All posts for the month April, 2020

This news story was originally published here:

In this update we feature:

• Neil Campbell – The Forest Dwellers [EP]
• Vasudeva – Generator
• LionTortoise – Photosynthesis [EP]
• Plastic Noose – PN50
• Widmer-Stauss – Duos
• Markus Stauss – 5 Compositions 2017-19 & Neolithic Surprise

Neil Campbell – The Forest Dwellers [EP]
Bob Mulvey
Neil Campbell – The Forest Dwellers [EP]

Neil Campbell’s first ‘solo’ musical offering since the somewhat prophetic trilogy of releases, The Outsider – News from Nowhere, After The Flood and Last Year’s News, released between 2018 and 2019, which aimed to explore “…the idea of how the world might be re-organised more equitably and ethically following some kind of large man-made catastrophe or natural disaster…”. Food for thought? Despite the ominous premise of those releases, the music remained uplifting and with an air of optimism.

Similarly this latest offering from composer and multi-instrumentalist Neil Campbell, released on the 1st April 2020, is guaranteed to brighten up the gloomiest of days. The Forest Dwellers EP features four superbly crafted acoustic tunes. Bright, breezy and surely a brief respite to the woes of the current lockdown – and if that isn’t enough Neil has generously offered the EP as a free download (or should you feel generous, “name your price”).

Those familiar with Neil Campbell’s discography – enjoy! For those who have evaded his twenty plus releases so far, then The Forest Dwellers offers a brief snapshot of what you might expect to find, albeit the tip of the iceberg. Neil’s fluid guitar work is evident from the outset as we set off, at First Light, on this brief rural journey; shades of Gordon Giltrap in the lively Morning Dance; If, a more reflective moment; whilst the redolent Acorns concludes the EP eloquently.

The Forest Dwellers by Neil Campbell

Vasudeva – Generator
Bob Mulvey
Vasudeva – Generator

New Jersey trio Vasudeva released their third full-length album on 10th April 2020, around the time planet E was gripped in the midst of a global pandemic. Talk about bad luck, although in some respects Vasudeva had, at least, the benefit of a captive audience 😉 – just a shame that much of the focus was concentrated elsewhere.

In truthfulness the info on this new release had sat in my Inbox for quite some time, finally and what sparked an interest in Vasudeva’s third full-length album, Generator, was getting around to clicking on the link to the band’s Yamaha video/single (sent by Prescription PR). Immediately uplifting and vibrant, Yamaha is complex, but still rests easy on the ears, a vibe the guys manage to maintain across the entire album. Vasudeva’s busy and bustling rhythm section allows the music and specifically the guitars, to weave an intricate whilst enjoyable sound.

A quick dig into Vasudeva’s biography reveals a common liking for a few bands that I’ve stumbled across and enjoyed in recent times – LITE, CHON, tide/edit, so logical that Vasudeva might tick similar boxes. The band seem to be loosely tagged as post-rock, whatever that means, or implies, although I have to say in recent times an increasingly plentiful source of great music.

Track of the week goes to – watch the video…

LionTortoise – Photosynthesis
Bob Mulvey
LionTortoise – Photosynthesis [EP]

Bloody marvellous!

What? Who?

Denver based, instrumental quartet LionTortoise who released their debut EP, Photosynthesis, in January this year and according to their Bandcamp bio, “brings musical influences from progressive metal, jazz, and post-rock to create a tasteful listening experience.” Two of the three pointers are familiar to me and I’m slowly getting my head around this post-rock tag. Multi-textured and experimental by nature, complex, but not overtly so, whilst paying homage to past traditions.

And if I’m right the LionTortoise’s V3 is a prime example. From the opening choppy rhythm, the band immediately establish a groove and then quickly introduce a catchy themic melody. Mid point there’s a change in dynamic, which gradually and rather sweetly returns us to the start.

The title track follows a similar route, with its solid rhythm, quirky punctuation, instrumental hooks, whilst the middle section here is a time get the complex box open. Lighthead looks to add a further dynamic with a massive slow burning crescendo. As this is and ADA, I’ll draw to a conclusion and simply say there’s much to discover on this EP.

Jostling with Vasudeva’s Yamaha from pole position, LionTortoise’s V3 is my track of the week…

Plastic Noose – PN50
Bob Mulvey
Plastic Noose – PN50

Like so many self-employed musicians, Alan Emslie finds himself unable to undertake any live performance or studio work during the current lockdown. So as not to remain idle, he has concentrated his efforts on the release of PN50, which brings together remixed versions of selected tracks from all four Plastic Noose albums – a kind of “best of” if you will. However, mindful that many will be struggling financially and splashing out on new music, not a priority, he has made the album free to download during the latter part of April and throughout May 2020.

Plastic Noose reflects the darker, industrial and heavier side of Alan Emslie’s output – packed with raw, bludgeoning venom, grinding detuned riffs, but combined with a crafted mix of electronica, prog, classical, avant-garde and subtle ambient textures. Curious? Take a listen to the Snowman video linked below.

On the surface, and if you only wade into this album with brief, cursory “clicks” of the tracks, then you are NOT going to get the music. PN50, as with all of the Plastic Noose catalogue, gradually reveals itself the more you immerse yourself in to it. It’s not an easy listen, well life’s not easy, as we have all recently discovered, however once you embrace it, it soon starts to unearth hidden rewards.

For those who fully embrace those areas of black metal, industrial metal then tread without hesitation, however those not so sure what PN50 might hold for them, can I suggest a listen to Suicidal Crisis. Sounds cheery I know, however this slow burning, sixteen minute epic is truly inspired and features regularly on my “end of day” chillout time…

Widmer-Stauss – Duos
Bob Mulvey
Widmer-Stauss – Duos

Duos is the latest collaboration between Swiss musicians Markus Stauss (tenor, soprano saxophones & flute) and Jacques Widmer (drums & percussion) and continues their fruitful partnership, which stretches back to the early 80s. This latest release, as the title implies, features a our two instrumentalists performing a free form, experimental jazz adventure. That said it simply isn’t possible to summarize the music here.

So… if you look at the album work, what do you see?

Let’s subtract the artist and title. First glance – red and blue squiggles on a yellow background? A couple of seconds later – smiley faces, oh and drum and cymbals. Now I see saxophone keys on a lever system, or are they from a flute?

So is there a point to this I hear you ask. Well on the surface Duos may well come across as a cacophonous and incohesive noise, however the longer and deeper you listen, the more there is to discover. As to whether or not what you unearth will appeal is another matter.

Not the easiest of listens, but…

Markus Stauss – 5 Compositions 2017-19 & Neolithic Surprise
Bob Mulvey
Markus Stauss – 5 Compositions 2017-19 & Neolithic Surprise

Arriving with the Duos album was the 5 Compositions 2017-19 & Neolithic Surprise CD, also released in 2019 and from the Markus Stauss stable. 5 Compositions… can be split into two distinct parts. Tracks one to five are studio recorded, ensemble tracks, with Markus (saxes), Richard Koch (trumpet), Damien Campion (bass) and Rémy Sträuli (drums). The remaining seventeen tracks that comprise 5 Compositions 2017-19 & Neolithic Surprise date back to 2004 and features Markus on bass saxophone, percussion and electronics loops.

Recorded over a two day period in Basel, 5 Compositions…, captures the four musicians feeding off each other in varied set. Highlights include the fiery a september tune, with Campion and Sträuli laying down pulsating and ever undulating backdrop, allowing Messrs Stauss and Koch to fuse or stretch out as takes their fancy. a symmetrical scale on the other hand is more reflective piece and a fitting conclusion to part one of the CD.

As mentioned above “part two”, Neolithic Surprise, is an older recording made up from a collection of pieces ranging in duration from a few seconds to a couple of minutes. With a couple of notable exceptions – Improvisation B1 and for Jean – this latter section is either contemplative, provocative and enlightening, at one end of the spectrum, and/or a series of clanking percussion, miscellaneous squawks & squeaks, and electronic tomfoolery, at the other.

No audio or video available

This week on Prog-Watch my special guest is Nick Magnus! Nick is perhaps best known as a long-time collaborator and bandmate of Steve Hackett, but has an interesting history and six solo albums to his name! Nick and I chat about everything from his early days with the Enid and Autumn, through the “Hackett Years”, and up to the present, with the release of his latest solo album Catharsis! Along the way I will of course be spinning lots of great Magnus music!

717: In Conversation with Nick Magnus


Proving that prog isn't just for dinosaurs!

I’m delighted to announce that the podcast for edition 338 of Live From Progzilla Towers is now available.

In this edition we heard the following music:

  • Jethro Tull – Living In The Past
  • Three Colours Dark – Monster
  • Arjen Lucassen – Bus Stop
  • DeeExpus – Bridges
  • Eivør – True Love
  • Haken – Prosthetic
  • I Am The Manic Whale – The Deplorable Word
  • Itziar – Ameskoi
  • Max Webster – Beyond The Moon
  • Jónsi – Exhale
  • Jukka Tolonen – Ramblin
  • Satorinaut – Hyperyaya
  • Motorpsycho – Lux Aeterna
  • Orbital – There Will Come A Time
  • Popol Vuh – King Minos
  • Renaissance – Trip To The Fair
  • Van Der Graaf Generator – Killer
  • Sally Oldfield – Water Bearer & Songs Of The Quendi
  • Sand – A Pill To Keep The Plane From Crashing
  • Kamasi Washington – Final Thought

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to:


This news story was originally published here:

If you google Echorec, apparently it’s some kind of guitar effect pedal. Well, it could have been worse, they could have called themselves Wah Wah. Anyway, this Echorec are a young trio from the West Country, and The Island is their debut album, and quite a precocious beast it is too. I’m always slightly suspicious of the dreaded concept album. Some are classics, and others are, well, best forgotten shall we say? It would be a great pity if this release was overlooked because it is a very accomplished album from a promising band.

The storyline documents the voyage of self-discovery of a teenage girl from a broken family, and I have to say that it is a moving tale both lyrically and musically. There are loads of memorable hooks, some lovely melodies and great musicianship. Even the shorter songs, like Darling, I has so many ideas crammed in it brims with interest. Julian Kirk plays both keys and guitar, so the band rarely sound like a trio, and his laconic drawl makes for an original vocal delivery. He occasionally reminds me of Casey McPherson in style, which is quite a compliment, but deserved. Musically, I’m not sure who they sound like. There are moments that bring to mind Maschine, there are elements of Rush put in a blender with Radiohead, and seasoned with Beardfish, but no comparison really helps convey their true identity. The music is all about the songs rather than any overtly clever musicianship. For the most part, melodies trump improvisation.

Perhaps the lengthy closing track The Lamb Returns is an exception. Given that the average length songs have more twists and turns than a slalom course, this journey is chock full of different time signatures, moods and themes, and it takes a few plays to begin to unravel it all, but it’s time well spent. If the idea of a seventeen-minute epic doesn’t thrill you, all I can say is it seems to slip by in half that time. This is no prog-by-numbers hackneyed epic, this is simply a song which takes that long to say what it needs to.

I should say that despite the lack of flash musicianship, these guys are very capable and there are some deft touches from all concerned. Brad McGinty’s bass is assured and has real gravitas where required, and Jake Aubrey’s drumming is excellent throughout. It is the songwriting which carries the whole album though, and Julian Kirk’s songs seem to be rooted in piano melodies which haunt this work, coloured by the heartfelt singing which at times is achingly lovely. The penultimate song, Seasons Change illustrates this beautifully, a straightforward ballad with lovely words: “I know just what it means, to be strung out and 17, how did I get to 23?”.

So, a band sounding mature beyond their years, and a debut album to be proud of, which bodes well for their future, and the future of progressive rock in general.

01. Calling of the Waters (0:31)
02. Safe at Home (9:34)
03. The Island (5:48)
04. Winds of Time (7:25)
05. Darling, I (5:38)
06. Flown the Nest (6:20)
07. Seasons Change (4:12)
08. The Lamb Returns (17:20)

Total Time – 56:48

Julian Kirk – Keyboards, Guitars, Vocals
Brad McGinty – Bass
Jake Aubrey – Drums

Record Label: Independent
Country of Origin: U.K.
Date of Release: 29th February 2020

Echorec – Website | Facebook

This news story was originally published here:

Writing reviews of albums that hardly anyone will listen to is becoming an increasingly pointless task, as I ponder its usefulness while far more pressing matters take up one’s time. I suppose if it serves as a diversion from the dark zeitgeist for just one person out there in reader land, then it is worth doing. Reviewing an atramentous slab of uncompromising, albeit strangely contemplative music such as this makes the task doubly difficult, but I’ll give it a go.

Toby Driver is the driving force behind sonic experimenters Kayo Dot, and his colleague on this outing is musician, writer, and filmmaker Nick Hudson. They got together in February in New York for an outing to see Mr Bungle, and decided to make full use of their time by booking some studio time with engineer/producer Marc Urselli. Black Feather Under Your Tongue is the result on 90 minutes of recording, with a deliberate aim for spacious minimalism, all totally improvised. Efficiency at work, I think!

The duo were scheduled to be playing a few shows over here in the UK in March, but inevitably these were cancelled due to the plague clampdown. In the meantime, they have left us with this almost too realistic piece of work. Let’s don the PPE – if we can find any – and jump into the barrel of flies…

A quiet intensity pervades Nick Hudson’s lonely piano chords of the first half of opening number Black Ecstasy, soon to be backed by a distant muted heartbeat rhythm, until the piano breaks free to create a more expansive but still fragile atmosphere for the second half of the piece. In response, Toby strums careful notes as the rain begins to fall.

Nick’s wordless vocals cry out over the mournful introduction to First Was the Word Was the Virus as a muezzin vibrating the infected air we breathe, calling the listener to inner contemplation for the desperately sad times we live in. Later, Toby’s echoed guitar bounces around a crypt as death-cackle rattles and the voice skim off the underground walls. While this may not be the music you want to hear right now, it does serve a purpose, unless you are more inclined to attempt to blot out the wave of pestilent thoughts than to acknowledge them and move forward. We’ve all been in a mood of denial and a mood of acceptance at different times, I’m sure.

Just to lighten the mood, When I Saw the Star sees Nick pondering our insignificance in the grand scheme of things, this time with some minimal lyrics, as well as his voice-as-instrument wailing into the void, to the backing of Toby’s plucked and reverbed guitar. The whole sees me imagining an anti-John Martyn howling from the bottom of a pit of existential despair. We end with Martial Hauntology, a jaunty little number featuring a spoons solo… or not.

Heck, I need to go into denial mode after that. Where did I put that Slade album?

01. Black Ecstasy (10:03)
02. First Was The Word Was The Virus (10:24)
03. When I Saw The Star (12:27)
04. Martial Hauntology (9:17)

Total Time – 42:12

Nick Hudson – Piano, Vocals
Toby Driver – Guitar

Record Label: Independent
Country of Origin: U.S.A.
Date Of Release: 12th February 2020

Toby Driver and Nick Hudson – Website | Facebook | Bandcamp

THE PROGRESSIVE TRACKS SHOW #361 (Independently Progressive)

The only thing harder than being isolated during the COVID-19 situation… is being an isolated independent artist in this situation. This  week we’ll explore some excellent music from artists who don’t have the support of massive labels (hoping that you listeners will do the supporting).


  • Adrian Tăbăcaru – “Exordium” from Lucifer – A Rock Opera on Independent (2020)
  • Charts and Maps – “Take Me Back To Highland Park” from Dead Horse on 783454 Records DK (2011)
  • Sunwatchers – “Brown Ice” from Oh Yeah? on Trouble In Mind (2020)
  • Emme Phyzema – “Ode To F’s” from Ode To F’s – Single on Independent (2020)
  • Cryptic Ruse – “Clutching Its Last Stem Cell from Unfertile on Independent (2020)
  • Hovercraft – “Rain” from Fall on Independent (2020)
  • Jhimm – “Till The Empty Goes Away” from Absent on Independent (2020)
  • Psychoyogi – “One Way Track” from Dangerous Devices on Independent (2020)
  • Jumble Hole Clough – “Bassoons and Women’s Coats” from Bassoons and Women’s Coats on Independent (2020)
  • Stop Motion Orchestra– “Swiss Cheese Model” from Ugly Numbers on Independent (2020)
  • Adrian Tăbăcaru – “Lucifer” from Lucifer – A Rock Opera on Independent (2020)
  • Charts and Maps – “Pearl Divers of the Arabian Peninsula” from Dead Horse on Lost Children Net Label (2011)
  • Cryptic Ruse – “Mouths Without Throats” from Unfertile on Independent (2020)
  • Sunwatchers – “Thee Worm Store” from Oh Yeah? on Trouble In Mind (2020)

If you have comments or suggestions for show topics/ music (always welcome), feel free to contact me any time via email:

And remember, you can access podcasts of any previous Progressive Tracks Show at: (there are almost 200 podcasts now!).

Most importantly, SUBSCRIBE TO THE PODCAST below, so you’ll have it delivered to your fingertips weekly! ˅˅˅˅˅˅˅˅

This news story was originally published here:

In this update we feature:

• Lemurian Folk Songs – Logos
• Satorinaut – Montañas, Mares, Desiertos y Vagabundos
• Liquidacid – Soylent Solstice
• Képzelt Város – Samizdat

Until days ago, I had albums from only two Hungarian bands (Everwood and Thy Catafalque) in my collection. With the recent addition of aJna and Ghost Toast for review purposes, that total was instantly doubled, although aJna and Ghost Toast are notably different, as they are post-rock bands. So, inspired by these two formidable releases, and with Hungary in the news for its recent alarming turns to a totalitarian regime, I decided to explore Bandcamp and see what else I could find in the post-rock scene.

I found a lot – and a lot of that lot was by one person (Csarnogurszky István) who could have a whole A Different Aspect devoted to his many projects alone. Rather than overwhelm myself by attempting to work my way into that vast discography, I turned instead to a group of musicians who between them can be found playing in different bands, a form of psychedelic post-rock; and to a band which, as per their Bandcamp description, “differs from the usual by the dominant role of the keyboard and the cello.”

Lemurian Folk Songs – Logos
Nick Hudson
Lemurian Folk Songs – Logos

The album starts beautifully and tranquilly, before the guitars come in with a fairly standard, but thoroughly enjoyable post-rock riff. The bass really pulls this number along, and we’re completely in post-rock territory until Krisztina Benus starts singing, in a style quite reminiscent of Grace Slick in those early days of Jefferson Airship. Suddenly psychedelic post-rock starts to make sense. That said, there’s also a nice heavy Tool vibe at times too.

If the opening number is mostly post-rock, with a psychedelic sheen, the following track is the opposite, with the psychedelic elements coming to the fore, yet still retaining a post-rock vibe. The album follows in this way, effortlessly and enchantingly dancing between the two styles. There are fuzzed-out jams, and beautiful clean passages (the crystal clear introduction to the third track, for example), that blend together fluidly into one vast spacey, sonic sprawl.

The bass of Attila Nemesházi really does hold the band together, for me, along with the drums of Istvan Baumgartner. The rhythm section really is very impressive, though this is not to take away from the guitar flourishes of Bence Ambrus, which float over the top, and are the icing on a quite delicious cake. Definitely a band worth checking out!

Satorinaut – Montañas, Mares, Desiertos y Vagabundos
Nick Hudson
Satorinaut – Montañas, Mares, Desiertos y Vagabundos

Bence Ambrus is back on guitar for Satorinaut, but here he provides the anchor and main sound for the band. The bass and drums definitely take a back seat, in this self-described “space post-rock jam trio”. Sublime and intense heavy psychedelic jams. There’s far less post-rock in Satorinaut than Lemurian Folk Songs, and while it sounds like there is improvisation in the compositions of both bands, there is far less structure in Satorinaut’s jams. This is not at all a bad thing, though. In fact, I love this and find it impossible not to be swept away by the enthusiasm of the playing.

Though I found Satorinaut via the Montañas… release, I have since found they have a newer release (January 2020) which is a sprawling quarter-hour jam (demo?). Vulcano Rehearsal is noisy but nice, and if you like Montañas, you may as well check it out, too. The band power through a heavy mix of psych, blues, post and stoner, and it’s pretty impressive despite (or maybe because of) it’s rawness.

Liquidacid – Soylent Solstice
Nick Hudson
Liquidacid – Soylent Solstice

Featuring Bence Ambrus once again, along with Lemurian Folk Songs compatriot Istvan Baumgartner on drums, Liquidacid keeps the psychedelia but, despite no mention of it in their description, never really loses the post-rock vibe either – though it is definitely relegated to the background. The Bandcamp pages states “We don’t do songs, we just transmit the ever playing ethereal groove”, and this is a groove that plays out over 22 minutes!

If The Doors were a post-rock band, they might sound like this. This is a dark psychedelic vibe, and it is easy to imagine Jim Morrison soliloquising over the top. Alternatively, I’m reminded of Neil Young’s extended psychedelic jams – if he traded his grungy riffs for a more clean and crisp post-rock feel. If you can work out how Liquidacid sound from that muddled description, well done! Otherwise, you might just have to listen…

Soylent Solstice by Liquidacid

Képzelt Város – Samizdat
Nick Hudson
Képzelt Város – Samizdat

Finally leaving Bence Ambrus behind, we reach the post-rock band that impressed me most on taking this journey through the pages of Bandcamp. And sure enough, as promised in their description, the prominence of keys and cello in their sound really does provide a great point of difference. The Bandcamp mentions vocals being sung in Hungarian, but this must be a feature of previous albums, as they are sung in English on Samizdat. Of course, post-rock is a genre that relies mostly on instrumentation for expression,

That said, because of the way the vocals breathily float over the top of the music, they remind me a little of the way Giancarlo Erra’s sings over the music of Nosound. And because I love Nosound, I do very much also like the style of vocals here. Overall, this is the most fluid and organic sounding of the Hungarian post-rock bands I’ve explored here, and as much as I’ve enjoyed them all, the only one that could compare favourably with the two bands that had me seeking out further explorations into Hungarian post-rock. Neither as flashy as aJna, nor as flamboyant as Ghost Toast, it may not be as immediate, but it is just as satisfying.

Madness – Baggy Trousers

Pure Reason Revolution – Maelstrom

Stereo Total – Lunatique

The Samurai of Prog – Lilliput Suite

Miike Snow – Animal

Haken – Prosthetic

Chimpan A – Scream

Jon Anderson – Ocean Song

Lazuli – Baume

Karfagen – Sunrise

Museo Rosenbach – Zarathustra

Edition 207 of THE PROG MILL for Progzilla Radio (427 in total), first broadcast 26 April 2020, is now also available to listen to anytime you like. You can either stop and start it when you want on the stream, or download it as a mp3 file onto your computer, phone or mp3 player. This week, as usual, we bring you two hours of simply wonderful melodic and symphonic progressive rock.

Here’s what you can hear on this week’s show

1 Spocks Beard – A Treasure Abandoned (Brief Nocturnes and Dreamless Sleep)
2 Lesoir – Somebody Like You (Mosaic)
3 Magic Bus – Easy Om (The Earth Years)
4 IO Earth – Waterfall (Aura)
5 Slap Guru – Meeting The Mermaid (Umashi’s Odyssey)
6 Yak – Journey of the Yak (Journey of the Yak)
7 Hollow Water – Strange Worlds Just Into Ours (Strange Worlds Jut Into Ours)
8 PsychoYogi – Dangerous Devices (Dangerous Devices)
9 Warmrain – Absent Friends (Back Above the Clouds)
10 The Prognosis – In The Deep (Still Waters)
11 Adult Cinema – We Sailed Across The Ocean (Teaser Trailer)
12 The Dark Monarchy – Fools Gold (The Dark Monarchy)
13 Supersister – Present from Nancy (Present from Nancy)
14 Fish on Friday – Trapped in Heaven (Black Rain)

You can hear The Prog Mill on Progzilla Radio at these times every week ( – via the tune in and other internet radio apps and platforms – or just ask Alexa to “Play Radio Progzilla on Tune-In”) :

Sundays 10pm – Midnight UK (2200UTC) – main broadcast
Tuesdays 0300-0500 UK (0300UTC) – For North America – Mon 7pm Pacific/10pm Eastern
Tuesdays 2300-0100UK (2300 UTC) – 1500 Pacific/1800 Eastern
Saturdays 6-8pm UK (1800 UTC) – Family friendly Saturday evening repeat

Your melodic and symphonic progressive rock music suggestions for the show are very welcome. Just email, or message via twitter @shaunontheair or

Back next week – including a new mini quiz feature as we ask – Just how proggy are YOU?!

I Am The Manic Whale – The Milgram Experiment (live)

Hue & Cry – Labour of Love (12” mix)

Talk Talk – Life’s What You Make It

Elton John – Pinball Wizard

Deacon Blue – My America

Big Country – Return of the Two Headed King

The Stranglers – Aural Sculpture

Opeth – Allting Tar Slut

The Emerald Dawn – The Child Within

England – HeeBeeGeeBee

Drifting Sun – Cascading Tears