BORN OF OSIRIS will release its new album, “The Simulation”, on January 11, 2019 via Sumerian Records. A music video for the song “The Accursed” can be seen below.

Guitarist Lee McKinney states: “The first single and video for ‘The Accursed’ plays exactly off of the album titles and themes. People are stuck and addicted to machines, social media, virtual realities and anything that creates a life or reality that’s not their own. Our phones have become an extension of ourselves, a body part. We play games or throw on virtual headsets that literally suck us out of the reality we live and into a fantasy. What’s the future going to look like, a simulation? Could the simulation have already begun?

“Also, this new album keeps the integrity high across the board. I want to make the best songs I could for the people who are listening (and myself), and I want to perform them to their best ability on stage to give the people attending our shows those ‘wow’ moments. We want to give them those concert memories that’ll last a lifetime.”

Vocalist, keyboardist and synth player Joe Buras adds: “We welcome the incorporation of steel, or have we already? It’s hard to prove we are not already in a simulation with the development of AI, advances in brain mapping technology and the inevitable singularity. We now see an age that is either here or on the horizon.”

“The Simulation” track listing:

01. The Accursed
02. Disconnectome
03. Cycles Of Tragedy
04. Under The Gun
05. Recursion
06. Analogs In A Cell
07. Silence The Echo
08. One Without The Other

BORN OF OSIRIS‘s U.S. tour with KILLSWITCH ENGAGE and CROWBAR will start on November 16 and run through December 9.

BILLYBIO, the solo project of BIOHAZARD and POWERFLO guitarist Billy Graziadei, will release its debut album, “Feed The Fire”, on November 30 via AFM Records.

The official 360-degree music video for the “Rise And Slay” single can be seen below.

Says Graziadei: “I love the beginning of a band’s career when the spirit is raw and unbridled, the fire still burning strong in their hearts. You know the feeling — when everything is new and fresh AF! I wanted to capture this moment of the group and preserve that early live intensity in 360 degrees, like you are there with us.

“I always drive directors insane with my ideas, but in the end, Reinout Hellenthal helped me capture the high-powered live experience and bring you on stage with us during the chaos. You can watch this video 100 times and still find new details. Don’t forget to look up!”

“Feed The Fire” can be pre-ordered at this location.

Music has always been the central, unifying force in Graziadei‘s life. Early musical training took place on the Graziadei family’s old, forever out-of-tune upright piano and he began studying music under the guidance of his grandfather and uncle, both of whom he had always admired. So he expanded his musical vocabulary while growing up, finding inspiration in so many forms of music but it wasn’t until he stumbled into the underground world of punk-rock music that his musical taste was really sparked into growth.

Immersing himself in the sounds, perspective, and culture of the punk underground, Billy‘s desire to create new, innovative music led him to the late-’80s hardcore scene in New York City, from Sunday-matinee hardcore shows at CBGBs to Friday-night metal shows at Brooklyn’s L’Amour metal/rock club. It was here that he found his musical home and it was here that Billy helped form a band that would take the metal/hardcore scene by storm. It was the birth of BIOHAZARD. As one of the first bands they combined the urban sounds of hardcore, metal and rap with scorching lyrics describing the forces at work in our modern urban lives.

With an audio-engineering degree and years of experience recording BIOHAZARD, Graziadei opened Firewater Studios. This studio became an incubator for Billy‘s creativity, where he continues to cultivate his talent while producing upcoming bands. During the years of touring with BIOHAZARD, Graziadei collaborated with many different musicians. As a result of this, the friendship with CYPRESS HILL singer Sen Dog turned in 2016 into the supergroup POWERFLO along with bassist Christian Olde Wolbers (ex-FEAR FACTORY) and guitarist Roy Lozano (DOWNSET). While Graziadei continues to work on new POWERFLO songs as he tours around, he decided that the time finally has come for his solo venture.

Billy states: “I’ve always wanted to do a solo release and the timing of everything that I have been working on just seemed to fall in place.

“I always let the creative juices flow, I don’t try and restrict them to fit a certain genre.

“With BILLYBIO, it’s 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.

“Anyone who’s a fan of what I’ve done, especially with BIOHAZARD, will love this! There’s something there for every fan of heavy underground music!”

According to Billy, “Feed The Fire” is “heavy, fast, groovy and full of energy. I couldn’t have it any other way,” he says. “It’s full of my roots but modern.”

Producer Tue Madsen, who worked on “Feed The Fire”, agrees. “When I was brought in to mix this record, it was with big expectations, and boy, were they met,” he says. “These songs keep the energy level so high and have so much to say. Great deliverance, great songwriting and now me mixing the whole thing. I couldn’t be happier.”

Photo credit: Melissa Hummel

According to The Blast, former JOURNEY singer Steve Perry has filed a lawsuit against musician Phil Brown to prevent the release of demos they recorded together in 1991. Perry claims that the songs were recorded on an 8-track tape recorder in Brown‘s garage and were never meant for to be heard by the public.

“[Perry] did not perform them as he would if the recordings were intended for public release,” the complaint says. “[Brown is] threatening to release certain old vocal performances of Perry as part of Brown‘s band’s release, even though Perry owns all intellectual property rights in said vocal performances, Brown abandoned any claim to those performances in 2002, and Perry has repeatedly demanded that Brown not release those works.”

Brown is credited as a production assistant and the bassist on the track “Tuesday Heartache” on Perry‘s 1994 solo album “For The Love Of Strange Medicine”. He also worked on the string arrangement for “I Am”.

Perry says that he never intended the vocal performances he recorded at Brown‘s home to be released publicly, and he ultimately decided that the songs he recorded — titled “Somebody Somewhere” and “Don’t Push The River” — were not appropriate for his 1994 solo album. None of the musical compositions he created with Brown, and none of the vocal performances he laid down in Brown‘s home in 1991 appeared on “For The Love Of Strange Medicine” or on any other recording by Perry. Perry says he did no additional work with Brown.

According to Perry, Brown claimed for the first time in 2002 that he had a copyright interest in Perry‘s 1991 recorded vocal performances, and threatened to release them. Perry, through his attorney, expressly repudiated Brown‘s claim to a copyright interest in Perry‘s recorded vocal performances and reasserted Perry‘s sole ownership of those recorded vocal performances. Brown subsequently never took legal action to dispute Perry‘s sole copyright ownership of his recorded vocal performances, and never purported to dispute Perry‘s copyright ownership of those recorded vocal performances in any way for 14 years.

After Perry released his latest solo album, “Traces”, in October, Brown, through his representatives, again began claiming an ownership interest in Perry‘s 1991 recorded vocal performances, and again threatened to release those performances to the public, the singer says. Furthermore, Brown‘s manager allegedly began circulating Twitter messages promoting the imminent release of Brown‘s new CD in a way that misleadingly made it appear that Perry is in Brown‘s band, APACHES FROM PARIS.

“By intentionally using Perry‘s image and misleadingly implying that Perry has authorized or approved Brown‘s conduct, and that Perry is a member of Brown‘s band just as Perry‘s solo ‘Traces’ album is in wide release and garnering significant publicity, Brown is seeking to confuse and mislead Perry‘s fans and the consuming public into believing that Brown is associated with Perry when he is not, to induce them to purchase Brown‘s music rather than Perry‘s,” the complaint reads. “Brown also seeks to mislead fans into believing that Perry‘s 1991 recorded vocal performances, of which Perry is the sole copyright owner, and which Perry decided not to release because they do not meet his standards, are somehow associated with ‘Traces’ and are being released with Perry‘s permission, when they are not.”

Perry is suing for an injunction prohibiting Brown from releasing the music and for unspecified damages.