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I believe that S.O.D. has left an undeniable sign in Billy Milano’s life. The crossover genre was violently running through his veins and after the seminal Speak English or Die and the S.O.D. break, he decided to form his own band, M.O.D. in order to let flow all his ideas about this genre in an even more free way. The first album, this U.S.A. For M.O.D., is the most representative effort by this band and also the better done. The crossover was like a trend in that period and it was marching parallel to the thrash metal.
Now, let’s describe a bit this album. The sounds are just what you can expect from a release like this one, so very loud, unclean and minimal. The bass drum especially is not polished but the guitars are crunchy. The vocals by Billy are just great with that schizophrenic but powerful touch. The main difference between M.O.D. and S.O.D. is the way they play the instruments because it’s hard to follow the same style of musicians like Ian, Benante and Lilker. They are far superior than the ones in M.O.D. line up but, by the way, they are always good and convincing.
If “Aren’t You Hungry” and “Get a Real Job” are more crunchy and mid-paced, “I Executioner” shows faster parts. Everything is essential and minimalist. As always, the choruses of the songs are well audible and cast because it’s a characteristic of this genre. The punk influences are mixed with thrash riffs and this mix works well on this album. On this album we have less memorable pieces for this genre than on S.O.D. debut, but there are always good songs and it’s better to listen to them without making comparisons with other bands, in order to enjoy the music.
“Don’t Feed The Bear” and “The Ballad of Dio” are the first, real examples of the ironic brutality, as well as the faster final part of “Thrash or be Thrashed”. “Bubble Butt” is just the most hilarious song of this album… ‘Bubble butt! She’s so fat!’. The twenty seconds of “Bushwackateas” follow the same style while we can find far more thrash metal oriented riffs on the mid-paced tunes, like on “Man Of Your Dreams”, “AIDS”, or just in some parts of “Spandex Enormity”(the faster, punk restarts are very good and they are like real explosions). The form of the song is more respected on these ones while the other, shorter outputs are just pure displays of brutality united to catchiness and funny styles.
Overall, this album has all the ingredients to be considered a good crossover example. It’s less fast than Speak English Or Die, just to give an example and has more thrash metal passages. That’s very good to me and this effort should be at least well-known by everybody in this music.