cuyas letras se cruzan en la X de Malcolm.


Gara (Euskal Herria, por Pablo Cabeza)

El trío de rock extremo Billy Bao presenta tres nuevos vinilos

En 2003, Mattin y Alberto López, dos músicos experimentados, deciden torpedear sus carreras con un proyecto donde lo imprevisible sea lo más razonable. Cuatro años después siguen sanos y vivos, demostrando que el caos también le sienta bien al cuerpo y al universo.

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P. C. | BILBO

Billy Bao es una de las formaciones más extremas de la actual escena rock. Se presentaron -tal y como llega y es una inesperada tormenta de verano- con un single (vinilo) titulado «Bilbo's incinerator», de sucio sonido y escasas posibilidades de popularidad. Pero este punto ya se lo sabían, así que, sin demasiadas decepciones, aunque alguna hubo, siguieron su camino ruidista, imperfecto, dramático y envolvente. «En enero de 2004 grabamos -señala Mattin- `Bilbo's Incinerator' con Mikel Biffs en su estudio Chocabloc. Un single que no lo quiso sacar ni Dios. El caso es que un año más tarde saqué trescientas copias del single en mi sello w.m.o/r, y en estos momentos se ha convertido en un objeto de culto sobre todo en USA, donde en Ebay se pagan más de cincuenta dólares por él».

Billy Bao se puede escuchar -incluso bailar- de muchas maneras: de espaldas, durmiendo, a la pata coja, flipados, atentos, perdidos en el cosmos, debajo del agua, sin prisa, con tila, absortos... Sus dimensiones (su ambición) no tienen fronteras ni modos ni formas, cabe todo y todo desde cualquier lugar de la tierra. Llevan flores sicodélicas en la cabeza, el desierto africano en los pies y la vanguardia (o lo que sea la palabreja) en cada minuto u hora de canción.

De esta forma, sin medida forma ni color Mattin, Xabi Erkizia (músico de Bera, ex Gutariko Bat) y Alberto López (ex La Secta, ex Atom Rhumba...) presentan este sábado tres discos (vinilos) simultáneamente: «Fuck separation», 10 pulgadas publicado por el sello estadounidense S-S Records, de Sacramento. 600 discos serigrafiados a mano por Scott Soriano, del propio sello. «Dialectic of shit», elepé editado por Parts Unknow, de Nueva Jersey, y «Accumulation», single lanzado por los londinenses Xerox. La locura también es lúcida, Billy Bao lo demuestran.







discography
w.m.o/record label
desetxea net label
www.mattin.org