It has been 10 years since the release of Lithium Dawn's debut release "AION", and they find themselves in a celebratory mode. The result is a fully revitalized, re-recorded, and revamped 10th Anniversary Edition of the record that put them on the map. 

The way the band approaches the craft has certainly improved since AION's original release and the songs now have a bit more attention paid to the smaller details that hide within the music - the drums have been given a facelift, the rhythm guitars have been re-recorded and some riff segments re-approached, the bass is fuller and more present, and the vocals have been re-done with some more flair and backing vocal support. 

All in all, the new release is a proper modern re-engineering of the band's beloved debut, one that long time fans will surely find new details to get lost in and appreciate.

AION - 10th Anniversary Edition will be released on October 21st, 2022 on the band's BandCamp page and will also be available for streaming on all major streaming platforms. Exclusive to BandCamp will be a full instrumental side of the album as well.

Mr Fist have been chugging and mashing there way through the music scene together now since the winter of 2003. This noisy yet melodic, instrumental five –piece have set out with one goal in mind….to make some f**king goodtunes!!...and to put on a f**king loud and awesome gig!! 
Fist reviews: 

Mr. Fist :: Jailhouse Fuck :: Hotpants Romance :: Monkeys In Love :: 18 March 2008 / Tiger Lounge / Manchester By Cath Aubergine  Mr. Fist have been getting quite a reputation locally for the sheer brain-splitting volume of their jerky post-hardcore instrumentals. They don't exactly look like the horsemen of some musical apocalypse - well, apart from the barefoot, swivel-eyed creature pawing at an effects box on the floor and occasionally yelping or acting as a sort of deranged MC between tracks ("That was a song, this is another one"). Multiply the most searing blasts of 65daysofstatic with the fractured prog-core of recent Forward Russia, throw in some distortion from the frenzied, noise-fried end of post-rock, and turn everything up til it hurts. 

 Mr. Fist :: The Christophers :: 18 September 2009 / The Castle / Oldham By JA  It’s Castle time again with ManchesterMusic and in the face of a flagging economy, Oldham has few sweet spots still very much on the Map for Music. Before Gilly from the Inspirals starts his DJ slot, we decided to take along two very different bands – both loud, both confident, but working from opposite poles of the rock spectrum. MR FIST are from Wigan and mention that their home town is having similar trouble with an ever present stay-at-home culture seeing people through hard times, but having something of an effect on the live scene. But this sound is anything but depressing. Mr Fist is in effect a noise factory. In parallel with the kind of place that might make ships anchors and have massive testing sheds where they drop them from a great height. This is industrial, post-progressive rock. They have a singer, but he spends much of his time twisting and contorting his output through a series of pedals – he has an old analogue synth which he’d been soldering back together in the street outside earlier. Mr Fist compose music with an evil slant – it’s decibels are imposing and the structures are impossibly dense, its orchestrated cacophony enveloping the venue with a mass of sound waves far thicker the heavy veil of dry ice that’s been pumped to the front of the stage. A few years ago one of our esteemed reviewers accused them of "first degree bass rape" - well, errm...they're still at it. As the very last glass in the venue stops rattling, never has sound effected screaming and enjoyably distorted concertos sounded so marvellous.  

Mr. Fist :: Victorian Dad :: Capguns :: 04 June 2008 / Retro Bar / Manchester By Cath Aubergine  Mr Fist are fast becoming a favourite round ManchesterMusic HQ. How can you not love a band whose gleefully cheap but absolutely brilliant nine-track CDR album (they're giving copies away tonight; if you write to them and ask really nicely they night send you one) includes tracks entitled "Turd Fury" and "Pumpfucker"? Their set starts very much in the realms of jerky post-rock; abrasive and scratchy, but these Wigan lads are a million miles away from your stone-faced beard-strokers. What develops has more in common with Krautrock, both sonically - the bass and guitar sound like industrial noise - and in the sheer unhinged nature of things. Whilst guitar, bass and drums throw out cluster-bombs of dischord, your eyes are drawn to the front of the stage where a small sampling keyboard sits on the floor being pawed and palmed by Mr. Fist's completely off-the-wall frontman - in between crawling around and occasionally making semi-comprehensible pronouncements into a microphone. Soon it's all mutated into a full-blown psych-core noise-splurge; their last tune is absolutely magnificent, epic and twisted, and he's mouthing into the mic now, then scraping it up and down the speaker while the others build a rumbling squall like the inside of a jet engine. Ow, my ears! But in a good way.

 SEMI-NORMAL * demo of the week * :: Mr. Fist :: 03 March 2008 / Demo / 9 Trk CDR By JA  If you’ve ever stumbled into a Mr Fist show (some people actually turn up to have their skin sonically stripped from their bones), you’ll definitely be surprised. Whether that would be pleasant, obviously depends on your musical persuasion. From my perspective it was like being showered in the very elements of the universe, as atoms were shaken and the last vestiges of my hearing were battered against the wall. All good then. Mr Fist are an instrumental band, delving into the deepest regions of noise and distortion, whilst one of their troupe triggers delays and samples and the odd scream. From the cascading drum attack of “Shoplifting” this is an impressive, overwhelming sensory assault. For those old enough to remember The Sonar Yen at their early peak, Mr Fist are taking that legacy, applying 10,000 volts and then stamping on its body as the resulting flames take hold. The splintered re-interpretation of the “Day Tripper” riff is ground into dust on “Urban Fist” and elsewhere the gouging sounds of Sonic Youth under scrutiny, emerge from the bands artistic battleground. “Sage Chronicles” tries to submerge itself in the darkest depths of black metal. Mr Fist have come up with an album that ranks alongside my recent copies of stuff from Day For Airstrikes and Kong and as my favourite local post-noise outfit, especially when it’s littered with tunes called “Turd Fury” and “Pumpfucker”. Ace. MMMM ½ Resources: Mr Fist on MS 

Mr. Fist :: The Search Map :: The Generalissimos :: The Drake Equation :: 07 February 2008 / Dry Bar / Manchester By JA  Any band calling themselves Mr FIST is certainly worth a look any day of the week. More so, when you get an inkling of the fact that a high decibel count is as equally the name of the game as the headshrinking instrumental bouts of sonic assault. There’s no disappointment on this count from a band that don’t have a singer, but who do have a chap who contributes screams, manually triggered beats and swirling effects all from the floor of the front of stage. It’s the guitars and drums that get you like a shot gun blast in the rib cage. Their quieter prog-rock moments build and build until all the instruments focus into one massive tirade of distortion that must really be the sound of something akin to re-entering the earth’s atmosphere. The drumming is exceptional and it’s the perfect complement to what must be the equivalent of of half a dozen guys letting off army surplus bazookas at the audience. Mr Fist will certainly be on my must-see list again.  
MR FIST: "We first saw this band in the Dry Bar during ITC three years ago and frankly the Dry Bar barely survived the experience. Put quite simply - the most powerful, pulverizing and yet sonically superb racket you are ever likely to hear Part Chimp :: Riding Shotgun By Starlight With The Ominous Sight :: The Stray Dog Café :: Mr. Fist :: 09 April 2005 / The Tavern / Wigan By DH Mr. Fist may not possess much in the way of a distinctive tune which is in this case the noisier end of Mogwai only cranked considerably but they possess a hedonistic and surprisingly down to earth attitude not often found in their similar genre. In a normally intellectualised post-rock universe it’s a refreshing and amusing change to hear comments like “this song is fucking more mint than…(long pause) a fucking mint!” What Mr. Fist lack in actual music they make up in an admirably destructive live performance. One lad kneels over an old synthesiser frequently swigging from a bottle of white cider. He barks unintelligible nonsense into a karaoke microphone. It all seems strangely reminiscent of one of Gullivers’ Pub on Oldham Street and the sound engineer justifiably fearing for his beloved PA pulls the plug on him. Frustration with malfunctioning gear and the onset of Special Brew intoxication leads to a set that ends in what can only be described as first degree bass rape. We may not remember a single note played but Mr. Fist have probably to their delight, scarred our memories
HYPERLINK "http://www.killthenoise.net/65daysshow.html" http://www.killthenoise.net/65daysshow.html    

Mr Fist @ The Tavern 19/11/05
Last night at the Tavern, this band called Mr Fist did a good job at kicking the hell out of my eardrums. Bad or good? Well that depends on the next few paragraphs I write... I've seen Mr Fist quite a few times, this time, however, they seem to be rock solid. Sounding at times like Mogwai, Mono, Grails, GYBE! punching some psychedelic almost disco/pop influence in the face (if the former and latter were people of course). A song I recall is...that one that starts with the really fucking pounding drumbeat (on the toms and cymbals). It's instantly engaging you in a fixation of tension. Then you wait for the band to pursue. So they do. Loud, gooey, mixture of grinding strings and that fucking machine that’s producing some very high frequency sounds, which just don't agree with my recent (mild) tinnitus infection at all. Fuck that though I'm happy, I think you would be. If there’s anything positive but yet critical to say about MR Fist, it is that they can come across as simply 'noise makers' who enjoy a bit of the ol' white noise. From seeing last nights performance I can confidently say, to you my readers, that they are rapidly nurturing there noisey mess into a clean and organized pile of musical gold. Please continue Mr Fist. To conclude: Post-rock/ psychedelic disco/pop that can "FIST" your fucking scrotty asshole (asshole = eardrum), so to speak. Influences mentioned above can give you some added clarification.
http://www.wiganmusic.com/  The frontman of Mr Fist gives a colourful and uniquely offensive performance. He's almost an embarrassment to the band, leaping around in front of a twelve person audience swearing and throwing about other people's equipment. The rest of the band create impressive noise rock, with a heavy metal edge, building sound to a climax of epic guitars diffused with broken melodies.   HYPERLINK "http://angryape.com/reviews/2006/05/various-blipfest-manchester" http://angryape.com/reviews/2006/05/various-blipfest-manchester 

MR FIST are from Wigan and mention that their home town is having similar trouble with an ever present stay-at-home culture seeing people through hard times, but having something of an effect on the live scene. But this sound is anything but depressing. Mr Fist is in effect a noise factory. In parallel with the kind of place that might make ships anchors and have massive testing sheds where they drop them from a great height. This is industrial, post-progressive rock. They have a singer, but he spends much of his time twisting and contorting his output through a series of pedals – he has an old analogue synth which he’d been soldering back together in the street outside earlier. Mr Fist compose music with an evil slant – it’s decibels are imposing and the structures are impossibly dense, its orchestrated cacophony enveloping the venue with a mass of sound waves far thicker the heavy veil of dry ice that’s been pumped to the front of the stage. A few years ago one of our esteemed reviewers accused them of "first degree bass rape" - well, errm...they're still at it. As the very last glass in the venue stops rattling, never has sound effected screaming and enjoyably distorted concertos sounded so marvellous.

we are a 5 piece noisy instrumental smash band from Wigan, UK
making noise and pumping riffs as a band for nearly 10 years!!
MR FIST:
Fil - Drums
Danton - Guitar 1
Iain - Guitar 2
Keithy - Synths, FX, Noise
Scrubber - Bass rape

http://soundcloud.com/somnoroase-pasarele

http://soundcloud.com/santas-little-helper

Computer music

Between 1975 and 1990, a shift in the paradigm of computer technology had taken place, making electronic music systems affordable and widely accessible. The personal computer had become an essential component of the electronic musician’s equipment, entirely superseding analog synthesizers and fulfilling the traditional functions of the computer in music for composition and scoring, synthesis and sound processing, control over external synthesizers and other performance equipment, and the sampling of audio input.

Spectral music

Epitomized by the works of such composers as Hugues Dufourt, Gérard Grisey, Tristan Murail, and Horaţiu Rădulescu, "spectral music" implies the use of the spectrum of a sound as a basis of composition.

A number of spectral composers are from Romania; these include Iancu Dumitrescu, Octav Nemescu, Ana-Maria Avram, Costin, Calin Ioachimescu, and Corneliu Cezar. Other spectral composers include Philippe Hurel, Michael Levinas, and Phillippe Leroux, Joshua Fineberg, and Julian Anderson.

Post-modernism

The influence of postmodernism in music is vast, citation needed] but the definition of what constitutes "postmodern music" is open to interpretation.
Musicians often associated with the term include: Scottish composer James MacMillan (who draws on sources as diverse as plainchant, South American 'liberation theology', Scottish folksongs, and Polish avant-garde techniques of the 1960s), the American Michael Torke (drawing on European music of the early 19th century, minimalism, jazz, and popular music), and Mark-Anthony Turnage from the UK (drawing from jazz, rock, Stravinsky, and Berg).

Polystylism (eclecticism)

Some authors equate polystylism with eclecticism, while others make a sharp distinction. Polystylism is the use of multiple styles or techniques of music, sometimes within the same composition, and is seen as a postmodern characteristic. Polystylist composers include Luciano Berio, William Bolcom, Peter Maxwell Davies, Sofia Gubaidulina, Hans Werner Henze, George Rochberg, Frederic Rzewski, Alfred Schnittke, Frank Zappa and John Zorn.

Historicism

Musical historicism—the use of historical materials, structures, styles, techniques, media, conceptual content, etc., whether by a single composer or those associated with a particular school, movement, or period—is evident to varying degrees in minimalism, post-minimalism, world-music, and other genres in which tonal traditions have been sustained or have undergone a significant revival in recent decades. Some post-minimalist works employ medieval and other genres associated with early music, such as the "Oi me lasso" and other laude of Gavin Bryars. Other composers have assimilated elements of medieval, renaissance, baroque, classical, or romantic styles in varying degrees, including Benjamin Bagby, Thomas Binkley, Easley Blackwood, René Clemencic, Joseph Dillon Ford, Vladimir Godar, Ladislav Kupkovič, Winfried Michel, George Rochberg, Christopher Rouse and Jordi Savall.

Peter Schickele wrote works that parody many different styles of classical music and often draws upon specific works for its inspiration. They were mostly published as albums under the name of P. D. Q. Bach, a composer he invented and then pretended to have discovered among the children of J.S. Bach. Some of these works are published under his own name, however, such as Eine Kleine Nichtmusik a work which layers quotes from other classical music and many folk melodies over the top of a complete performance of Mozart's Eine Kleine Nachtmusik.

The historicist movement is closely related to the emergence of musicology and the Early Music Revival. A number of historicist composers have been influenced by their intimate familiarity with the instrumental practices of earlier periods (Hendrik Bouman, Grant Colburn, Michael Talbot, Alexandre Danilevsky, Paulo Galvão, Roman Turovsky-Savchuk). The musical historicism movement has also been stimulated by the formation of such international organizations as the Delian Society and Vox Saeculorum.

Neo-romanticism

The vocabulary of extended tonality, which flourished in the late 19th and very early 20th centuries, continues to be used throughout the contemporary period. It never has been considered shocking or controversial in the larger musical world—as has been demonstrated statistically for the United States, at least (Straus 1999, 322–29, et passim). Composers who have worked in the neoromantic vein after 1975 include John Williams, John Corigliano, George Rochberg (in some of his works), David Del Tredici, Ladislav Kupkovič, Gian Carlo Menotti, Krzysztof Penderecki, Isang Yun, Christopher Rouse, Lorenzo Ferrero, and Ennio Morricone.

Art rock influence

Similarly, many composers have emerged since the 1980s who are heavily influenced by art rock. Many, such as Scott Johnson, Steven Mackey, and Tim Hodgkinson, started out as rock musicians and only later moved into the realm of scored music. Other notable composers who draw on rock include Christopher Rouse, Marc Mellits, Evan Ziporyn, Julia Wolfe, Michael Gordon, David Lang, Elliott Sharp, John Zorn, Steve Martland, Anne LeBaron, Paul Dresher, Kitty Brazelton, Rhys Chatham, Glenn Branca, Erkki-Sven Tüür, Robert Paterson, Annie Gosfield, Randall Woolf and Nick Didkovsky. Many of these composers (Gordon, Lang, Mellits, Dresher, Wolfe, Ziporyn, Martland, Branca) are post-minimalist in orientation, but some (Didkovsky, Brazelton and Rouse) are very much not.

"World music" influence

Some composers mix western and non-western instruments, including gamelan from Indonesia, Chinese traditional instruments, ragas from Indian Classical music. There is also an exploration of eastern-European and non-Western tonalities, even in relatively traditionally structured works. This trend was present already in the 1920s and 1930s, for example in the music of Béla Bartók, Henry Cowell, Colin McPhee, Alan Hovhaness, and Lou Harrison, and slightly later in the work of Olivier Messiaen, Chou Wen-chung, Halim El-Dabh, and Peggy Glanville-Hicks. The trend can be found also in the context of post-minimalist works, such as Janice Giteck's and Evan Ziporyn's Balinese-influenced works. Some composers have used traditional instruments from their own cultures, such as Tōru Takemitsu, Minoru Miki, Chen Yi, Zhou Long, or Julian Kytasty. World music influence may also be found in the context of post-classic tonality, such as in the music of Bright Sheng, or in the context of thoroughly modernist works by composers such as Claude Vivier.

New Simplicity

A movement in Denmark (Den Ny Enkelhed) in the late nineteen-sixties and another in Germany in the late seventies and early eighties, the former attempting to create more objective, impersonal music, and the latter reacting with a variety of strategies to restore the subjective to composing, both sought to create music using simple textures. The German New Simplicity's best-known composer is Wolfgang Rihm, who strives for the emotional volatility of late 19th-century Romanticism and early 20th-century Expressionism. Called Die neue Einfachheit in German, it has also been termed "New Romanticism", "New Subjectivity", "New Inwardness", "New Sensuality", "New Expressivity", and "New Tonality".

Styles found in other countries sometimes associated with the German New Simplicity movement include the so-called "Holy Minimalism" of the Pole Henryk Górecki and the Estonian Arvo Pärt (in their works after 1970), as well as Englishman John Tavener, who unlike the New Simplicity composers have turned back to Medieval and Renaissance models, however, rather than to 19th-century romanticism for inspiration. Important representative works include Symphony No. 3 "Symphony of Sorrowful Songs" (1976) by Górecki, Cantus in memoriam Benjamin Britten (1977) by Pärt, and The Veil of the Temple (2002) by Tavener, "Silent Songs" (1977) by Valentin Silvestrov.

New Complexity

New Complexity is a current within today's European contemporary avant-garde music scene, named in reaction to the New Simplicity. Amongst the candidates suggested for having coined the term are the composer Nigel Osborne, the Belgian musicologist Harry Halbreich, and the British/Australian musicologist Richard Toop, who gave currency to the concept of a movement with his article "Four Facets of the New Complexity".

Though often atonal, highly abstract, and dissonant in sound, the "New Complexity" is most readily characterized by the use of techniques which require complex musical notation. This includes extended techniques, microtonality, odd tunings, highly disjunct melodic contour, innovative timbres, complex polyrhythms, unconventional instrumentations, abrupt changes in loudness and intensity, and so on. The diverse group of composers writing in this style includes Richard Barrett, Brian Ferneyhough, Claus-Steffen Mahnkopf, James Dillon, Michael Finnissy, James Erber, and Roger Redgate.
Though not a New Complexity composer himself, the Progressivist (or Neological) composer Neil March studied with Roger Redgate and his concept of "Polyfluidity" owes much to the influence of New Complexity.

Minimalism and post-minimalism

The minimalist generation still has a prominent role in new composition. Philip Glass has been expanding his symphony cycle, while John Adams's On the Transmigration of Souls, a choral work commemorating the victims of the September 11, 2001 attacks, won a Pulitzer Prize. Steve Reich has explored electronic opera (most notably in Three Tales) and Terry Riley has been active in composing instrumental music and music theatre.

Many composers are expanding the resources of minimalist music to include rock and world instrumentation and rhythms, serialism, and many other techniques. Another notable characteristic is storytelling and emotional expression taking precedence over technique. Post-minimalism is also a movement in painting and sculpture that began in the late 1960s.

Extended techniques

Composers often obtain unusual sounds or instrumental timbres through the use of non-traditional (or unconventional) instrumental techniques. Examples of extended techniques include bowing under the bridge of a string instrument or with two different bows, using key clicks on a wind instrument, blowing and overblowing into a wind instrument without a mouthpiece, or inserting object on top of the strings of a piano. Composers’ use of extended techniques is not specific to contemporary music (for instance, Berlioz’s use of col legno in his Symphonie Fantastique is an extended technique) and it transcends compositional schools and styles.

Exponents of extended techniques in the 20th century include Henry Cowell (use of fists and arms on the keyboard, playing inside the piano), John Cage (prepared piano), and George Crumb. The Kronos Quartet, which has been among the most active ensembles in promoting contemporary American works for string quartet, takes delight in music which stretches the manner in which sound can be drawn out of instruments.
European composers who make heavy use of extended techniques include Luigi Nono, Luciano Berio, Helmut Lachenmann, Salvatore Sciarrino, Heinz Holliger, Carlo Forlivesi and Georgia Spiropoulos.


Frank Wells is an italian bass guitarist, songwriter and occasionally vocalist, who has been active in
the underground metal scene since the early 90's.
He founded a promotion agency, Gentle Exhuming Records - Small Underground Music Forge, to
support his several projects.
Gentle Exhuming Records - Small Underground Music Forge is always willing to release in depth
interviews and get reviews with webzines from all around the world.
For more informations about Gentle Exhuming Records:
• Official website: www.mortalfungus.com
To download most of Gentle Exhuming Records releases:
• Official webstore: www.mortalfungus.com/webstore.htm

Frank Wells - Complete Discography

Mortal Fungus "Mortal fungus" (rehearsal tape 1994 / drums, vocals)
Mortal Fungus "The place of the funeral" (rehearsal tape 1994 / drums, vocals)
Arkenemy "Frost bite" (promo tape 1997 / bass guitar, vocals)
Mortal Fungus "Frightening countries" (promo tape 1999 / bass guitar, vocals)
Demonia "Promo" (promo CD 2001 / bass guitar)
Mortal Fungus / Arkenemy "The split CD" (remastered CD 2003 / bass guitar, vocals)
Mortal Fungus "Mortal...funeral" (compilation CD 2005 / drums, vocals)
World Funeral "World funeral" (demo CD 2006 / bass guitar, programming, vocals)
Transiency "Manqualm" (EP 2007 / bass guitar, vocals)
World Funeral "Caledarium et frigidarium" (CD 2007 / bass guitar, programming, guitar, vocals)
Mortal Fungus "Back to the lombrosary" (CD 2008 / bass guitar, vocals)
Hell Muñeco "Doom core" (EP 2009 / bass guitar, programming)
Scorra "Il girone della merda" (CD 2010 / bass guitar, vocals, guitar)
Cimitero "Lazaret of the abyss" (CD 2010 / bass guitar, vocals)
Cimitero "Morbid curiosity" (CD 2012 / bass guitar, vocals)
Dark Recollections "Enigma of the absolute" (EP 2013 / bass guitar, programming)
Transiency "Abominations of civilization" (EP 2013 / bass guitar, vocals)
Hell Muñeco "Replacing God" (EP 2013 / bass guitar, programming, backing vocals)
Plus…
Scorra “Antica trattoria della merda” (scheduled for 2014)
Mortal Fungus “Back to the lombrosary – chapter. II” (scheduled for 2014)
World Funeral “World funeral – chapter II” (scheduled for 2014)

Frank Wells - Biography

Chapter 1 - Mortal Fungus
In 1991, there existed an evil group of subversive youth, whose sole purpose was to show others
about the beauty of death. As time passed, they discovered that music was the best form of
expressing the evil that they had learned. These youth became what the leaders of the underground
know to be MORTAL FUNGUS. They recorded two infamous demo-tapes, raw, sloppy, noisy
death/grind under the influence of early Hellhammer, early Necrophagia, early Napalm Death &
Carcass, before disbanding in 1994.

Chapter 2 - Arkenemy
Formed in 1995 with the addiction of ex-Mortal Fungus singer, bass player and lyricist, Frank
Wells, two years later they recorded a 4-songs demo, "Frost bite", a good piece of thrash/death
metal, maybe dispersive and pretentious at times, but very aggressive and played with skill and
rage. ARKENEMY played many concerts in northern Italy, including one supporting Sadist.

Chapter 3 - Mortal Fungus mk.II
MORTAL FUNGUS reformed in 1998 with a different line-up, recording the classic 6-songs
cassette "Frightening countries" (featuring a cover of Autopsy "Service for a vacant coffin"), a great
improvement which allowed them to be finally taken seriously in the underground. Even though
MORTAL FUNGUS is basically an old school style death metal band, comparable to old giants like
Obituary, early Death, Massacre, Autopsy and Celtic Frost, the guitars frequently evoke more of a
heavy thrash feel. Unable to kneel to musical trends and absolutely loyal to their death metal roots,
MORTAL FUNGUS were put on hiatus several times during the years, but they never really
disbanded. Their latest CD and first full lenght release, "Back to the lombrosary", was recorded in
2008. Future plans: re-release of “Back to the lombrosary” with a brand new song, a couple of rerecorded
old songs, new backing vocals on some tracks, remastering process and improved guitar
sound.

Chapter 4 - Demonia
DEMONIA were surely one of the most promising gothic metal bands of the late 90's. Their second
promo-CD, actually recorded in 2001, was released two years later due to line-up problems
(drummer, bassist and keyboards player left the group after this release). Their music can best be
described as slow, melodic and atmospheric gothic/doom, with a lot of slow doomy tunes, plus
excellent female vocals that, although a tad deeper than most in the genre, reveal an incredible
ability to sing in such a soothing way. Add a beautiful piano, a faint church organ, choir, relaxed
guitars that don't over-dominate the serenity, and you have a fairly good idea of how they sounded.
What made DEMONIA so special was their ability to make music that harmonized into beautiful
melodies without any particularly impressive guitarplay or soloing.

Chapter 5 - Transiency
TRANSIENCY came to life in 2001 from the ashes of female-fronted gothic/doom metal band
Demonia. They started working on their debut EP, "Manqualm" (a concept about The Black Death),
in 2002, and finally released it in 2007. The tracks on this release have a pleasant narrative quality,
there's a good deal of mystery and tantalising plot elements in the track names alone.
TRANSIENCY play a genre almost forgotten nowadays, taking elements from gothic, doom and
death metal, producing a gloomy, melancholic sound with plenty of weight and focus. Someone
heard similarities with early Amorphis, Katatonia, Paradise Lost, My Dying Bride, Amon Amarth,
due to the mournful leads, dominant bass and Frank's guttural doom vocals. Their 2nd EP,
"Abominations of civilization", is once again unified by a theme (the horrors of colonization).

Chapter 6 - World Funeral
In 2004, the original line-up of Mortal Fungus got back together assembling a collection of old
tunes ("Mortal...Funeral"), and working on new stuff. WORLD FUNERAL play slow, ultra-heavy
riffs, with a raw production and experimental edge. In their own words, WORLD FUNERAL
defined theirselves as a "doom/core" outfit, drawing on elements from the Black Sabbath style on
one side and elements from the diSEMBOWELMENT-and-Winter one on the other, also showing
tendencies towards psychedelic rock, sludge doom and ‘core riffage that infused the music with a
slightly lighter mood amongst the darkness. They released one rough demo in 2006, and finally
recorded their debut 7 songs CD (“Caledarium et frigidarium”) in 2007, before disbanding.
World Funeral never wrote new tunes after their debut long-playing, but in 2013 they started rearranging
and re-recording their first, self-titled demo, for a possible 2014 official release.

Chapter 7 - Hell Muñeco
HELL MUÑECO was founded in 2008 by Frank Wells, who wanted to record some tunes he
originally wrote as a follow up to World Funeral's "Caledarium et frigidarium". All bandmembers
are well experienced musicians, they are influenced by stoner, heavy doom & NWOBHM bands
and also by 70's dark rock with Black Sabbath in primis, but that almost goes without saying when
it comes to doom-metal. HELL MUÑECO started with the intention of writing slow and heavy riffs
with weird guitar harmonies and a touch of gothic, they have no shortage of groovy riffs and good
concepts of doom that lyrically deal with social subjects. On their second release they managed to
get a more powerful sound, with a darker approach on the lyrical side, plus a groovier and heavier
riffing provided by their new lead and rhythm guitarist, Mirko Bosco (from Witches’ Brew).

Chapter 8 - Scorra
SCORRA is an italian oldschool grindcore band which recorded a 22 songs CD, "Il girone della
merda" (2008), released in 2010 after a long delay due to the politically uncorrect lyrics and
controversial artwork, all about issues still relevant nowadays in the collapsing italian nation.
They're now gathering ideas for another release, "Antica trattoria della merda", scheduled for 2014.

Chapter 9 - Cimitero
CIMITERO belong to the current wave of bands doing death metal the old way. Altough this entity
was formed only a couple of years ago, their members "were already pullulating in the underground
around 1990", which means each one was involved with other bands that time. There is a certain
constant groove and quality in how CIMITERO write their songs, that is plain to hear when dealing
with experienced musicians which, in their own words, are "opposed with any affiliation with the
modern metal scene". Their music is comparable with a mix of death and (most of all) thrash metal,
with hints of black metal to be find here and there on their first release, while vocals are
occasionally dual-layered as the good Carcass of old did. CIMITERO are still spreading old school
death metal with their second release, "Morbid curiosity", a concept album about selected shocking
events happened in Italy throughout the years.

Chapter 10 - Dark Recollections
Back in 2008, Frank Wells started working on his first non-metal project, looking for a more dark
rock sound with prominent bass lines, 80's keyboards, drum machine, and a mix of arpeggios, clean
and electric guitar. After choosing the monicker DARK RECOLLECTIONS, he collaborated with
longtime buddy Andy Soresina (Oniromantic, Stygian, Neophyte, Alice in Darkland among others),
who provided amazing guitar arrangements, and writer Davide Montoro who wrote introspective
and moody lyrics. Struggling to find a reliable singer, and reluctant to take on vocal duties, Frank
shelved the project a few times before finally finding the warm and deep voice of Anthony Manuzi,
formerly of UK darkwave band Veil of Isis, whose main influences are Joy Division, The Cure,
Killing Joke, The Cult (early), Sisters of Mercy, The Mission (early), Echo & The Bunnymen,
Depeche Mode (post-pop), U2 e Cocteau Twins.

August 2013 - 

Deriving from Hertfordshire, UK, FUGITIVE ISLES are 4 mates in a rock band, preparing to take on the UK's unsigned scene. 

FUGITIVE ISLES gather influence from bands such as, Biffy Clyro, Lower Than Atlantis, Mallory Knox, Trivium, Pierce The Veil, Issues, Smashing Pumpkins and American Football - blending a grunge, punk and melodic hardcore mix, with huge vocal lines and swimming guitar harmonies, all the while smashing off cascading drum grooves and predominant bass lines, to make the sound of FUGITIVE ISLES. 

With several combined years of playing live and performing, FUGITIVE ISLES are not afraid to put on a show.

Hailing from Pennsylvania’s Greater Pittsburgh area, Unparalleled Height is a unique hard rock/metal band. Built around powerful rhythms, intriguing drums, melodic vocals and soaring guitar leads, the band is able to combine the in-your-face attributes of metal with the melodic and progressive side of rock. Unparalleled Height’s unique writing style takes influence from many artists and styles of music, therefore, giving a unique, unmatched sound. They have been said to be a mix of Avenged Sevenfold, Bullet for My Valentine, Dream Theater, Trivium, Killswitch Engage, Black Veil Brides, and even Queen, to name just a few. This demonstrates their ability to touch on all types of music, never wanting to limit themselves to the confines of one genre or style. Beyond the sound, the band puts emphasis on writing songs with meaning and purpose, providing messages that seem to put a story together with each song.
Formed in April of 2011, Unparalleled Height has come a long way since. The band started by working their way up to headlining shows in the Pittsburgh area within just a few months. Then, after spending time crafting their debut EP titled “Bridges to Nowhere”, they released it on June 30th, 2012 on iTunes, Amazon, and most other prominent digital distribution services. The debut EP displayed the bands ability to be unique and write full, complete, and attention grabbing songs. The diversity throughout all of the songs keeps the audience entertained and wanting to hear more. However, in 2013 they stepped up their game to a whole new “height”.
After a solid year of juggling writing and pre-production with college, Unparalleled Height released their first full-length album, Rise of the Voiceless, on November 26th 2013, which debuted at #30 on the iTunes metal charts. The group has quickly gained a worldwide fan base of over 120,000, and the growth of that number shows no sign of slowing down. Currently, they are working to broaden their fan base around the US and become the next household name in rock n’ roll.

Contact: unparalleledheight@gmail.com

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