B​.​F​.​E.10 – BILLY BAO “Buildings from Bilbao” LP (Sold Out)

B.F.E 10 – 500 copies
Agotado / Sold Out

“If rock´n´roll was the sound of the city, then Billy Bao is the sound of the unemployment line, empty backyards and dark hidden urban places .
Concrete interferences provide a backdrop that alludes to the class struggle that emerged in Bilbao.
After some lineup changes, Billy Bao yields a soundtrack to this landscape by exceeding horizontally the nihilistic and individualistic discourse of noise: with 9ice, Flipper, Bobby Sox, an unstable afrobeat, the visceral freak outs of Red Krayola and distorted blues, as if Jimi Hendrix jammed with Throbbing Gristle, while Peter Brötzmann plays with his sax in the toilet. After their last record, released in Parts Unknown and Pan, they ended up in Burka For Everybody and Terminal Picnic.” Elvis Von Doom

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“Una técnica estandarizada crea retroactivamente un sonido estándar. Si el rock’n’roll fue el sonido de la ciudad, Billy Bao son el sonido de la cola del paro, los solares vacíos y las partes ocultas de la ciudad. Su uevo álbum arranca desde el Funhouse de los Stooges, valiente afrenta, que parte ya del fracaso ante tamaño álbum (su secuenciación y títulos de canciones son la misma), La guerra de los mundos de Orson Welles, todo ello bajo el choque cultural con la historia de Bilbao desde la perspectiva de Bao, un inmigrante nigeriano.
Después de algunos cambios en su banda, Billy Bao hace sonar ese paisaje rebasando de manera horizontal el discurso, generalmente nihilista e individual del noise con 9ice, Flipper, Bobby Sox, un afrobeat inestable, los viscerales freak outs de Red Krayola y deformando el blues como lo hubiera hecho Jimi Hendrix en una jam con Throbbing Gristle mientras que Peter Brötzmann toca su saxo en los baños. Tras sus últimos discos en Parts Unknown y Pan, recalan en Burka For Everybody y Terminal Picnic.” Elvis Von Doom

“New album by these noise psycho terrorists. Touchpoints for their sound would include the nihilistic pummel of the BRAINBOMBS, the feral howl of early NIRVANA, and the aluminum baseball bat dunt of New Zealand post-punkers THE GORDONS, crossed up with an experimental fuckery akin to Japanese mentalists THE HANATARASH. Tracks bounce between left channel and right and skip audaciously in the grooves, but mainly serve to force perspectives, until every head is met eye to eye with his churning, bloodshot worldview.”
Clear Spot