In 1984 BULLDOZER released their debut 7” single Fallen Angel/Another Beer. This record shares the dubious honour with Hellhammer’s debut EP as being rated “The worst record of all times” by respected UK magazine Kerrang.
A band called BULLDOZER was formed in 1980 by Darrio Carria and Andy Panigada. Panigada left the band shortly thereafter. He met AC Wild in 1983. Together with drummer Rob K Cabrini and second bassist Fabrizio Grossi, who would go on to play bass with Steve Vai, they played covers of MOTORHEAD songs. Panigada was contacted again by Carria who wanted to reform Bulldozer and record a single in Milanese dialect. Instead Panigada not only suggested two different tracks but also a new singer, AC Wild. The two infamous songs Fallen Angel and Another Beer were recorded in one take and released as BULLDOZER’s vinyl debut.
Notwithstanding the dubious honour awarded by Kerrang, Roadrunner Records signed the band in 1984. The contract contained a special clause noting the fact that AC Wild, as a conscientious objector during the Spadolini government in Italy, did not have a passport and could not travel outside of Italy to perform, for an unknown period of time.
Before the Roadrunner contract was signed, bassist Carria and drummer Galli, still minors, were caught with tattoos by their parents and both left the band. The new bassist, Don Andras, was nearly 30 years old and had a criminal record, but he was the only drummer around who could thrash a kit. AC Wild, originally a bassist, replaced Carria on bass but invited him to record bass on the album version of Fallen Angel.

“Too punk” according to King Diamond in 1985
In 1985 BULLDOZER released their first album on Roadrunner Records in Europe, the USA and Japan. The band wanted King Diamond to produce the record, he claimed the material was “too punk” for his taste. Roadrunner appointed Algy Ward from TANK as producer. In a twist of fate TANK had themselves been produced by “Fast” Eddie Clarke of MOTORHEAD whose songs BULLDOZER covered at the beginning. The British press labeled the band “Venom clones”. In fact Cronos even jokingly asked for royalties!
Roadrunner encouraged this erroneous labelling and even re-signed the band for a second album, chosing a rejected photo for the cover. From there on the relationships with Roadrunner and the foreign press broke down completely.
The band, and particularly AC Wild, never accepted the labelling used by the British press. Starting with The Exorcism all the songs were about true experiences, real people or events. Nothing was invented.
The Final Separation was a darker and more serious album. But it had a weak sound and sales dropped. Roadrunner did not take up the option for a third record.
Don Andras left the band, replaced once again by Rob K Cabrini. AC Wild took a leave of absence to perform 20 months of community service.

IX given the first ever Zero rating by magazines
The band decided to self-produce a four-track EP (later side A of IX). They signed to Italian disco label Discomagic. The cover of IX was AC Wild’s concept. It contained certain hidden messages and intuitions. The record was strongly criticised in northern Europe and even received the first ever Zero rating by UK magazine Kerrang and German magazine Metal Hammer! The lyrics were targeted as being too extreme and direct. Obviously they completely missed the irony of Mysoginists, Ilona The Very Best, The Derby etc. Only BULLDOZER’s hardcore fans in Italy, Poland and Japan liked the album.
In 1987 just before performing in Livorno, the band learned of the death of Dario Carria. From that moment on their playing became more urgent and determined.
They dedicated the next album to him. This time the album is received with respect by certain leading European publications like Aardshock or Metal Forces. The album features keyboards, symphonic sounds, drum sampling – innovative elements adopted by many bands from the nineties until today.

After seeing a festival in Poland, AC Wild is inspired to have the band perform and record a live concert. Alive In Poland was recorded in one take, with no studio retouching, in front of 5500 people in the city of Katowice. BULLDOZER’s last concert was held in Milano, Italy in 1990. The band knew it was over. In an interview AC Wild said “we hope to take steps forward in the future, otherwise we can forget the whole thing. If it means recycling the band’s name with nothing new, it’s useless to carry on …”.

BULLDOZER goes experimental and it’s labeled a fiasco
In 1992 AC Wild and Panigata decide to record an experimental EP Trilogy: Dance Got Sick with rapper Dr. D.O.P.E. Three tracks in three distinctive styles are recorded. Dance Got Sick is called a fiasco by many hardcore BULLDOZER fans. Others would call it winning at the lottery. One track is covered by the Japanese band Abigail and another is discovered by a famous British DJ in Japan who turns it into a hit. It is re-released on many compilations that sell over one million copies, a new style of music is born. Even PRODIGY are inspired by it.
Whereas IX and Neurodeliri were made with the heart, Dance Got Sick was made with rage and a stroke of genius.

Resurrected from the grave in 2009
The realization, in 2001 and 2007, of prophecies contained in the album IX drove AC Wild and Andy Panigada to reconvene with new drummer Manu ( DEATH MECHANISM) and put into words and music BULLDOZER’s point of view on this world.
During the period of hibernation, Aristodemo – nominated honorary member of the band – took it upon himself to promote the band to new generations of fans. His activities are the inspiration for BULLDOZER re-releases, reissues and the most current boxset Regenerated In The Grave by MetalMind.

The new album Unexpected Fate is due out in 2009.
Guest musicians such as Jennifer Batten , Kiko Loureiro, Billy Sheehan, Olaf Thørsen and Anders Rain give the new project a touch of class and, should we stay, some respectability.

The release of the come-back CD give the chance of a “renaissance” for the band. A renewed interest brings the band to start a new chapter of his history. Recuiting lead guitarist Ghiulz from FAUST, G.C.(A.C.’s teen son) on keyboards and Simon, still of D.M., on bass the band start to promote the new release.
The band had the chance to being guested in major festivals such as Metal Camp, Tuska, Rock Hard etc, alongside band such as Slayer, Kreator, touring Japan and perform shows in many areas of Europe ending with the opening act with their “early time” influence: Motorhead.

On 2011 Simon left the band, replaced by his fellow band member Pozza and the band start again touring Poland and perform shows and festivals alongside Venom, Marduk and many others covering Europe and South America.

On 2013 the band decided it was the time to relase their first Live DVD to “picture” their blast on live shows.
Recorded at Rock Hard Festival Italy in 2012.

On 2013 Andy begins to wrote some “scraps” for the new album and at the present days the band is still working on it.

1984 7” FALLEN ANGEL
1985 THE DAY OF WRATH (Roadrunner)
1986 THE FINAL SEPARATION (Roadrunner)
1988 IX (Metalmaster) (Metal Mind)
1989 NEURODELIRI (Metalmaster) (Metal Mind)
1990 ALIVE IN POLAND (Metal Mind)
1992 DANCE GOT SICK (Bulld EP)
2009 UNEXPECTED FATE (Scarlet)
2012 DVD + CD The Neurospirit lives………….
2014 THE EXORCISM (Foad) original 1984 demo LP-CD

ABIGAIL
Yasuyuki(Bass, Vocals)
Youhei(Drums)
Jero(Guitars)

The band has dubbed themselves as “The Most Evil Band in Japan”, and Yasuyuki Suzuki calling their musical style “Street Metal”.

Abigail played their first gig in August 1992 together with Sigh.

MIDNIGHT 20 YEARS OF THE FILTHIEST BAND AROUND 20 YEARS OF SPEED AND DARKNESS

“Rebirth By Blasphemy is a rebirth,” states Midnight’s sole driving force, Athenar . “It’s a change in life and it’s a rebirth of doing whatever the fuck you want and seeing what happens after that. It’s about saying yes, taking opportunities, taking a fucking chance.” These sentiments are backed up by the notorious – and prolific – unde rground band’s trademark blend of speed metal, black metal and punk rock, sounding both fuller and more raucous than ever before. “Overall, I would say the sound is pretty vicious, vicious but I keep things hooky, and that’s what I like it to be. I want to still keep it raw but at the same time I wanted this record to be a little more hi – fi, which was my only plan when I started making it.” Dating back to the band’s inception in 2002, vocalist/guitarist/bassist/drummer Athenar has always known exactly what he wanted Midnight to be, and over the course of countless demos, EPs, compilations, splits and three full – lengths he has stayed true to his roots. Building up a strong reputation and a rabid following in the underground, Midnight’s most recent opus, 2017 ’s Sweet Death And Ecstasy, stood as their most accomplished work to date. “Looking back on that record I think it’s a fantastic piece of work, really. It’s pretty varied, it has a nice bookend front and back song. I think the lyrics are thought provoking, and I think it’ll be a pretty important piece of work over time, up there with the Mona Lisa.” Making the jump to Metal Blade Records did not mean any change in the way Athenar went about making Midnight records. “I never really thought about writing a fo llow up to Sweet Death . If a song comes it comes and where it goes is wherever it goes, but nothing is ever really intended as ‘this song will be on the new album’.” There is also no denying that, like its predecessors, Rebirth By Blasphemy is a ruthlessly catchy collection, every song, vicious as they are, wielding the kind of hooks that sink deep and don’t let go, and this too came naturally. “There’s no real intent. I think a rock song in general should be catchy, so if someone thinks it’s catchy that’s a good thing. If they don’t think it’s catchy then they probably don’t have ears.” While the likes of opener “Fucking Speed And Darkness”, “Escape The Grave” and “Warning From The Reaper” are all d – beat – driven thrashers they don’t lack when it comes to hoo ks, and “Rising Scum”, built on a titanic stomping beat, reins in the speed but is easily one of the standout tracks on the record, Athenar referring to it as being “quite 1979 Priest – like, just with its drum and vocal.” When it came to penning lyrics for the record, Athenar’s perspective shifted over the course of the writing process. “I would say I started out in a very positive frame of mind. One of the first tunes Midnight Bio.docx written was “Escape The Grave”, and from there I went on the positive path – and then it turned negative by the end of the album. The title track is very negative lyrically, so I ended it again with complete and utter disgust for humans in general, but then you want that to come out of you. Just like you take a poop and you take a pee you want the rotten shit to come out of your body, because if you keep the rotten shit in your body it’ll rot you internally.” Handling every instrument himself and being quite unfussy when it comes to production typically means that the recording process is a str aightforward one for Midnight, and this time was no different. Staying in his home town of Cleveland he opted to record at Mercenary Studios with the assistance of Noah Buchanan, laying the drums down in a day, the guitars in a little more than that, bass in a few hours and then tracking the vocals to two or three songs a day, depending on how his voice was holding up. “I think there’s really no production value on the album, it’s really just get in there, press record and see what happens. Maybe you can te ll that the sessions went pretty quickly when you listen to it. There are so called mistakes, of course, but I wouldn’t have it any other way.” He also wouldn’t have it any other way when it comes to touring this latest collection hard , with a lot of dates with a variety of bands already locked down. “It’s the rebirth, it’s saying fuck it and getting out there and doing what you’re supposed to do, and we’re supposed to play music. If people want to damage their ears by listening to it that’s welcome.”

Demonbitch – Bass, Vocals (2005-present)
Shagrat – Guitars (2006-present)
“Motor City” Chaz – Drums (2008-present)

Wastelander is a 3-piece post-apocalyptic Castle-Punk black rocknroll metal band hailing from Michigan, the land of forests and rust.

THE SAGA OF WASTELANDER

…all started in the beleaguered urban-outpost of Lansing back in 2006, when high-tech low life, Matt War, started writing Fallout-inspired tunes after the leaving his previous band, the NWOBHManiacs, Harbinger for being way too maniac.
With a tape full of riffs, Matt got together with Sean ‘Xaphan’ Peters (Formerly from Summon/ Masochist), and the two put together a 6-song demo over the nuclear winter of 2006/2007, using a drum machine.
Response to the demo was immediate and ravenous, with various smaller labels releasing limited tape copies, and 4 of the songs being pressed to vinyl for the ICBM 7″ EP (Bermuda Mohawk).
After playing their first show, accompanied by a digital playback of the drum track, Wastelander was approached by rogue resident skin-pounder, Ian ‘Pitviper’ Sugierski, who offered his services.

Now a fully functioning unit, the band got to work recording their debut album, ‘Wardrive’, featuring all new songs as well as some re-recorded demo tracks. Wardrive was released by Chris Black of Superchrist/High Spirits in 2008 on his Planet Metal label, and soon began radiating glowing reviews online, in various fanzines, and even the pages of the late Metal Maniacs.
Things came to a halt in early 2009 though, after Ian was kidnapped by a Warlord calling himself The Dutch Hercules, who demanded a ransom of 6 cases of Dinty Moore beef stew.

Since it would take some time to get that kind of scratch together, reinforcements were called in and Louie Axe Ripper, was brought in for cover fire. After a few furious rehearsals and shows, recording started on Nuke ‘n Puke, a split 7″ with Japan’s sexdrinks&metal masters, Abigail.
The record was meant to be released Fall of 2009, but a copyright dispute with the pressing plant over sound clips from the 1986 film, Trick or Treat would delay it for nearly a year.
In the meantime, Pitviper escaped from the sweaty clutches of The Meatmen, and a Spring 2010 tour was solidified. With the vinyl release in limbo, Wastelander put out the split as a tour-only cassette under their own ‘Waste City’ label.
The trek to the East was a harrowing, yet successful journey, despite the Battletruck being temporarily confiscated by a Liquidation Squad in the northern sector of the Philidelphian ruins. Making a triumphant return to Michigan, they hit the ground running writing new songs and making the cover of the local indie rag mag, Revue.

Unfortunately, due to mutant attacks, hardware failures, and crippling Jet addiction, the band made a strategic retreat, playing their last show on May 5th with Midnight and Acid Witch. Pitviper stayed active, playing with Dawnbringer, High Spirits, and Cemetery. Xaphan continued with his long running solo project, Dark Psychosis, and eventually took over vocal duties for Cavalcade. Matt War was placed in cryogenic stasis after a bout of radiation sickness, and the saga of Wastelander appeared to have come to an end.

2014 AD: An underground fracking explosion severs the power to the cryonic chamber, causing emergency systems to kick in and execute wake up procedures. Confused and suffering from Hibernation Sickness, Matt War stumbled into the frozen Michigan wasteland, which had recently been decreed a Violent Zone by the ruling emergency city managers.
Narrowly escaping a Rapid Death from exposure, Matt ran into Xaphan at the local Nekrodome where he was fighting feral ghouls for caps. Using a transceiver made out of e-waste and nokia phones, they made contact with Pitviper, who had been forced to flee Detroit over a bad VHS deal.
Reunited and rearmed, the trio picked up where they left off, recording a new 8 song demo in a sunken basement. With full HP and higher stats than ever, Wastelander rebuilt the Battletruck and dusted off the gas masks, ready to record the new album in June and hit the High Fatality Intercontinental Freeway in August, with all new merch and shirt designs.
Wastelander has played sweaty house shows with Toxic Holocaust, Midnight, Shitfucker, and Nekrofilth, and shared the stage with Mayhem, Nachtmystium, and Harbinger.

THE most EVIL band in Peoria, we’re the fucking dregs of society