BIOHAZARD has recorded so far: 7 studio albums, 1 live album and a bunch of singles, bootlegs etc. Here are the reviews of the albums:
(Click on a cover to see more)

DEMO (1988)

BIOHAZARD (1990)

The first and self-titled album was released at a time when the East Coast thrash and hardcore scenes seemed to have just about run their course. Different melodic variations and other conceptual changes would revive New York hard music, but things were on the decline around 1990 and Biohazard — while a popular concert draw — did little to invigorate their genre on this recording. The debiut album was sold 40.000 times, this bad quantity based on a poor kind of promotion, but you can find on it such classic songs, which are played on every show as: HOLD MY OWN, VICTORY and WRONG SIDE OF THE TRACKS. The band was simply tuning up their hardcore stomp on this album, preparing their aggro chops for the eventual rap-rock mating. There are plenty of choice riffs on it, but too many tracks sound forced and repetitive. Technically and conceptually primitive, this initial offering should only interest the group's oldest and most devoted fans.

URBAN DISCIPLINE (1992)

Most of fans consider Urban Discipline as the best Biohazard's album. It's an original hardcore metal-rap album, debuting a half-decade prior to the rap-rock explosion of the late '90s. It is defiant and distinctive — in some senses a precursor of many new bands playing today, and in other ways in a class all its own. The album's highlight is "Punishment," a hard-charging anthem with a surprisingly melodic chorus. This hook was strong enough to earn them moderate playtime on MTV, even though nothing else sounded like them at the time.Though intended merely as simple music for slam dancing, Biohazard does well to mix things up within those parameters. The group successfully rearranged their typical song structure with divergent bass, drum, and guitar parts in "Shades of Grey." They're technically competent enough to implement light crescendos and decrescendos, tempo variation, and a diffuse focus of the instruments within the band. It's not Mozart, but it is one of the most authentic combinations of metal and rap ever made.The album was released in three versions apart from the normal one: Limited Edition, including live versions of SHADES OF GRAY and PUNISHMENT, Digitaly Remastered with better sound and extra demo versions of BUSINESS, URBAN DISCIPLINE, LOSS and BLACK AND WHITE AND RED ALL OVER.

STATE OF THE WORLD ADDRESS (1994)

And now, ladies and gentlemen, the moment you've all been waiting for... "It's the State Of The World Address mother-fuckers!!! State Of The World Address takes a harsh look at the bitter reality of violence, racism, hatred and crime in society. This time around, the band has sharpened its slammin' blend of metal, rap, hip-hop and hardcore, creating an even tighter, fuller sound. The lyrics are vivid and insightful, penned by four men that have experienced some of life's worst atrocities first hand. Inventive samples, ranging from sirens to screams show up throughout the album, adding a true-to-life quality to the already graphic landscape that's set forth through the music and lyrics. "How It Is" (with Sen Dog from Cypress Hill on board) rides along a rough, aggressive edge of throbbing guitar grind and angry, rapped vocals. The opening of "Failed Territory" is a typical for these guys, featuring beautiful, gentle, acoustic guitar strumming, which later returns to Biohazard's characteristic powder keg of ferocity. Also check out the title cut, "What Makes Us Tick," "Five Blocks To The Subway" and "Human Animal." (Also don't miss the groovy rap at the end of track - INK) SOTWA went on to sell over 1,000,000 copies.

MATA LEÂO (1996)

From the opening cut "Authority," and its hard-to-misunderstand chorus of "Fuck the rules! Fuck fuck the rules!," Biohazard's Mata Leao is nothing if not a demonstration of the still standing conviction and fury of an already notoriously workman-like and committed band. After recently parting ways with guitarist Bobby Hambel, the three remaining bandmembers fearlessly pushed ahead, recording this album as a trio, but you'd never notice by simply listening; though they're down one man, it sounds as though the three of them gave triple what they have to past Biohazard records, resulting in a powerful, fierce collection of new tunes that easily rival previous, four-piece Biohazard recordings. Longtime fans will appreciate Mato Leao's even more decisive turn to hardcore and the way the band still hangs onto its heavy metal intricacies within that limited style. "Competition" begins with a relentless, speedcore beat, but breaks up enough in the middle to show off the band's superior chops and vocalist Evan Seinfeld's throaty, melodic style before exhausting itself after a minute and 49 seconds. Check out also the aggrofunky, jagged "Authority," the sharp tempo shifts and frantic, scorching riffs of "Cleansing,the groove-laced punch of "Modern Democracy" and the noisy, distorted rhythms and killer percussive breaks of "Gravity."

NO HOLDS BARRED (1997)

Drawing most heavily from Urban Discipline, but hitting most of the high points of all of Biohazard's studio albums, the hour-long No Holds Barred is the definitive live document of the band. It probably won't win the band any wider audience, as most songs aren't that different from the original versions, but then again, it's intended to be a concert souvenir for fans, many of whom will have probably seen the group live. Although the unconverted might find much of No Holds Barred too same-sounding, Biohazard's rap/metal fusion is more convincing than most, and they bring a great deal of energy to their live performances; this will be a necessary item for any devoted Biohazard fan. The album was recorded in Hamburg/Germany with a new guitarist Rob "Das" Echeverria.

NEW WORLD DISORDER (1999)

Sometimes a legendary hard band needs to make a comeback to assure everyone that all is well in the world of Loud Rock. Biohazard does exactly that with New World Disorder. After fumbling the ball with 1996's Mata Leao, the Brooklyn bombers re-establish their reputation as the supreme force of urbanized metal. Bassist Evan Seinfeld and guitarist Billy Graziadei still share an amazing vocal chemistry, trading gruff and adenoidal passages about the struggle, the streets and their roots, over the band's sharp riffs. New World Disorder, starts exactly as you’d expect: with the driving 4/4 intro, sped-up verse, and shout-along choruses of "Resist" -- "I resist the pressure to be who you want me to be." Point taken, as three tracks later Biohazard drops the unlikely power ballad "End of My Rope". More surprising is "Cycle of Abuse," which begins with a few acoustic-guitar-driven verses before crashing into full-on metal mode. And of course there’s the hip-hop title track, a fever-dream account of life in the city's decaying underbelly. Don’t be fooled by the occasional digression, though: Biohazard is no less a metallic wrecking ball on this album than it was on classics like Urban Discipline. Sure, every song may sound the same, but in a charming way, that’s kind of the point.

TALES FROM THE B-SIDE (2001)

TALES FROM THE B-SIDE is compilation of rare tracks and unreleased material. The geniune rarity for the most devoted fans, because this CD is only available at shows or through mailorder . Most of the songs come from "the Mata Leao period" such as great ENSLAVED or FALLING. You can also find there songs from soundtracks like Judgment Day (title track) and BEATEN (Daimond King). The last two tracks are cool demo versions of SHADES OF GRAY and PUNISHMENT

UNCIVILIZATION (2001)

Uncivilization could possibly see Biohazard reaching a broader audience with its release. The album opens with the disc's first single, "Sellout," a rough rap/metal hybrid underlined with rich, meaty grooves. "Uncivilization" brings to mind old-school Biohazard, with singalongs and a scorching guitar solo that should please any die-hard metal extremist. One of the disc's best songs is "Wide Awake," a track laced with that thug rap that the guys has embraced in the past but without any smug posturing common to most mainstream rapcore. You can pick up the hip-hop influence, but it’s the metal that eventually dominates on songs like “Unified” or “Last Man Standing.” “Unified” comes across as Biohazard’s anthem to their fans and others who have kept it real over the years. Offsetting all the thrashing going on throughout the album, pretty much halfway through you come across the small instrumental of “Letter Go.” The piano driven piece really does a flipside to the album’s vibe, similar to what one would hear while attending a piano recital. Unfortunately the disc veers off shortly thereafter, meandering into song after song of special guest appearances. Those guests include the almighty Phil Anselmo from Pantera, Hatebreed's Jamie Jasta, Andreas Kisser, Derrick Green, and Igor Cavalera from Sepultura, Cypress Hill’s Sen Dog and even a few of the Slipknot crew, yet their appearances tend to draw from the album instead of enhance it. The end result is an album that is less an example of one band's continuous ability to rock while purveying street-smart messages at the same time, and more of a chance for  Biohazard to jam with their fellow friends in the music industry. This makes for an enjoyable album, but is a bit disappointing for a fan looking for another solid block in Biohazard's legacy of hardcore. The songs on Uncivilization that are strictly Biohazard may be some of the band's best material, but ultimately the overflow of guests hinder what could otherwise be a cornerstone in Biohazard's lengthy career.

KILL OR BE KILLED (2003)

The shortest, the heaviest and the most brutal album to date. They used 7-string guitars while recording this album and that's why the album is much more lo-fi than previous recordings giving the whole sound more of a raw feel. Next, third change of guitarist after Hambel's departure. What happened on 9/11 in Biohazard's home-town New York City has made a big impact on their new album. All the anger over the attack and the consequences concerning the whole wide world are put in 10 tracks. Being so close to the events, it's no wonder that Kill Or Be Killed came out to be such an aggressive and brutal album.
Opposed to what they did on Uncivilization, Biohazard has gone back to their hardcore roots. They also didn't use as much guest appearances this time.
Song like Never Forgive, Never Forget, Penalty and Kill Or Be Killed will garantee a mosh pit fest at the live shows. All the old-school Biohazard fans will appreciate this album, because you can hear bits of their most succesfull album Urban Discipline in it, but this time a bit more brutal.