Australian songwriter Billiam does not slow down long enough to observe typical album cycles. Within underground garage punk, where releasing music often feels less like an organized promotional campaign and more like an involuntary creative reflex, he remains one of the most prolific figures around. Tracking his catalog requires genuine vigilance, but that relentless pace continues to yield sharp results. His next record, titled Fang The Sniper, is set to arrive next month.
Rather than testing the waters with a single teaser, Billiam has bypassed the standard slow rollout by issuing three advance songs at once. The trio, made up of Human Body Units, Birdman Rally, and Asbestos And Me, gives listeners an immediate, unvarnished look at where the new album is heading.
Human Body Units clocks in at precisely two minutes, which is generally the ideal running time for this kind of compressed, lo-fi punk. The track charges forward on a driving rhythm and high volume, leaving zero room for studio gloss or unnecessary ornamentation. It introduces its central hook quickly, delivers a burst of noisy energy, and clears out before the idea can wear thin. That sort of brevity works because the underlying mechanics are completely solid.
The remaining pair of tracks, Birdman Rally and Asbestos And Me, refuses to drop the tempo. Both songs maintain the same raw, punchy velocity, driven by fuzzy guitars and an abrasive mix that stays faithful to Billiam's punk roots. What makes the material work so well across all three cuts is the presence of real pop instincts beneath the distortion. It is easy enough to make a racket, but keeping the tunes memorable is another matter. Here, the vocal melodies cut through the feedback cleanly, anchoring the chaos with immediate hooks.
Fusing raw garage punk with classic pop songwriting is a familiar formula, yet it hinges entirely on balance. If the underlying hooks are weak, the noise quickly becomes monotonous. Polish the production too much, and the nervous grit disappears. Across these three advance cuts, Billiam manages that tension comfortably, leaning into distorted guitars and short runtimes to deliver direct, combustible songs. With Fang The Sniper due next month, he has provided a loud, convincing preview of the new record.
