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GG Allin is (still) dead, so all we have left is noise rockers Cock ESP

What if I told you there was a 90s band still in operation who have one hundred albums out? I mean, none of them are even remotely listenable, but that’s still pretty impressive, isn’t it? It’s true. Not only that, but they’re also bloodthirsty maniacs, with a decades-long love-hate mostly hate) affair with their audience. Every live show from, say, 1995 onwards has been a chaotic display of grinding noise, cross-dressing, live sexacts, self-mutilation, fist-fights, erotic wrestling, eye-gouging, tooth extractions, and non-stop ecstatic dancing. And they only last three minutes. Their name is Cock ESP (really, what else could/would they be called?), and if they’re not your new favorite band, you must be some kinda fuckin’ dummy.

This shit is normal in Minnesota.

It’s obviously a long story, but the thumbnail version is that in 1993, Minneapolis power electronics noisemonger Emil Hagstrom teamed up with metal percussionist P.C. Hammeroids to form an even noisier metal percussion-slash-power electronics shithouse ball of hardcore lunacy. Insanely prolific from the beginning, the band released scores of records every year, many with humorous titles like Our Embarrassment Is Your Pleasure, Three and a Half Inches of Floppy Cock (released on a floppy disk, naturally), and Suicide Girls Has Ruined Porn For An Entire Generation. Most albums feature short bursts of harsh improvisational noise. Some feature slightly longer bursts of harsh industrial noise.Their most infamous release is 2000’s Monsters of Cock, a 5” vinyl single with 381 tracks on it, released simultaneously by a dozen different labels. Even five-second blasts of noise add up to a lot of work when you do it 381 different ways, man.

Hagstrom is the only original member of the band left, but he always manages to find a few new drifters, sociopaths or miscreants to keep things rolling. Cock ESP’s latest album, 2016’s Noise Bloopers, consists entirely of equipment malfunctions. For the past few years, the band has used wireless equipment on stage—they’re far less likely to accidentally hang themselves this way—but wireless noise boxes are constantly on the fritz, and even with a three-minute show they fuck everything up a lot. So they made a “worst of” album. It is completely indistinguishable from their other albums.

Cock rock for the now generation

Here’s the point: you are not as cutting edge as you’d like to be unless Emil Hagstrom has broken your nose at a gig or you own at least 38 Cock ESP albums (not 37, poser!). For better or for worse, they are as far out as you can possibly get. I mean it’s almost definitely for worse, arguably much worse, but GG Allin is still dead, so this is all we have left.

Watch these lunatics in action after the jump…

Posted by Ken McIntyre | Leave a comment
When the Pentagon tried to make bombs that screamed like people to freak out our enemies
08:22 am



In an effort to weaponize the psychological effect of terrifying sounds to break the morale of our enemies, the Air Force began work, in 1964, on “Pyrotechnic Harassment Devices,” or PHDs.

It has been scientifically proven that human screams contain unique acoustic properties that are highly effective in triggering the brain’s fear center, and the Pentagon wanted some of that ju-ju.

Essentially the PHDs were bombs that would create the sound of horrific human screams in an effort to scare the hell out of our foes. The idea being that if you can break the mind of your enemy, you can break him in battle. One imagines the unnerving effect of hundreds of screams on the front-lines would be similar to that of the infamous Aztec Death Whistle.

Joseph Trevithick, writing at the fantastic military blog, War is Boring, details the the idea behind the weapon:

“This device is an air deliverable unit that generates noise over a six hour period to harass, by generally upsetting enemy troops and thus lowering their efficiency for fighting,” technicians at the Air Force Armament Laboratory explained in their final report. “By dropping a number of units around an enemy group under attack, the PHD may cause general confusion.”

The Air Force hired a company called Special Devices, Inc. to build the prototypes. At first, the flying branch hoped that the pods would boom, bellow and shriek out gunshots, human and animal screeching sounds and the clanging of industrial machinery. Engineers recorded a host of specific samples to analyze, such as people firing .30- and .45-caliber guns and male and female screams.

The recordings also included a “neutral scream” consisting of a mix of the male and female versions and the cries of elephants and panthers, according to the official report. But after experimenting with a variety of mechanisms, Special Devices could only build pods that spewed out shots, whistles, whines and other white noise.

Ultimately the devices were not deemed practical: “There appears to be no way to make a pyrotechnic scream simulator with satisfactory characteristics for the PHD unit,” lamented the engineers. The idea of a “scream bomb” was looking less and less plausible.

Unable to come up with a practical scream generator, speaker boxes were built that could broadcast any recorded sound. Cargo planes were to drop these “screeming meemies” into enemy territory as a sonic disruption.

The box-shaped Screaming Meemie consisted of five major components. The primary element was the siren, which generated what was described as a “warbling tone,” plus four loudspeakers—one for each side of the box.

The siren could be set to function continuously or intermittently. The battery could keep it running for 12 hours.

There was a self-destruct and booby-trap function. The 25-pound high-explosive charge would detonate if someone pushed the device over or tried to open it, or if the battery dropped below a certain level.


The guts of the Screeming Meemie. Visible is (1) the audio system, (2) the dummy high explosive charge, (3) the battery pack, and (4) aluminum cushion. Air Force photo
It seems the military had switched gears from scaring the enemy to death with blood-curdling screams, to annoying them to death with a “warbling tone.” Ultimately, these tests were also ineffective, and the Screaming Meemie project was abandoned in 1967 when the Air Force cancelled its requirement for a “noise-making weapon for psychological warfare.”

A Screaming Meemie in position to be dropped from a C-47. The black arrow points to where the static line connects to the aircraft. Air Force photo
Still, the idea of using noise to disrupt the enemy had not been totally abandoned. Military troops have famously used blasts of loud noise and music against Manuel Noriega and David Koresh. Recently the band Skinny Puppy made headlines with a lawsuit against the US Government for using its music as psychological warfare “torture music” against the detainees at Guantanamo Bay.

Perhaps there’s still room for research and development on a bomb that screams at the enemy…

or perhaps one that blasts dubstep…

Just wait for the drop.

Via: War Is Boring 

Posted by Christopher Bickel | Leave a comment
Weird Woman: Hear a one-year-old’s industrial noise record
08:29 am


Weird Woman

People are always asking me what the fresh, new sounds of today are. Friend, sounds just don’t come any fresher or newer than the ones you’ll find on Weird Woman’s debut release, The More I See. Recorded live in the studio (“Overdubs are for babies”) by the one-year-old experimental musician Caterpillar Lemonade, these bracing electroacoustic compositions borrow from dub, industrial and musique concrète to create an ominous mood, particularly on the second track, “You Will Never Sleep Again.” An empty threat? Go ahead and listen to it, tough guy, and we’ll see. Just remember that you can never unhear it.

I’m sure she’s already tired of journalists comparing her work to her father’s, but Caterpillar Lemonade is the daughter of Josh Taylor from the legendary Friends Forever (not to be confused with the all-female outfit, Josh Taylor’s Friends Forever). For analog purists, the NGWTT (Nothing Gets Worse Than This) label has The More I See on cassette; for everyone else, there are free MP3 and FLAC files at Weird Woman’s Bandcamp page. You know what they say: the first one’s free…

Coming soon: Keyboard Cat covers Whitehouse!

Posted by Oliver Hall | Leave a comment
Rod McKuen’s noise album, ‘Music to Freak Your Friends and Break Your Lease’
10:31 am


Rod McKuen

When you hear the name Rod McKuen, you’re more likely to think of “Listen to the Warm” than of challenging avant-garde compositions. But in 1974, under the pseudonym Heins Hoffman-Richter, McKuen released the forbidding “Symphony for Tape Delay, IBM Instruction Manual, & Ohm Septet” on his massively successful Stanyan label, which Billboard had called “one of the biggest music mail order houses in the world” the year before.

It doesn’t sound like Lou Reed’s Metal Machine Music (what does?), but there are undeniable similarities. Both albums were released in quad, adorned with classical pretensions, gag liner notes and technical jargon. Reed listed intimidating “specifications” on the back of his noise record (“Distortion 0.02 bass and treble ceilings”); McKuen reproduced a schematic diagram labeled in German:

The liner notes, by Rod McKuen Enterprises/Stanyan Records employee Richard Oliver, told the preposterous story of Hoffman-Richter and his discovery of electronic sound:

One day not too long ago, but then again not recently, recognized raconteur, genius, composer, musicologist conductor Heins Hoffman-Richter was spending a quiet evening in his flat in Cherbourg, south of Paris. He often went there to escape the tensions of metropolitan existence although it necessitated a good many umbrellas. During these sojourns his only companion was the music he loved so well, particularly the work of Brahms. (That man did know how to soothe!)

As he gazed out the window at the gently falling rain and thought of Catherine Deneuve singing her heart out and reeking of expensive perfume, a flash of lightning whisked across the black night sky. The room was lit with a blinding burst of bright light and Brahms went berserk. Suddenly the soothing concerto turned into a maze of electronic sounds emanating from the surrounding speakers.

At first Hoffman-Richter was frightened by this celestial phenomenon, no doubt thinking it was some terrible world holocaust. Suddenly Hoffman-Richter gasped, “egads!” On second thought, the sounds seemed to make sense and what was more amazing, once the storm subsided they continued despite the fact the recording was by a well-known symphony orchestra!

Was this some sort of message? Had Hoffman-Richter finally been given a sign as to the path of his existence? There was no other explanation as deeply metaphysical questions hurled themselves into his tortured inner self. Fascinated with this electronic magnificence he began coding the various movements at a furious pace. Laughter burst through the air as he understood the humor of a passage, then within moments tears would flow. He remembered the kindly old professor (now dead) from his days as an eager young student at the Berlin Conservatory of Music. He remembered the quivering old man’s attempts to direct him, all the time knowing he possessed a bottomless well of creativity that must be unleashed or tragedy would wave its ugly wand.

As the Cherbourg sky cleared, Heins Hoffman-Richter walked out of his flat never to return. He wandered through the glistening streets to the train station, boarded the Orient Express, brushed past internationally renown[ed] spies, paid little heed of the intrigue, bid a final farewell to his romantic thoughts of Catherine and Cherbourg and began his odyssey.

Soon the face of Hoffman-Richter became familiar as he haunted the most advanced electronic labs in Germany, Austria, England, Japan, Turkey, and Tazmania [sic]. Resistors, capacitors, connectors, excitors!!! They all added up to a tremendous and life-fulfilling experience. A euphoria rarely experienced by man, of this he was sure. He shrieked with delight and ignored the fact that many thought he had gone mad. He literally did cart wheels through mazes of electronic apparati upon completion of his composition “Gidget Gets In Trouble” and suffered complete emotional exhaustion after wiring up “Milkshake.” The height of ecstacy [sic] was shattering following his coding of “This Is My Beloved’s Chamber” and “Send Out The Clowns,” “Let the doubters scoff,” he thought, “little do they know of true passion and dedication. Little do they know of the power of electronic music and its ability to stimulate and freak out the weariest and wornest of hep cats!” Heins Hoffman-Richter had found the true meaning and reason for his existence.

When premiered at a lower off-Soho nightclub, the majority of the audience fled, trampling each other as they raced out into the London fog. Bothered bobbies took a look inside, but quickly withdrew. Only a few junkies stayed behind and really appreciated the initial performance. Staunch in his beliefs, Hoffman-Richter was not dismayed and knew that Royal Albert Hall and Carnegie Hall would be shockingly alive with his debut someday.

Alas, he never personally witnessed that day for he died from an ear lobe tumor. However, we too believe in the love and dedication of this man toward the advancement of finer music. It is indeed an honor to present this outstanding collection of his works. It’s wonderful that we were able to locate and reproduce these tapes so the world could finally pay homage to this remarkable talented and dedicated man. Heins Hoffman-Richter has finally achieved his goal.

The clip embedded below is a four-and-a-half-minute excerpt from Music to Freak Your Friends and Break Your Lease. The original LP is quite scarce and goes for about $200 on Discogs. If you really must hear the whole thing, the Creel Pone label has it on CD-R for $10.

Posted by Oliver Hall | Leave a comment
Holland’s Roadburn: a very different kind of festival

So Coachella is happening. Everyone with even a passing interest in live music knows this (and most likely from the holographic Tupac performance that has become quite the meme already.) And yeah, Coachella looks cool and all, but what if that’s not your kind of thing? What if you want music that’s a bit darker, a lot heavier, basically more extreme? Well, while you are definitely in the minority there, don’t worry because you are not alone.

Happening over the same weekend as the first part of Coachella, but thousands of miles away (both literally and metaphorically) Holland’s annual Roadburn Festival is a celebration of all things doom, drone, experimental, noisy and heavy. This years festival saw performances from Michael Gira, OM, Voivod, Doom, Sleep, Kong, Yob, GNOD, Bongripper, The Obsessed, Jucifer, Black Cobra, Urfaust, Electric Orange and the very fun-sounding Mount Fuji Doomjazz Corporation.

Roadburn takes place over four days in the Dutch town of Tilburg, and has been steadily attracting a growing fan base over the last few years, enough to start its own record label (affiliated with Burning World Records.) Next year’s headliners have already been confirmed, and it will be industiral legends Godflesh performing their classic album Pure in its entirety.

Here’s a statement taken from the Roadburn website (which also features details on travel and booking tickets):

Holland’s very own Roadburn Festival has become Europe’s leading underground festival for psychedelic, avant-garde, doom or any other variation of leftfield sonic pleasures that push the boundaries of music.

Originally a spin-off of the Roadburn website, the Roadburn Festival has emerged as an event in its own right. It brings together bands, fans & media from around the world. Despite it’s international acclaim, Roadburn Festival retains an underground vibe and ethics, but with seriously big-league production values.

In addition to the music, Roadburn has earned a reputation as having a unique camaraderie between the festivalgoers, bands, organizers and staff, and ranks as one of the best and most laid-back festivals to be experienced. It is one of the festival’s primary goals to make the Roadburn experience second to none, not only for the fans but for the artists as well.

Check out the Roadburn website too for video and audio streams of past performances, and details on travel and tickets.

And while, ok, an extreme music festival is definitely not going to be to everyone’s taste (I think I’d have trouble listening to non-stop doom and drone for four days solid), it warms the cockles of the heart to know that something like this exists. Or maybe chills the cockles would be a better phrase?

Super 208 Productions have uploaded a series of video reports on the festival, one for each of its four days. Here’s part one, featuring music from Aggaloch, Michael Gira, OM,  Red Fang, and Voivod:

After the jump, Roadburn video reports parts 2-4 featuring live music from Sleep, Celestial Season, Bongripper, Purson, Kong, Valiant Thorr, Barn Owl, GNOD, Wino & Conny Ochs, Nachtmystium, Urfaust, Black Cobra, more Voivod and many more…

Posted by Niall O'Conghaile | Leave a comment
The Flaming Lips meet Lightning Bolt (in space)

This is one for the noise cognoscenti out there. Two of the best modern rock bands in America come together for a collaboration (full title: The Flaming Lips With Lightning Bolt EP) and the results are pretty unusual - though not necessarily more than you’d expect. ‘Cos let’s face it, it’s highly unlikely that the genesis of this project was a desire to push either of these acts further up the charts. I’d like to think it had more to do with a shared love of acid-burnt neon psychedelia.

The clue may be in the song titles. “I’m Working At Nasa On Acid” and “I Want To Get High But I Don’t Want Brain Damage” are the first two tracks and the Flaming Lips’ main contributions, being the kind of bass driven psych-garage we’ve come to expect, but now with a whole extra layer of fuzzy noise on top. The remaining two tracks are reworks of the first two by Lightning Bolt, which feature even more noise and, of course, the furious drum chops of Brain Chippendale. These reworkings are called “NASA’s Final Acid Bath” and “I Want To Get Damaged But I Won’t Say Hi”.

The EP has been released on 12” mixed-color vinyl (some copies feature translucent vinyl mixed with black) but because of its limited nature was only shipped to some shops a few weeks ago. It’s likely to have completely sold out. If you really want one, I say get in touch with your local decent independent record store and ask if they can get it - failing that it has already turned up for sale on eBay. In the meantime though, here is the lead video introduced by Wayne Coyne, and the other 3 tracks:
The Flaming Lips and Lightning Bolt - “I Want To get High But I Don’t Want Brain Damage”

The Flaming Lips and Lightning Bolt - “I’m Working At NASA On Acid”

Lightning Bolt and The Flaming Lips - “NASA’s Final Acid Bath”

Lightning Bolt and The Flaming Lips - “I Want To Get Damaged But I Won’t Say Hi”


Posted by Niall O'Conghaile | Leave a comment
Guest Editorial: Enter The Witch House

Bram E. Gieben (aka Texture) is the editor of the Edinburgh-based fiction/non-fiction website Weaponizer, and also co-founder of the net label Black Lantern Music. I asked him to write DM a primer on the genre “witch house”:

The Niallist (aka Niall O’Conghaile) asked me to write something about witch house, summing it up, providing a genre overview, and talking about some of the artists I’ve discovered over the last year or so. The problem is witch house is nothing like a traditional genre. It is not defined by a tempo, a style of production, a specific group of artists, a region or country or city, or any of the things one could use to pigeonhole, say, shoegaze, dubstep or hip-hop. Even the pool of influences from which it draws are so diverse as to stagger the mind of even the most ardent avant garde completist: witch house can (and does) sound like everything from experimental noise and drone to EBM and darkwave and aggrotech, from hip-hop to punk rock and black metal, often all at the same time.

Witch house is perhaps the first anti-genre, in that it has always actively resisted not just definition, but also detection. Much mockery has been made of artists spelling their band names with strange typographic symbols, but in the early days of witch house this had a specific intent: namely to create a ‘lexical darknet’ (to quote Warren Ellis, the comics writer and novelist whose blog posts led me to my first discoveries in the field), whereby fans had to use the specific symbols in the band names to locate their music online.

Witch house has incubated and mutated on free music sharing platforms such as Soundcloud and Bandcamp, and survives and breeds on private forums like, and on invite-only Facebook groups like Witchbook and Dior Nights, which use Facebook to run miniature secret societies and covens. These technologies (or services, however you want to define them) are core to the distribution of the music, but equally important have been the Tumblr and Vimeo platforms. The cut-and-paste ethos behind many witch house projects extends to their visuals, and the gifs, music videos and photo collages that populate artists’ feeds and channels are as much a part of the aesthetic of witch house as the music is.

The equal importance of visual and audio material helps us get closer to a definition of witch house: it is a mood or a feeling, the kind of atmosphere generated by the seminal Goblin’s soundtrack for ‘Suspiria,’ the creeping, schizophrenic suspense of the Laura Palmer mystery, or the Red Room at the heart of Twin Peaks, the final twenty minutes of The Wicker Man, or a basement rave in the house at the end of The Blair Witch Project. In repose, it generates an aura of ritual, darkness and suspense. In motion, it combines the glamour of fetish clubs and serial murder and hard drugs into an amoral dystopia of sound and vision.

Excited yet? You should be. Witch house is almost completely free from the constraints of mainstream hype - aside perhaps from the majestic witch pop of S4LEM, the mysterious feedback glyphs of WU LYF, and the luxurious electronic experimentation of Balam Acab, the three artists closest to crossing over into mainstream consciousness.

After the jump, the bands including Gummy Bear, Ritualz, Skeleton Kids, Fostercare, Gvcci Hvcci, Mater Suspiria Vision, oOoOO and many, many more.

Posted by Niall O'Conghaile | Leave a comment
Wishing the happy couple all the best with Ultimate Thrush
09:14 am


Ultimate Thrush

It would be silly of me to introduce Divorce to a brand new audience, I feel, without also pointing people in the direction of the other relatively new Glasgow band that absolutely slays (in a punk fashion) - Ultimate Thrush. Being the day that’s in it, this can act as another special dedication to Kate and Harry. Perhaps this is a suitable soundtrack to the conjugal rituals that will take place in Buckingham Palace tonight?

Ultimate Thrush come from the same Glasgow School Of Art-influenced noise/d.i.y. nexus as Divorce, but have a very different approach. Comprising just one guitarist, one drummer and a lead screamer, they too make one hell of a racket but this time sound like a more math-rock take on the better bits of the Jesus Lizard. It should be noted that the drummer and guitarist are brothers, and are both incredibly good and incredibly tight.

Another band who have a dedicated mosh-pit following, Ultimate Thrush usually take to the stage dressed only in white sheets, and have been known to crucify their fans for the benefit of spectacle. Their stated aim on forming was to piss people off, but this backfired majorly as they are now one of the most popular live acts in the city. They have toured the UK and released a split tape with Divorce on Milk/Winning Sperm Party, and their debut 10 track EP on Winning Sperm Party is one of the best rock releases I have heard in the last 5 years. If you like punk/noise/thrash/Black Flag/Melvins/Sonic Youth I really can’t recommend it highly enough. As a taster, check out these two rehearsal clips:


You can listen to and download (for free) the debut Ultimate Thrush EP from Winning Sperm Party. If you want to hear more, I guess you could go to their MySpace.


Posted by Niall O'Conghaile | Leave a comment
Screw the Royal Wedding - listen to Divorce instead
08:32 am


alt rock

What a beautiful day. The sun us shining, birds are singing in the trees, flags are fluttering in the breeze. It is, indeed, a nice day for a white wedding. And down in old London town, ancient rites of passage are being replayed as we, the British Nation, stand as one in mind, body and spirit to salute the dawning of a new era, the start of a new chapter in how we the common people are governed over by ancient power elites. 

As the future king takes his bride-to-very-shortly-be up the aisle, I too would like to do my small (but perhaps significant) part in helping write this page of history. Tonight I shall be dressing as a priest and singing “Gett Off” at a gypsy wedding reception in Salford, but until then I will turning the volume up, banging my head, and revelling in the girl-powered noise glory of Glasgow’s Divorce.

Inspired to form at a gig by modern noise legends Aids Wolf, Divorce launched in 2008 with a core ratio of four girls to one boy, and a run of chaotic but highly energised gigs around the city. The mosh-pits they inspire are instantaneous and legendary, with as many women being thrashed about as men. The group released their first (self-titled) 10” single on the Optimo label in 2009, to considerable acclaim, and have gone on to release split singles with Comanechi and Ultimate Thrush. A full album was recorded and mixed for release in 2010, but was put on indefinite hold after the departure of the singer Sinéad and guitarist Hillary.

While this may seem like a career-ender for anyone less committed, Divorce have taken it in their stride, moved on and hired a new singer called Jennifer. There have been some new demos floating around on the net of this new line up (that sound great) and having seen Divorce mark II play I can confirm that they have lost none of their energy and connection with the crowd. Now, if only they can get their fingers out and finish another album, then we’d really have an excuse for the country to take a day off work, get blind drunk, and beat up anybody perceived to be even slightly different.

Divorce - “Amuse Bouche”

Divorce - “Pipe Down”

Divorce (mark II) - “Love Attack”

For more information on Divorce, visit the Divorce blog, or if you are really desperate, here is their Myspace. The “Divorce” 10” on Optimo Music is available to buy here.

Divorce play live in Glasgow tonight, as part of Optimo’s “TIl Death Do Us Part(y).”

Posted by Niall O'Conghaile | Leave a comment
Inside the home studio of Chris & Cosey with Electric Independence

A new episode of Electric Independence has gone online at, and it features an excellent interview with Chris Carter and Cosey Fanni Tutti (aka Carter-Tutti/Chris & Cosey) seminal electronic musicians and one half of Throbbing Gristle.  We find out how the couple met, how they were introduced to electronic music and their life in (and after) Throbbing Gristle. Gear heads are also in for a treat as the duo talk about the synths and equipment they use and have used, including some rare home made synths by Carter. It’s also heartening to see them keeping bang up to date with technology, including the use of Kaoss pads and BC8 synths, and recording their music with Ableton Live on a MacBook.

Previously on DM:
Happy Birthday Chris Carter: ‘The Spaces Between’ LP re-issue

Posted by Niall O'Conghaile | Leave a comment
Collapsing and building: Blixa Bargeld documentary and “bloopers”

Few artists personify the spirit of demoralized post-‘60s Europe like Blixa Bargeld, the frontman for legendary German post-industrial music outfit Einstürzende Neubauten. Born in Berlin two years before the Wall went up, Bargeld leveraged his destroyed looks and singular voice—which Nick Cave likened to the sound of strangled cats or dying children—to make Neubauten the key progenitors of Western machine-age art.

As brought to our attention by TwentyFourBit‘s esteemed Peter Henry Reed (and fortunately for us English-speaking-only dopes), YouTuber Nevaree has seen fit to add English subtitles to Birgit Herdlitschke’s fascinating 2008 Blixa doc, Mein Leben. It traces Bargeld’s journey from young, torn-up Berlin musician to cosmopolitan middle-aged avant-garde artiste, actor, and gourmet, and features both answers to the heroin question and a visit with his charming mutti.

Mein Leben part 2 | Mein Leben part 3 | Mein Leben part 4
After the jump: Blixa grimaces at Neubauten live mistakes…

Posted by Ron Nachmann | Leave a comment