The self-professed “Rebel You Love to Hate,” Billy Milano returns with his infamous M.O.D. (AKA, Method of Destruction). The band’s first record in four years, the aptly titled Red, White, and Screwed seethes with authentically old-school metal/hardcore anger ‘n’ abandon, kicking ass and taking even more names, particularly the posers and PC crybabies who can’t handle the man’s acerbic social commentary. If the world really needs a hero, his name is Billy Milano.
The larger-than-life frontman first came to notoriety with S.O.D. (AKA, Stormtroopers of Death), a side-project co-founded with three members of ANTHRAX. The quartet would record 1985’s classic and controversial Speak English or Die, Milano’s lyrics in particular finding both fervent followers and equally fervent detractors. A landmark in metal/hardcore crossover, Speak English or Die would be followed by a live album (1992’s Live at Budokan) and an extremely short-lived reunion record (1999’s Bigger Than the Devil).
Most importantly, S.O.D. would launch the career of Milano, of which he’d take the proverbial bull by the horns in M.O.D. Released in 1987 at the creative/critical height of crossover, the band’s U.S.A. for M.O.D. debut album would forever cement Milano’s place among the most controversial, no-holds-barred vocalists ever. Such spare-no-subtlety songs as “Bubble Butt,” “A.I.D.S.,” “Get a Real Job,” and “Aren’t You Hungry” are revered by many as crossover classics and are still aired live by the band today. On the strength of M.O.D.’s manic, circus-like attack and Milano’s engaging delivery, U.S.A. for M.O.D. has become almost as much of a crossover landmark as its S.O.D. predecessor.
Wasting little time, M.O.D. would next record the wacky ‘n’ wild Surfin’ M.O.D. in 1988. Part “movie soundtrack” and part “soundtrack without the movie,” Surfin’ M.O.D. fully displayed Milano and crew’s off-the-wall sense of humor as well as ambition (even if that ambitious tongue was planted firmly in cheek). The band got back to thrashin’ business with 1989’s Gross Misconduct and 1992’s Rhythm of Fear, both albums receiving a wealth of acclaim with fans and critics alike. The band would split opinion with both 1994’s Devolution and 1996’s Dictated Aggression, perhaps a symptom of heavy metal’s then-dormant popularity. Opinion would be further split with 2003’s comeback The Rebel You Love to Hate, a more concertedly comical and rockin’ affair of which Milano would later wash his hands.
Not to worry, though, because Red, White, and Screwed is both classic Milano and classic M.O.D. – simply, the album fans the world over have been waiting for them to make, one that puts ferocious music to Milano’s ferocious social satire. Recorded with producer Tim Gerron at Music Lab Studio in the band’s new hometown of Austin, Texas, this new album features Milano on vocals and bass, ex-LÄÄZ ROCKIT/SKINLAB guitarist Scott Sargeant, and undiscovered drum dynamo Derek “Lennon” Lopez. A product of the times, Red, White, and Screwed highlights NYHC in the tribute “Alphabet City Stomp,” the infectious “I Got to Get Away,” and opening firestorm “Balls on Bread.” Likewise, in comparison to its predecessor, Red, White, and Screwed finds Milano focusing his lyrical barbs on harder-hitting, more relevant sociopolitical subjects; witness “Bullshit Politics,” “Jose Can You See,” and “The Big It” for poignant proof. Milano even does his own King Diamond tribute/spoof on the epic-yet-comedic “Greatest Lie Ever Told.”
Red, White, and Screwed is a timeless, tried-and-true blast of immediate, infectious thrash/hardcore crossover, a wizened-yet-wily middle finger to the whole “old school for new fools” camp currently so en vogue. Billy Milano’s teaching the class – let the beating begin!