Bilmuri

About Bilmuri

Bilmuri isn't actually a hip-hop act, and whoever fed you that genre information was deeply confused. Johnny Franck's solo project is pure post-hardcore chaos wrapped in deliberately ridiculous packaging, which makes a lot more sense once you know he was the founding guitarist of Attack Attack back when crabcore was somehow a thing people said with straight faces.

Franck started Bilmuri around 2016 after his tenure in Attack Attack and a brief run with The Plot In You. The project name came from absolutely nowhere meaningful, which tracks with everything else about how he operates. Early releases were self-produced bedroom recordings that somehow managed to sound both intentionally lo-fi and weirdly polished, blending pop-punk hooks with metalcore breakdowns and whatever else seemed funny at the time.

The whole thing gained traction through relentless output rather than any single breakthrough moment. Franck treats album releases like most people treat Instagram stories, dropping full-length records every few months with titles like "400 LB BACK SQUAT" and "THICC BOIZ ONLY." The songs have names like "COOCHIEMAN," "ABSOLUTELYNOTHING," and "KAREN PLEASE COME BACK I MISS THE KIDS." This isn't clever marketing, it's just how his brain works.

"Bilmuri" the self-titled track from his 2017 project established the template: sugary pop-punk verses that suddenly detonate into breakdowns heavy enough to warrant a chiropractor visit. "THICC" became a fan favorite for reasons that have nothing to do with the title and everything to do with Franck's ability to write an earworm chorus that refuses to leave your head for days.

The streaming era has been kind to this approach. Songs like "ABSOLUTELYNOTHING" and "EMPTYHANDED" racked up millions of plays from people who probably couldn't tell you the album names but have these tracks on repeat. His 2022 record "GOBLIN HOURS" showed some actual sonic evolution, with production that sounded less like a bedroom project and more like a proper studio operation, though the fundamental ridiculousness remained intact.

Franck tours constantly, usually with a backing band that rotates but always manages to replicate the recorded chaos live. The shows are sweaty and ridiculous and exactly what you'd expect from song titles like "SWIMMINGWITHTURTLES." He's built a dedicated following that gets the joke but also genuinely loves the songs, which is probably the best outcome for a project that started as one guy's refusal to take anything seriously.

Currently he's still in the same mode: writing constantly, releasing frequently, and maintaining a social media presence that suggests he finds the entire music industry pretty funny. The production quality keeps improving but the core appeal remains the same. It's pop-punk for people who grew up on metalcore and refuse to pick a lane.

Small venues with kids who actually know the words. Bilmuri keeps things loose and chaotic—crowd feeds off the unpredictability. Shows feel more like basement sessions than performances. People get loud during the weird parts.

Known for Lil Baby, Aw Damn, Bilmuri, Goofy Ahh

See Bilmuri Live