Vokonis Announce New Drummer Peter Ottoson; New Album Title Revealed

Posted in Whathaveyou on January 7th, 2019 by JJ Koczan

Sweden’s Vokonis are pretty careful in the announcement below not to give away the title of their impending third full-length, which will be issued sometime in the coming months through The Sign Records, but it’s called Grasping Time and on Feb. 2 they’ll have the first single out from the offering, also called “Grasping Time.” So there. The forthcoming album will mark the final contributions of drummer Emil Larsson, who has left the band with Peter Ottoson coming aboard as his replacement alongside guitarist/vocalist Simon Ohlsson and bassist/vocalist Jonte Johansson.

Change is nothing new for Vokonis, whose three albums — 2016’s Olde One Ascending (review here), 2017’s The Sunken Djinn (review here), and the upcoming — have been issued through Ozium RecordsRipple Music and (shift to future tense) The Sign Records, respectively, and who began their career under a different moniker with a different lineup. So, you know, kind of how it goes. Despite or perhaps in some part because of this, the band has never failed to grow from one quick-turnaround release to the next, and I’m not saying I’ve heard it or anything, but their third LP is not an exception to the rule, with Ohlsson and Johansson introducing more depth to the vocal arrangements and sharing duties in that regard more than ever before, as well as pushing themselves in terms of their songwriting.

There will be much more to come on Grasping Time, of course, as we get closer to the release. Here’s the lineup change announcement in the meantime:



Swedish heavy prog band VOKONIS have announced that drummer Emil Larsson has left the band and replaced by Peter Ottoson.

The band commented:

“Emil has decided to leave Vokonis. There are no bad feelings involved. Emil felt done with the band and wanted to leave the position for a person that would feel love for the songs and the band. The new record we recorded in 2018 will be Emil’s last contributions to the band. We are of course incredibly sad by his decision, but that is life. We are excited to welcome Peter as our new drummer.”

More information on the new album will be announced in the next few months!

Vokonis is:
Simon Ohlsson – guitar/vocals
Jonte Johansson – bass/vocals
Peter Ottoson – drums


Vokonis, The Sunken Djinn (2017)

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MaidaVale Announce Spring 2019 Euro & UK Tour Dates

Posted in Whathaveyou on December 21st, 2018 by JJ Koczan


Classic-style heavy rockers MaidaVale took on a more expansive sound with their 2018 album, Madness is Too Pure (discussed here), and they haven’t exactly been shy about showing it off. They’ll keep the thread going early in 2019 with a Spring tour of Europe and UK that includes a stop at the Bordeaux Psych Fest in France and rooms in the UK like the famed Star and Garter in Manchester and The Black Heart in London. Seems like they’ve got some really good momentum on their side going into much of next year. I have to wonder where it might all be leading and when they’ll get to work on their next record. Madness is Too Pure followed just two years behind 2016’s Tales of the Wicked West (review here), so if it was early 2020 for the next one, I’d hardly be surprised. Sooner works too though, ha.

Here are the tour dates:

maidavale tour poster

MAIDAVALE announce European tour in Spring 2019

MaidaVale is heading out on a lengthy European tour in March 2019. The tour takes the band to Norway, Germany, France, UK and the Netherlands.

The Swedish band released their latest album ‘Madness Is Too Pure’ in March 2018. The record has since been nominated to a P3 Guld award in their native country.

The tour kicks off at the By:Larm Festival in Norway.

Tour Dates:
28/02 (NO) OSLO – by:Larm Festival
01/03 (NO) OSLO – by:Larm Festival
03/03 (DE) HAMBURG – Hafenklang
04/03 (DE) GOETTINGEN – Dots
05/03 (DE) MANNHEIM – 7er Club
06/03 (DE) NIJMEGEN – Merleyn
07/03 (DE) COLOGNE – Sonic Ballroom
08/03 (FR) STRASBOURG – La Laiterie
10/03 (FR) PARIS – Le Glazart
11/03 (FR) ANGERS – Joker’s Pub
12/03 (FR) POITIERS – Le Cluricaume
13/03 (FR) NANTES – La Scène Michelet
14/03 (FR) RENNES – TBA
15/03 (FR) BORDEAUX – Salle du Gran Parc / Bordeaux Psych Fest
16/03 (FR) LYON – Le Farmer
18/03 (DE) FREIBURG – Slow Club
19/03 (DE) STUTTGART – Keller Club
20/03 (DE) KARLSRUHE – Alte Hackerei
22/03 (UK) LONDON – The Black Heart
23/03 (UK) MANCHESTER – Star and Garter
25/03 (UK) BRISTOL – The Lanes
27/03 (NL) AMSTERDAM – Melkweg
28/03 (DE) BREMEN – Zollkantine

Matilda Roth – Vocals
Johanna Hansson – Drums
Linn Johanesson – Bass
Sofia Ström – Guitar


MaidaVale, Madness is Too Pure (2018)

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Review & Full Album Premiere: Iron Lamb, Blue Haze

Posted in audiObelisk, Reviews on October 25th, 2018 by JJ Koczan

iron lamb blue haze

[Click play above to stream Iron Lamb’s Blue Haze in full. Album is out Oct. 26 on The Sign Records.]

Despite a storied pedigree in the more extreme ends of metal, Iron Lamb rock. Period. I’m not sure how else to put it. Blue Haze, issued by The Sign Records, is the Stockholm-based five-piece’s third full-length following 2015’s Fool’s Gold, and it’s a sharp LP at eight songs and 37 minutes given to modern interpretation of a classic heavy rock mindset. Not necessarily uncommon either in general or coming from Sweden specifically — plenty of classic heavy to go around — but what Iron Lamb bring to their third record is a nestle-into-niche sensibility that makes the most of grown-up punk tendencies and the throaty vocals of Daniel Forn Bragman (Tyrant) in order to make a place for itself where the Hammond on closer “Dead Beat” isn’t out of place and neither is the pure Motörhead charge of “The Hunt.”

Those UK megalegends are a primary influence on Iron Lamb, which is comprised of Bragman, guitarists Johan Wallin (ScurvyGallow) and Jens Bäckelin (Martyrdöd, Sanctuary in Blasphemy), drummer Thomas Daun (Dismember, Insision, Repugnant) and bassist Daniel Ekeroth (TyrantUsurpress) — who actually wrote the book on Swedish death metal; it was called Swedish Death Metal and well worth a read as I recall — but much of that influence can be traced to Bragman‘s style, which even in the piano-laced “Erase/Rewind” keeps a gravely approach. Blue Haze is the second record with Bragman as frontman — Gustaf Lindström (RepugnantGhost) handled vocals on the punkier, rawer 2011 debut, The Original Sin — and despite that low-hanging fruit of influence tagging, it’s easy to hear Iron Lamb coming more into themselves this time around. Part of that might be owed to working with Martin “Konie” Ehrencrona, who handles the aforementioned piano and Hammond, recorded and mixed the album and has a pedigree as well of working with the likes of In SolitudeThe Oath and Tribulation at the analog-minded Studio Cobra in Stockholm.

Presumably Blue Haze was tracked to tape as well, which makes sense given its later-’70s affinities — Thin Lizzy, maybe some Scorpions, etc. — but they make no real show of retroism in tone or presentation, instead producing an atmosphere that’s dark but not theatrical and well suited to the pointedly straightforward structures at play in the songs, which stay tight in a four-to-five-minute range and make not even the pretense of avoiding pretense because there’s nothing in that regard to avoid. Like I said at the outset, they rock. They’re not looking to do anything else and they don’t need to. They clearly know what they want to sound like and how to make that happen. Though there are some speedier moments, like the careening “Into the Night” (with keys and Mellotron by Andreas Sandberg of Negative Self) and “Erase/Rewind” or “(Fallin’ Like) Dominoes,” which follows, Blue Haze is by and large slower and less frenetic than was Fool’s Gold (the oddly goth standout “Leave Me Be” on that outing notwithstanding), and that’s something easily traced to the band having a better idea of who they want to be.

iron lamb

In that regard, Blue Haze feels much like the second or third album that it is (second with Bragman, third overall), since it demonstrates a maturity of approach from opener “Apocalypse Express” — not sure who plays the keys there, presumably Ehrencrona — that finds Iron Lamb in sure control of their sound while still having a natural energy to carry it across without being staid or overly samey in their tracks. Their gallop is confident, their riffing brash like it’s 1978 but not entirely given to NWOBHM showiness, and as “Bound by Gravity” gives Daun a platform for impressive tom work, Bäckelin and Wallin offer highlight solos and rhythms leading to a spacier slowdown in the second half that’s not at all psychedelic but still has a sense of atmosphere held together by a pushed-forward bassline from Ekeroth.

Tellingly, it wraps with a quick return to speedier fare ahead of the bass leading the way into “Into the Night,” and that’s of course emblematic of the structure at play throughout Blue Haze and the character Iron Lamb bring to their songwriting. The tracks do not feel overly composed in the sense of trying to out-clever either the listener or the band itself. The band range, but aren’t trying to blindside anybody with gimmicky turns of aesthetic, and there is complexity in the interplay between the two guitars even on the penultimate “The Iron and the Lamb,” which is the shortest cut at 3:47 — ahead of the finale, “Dead Beat,” the longest at 5:31 — which finds room for a chugging underpinning to a rampage of a solo in its second half, right before a deft return to the hook. And in rounding out, “Dead Beat” offers anything but, with a fervent strut that reminds of earlier (not earliest) Judas Priest as heavy metal began to take shape from the rock of the prior generation. Iron Lamb make themselves comfortable in that between-space, willfully standing on the threshold of different styles without giving themselves entirely to one or the other or the other; metal, rock and punk.

Instead, they bask in the fluidity that such refusal allows them, shifting subtly throughout Blue Haze with a sense of turning expectations on themselves and creating an individualized sound. That would seem to be the intention, and it’s successful, but while there’s obvious thought and passion put into the craft and production, and an overarching atmosphere as a result, there’s also nothing to take away from a natural vibe throughout these songs and performances, and while I can’t speak to how Iron Lamb might come across as a live act never having seen them play, they very clearly have put themselves to the task of bringing that electricity to the studio. Fair enough. The bottom line, I’m afraid, is the same as the top line: Iron Lamb rock. There isn’t another way to put it, and to try to put it another way would be doing an injustice to the material throughout Blue Haze. You can keep reinventing the wheel if you want. These guys will be over here cracking their next beer and blowing asses out of the room. Cheers.

Iron Lamb, “Apocalypse Express” official video

Iron Lamb on Thee Facebooks

Iron Lamb on Bandcamp

Iron Lamb website

The Sign Records on Thee Facebooks

The Sign Records website

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The Riven Sign to The Sign Records; Debut Album Due in 2019; New Single This Week

Posted in Whathaveyou on October 16th, 2018 by JJ Koczan

On Friday, The Riven will unveil the first single from their impending 2019 debut album. That record doesn’t have a name yet, at least not a public one, but it will be released in a new deal the classic heavy rocking outfit has inked with The Sign Records and it will follow last year’s Blackbird EP (discussed here). Since that five-tracker was recorded in 2016, the band has moved from London to Stockholm, and the new record — because of course — was put to tape in Madrid. Consider it a pan-European heavy rock experience if you must, but The Riven will be another name on 2019’s most anticipated list, and I’ll hope to have more to come on it as we get closer to the release.

For now, here’s the announcement from The Sign Records, as per the PR wire:


The Sign Records signs The Riven. The band is set to release their debut album during the spring 2019 and their first single ‘Fortune Teller’ is set for release the 19th of October.

In 2018 The Riven went to Madrid, not to spend time under the Spanish sun but rather curled up in the valved cellar studio at Holy Cuervo Studios. In ten days they powered through the record’s nine songs producing an album that in the words of the drummer Olof Axegärd “Is loud, is rock, is soul, and prog, it has it all!”. The Riven will be releasing their highly anticipated first full length with The Sign Records in the spring of 2019.

The band have recorded their debut album with Ola Ersfjord (Tribulation, Lucifer, Primordial) in Madrid. The album artwork is made by Maarten Donders. The album is a pure injection of Rock into the system.

“The Riven are set to release one of the strongest Swedish debut albums in many years. The band holds a perfect combination of bluesy vocals and classical rock sound. We are humbled over the opportunity to work with, and be able to present The Riven to the world.” – Kaj Sivervik, The Sign Records

“We are super excited to announce that we are signing with the Sign Records. One of the reasons to why we moved the band from the UK to Sweden was that we wanted to be part of the scene over here. We have a great love for bands like Hällas, Hypnos and MaidaVale and to be on the same label as those guys, as well as other great acts too, is really a step in the right direction for us. We knew that working with Kaj and the Patricks would be great for the band when we first heard Kaj speak on Rockpodden. His love and passion for the bands on the label is something you don’t come across too often and we strongly feel that a collaboration of this sort needs to have that element. It was in that moment we knew that we wanted to be on The Sign records. Now let’s bring on the release and let the good times roll!” – Max Ternebring, The Riven

The Riven is:
Charlotta Ekebergh – Vocals
Arnau Diaz – Guitar
Max Ternebring – Bass Guitar
Olof Axegärd – Drums


The Riven, Blackbird EP (2017)

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Hällas Announce Live Dates with Graveyard for Nov./Dec.

Posted in Whathaveyou on October 15th, 2018 by JJ Koczan

I had a couple crucial learnings at this year’s Hostsabbat Festival in Oslo. Among them? Patchy pants are all the rage in Norway. I guess it’s a post-apocalyptic kind of thing? Like acknowledging that the dystopia is already here? Anyway, by the time I left town two days later, I wanted a pair. Still do.

More relevant: Hällas do not screw around on stage. Their set opening the fest in the Kulturkirken Jakob was likewise pro-shop and raucous; hot rock delivered with a cool hand but not at all staid or boring to watch. I felt fortunate to be able to catch them, and they more than stood up to the task of the high ceiling under which they played.

In addition to being one of the first bands announced for Desertfest Berlin 2019, they’ll be out for more than a handful of Scandinavian dates alongside kingpins Graveyard starting in early November and finishing up just before the holidays.

Don’t forget your patchy pants:


Hällas Announces Tour supporting Graveyard

Hällas announces a Scandinavian tour supporting Graveyard. These dates will provide a perfect mixture of Swedish rock during eleven dates. Tickets to the tour is running low on several dates. Secure your tickets through Ticketmaster.

Hällas Tour supporting Graveyard
2018.11.02 – SE – Nöjesfabriken – Karlstad
2018.11.03 – SE – Nordfest – Sundsvall
2018.11.09 – SE – Frimis Salonger – Örebro
2018.11.10 – DK – Pumpehuset – Copenhagen
2018.11.22 – SF – Tavastia – Helsinki
2018.11.23 – SF – Lutakko – Jyväskylä
2018.11.24 – SF – Klubi – Tampere
2018.12.14 – SE – Pustervik – Göteborg
2018.12.15 – SE – Pustervik – Göteborg (Sold Out)
2018.12.21 – SE – Cirkus – Stockholm

Hällas album “Excerpts from a future past” was released in October 2017 by the Sign Records. The band have toured all over Europe upon the release. The band have played festivals as Høstsabbat (NO), Devilsstone (Lit), Fusion Fest (De), Roadburn (NL) and Muskelrock (SE) during the last couple of months. The bands just released their hit single ‘Star Rider’ as a flexi seven inch as the band once again heads out on tour, this time in Scandinavia.

Hällas is:
Tommy Alexandersson (bass/vocals)
Alexander Moraitis (guitar)
Kasper Eriksson (drums)
Marcus Pettersson (guitar)
Nicklas Malmqvist (keys)


Hällas, “Star Rider” official video

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Demon Head on Tour Now; “The Resistence” Live Video Posted

Posted in Whathaveyou on September 25th, 2018 by JJ Koczan

demon head

Demon Head hit the road at the end of last week doing both headlining gigs and support spots for Magna Carta Cartel. Their latest EP, The Resistance (review here), came out earlier this year on The Sign Records, and it’s for the title-track of that two-songer that the band have a new live video. Shot at Muskelrock 2018 in the great outdoors of Southern Sweden — because fucking a right — the clip finds the Copenhagen outfit right at home for their proto-metallic vibes and the assembled masses before them seem largely to be eating up their classic-style riffs like so much fare cooked on a portable campground stove. Sounds gnarly. Looks gnarly. Is probably gnarly.

They’re no strangers to touring at this point, and especially after The Resistence provided the ‘two’ in a one-two wallop after 2017’s long-player, Thunder on the Fields (review here), one only looks forward all the more to what their inevitable third record might bring. Dark grooves and warm tones? That’ll work just fine, thanks.

Here’s the remaining tour dates, should you happen to be in that part of the world, and the video to dig into:

demon head tour poster


The diabolic rock band Demon Head is once again on their way out on a tour. The band is doing a headline tour in Scandinavia and are then heading out in Europe supporting MCC [Magna Carta Cartel].

In April Demon Head released their ‘The Resistance’. The EP was an epilogue to their second album ‘Thunder on the Fields’ released in 2017. Demon Head did a large tour all over Europe in May 2018 where the final show took place at Muskelrock Festival. The song ‘The Resistance’ was caught on tape and is now released as a live video.

Let’s go!

– 25. Sep. Stockholm, SWE – Geronimo
– 26. Sep. Malmö, SWE – Plan b
– 27. Sep. Oslo, NO – Krøsset
– 28. Sep. Haugusund, NO, heavy nights Fest
– 29. Sep. Aarhus, DK – HQ
– 30. Sep. Oldenburg, DE – MTS
– 1. Oct. Leipzig, DE – Black Label
– 2. Oct. Hamburg, DE – Logo*
– 3. Oct. Berlin, DE – BiNuu*
– 4. Oct. Cologne, DE – Luxor*
– 5. Oct. Paris, FR – Etoiles*
– 6. Oct. Leiden, NL – Gebr de nobel*
– 7. Oct. Vosselaar, BE – Biebob*

* as special guests for MCC [Magna Carta Cartel]


Demon Head, “The Resistance” live at Muskelrock 2018

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Hypnos Premiere “Caught in the Night”; Set Fire to the Sky out Sept. 28

Posted in audiObelisk on August 30th, 2018 by JJ Koczan


Swedish classicists Hypnos release their third album, Set Fire to the Sky, on Sept. 28 as their more-or-less debut on The Sign Records, which also issued the live-in-studio GBG Sessions earlier this year. The five-piece Gothenburg outfit would seem to be progressing not only in their songwriting but along a pattern of corresponding years, as their second LP, 2016’s Cold Winds (review here), followed the boogie rock of their 2014 self-titled debut with a tilt toward early metal that more than hinted at heavy rock giving way as it did to the NWOBHM. Well, the Iron Maiden runs thick throughout Set Fire to the Sky, and while there are still some outward shades of classic heavy rock in the shuffle of “Ain’t No Fool” or the strutting “Tell Me Goodbye,” there’s no question that across the bulk of their latest work, the balance has shifted toward the metallic.

Whether it’s the proto-thrash of “Looking Out” or the expansive grandiosity of the 7:44 “Deadline,” the bassline of which seems to directly wink at Black Sabbath‘s “Heaven and Hell” in the verses en route to yet another hook in an apparently Hypnos Set Fire to the Skyongoing series thereof. The rush of “Caught in the Night” would seem to be in conversation with opener “Get Out,” and between those two and the uptempo pacing of the aforementioned “Ain’t No Fool,” the sense of urgency is palpable from front to back. One could argue even the title Set Fire to the Sky speaks to a kind of intensity with which the record brims even unto the more comfortably-swinging title-track with its effective backing vocals and Scorpions-style groove. The outliers, then, are “Time is Running Out,” which despite its title working on the theme departs the NWOBHM shove in favor of a mellow and atmospheric rock with shades of Morricone in the lead guitar and layers of acoustic behind, and closer “Slutet,” which sure enough translates to “end” and tops seven minutes with a build into the grand finale that starts out no less mellow than “Time is Running Out” earlier.

Not that one shouldn’t consider those songs as part of the overarching impression Set Fire to the Sky makes — they’re essential in adding depth to the atmosphere and to expanding the general character of the band — but the primary personality Hypnos have on display is still a classic metal party. If you could put stone-washed denim on a turntable and have it make a sound, it would start playing “Get Out.” All told, the nine-track/44-minute is stunningly coherent in its aesthetic choices, but that doesn’t come at the sacrifice of songwriting either. Hypnos have always been able to work with classic structures and classic styles alike, and whether it’s “Caught in the Night” — there are few things that could be more natural than this band writing songs about “the night” — “Tell Me Goodbye” or the reaches of “Slutet,” Set Fire to the Sky is nothing if it isn’t the furthest point yet on their progressive forward line. You can call it rock, or you can call it metal. Neither is wrong and I honestly doubt the band cares much either way, but what matters more is that Set Fire to the Sky finds Hypnos further refining their place in the sphere of heavy, standing apart from both the most modern of practitioners and those who’ve sworn fealty solely to the tenets of ’70s boogie.

You can hear the premiere of “Caught in the Night” below, followed by more background on the recording, courtesy of the PR wire. Set Fire to the Sky is available to preorder now from The Sign Records.

Please enjoy:

Hypnos blast off with their new album ”Set Fire To The Sky”. A more high flying and dynamic album that hits Mach 3 on the band’s career. Eight loud rock tracks that hold a playful and vigorous vibe. On their third album, Hypnos have refined their sound together with producer Ola Ersfjord (Tribulation, Primordial, Honeymoon Disease). Stronger songwriting, catchier hooks, together with a groovy rhythm section makes ”Set Fire To The Sky” Hypnos strongest album to this day. Hypnos are establishing their sound. It´s clear that ”Set Fire To The Sky” is the launchpad for the bands future. The new album is released on The Sign Records on the 28th of September.

It´s hard to mistake the Gothenburg based band’s Swedish roots. The intensity of their approach to music, and how their influences are cherry-picked out of the best of rock history. The pumping bass and epic solos side by side with Linus Johansson’s powerful vocals creates a modern take on classic rock in 2018. The songs were written during the short time frame of two months and show a re-born band on fire. There is both the raw energy that comes with something new and the wisdom from an experienced band on the album. ”Set Fire To The Sky” was recorded during nine days at Studio Ganymeden.

Pre-Order album here: https://freighttrain.se/en/the-sign-record/hypnos/

Get Out
Ain’t No Fool
Set Fire To The Sky
Time Is Running Out
Caught In The Night
Tell Me Goodbye
Looking Out

Hypnos is:

Hypnos on Thee Facebooks

Hypnos on Bandcamp

The Sign Records on Thee Facebooks

The Sign Records website

The Sign Records on Bandcamp

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Skraeckoedlan to Reissue Äppelträdet Oct. 12 on The Sign Records

Posted in Whathaveyou on August 7th, 2018 by JJ Koczan


As you can see in the photo above, Sweden’s Skraeckoedlan were really just kids when they made their debut in 2011 with Äppelträdet (review here). Kids who kicked ass. That album, originally released through Transubstans, is set to arrive as a 180g vinyl and CD through The Sign Records on Oct. 12. I have an enduring affection for that record, as it was my introduction to the band, who’ve since grown into a progressive fuzz metal individualism drawing from a number of modern sources and made their own — as heard on their 2015 follow-up, Sagor (review here) — so it’s cool to see it getting back out to public ears and given a due deluxe-ification with new LP artwork and whatnot.

Skraeckoedlan have peppered out a few singles and live outings since Sagor, but one hopes for a third album maybe sometime in 2019. Last I heard, they were picked up by Fuzzorama Records, which seems only fitting since their relationship with Truckfighters obviously goes back a ways.

Info and preorder link from the PR wire:


Fuzz-science fiction rockers Skraeckoedlan are set to do the international release of their debut album ‘Äppelträdet’ (The Apple Tree), the 12th of October. Since its initial release 2011 in Sweden, ‘Äppelträdet‘ have been a gem hard to find. When the album was first released it reignited and marked the start of the modern Swedish stoner scene. The record will be released through The Sign Records and comes available on CD and vinyl with world wide distribution.

Äppelträdet is available for pre-order HERE

Originally recorded in 2010, in Truckfighters’ Studio Bombshelter, the album will once again see the light of day this fall, when it returns as a 180g transparent green vinyl housed in a single sleeve cover with updated artwork. A CD version with the original artwork will also be available, both versions featuring the ten seeds that grow to be the Apple Tree.

Also emerging anew are Skraeckoedlan themselves. While still singing in their native tongue, telling stories about mythological beings and cosmic wonders, having just come out of hiatus the band recently made the transition from quartet to trio. The as of now three-piece shares the following words concerning the reprint:

“The reissue of Äppelträdet is, in a somewhat allegorical sense, a celebration of what has been and to a certain extent of what still is, but it also serves as a kind of bridge to what will be. These are our roots and they grow deep.”


Skraeckoedlan, Äppelträdet (2011/2018)

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