Nebula Drag Post “We All Want to Know” Video; New Album Ready for Release

Posted in Bootleg Theater on January 16th, 2019 by JJ Koczan

NEBULA DRAG

I don’t know anything about anything — pretty much ever — but I’m going to go out on a limb and assume that part of the delay in Nebula Drag releasing their next album despite it being done and all that is down to the fact that they’re looking for a label to release it. Now, I’ll say it again: I don’t know that. That’s speculation on my part. But it seems to me that if the San Diego three-piece — who’ll support YOB and Monolord in their hometown at Brick by Brick this coming April (event page here) — wanted to, they could probably just put the record out themselves. Just throw it out there and see how it shakes out. Clearly, they’re setting up a bit of more forward-looking promotion. And reasonably so, by the way. Following up on 2017’s Always Dying EP (review here), they give a more than solid showing in the new song “We all Want to Know” for which, as it happens, they have a new video playing below.

Fancy that.

However the forthcoming, yet-untitled long-player release might shake out, let’s consider the blend of crunch riffing and melody in “We All Want to Know” a statement from Nebula Drag. I haven’t heard the rest of the record, but it’s not hard to imagine the trio of guitarist/vocalist Corey Quintana, bassist Garrett Gallagher and drummer Stephen Varns are signaling an intention in this track toward blending psychedelia and noise rock in a way that their past releases touched on but is made all the more manifest through a spacious, broad production. Again, I’m assuming an awful lot in this post, but listening to the verse and the way the solo carries through starting a bit before the four-minute mark of “We all Want to Know,” it seems to me like Nebula Drag set their collective sight on a bigger sound overall, and I would expect what will eventually surround this single track to build on that impression. I could be way off, but I don’t think so.

Perhaps most importantly, and true to the title of the song itself, I want to know. As we dig into the prospects of what 2019 will bring in terms of releases and all that kind of New Year stuff, I wouldn’t be surprised to find Nebula Drag making something of a splash with their next record. They seem aligned toward the purpose, and the scope they take on in “We All Want to Know” only makes that plain to the listener willing to hear it.

Dig into the video below, and enjoy:

Nebula Drag, “We All Want to Know” official video

Our new album is finished & slated for release in 2019! Even though the album has not dropped yet, we are releasing our new video for the song — “We All Want to Know” — which is ready to pierce your ear holes and poke your retinas!

Nebula Drag is:
Corey Quintana – Guitar/Vocals
Stephen Varns – Drums
Garrett Gallagher – Bass

Nebula Drag on Bandcamp

Nebula Drag on Instagram

Nebula Drag on Thee Facebooks

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Glory in the Shadows Premiere “Babalon” Video; Self-Titled Debut EP out Jan. 25

Posted in Bootleg Theater on January 14th, 2019 by JJ Koczan

glory in the shadows

Glory in the Shadows seem to be immediately intent on realizing their name. The Portland, Oregon, trio is comprised of guitarist/vocalist Alyssa Maucere, also of Grigax, whose debut album, Life Eater (review here), came out in 2017, as well as Eight Bells as of the last year or so, guitarist/vocalist Taylor Robinson of Bastard Feast and Elitist, and drummer Chuck Watkins, whose CV includes responsibility for the lumber of Uzala and Graves at Sea, among others past and current. Between Maucere‘s experimentalism, Robinson‘s extremity and Watkins‘ plod, Glory in the Shadows clearly lack nothing for diversity of influence on their self-titled four-song debut EP, set to release Jan. 25.

Checking in at a densely-packed 25 minutes, it is an initial salvo that spans styles as one might hope while remaining consistently weighted in its atmosphere and tonal impact. With Maucere channeling her guitar through bass as well as guitar amps, there’s nothing missing from the low end, and the overarching sound is cavernous enough to convey the thematic intensity with which it’s working.

“Lyrically, it takes from [J. Robert] Oppenheimer’s obsession with the Bhagavad Gita, Dante’s Inferno, Book of Revelations interpreted by Aleister Crowley, and the invention of the nuclear bomb,” explains Maucere. Not exactly minor considerations for a 25-minute offering — seems more like three semesters’ worth, at least — but the theme feeds into the ambience across “Kurukshetra I,” “The Seventh Circle,” “Babalon” and “Kurukshetra II: Oppenheimer,” which gracefully meld a post-black metal sensibility with elements of drone and bleak, expansive psychedelia.

From “Kurukshetra I” onward, there’s an immediacy of expression that bleeds through the material whether or not a given part is loud, glory in the shadows glory in the shadowsand while drift is a factor as well, as at the end of the opener, or in the cosmic chants that emerge out of the screams in “The Seventh Circle,” and a swirling murk that seems to cast a pall over Maucere and Robinson‘s vocals. “Babalon,” at a little over four minutes, is the shortest track on Glory in the Shadows, and solidifies around a push of low-end wash and interplay between melody and harsher elements set to a rhythmic nod that holds sway for the duration. It would be undercutting it to call “Babalon” straightforward, but in terms of an initial demonstration, it shows clearly that the three-piece are working from more than one songwriting modus.

“‘I don’t want to play in another metal band,’ was the theme,” Maucere recalls. “I’m not sure if we strayed from our paths, or if we found another way to be heavy; it’s for others to decide. I do know it’s my favorite project to-date, and the fact that we live recorded in our studio, mixed it down ourselves, and managed a good master was amazing. This was my first time running that portion of the recording process, and I borrowed lot of influence from Steve Albini and Butch Vig.” That impulse toward live recording can be heard as “Kurukshetra II: Oppenheimer” blends cave growls and an encompassing surge of guitar tone drops to standalone growls from Robinson soon joined again by Maucere and the total slow-motion instrumental onslaught.

A more studio-type approach, working in layers, etc., would clean that up, and Glory in the Shadows may indeed get there, but they benefit aesthetically from the rawness of the sound and finish with a long stretch into noise and drone to once more highlight their will to use structure as a departure point rather than a cage for their craft.

Or, as Maucere puts it: “Musically… it’s just as strange and creepy. Not sure what to say about it otherwise.”

Fair enough, even if one might add “promising” as a third descriptor for the list.

One doesn’t imagine at all that Glory in the Shadows are settled completely into their sound on their first EP — nor should they be, frankly — but there is a clear will to defy expectation and genre in these four tracks, and that can only bode well as they move forward to whatever might be next.

If you’re sensitive to flashing lights, go warily into the premiere of the video for “Babalon” below, and otherwise, please enjoy:

Glory in the Shadows, “Babalon” official video premiere

Psychotropic Death Songs from the Profound Abyss

Digital release January 25th 2019 on Gloryintheshadows.bandcamp.com.

Also streaming on iTunes, Spotify, Amazon Music, Pandora, starting January 25th 2019.

Guitars/Vocals: Alyssa Maucere
Guitars/Vocals: Taylor Robinson
Drums: Chuck Watkins
Recorded/produced/mixed: Alyssa Maucere at Fremont St

Glory in the Shadows on Thee Facebooks

Glory in the Shadows on Instagram

Glory in the Shadows on Bandcamp

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Cloud Catcher Touring in March for The Whip EP Release; New Song Posted

Posted in Whathaveyou on January 14th, 2019 by JJ Koczan

cloud catcher

Denver power trio Cloud Catcher were initially tapped to open for High on Fire on that band’s Winter tour, but as those shows got canceled last week, the Colorado-based purveyors of headspinning riffage will instead play their first show of 2019 in March as the release gig for their upcoming EP, The Whip. 2018 was relatively quiet for Cloud Catcher as they toured with Crypt Trip and continued to support their 2017 sophomore full-length, Trails of Kozmic Dust (review here), which came out through Totem Cat Records, but it seems like they’re getting back down to it in 2019, and they’ve just given a first look at what’s in store with The Whip by unveiling the new song “Beneath the Steel.”

It’s a 4:45 thrust of embers burning and armor pierced by swords, which isn’t necessarily new ground for Cloud Catcher but still more toward a classic metal vibe than they’ve sometimes gone in the past. I wouldn’t necessarily speculate as to how “Beneath the Steel” speaks for The Whip as a whole — mostly because I haven’t heard the EP, but also because as their last album proved, they’re able to bring a number of different moods to fruition throughout a release. Cloud Catcher came out of Trails of Kozmic Dust with no shortage of momentum behind them, and if the tempo of “Beneath the Steel” is anything to go by, their interest lies solely in pushing themselves as far as they can go on any number of levels.

Art, tour dates and audio follow, as seen on the internet:

cloud catcher the whip ep

Cloud Catcher – Beneath the Steel

BENEATH THE STEEL NOW AVAILABLE FOR STREAMING ON OUR BANDCAMP… BANG YOUR HEAD INTO THE WEEKEND… THANKS FOR THE SUPPORT AND ENJOY!!

MIDWEST MARAUDERS TOUR 2019
3/09 Denver, CO Tooey’s Off Colfax (EP RELEASE)
3/25 Colorado Springs, CO Triple Nickel Tavern
3/26 Wichita, KS Barleycorns
3/27 Rock Island, IL RIBCO
3/28 Milwaukee, WI Cactus Club
3/29 Chicago, IL Subterranean Downstairs
3/30 Detroit, MI The Sanctuary
3/31 St. Louis, MO FUBAR
4/1 Kansas City, MO Riot Room

Rory Rummings – Guitar/Vocals
Scott Schulman – Bass
Jared Handman – Drums

https://cloud-catcher.bandcamp.com/
https://www.facebook.com/cloudcatcherco

Cloud Catcher, “Beneath the Steel”

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Dust Prophet Post Video for New Single “Revolutionary Suicide”

Posted in Whathaveyou on January 14th, 2019 by JJ Koczan

You had me at the bassline, which, since the bassline (plus some hi-hat) is the first thing you hear in the track means you pretty much had me immediately. New Hampshire newcomers Dust Prophet have made public their second single following up on this past Fall’s “The Big Lie” (posted here), and “Revolutionary Suicide” touches on cultish themes via lyrics delivered through catchy rhythm and rampant melody that seems only to indicate their readiness to take on a broader release, be it a debut EP or album. The production on “Revolutionary Suicide” is clean to a point almost asking for some muck for its doomly vibe to wallow in, but I wouldn’t hold a band being clear in their delivery against them, especially on a self-released single — let alone their second — and the song remains rooted in the quality of the band’s performance, which wants for nothing.

Likewise too their social media presence. They’re all over the place. I always have to admire that kind of thing, because I suck at it so very, very much — duh, here’s a picture of my baby; duh, here’s a review I posted; duh — but Dust Prophet have it down when it comes to engaging their audience, and as I think you can hear in the track below, that extends to their songwriting. Good to hit ’em on multiple levels.

Dig it:

dust prophet

Dust Prophet is proud to release: Revolutionary Suicide

We are very proud to bring you our newest single, Revolutionary Suicide. You have a few different options for listening and downloading it:

You can listen & download Revolutionary Suicide for FREE by one of the following options:

By using our Bandcamp page. In addition to downloading Revolutionary Suicide can also subscribe to our Bandcamp page and stay up-to-date on our new releases and newsworthy events.

(Although it’s a free download, you can choose to pay $1 or so if you want to support us by using the “Name Your Own Price” option).

You can also stream Revolutionary Suicide on our YouTube channel. You can access that by going HERE. Please “Like” the video and feel free to subscribe to our channel, as we’ll be adding much more content and music in the upcoming weeks.

Dust Prophet is:
Heather Lynn- Vocals.
Otto Kinzel- Guitar.
Sarah Wappler- Bass; Keyboards.
Marc Brennan- Drums.

https://www.facebook.com/dustprophet
https://www.instagram.com/dustprophet/
https://twitter.com/DustProphet
https://dustprophet.bandcamp.com/
https://dustprophet.com/

Dust Prophet, “Revolutionary Suicide” official video

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King Buffalo Announce East and West Coast Touring, Hint at More to Come

Posted in Whathaveyou on January 10th, 2019 by JJ Koczan

king buffalo (Photo by Mike Turzanski)

I know it’s a New Year and all, and hey, that’s nifty, but lest we forget that King Buffalo put out two of the finest releases of 2018 in the form of their Repeater EP (review here) and their second full-length, Longing to Be the Mountain (review here). One might want to keep this in mind when it comes to mapping out where you’re going to be the night King Buffalo hit your town.

You can apply whatever cliche you want about them hitting their stride or coming into their own sound, but the fact is that King Buffalo are quickly making themselves one of the US underground’s most crucial up and coming heavy bands, and it’s the kind of thing where you see them now and brag about it later. For years. If I need to say it outright, I will: You should find a show and go to it. It is not a thing you’ll regret.

They’re on the second pressing of the LP already. More info follows:

King Buffalo West Coast and East Coast Dates

We’re excited to be heading back out on the road for our Third and Fourth legs of the Longing To Be The Mountain Tour. We’ve received a lot of support for the new record and we can’t thank everyone enough. Please keep spreading the word! We’re amazed to hear how many people find out about us through word of mouth.

We have a lot of touring planned for 2019, so if these dates aren’t in your area, stay tuned. We look forward to seeing everyone soon.

The 2nd pressing of Longing To Be The Mountain is now available. Get a copy at kingbuffalo.bigcartel.com

JUST ANNOUNCED WEST AND EAST COAST 2019 TOUR DATES
Tickets on sale at 10am est on 1/11/19.

2/7 Ottawa, ON @ House of Targ
2/8 Montreal, QC @ L’Esco
2/9 Burlington, VT @ Higher Ground
2/22 New York, NY @ Mercury Lounge
2/23 Buffalo, NY @ Mohawk Place
3/14 Grand Rapids, MI @ Founders Brewing Co.
3/15 Chicago, IL @ The Hideout
3/16 Milwaukee, WI @ Cactus Club
3/17 Minneapolis, MN @ 7th Street Entry
3/20 Spokane, WA @ The Pin
3/21 Seattle, WA @ Barboza
3/22 Vancouver, BC @ Wise Hall
3/23 Portland, OR @ White Eagle Saloon
3/24 San Francisco, CA @ Café Du Nord
3/26 Los Angeles, CA @ Catch One
3/27 Phoenix, AZ @ Rebel Lounge
3/28 Las Vegas, NV @ Beauty Bar
3/29 Salt Lake City, UT @ The Loading Dock
3/30 Denver, CO @ Lost Lake Lounge
4/2 Kansas City, MO @ Riot Room
4/3 St Louis, MO @ Duck Room
4/4 Louisville, KY @ Zanzabar
4/5 Cincinnati, OH @ Motr Pub
4/6 Pittsburgh, PA @ Café Club
4/20 Toronto, ON @ Velvet Underground
4/26 Boston, MA @ Middle East Upstairs
5/4 Philadelphia, PA @ Kung Fu Necktie

Info & ticket links: http://kingbuffalo.com/

Lineup:
Sean McVay – vocals, guitar, synth
Dan Reynolds – bass, synth
Scott Donaldson – drums

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
twitter.com/kingbuffaloband
kingbuffalo.bandcamp.com

King Buffalo, Longing to be the Mountain (2018)

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Dorre Premiere “Extracted at the Moment of Death”; Fall River out Feb. 1

Posted in audiObelisk, Reviews on January 9th, 2019 by JJ Koczan

dorre

Belgian usually-instrumentalists Dorre are set to play a release show Jan. 30 for their debut album, Fall River, at Het Depot in Leuven. The official release date is Feb. 1, and a lot of what the record titled after the Massachusetts town where the Lizzie Borden murders took place has to offer you can hear immediately in the first 10 seconds of opener “Satisfying Sadistic Urges.” It begins with sharply-toned, intense fits of starts and stops, metallic in their aggression, but with a tonal presence that speaks to what’s to come as a heavy work all the same.

They’re quickly under way in “Satisfying Sadistic Urges” — which, somewhat amazingly, is not also the title of a Cannibal Corpse song — and they maintain the directed sensibility through about the first two minutes before breaking to silence and minimalist blues licks, then crash back in and make their way back from whence they came with surprising fluidity given how far out they go. The four-piece of guitarists Etherik Heyns and Adriaan De Raymaeker, bassist Andrew Hockley and drummer Wolf Overloop don’t shy away from the violence of their subject matter on the six-song/33-minute self-released outing, but neither are they neglecting a sense of atmosphere in order to convey the more physical side of the music. As they pull back on the tempo with “Force the Victims,” they’re finding a balance between the sides — the airy guitar lead atop the slamming march in the second half of “Force the Victims,” for example — and it’s in toying with that balance that Fall River makes its encouraging impression.

They cap side A with the more progressively-styled “Maximum State of Emotional Arousal,” which feels loosened up and boasts some subtle but choice snare from Overloop that carries the band from the early meanderings into a more fervent and insistent chug, some more winding and toward a particularly noisy wash of guitar soloing. As they began side A with “Satisfying Sadistic Urges” on high-go, they do the same via the two-minute “The Greatest Amount of Life Force” on side B, which stops just short of leading directly into dorre fall river“Extracted at the Moment of Death,” on which Dorre welcome vocalist Laura Donnelly of Edinburgh, Scotland’s King Witch.

If you’re going to have a guest vocalist, Donnelly is an absolute powerhouse, and she brings a classic metal declarative sense to “Extracted at the Moment of Death,” tapping into Sabbathian patterning with the same penchant for melodies she showed early last year on her own band’s debut, Under the Mountain (review here). As they approach the midsection, a layer of lead guitar smoothly makes its way in and adds flourish, then the band breaks into a quieter midsection, that warmer lead tone gradually emerging again before they charge back with the nodding riff and the band’s well-earned big finish. It’s worth pointing out how well Donnelly fits with Dorre. In some cases with instrumental bands bringing in a guest vocalist, there’s almost a sense of their doing it begrudgingly, and so it doesn’t always mesh, but Donnelly sounds equal parts natural and righteous on the seven-minute track, and one hopes it’s not the last time these two parties collaborate.

In part because the album is short, the closing title-track — which is also the longest at 7:33 — is inherently more than an afterthought after the surge of energy that is “Extracted at the Moment of Death,” and it ends Fall River with a suitably creeping, moody malevolence, finding its footing early in a mostly-linear build that plays out across its span until wind-ish swirling noise brings it to a conclusion. It will be interesting over time to hear if one side or the other in Dorre‘s sound wins out, but the way they draw from their influences across Fall River, their steadiness of theme and their efficient delivery all come together to make the release function as ably as it does. There may be growing still to do, but the band already have a clear sense of where they’re headed, and I wouldn’t be surprised either if they continued to find their way in darker storytelling.

It’s my pleasure today to host the premiere of “Extracted at the Moment of Death.” Obviously it’s something of a standout, being the only song with vocals, but I think it still represents the album well, and basically any chance you get to hear Donnelly sing, you should take it.

Some comment from the band follows the track below. Please enjoy:

Adriaan De Raymaeker on “Extracted at the Moment of Death”:

This one started out based on an older track that had started to grate on us, we completely reworked it keeping only parts of the riffs. We did a couple of preproductions of it and while listening all of us just thought “this needs vocals”. We had played some shows in the UK and Scotland, King Witch opened for us in London and I knew I wanted to do something with Laura [Donnelly], their vocalist, in the future as soon as I heard her sing. So we got in touch, sent her the best pre-production we had and told her to go to town on it, giving her only the basic background story of what we wanted to be portrayed in the song. She killed it from the get go. We recorded the instrumental in Belgium, which was pretty tricky, I slammed my guitar through an organ simulator pedal, we dropped cases of metal scrap on the floor for snare accents, all kinds of crazy stuff that you probably don’t really hear in the recordings but made us very happy. Laura recorded with her partner Jamie [Gilchrist] based on our ProTools session and again, killed it. It was a great experience and something we’ll definitely be doing again in the future!

I especially like the very funky, groovy middle part of the song instrumental wise, it’s so different from our other stuff and it breaks the song very nicely.

After a two year journey of writing, rewriting, sound-searching, recording and collaborating with profoundly talented artists and partners we can finally say it’s here. We are very proud to be able to present our upcoming full album: a dark and murky sensory undertaking, wandering through the alluring town of Fall River.

The album will be released on the 1st of February on high quality, 180gr vinyl. The first pressing will get a limited edition, consisting of 100 coloured albums, as well as 200 black slabs of wax.

Dorre on Thee Facebooks

Dorre Fall River release show event page

Dorre on Bandcamp

Dorre on Instagram

Dorre website

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The Heavy Co. Release Psychedelamigo Sessions Demo Collection

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

the heavy co

As will happen from time to time, every now and again a band kind of fizzles out with material that’s still in progress left unfinished. Indiana’s The Heavy Co. released their Uno Dose EP (review here) as their final offering in 2014 and had another demo session in the can, including a jam given the rather grim title of “Fuck Earth” which guitarist Ian Gerber highlights as a signal of where the band were headed. And fair enough. They were accomplished jammers during their time and well suited to that as a foundation of their material, but you know how these things go. As in, sometimes they don’t.

Thus Psychedelamigo Sessions arrives as a posthumous release, a kind of these-songs-are-here-might-as-well-do-something-with-them outing that, indeed, is better out there than not. Gerber, who offered the info below, doesn’t write off completely the notion of going back into the studio to finalize the material, but if he does or doesn’t, at least it’s documented as is.

They also still have a couple — four as of this post — tapes left of Uno Dose, which ruled, on their Bandcamp. If you’ve got eight bucks and room for a bit of groove in your life, you might consider it an investment.

Here’s the Psychedelamigo Sessions info, followed of course by the stream:

the heavy co psychedelamigo sessions

These recordings weren’t finished. I think they were done 2014. I was cleaning out my soundcloud and figured that at this point that it was fine to release these tracks as is. More of a relic showing how the band had progressed. I really liked Harry Lee and Smokey Little Number as songs. The fuck earth jam was definitely where the band was heading.

There is a very, very, very small chance that we will crack open the vaults to fix the mistakes. Therefore…here you go. This is the last material we worked on as The Heavy Co. Thanks for tuning in…

THC is:
Ian Gerber – Guitars/Vocals
Jeff Kaleth – Drums

Fuck Earth w/
Nicolae Ciobotaru – Drums
Michael Naish – Bass
Jeff Kaleth – Guitar
Ian Gerber – Guitar

https://www.facebook.com/theheavyco/
http://theheavycompany.bandcamp.com/

The Heavy Co., Psychedelamigo Sessions

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Deadpeach Celebrate 25th Anniversary; Release Waiting for Federico Acoustic Session

Posted in Whathaveyou on January 4th, 2019 by JJ Koczan

deadpeach first show

25 years is a long time to do just about anything, let alone be in a band. Kudos to Italy’s Deadpeach on making it past that mark, and as they go into their second quarter-century, they note the passage with the release of an acoustic session titled Waiting for Federico that finds them revisiting and rearranging old material, giving a different look at their past work while showing a bit of how far they’ve come since playing their first show in Dec. 1993. Not a bad run. Their last outing was the 2016 single “Magic Potion” (discussed here), while their last album was 2015’s Aurum (review here). I’m not sure if they have new material in the works or what, but Waiting for Federico should give listeners something to dig into while waiting for their next offering.

Downloads are available from Bandcamp and the cover art is awesome, as you can see below. Info follows here courtesy of the PR wire:

deadpeach waiting for federico

DEADPEACH – Waiting for Federico

The acoustic session, entitled “Waiting for Federico”; is a work in which Deadpeach play their repertoire in an unplugged key, as they had never done before, with unpublished arrangements.

The record contains seven songs from their repertoire: Orange Buzz, Silver House, Family and Lies, Cameriere, Le scarpe nuove, Traffic, Stars.

Tracklisting:
1. Family and lies 03:30
2. Silver house 03:17
3. Stars 03:55
4. Orange buzz 03:58
5. Cameriere 02:49
6. Le scarpe nuove 02:32
7. Traffic 06:27

Giovanni Giovannini: voice, acoustic guitar,echoplex.
Daniele Bartoli: acoustic guitar 6 and 12 strings, slide guitar, choirs.
Mr Steveman: bass, choirs.

Recorded and mixed between February and December 2018 at the Blueberry studio and the Deadpeach home studio.
Mix and Master: Alessandro Cenciarini (Blueberry)
Photographer cover: Gabriele Nastro (www.gabrielenastro.com)

25 years ago 31st of december 1993 the DEADPEACH played their first concert with Giovanni in the line up, and so the Lennon \ Mccartney era was born, the gig by the way was epic, classic rock n roll ending with Giovanni crashing into Giommi’s drumkit sending half of it across the stage.

https://www.facebook.com/Deadpeachrock
https://twitter.com/DEADPEACH_gio
https://deadpeach-rock.bandcamp.com/
http://www.deadpeach.com/

Deadpeach, Waiting for Federico (2018)

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