Sounds from underground/File N°023

here we come with a new music genre - Noise-hop. A phenomenon that came to me directly from the Internet scene and in this post will be represented by <<Plebs & Fuckboys>>. As any underground genre it's a free mix of different influences, from avant-garde to hip-hop, and the spoken poetry on a tasteful mash of sounds, I must admit, is quite interesting. more tracks you can find on their bandcamp https://plebsandfuckboys.bandcamp.com/
 

0. name of the band

Plebs & Fuckboys.

1. where are you from?

Ripdae: The Band? The Internet. Ripdae La Wise? The U.S. Dropkick? Canada.

Nickk: What rip basically said, we're a cyberspace collective, which is becoming more and more common today

2. what kind of instruments/equipment you use?

Ripdae: Varies from Garage Band app, to what some say is 'actual use of instruments & not pretending to be a musician with an app'

Nickk: Basically, my bass guitar on occasion, a lot of midi & a lot of effects, run through massive, acid & reaper. For the noise, I'll usually circuit bend or on occasion loop a lot of effects all at once. For our albums theres also a lot of looping, chopping & glitching random sound samples we find online

3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?

Ripdae: I think the context of music nowadays is something humanly special, like all the musical epochs before it. We are apart of the transgressive scene or in other words 'new age-Dada', whatever the fuck that means.

Nickk: I think music today is largely responding to and coming to terms with the phenomena of the internet and is full of movements both mixing up previously isolated scenes and sounds, in addition to, from that, diversifying into new scenes. Music today is more often than not full of more and more attempts to be experimental and try and get away from the monkier or "pop". Theres numerous emergent electronic music scenes and communities, and the transgressive, nihilistic, and bizarre is seemingly on the rise (like have you heard heroine-pop or stuff like grimes? If not that, black metal or really fucked up trap music seems to be on the rise). Id probably place us in a sort of industrial revival or noise-hop scene- the experimental backpage of things. We thrive on the nihilism and experimentation- without its popularity, we'd probably be in the backshadows. We're transgressive as hell, and if there is a singular scene of ours we want to call our own- its a genre of transgressive art that we're trying to solidify as a movement. Call us a transgresive sonic division, but that's where I'd place us

4. which is your method of composition?

Ripdae: Depends on what I'm into creating that day, & what I'm into creating it with.

Nickk: For me I go through manic phases, where for like numerous days I'll just make music non-stop at an alarming rate, then burn out for a few days, then repeat the cycle- drawing on a lot of themes I feel from horror & snuff movies I watch inbetween

5. how is your recording approach? do you use some particular record technique?

Ripdae: I record my vocals & a lot of what I choose to sample with my iPhone.

Nickk: On occasion I'll hear some noise I enjoy in real life and record that on my phone- otherwise its all done with amateur equipment at home (since most of it is circuit bending or additional noise, and some bass on occasion, pretty easy). Most of what I do is midi on my computer or done in acid anyways

6. do you play live? how public react to your music?

Ripdae: Have not played live yet, but we plan on it. The public will react however they want. Not an issue.

Nickk: I hope people like us, but I hope more that we actually elicit a fun pulse

7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?

Ripdae: Our records represent us, & so much more.

Nickk: A transgressive spirit, birthed in a nihilistic abyss, both humorous and sometimes terrifying- or so I'm told. For me it represents accepting, celebrating, and reveling in the transgressive chaos of life- and our music and art is tool to attempt to manifest monument to that

Echos of underground/The Son of a Seagull

New sounds from <<The Son of a Seagull>>. More classical atmospheres of new wave and less noise but we'll love it anyway. Stay tuned.

Self Portrait/Little Angel

<<Little Angel>>. Acrylic and trash on cartoon. February 2016. BR

Little Angel

Little Angel, detail

Little Angel, detail

Little Angel,front face

Little Angel, detail

Sounds from underground/File N°022

let's back in the '90s. <<1994>> is an English band that just released their first album <<Fuck Off>>. The spirit of the record is great and it's what we need for the upcoming Spring. 
 


0. name of the band.
1994
1. where are you from?
A very small village (a hamlet!) in Devon called Coleford. It is near Crediton. We are essentially a rural concern and we spend most of our time riding bikes, climbing trees and wading through rivers. We enjoy site-specific activities involving rope swings, found objects and liminal interactions with nature.
2. what kind of instruments/equipment you use?
We use a Philips cassette recorder and a really cheap drum-kit. We don't have any microphones or amplification because we can't afford it. Our pocket money is limited. We advise all bands to spend as little money on music as possible.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
We don't think we are part of a scene at this stage. I think when we made this we were more just enjoying making a noise rather than trying to fit in. There are some really big, emerging scenes/genre tags in the UK at the moment which seem to have been made up by the music press. To us these scenes represent a commercial ideal which values t-shirts with piping on the collar, flared trousers and Adidas sports jackets above musical output. Time will tell, I guess, but at the moment things don't feel as vital as they do in our practice room.
4. which is your method of composition?
Lots of orange squash, biscuits, sunshine and then an intense session of improvisation live to cassette. Shouting gives us power.
5. how is your recording approach? do you use some particular record technique?
Kind of covered it above, but yeah, all live with the vocalist holding the cassette player (which has an inbuilt mic). We like it when the mic on the cassette recorder gets overloaded and we get a bit of distortion.
6. do you play live? how public react to your music?
We consider playing live as being the same as practicing; the audience doesn't really come into it. I think we may have been overheard by neighbours or passing cars. I think we received a noise complaint once.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
Our records represent the past to us, so yeah, we are kind of in agreement with Genesis on this one (as usual). These are personal items which sit outside of the present. We don't feel any special attachment to what we do, it's more about living in the moment - which instantly becomes the past - and wondering where that next biscuit, rope swing, makeshift bmx ramp or camping trip is going to come from. School is rubbish.

Uncle Grasha's Flying Circus and the Czech avant-garde scene

<<Uncle Grasha's Flying Circus>> isn't a new entry on this blog, we've already talked about this interesting dada project from Prague in previous months. Personally I think that all what they are doing is quite representative for the underground scene nowadays, from the way they perform - dressed as nuns - to the various formats they use to release their music - cd, cassette, floppy disc(!). I believe that at the moment we can openly say that the actual European underground context is or directly inspired or feels practically continuation of avant-garde movment. For me bands like <<UGFC>> are the best examples that commercial music will never be the point of reference for who is searching  new solutions in music.

All the stuff of these crazy noise makers you can find on their bandcamp https://unclegrashasflyingcircus.bandcamp.com/   
and also on youtube 
https://www.youtube.com/watch?v=t881eUbBA94
https://www.youtube.com/watch?v=BPZiOIWBxJY 
 

And if you are this Saturday in Prague you should surely pass at  BUBENEČSKÁ NÁDRAŽKA, where 15 experimental musicians will perform. More details you can find here https://www.facebook.com/events/544287765747314/.

Another obligatory event for all the fans of noise is this https://www.facebook.com/events/765991626864463/

  1. try to describe an actual Czech avant-garde context? 
 Czech avant-garde has a long and remarkable history, it's inspirative on one side and shameful on the other. There were lot of artists, who influenced most of contemporary experimental artists, for example Karel Teige, Voskovec+Werich duo, early poetism of Vítězslav Nezval, Otta Mizera's surrealism etc. But lot of them collaborated with stalinist communist party system after World War II (Nezval, for example). During the 1960thies and 70thies a new wave of Czech and Slovak avant-garde artists started to operate. There were people like Egon Bondy, Jan Švankmajer, artists around underground bands Plastic People of the Universe and DG-307, later Mikoláš Chadima, bands like OZW, Krásné Nové Stroje etc. Some of them stayed in underground after return of capitalism (like Bondy or Chadima), but some artists, mostly around Plastic People, started to support new regime, for example Franti&sca ron;ek “Čuňas” Stárek, former underground artist, became an officer of Czech secret police! But as a performer of contemporary avant-garde I must admit there are lot of possibilities for us to operate and restrictions from the regime are relatively small. But it could get worse due to recent fascist activities (like Pegida) in all Europe...

 

2. which are the advantages of being an artist in Prague?
Prague has a genius loci like Paris or Magnitogorsk. And in the past there was the biggest monument of Josif Stalin in the world!

3. why dadaism influenced you?

DADA influented everything, because: 

In the beginning DADA created the heavens and the earth. Now the earth art was formless and empty, darkness was over the surface of the deep, and the Spirit of DADA was hovering over the waters...“You will certainly die,” Grasha said to the woman. “For DADA knows that when you eat from it your eyes will be opened, and you will be like DADA, knowing good and evil.” ...Now Debord said to his brother Bourdieu, “Let’s go out to the field.”…

My son, if you have put up DADA for your neighbor,
if you have shaken hands in DADA for a stranger,
you have been DADA by what you said,
ensnared by the words of your DADA. 

And finally dada howls, as Tristan Tzara said.

 
4. tell us something more about the aesthetic that is used in the artworks for UGFC and the name of UGFC? 
Our bricolage artwork is influenced by Guy Debord's collages and also by„cut and paste“ aesthetics usually connected with punk. From lot of motives and inspirations we can mention revolutionary soviet motives, totalitarian aesthetics, christian symbols, military technique, motives from real socialism period etc. We combine brutal/extreme situations, sometimes violence or apocalypse with almost iconographic motives. The main purpose is mirroring of all-embracing absurdity by using totalitarian motives in almost fetishistic way, the same we can say about military motives like gun barrels, tanks etc. 

Uncle Grasha is new incarnation of poet Willhelm Grässlich after being beaten to unconsciousness by 51 nuns. And that nuns became the main actors of Circus. 

5. what is Donbass Symphony?  

Donbass Symphony, or Enthusiasm (1931) is revolutionary movie directed by Dziga Vertov, one of the most famous soviet avant-garde directors, known as “montage school”. Charlie Chaplin is said to state that “it was the best symphony ever”. It describes the fall of Russian old regime and the struggle of soviet workers and peasants for victorious destinations. It's a reborn of the new collective human. Peasants don't suffer from hunger there. I think it's an ideal movie for nuns! 

6. what is the future of music?
When we say “no future”, we must also add “no music”. Some time ago some people shouted “no future” , but started with playing music!

Willhelm Grasslich poems book made with sand paper

7. you published also a book of poems, can you tell me something more about it?
Poets in the past constantly searched for the most open-minded art. “What words we should have used?”, they probably asked. Nowadays we know that the problem are words and letters itself. So I have a book of poems for you in which there is not a single letter!

8. what kind of music you listened when you were a teenager?
Hard rock and metal like iron maiden, black sabbath or rolling stones in a concrete mixer.

9. do you think that nuns are sexy?

I think nuns are sexists!

Images from underground/File N°006

 today for <<images from underground>> we have something that should be rather defined <<objects from underground>>, yes we'll talk about sculpture. <<F.A.C>> are two guys based in Carrara, Italy that are producing all these weird figures. I hope you'll enjoy a bilingual interview we made and dig these wonderful works!

KAPUTT MORTUM, marble, mixed media 2010

1. where are you (from)?
Siamo (Stefanie Krome e Dominik Stahlberg) nati tutti nella stessa città  in Germania del Nord, zona non particolare interessante. Siamo una copia IN PROGRESS dal più di venti anni adesso, una raffinazione di due soggetti creativi secondo il fattore del tempo X in una copertura autonoma dell’arte, lavoriamo, trombiamo, facciamo e moriamo insieme. FRONTEACCIAIOCROMATO allarga l'universo della tragedia, tristezza, umorismo e divertimento violento.

DIO CANE, detail, marble 2015

2. do you use any particular tools/materials/methods during the working process?
3. how is your working process?
Le nostre sculture e installazioni sono prevalentemente realizzati in marmo (allora tutti gli attrezzi per lavorare in pietra, anche stampe in pietra artificiale, multiple, bronzi etc.) insieme con materiali sintetici. 
Noi cambiano l'identità della pietra con i vari colori e superfici. L’effetto di senso come opere d'arte giovane, vistosa e artificiale, ma si può indovinare l'eternità della pietra dietro la patina. L'espressione è radicale e sarcastico, a prima vista divertente, ma non tiene lontano il resto.

DIO CANE! marble, 2015

4. what do you think about the art market nowadays?
Nope, can you say what is the difference in ART-Market ...OIL- Market...FILM -Business etc.?  All the globalized same shit from the high performers to the low performing peoples(or the other way round)... to create more shit.
The main problem of the contemporary art market is to become only another toy for our rich citizens...to create more rich(er) citizens.
By the way:  we are NOT communists!

I HERO, marble, mixed media, 2009

5. do you exhibit your works? how do you place yourself in actual art context?
Dal 2011  F.A.C. fa  parte del NO!art movement , fondato 1960 in NYC, collaborazione con sculpture-network. Abbiamo fatto tanti mostre e simposi del arte e scultura dal 2005 in tutto il mondo.

F.A.C. Dominik and Stefanie

Poi..we are fucking Bandits. The things we do are made like automatically placed by the creation.  You like it _ buy it !  You don’t like _ report us !
We have also our own place to exhibit  and work : FAC fronteaccaiocromato- headquarter in Carrara.

6. is there a common idea that go across all your works?

FIRST! : 

ART IS NOT A MIRROR to reflect the world in, but a hammer with which to shape it.                Vladimir Mayakovsky

SECOND! :

"Oggi la nostra società è in prima linea
 - MALE -
ma chi cerca mai di meno - che non ha paura - può scoprire un sacco di bene in esso -  ciò che chiamiamo 
umanità "
 F.A.C.

TABULARASA! marble, mixed media 2011

Sounds from underground/File N°021

 we are still into the more smooth sounds. today I propose you <<Päfgens>>, a band from Slovakia actually based in Poland. they simply make beautiful music, with beautiful vocals and you listen it with pleasure. can we want more?


check also their bandcamp for more release https://pafgens.bandcamp.com/

0. name of the band
Päfgens
1. where are you from?
Slovakia, but currently living in Warsaw, Poland
2. what kind of instruments/equipment you use?
We use two guitars and bass and various guitar and bass effects, various things from Electro Harmonix to Behringer
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think music scene today is super bright and diverse. We can define various subcategories (genre - if something like this still exists, label, country, medium on which artist release, etc etc) and find great artist in any of it.
I would place ourselves in it as following - two people who like to make and record music and who are aware of the fact, that is much easier today to DIY record, release and play concerts than it used to be some time ago.
I would love to say we are part of super small scene around club Chmury in Warsaw, as was mentioned in a blog about us recently, which was really nice.
4. which is your method of composition?
In the past I used to have some simple folkish songs, which we modified. Nowadays, we play in our living room, as we are couple in real life and create music. I am happy, that Filip started to bring his own melodies to the table, as well. At the moment, I write all the lyrics.
5. how is your recording approach? do you use some particular record technique?
We use Tascam DR 07 MK II for all of our recordings for now, we just place the recording device in a room and press REC. We record DIY and hope the great guys responsible for master can fix as much as possible - big thanks to Gaex and Dominik Suchy, who were responsible for our latest two records.
6. do you play live? how public react to your music?
Yes, we play a little bit. I am personally very shy when singing and I am happy, when people are focused and thankfully they usually are.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
Partially I agree - we use a lot of field recordings, which is pure documentation of our experiences. Otherwise most of the lyrics, etc. are fictional or modified reality. We are our borders of our style. And fashion? Filip hates this crap in a real life and on stage as well.

Sounds from underground/File N°020

here we come again with so loved by me Argentina's stuff. this time is a band called <<DISLEXIA FREE>>, it's completely crazy, full of broken sounds and yes, it will make you happy. it surely makes me happy. 


0. Name of the band
The band is called DISLEXIA FREE, and FREESLEXIA is a sort of internal/side project, with the same members (and occasionally some friends) but in other musical direction.
1. Where are you from?
We are from Buenos Aires, Argentina.
2. What kind of instruments/equipment you use?
We use guitar-drums-bass, with the addition of samples, violins, computers, cellphones and other objects in a few occasions.
3. What do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
Here in Buenos Aires we have a interesting variety of groups and 'scenes'. There are many instrumental groups.
4. Which is your method of composition?
In DISLEXIA FREE, the songs are composed by blocks; someone of us came with a idea, which are combined with others. In some cases, the songs are composed entirely by one of us, and then be arranged by the others.
In FRESSLEXIA, the process is very much improvised and chaotic; anyways, the recordings are then edited and processed in a computer; is a sort of remix of us playing.
5. How is your recording approach? do you use some particular record technique?
We record alive all the material we have at the day.
6. do you play live? how public react to your music?We are playing live since may 2014, and the public in general are good. There are some labels that support us, spread and edit our material. The last year we edit a 3-split with Archipiélagos and Hungría that was a collaboration between three labels: Isla Visión, Abulia & Percha.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you? The records represents the moment, feels, diseases, experiences that we was living at the time they was recorded.

Sounds from underground/File N°019

<<Złota Jesień>> is a Warsaw based band, a bit shoegaze, a bit post punk. they are simply cool so let's stop talking and enjoy the music. fuck yes
 

0. name of the band
Złota Jesień death squadron 2012
1. where are you from?
Warsaw, Poland
2. what kind of instruments/equipment you use?
cheap guitars, stolen amps
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
we are part of Warsaw diy underground. we're friends with jazz musicians, electronic nerds, noise kids, cute wierdos, techno heads. I don't believe in scenes.
4. which is your method of composition?
it's not that important
5. how is your recording approach? do you use some particular record technique?
we think that records and gigs are two different stories. records should be about sound (so we mess with as many details as we can), and gigs should be about emotions, so we just put our amps on 10 and go on.
6. do you play live? how public react to your music?
playing live is the most important. audiences has been nice to us... mostly.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
despair, fear of death, love, happiness, paranoia, lust, confusion, aggression, sickness, fun, god

Love

Happy Valentine's day!

Sounds from underground/File N°018

let's change a bit the air. <<Perra Galga>> is a psychedelic, experimental rock band from Mexico. wonderful atmospheres, great guitars and all the rest will take you to a long trip. dig it!

0. name of the band
Perra Galga
1. where are you from?
Tijuana B.C. Mexico.

2. what kind of instruments/equipment you use?

band/instruments: Jorge Osuna (drums) , Carlos Ocegueda (bass - keyboard - vocals), Gabriel De La Mora (guitar - vocals) , Braulio Lam (guitar).

3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?

we like to explore different types of music genres and styles. we are part of some kind of  ¨independent¨ scene for sure.

4. which is your method of composition?

we mainly do it two ways (the usual ways i suppose) : jamming (when we rehearse) and sometimes one of the band  members comes through with an idea or set structures or phrases etc. and we go from there.

5. how is your recording approach? do you use some particular record technique?

DIY. we improvise along the way through the recording process (thats how we've done it so far).

6. do you play live? how public react to your music?

Yes , we play live.  the public has reacted in a positive way so far, very supportive , we are grateful for that.

7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?

through our music we express our experiences, the way we see our environment that surrounds us and hopefully transmit it through our  music.

Sounds from underground/File N°017

we passed a week with few musical proposes on B-Rush, but here it comes a Brazilian project <<ESMECTATONS>>. more I'm going across the new releases of musical underground more I think that the two most interesting countries at the moment are Brazil and Argentina. Who knows, maybe it's where we can find the real underground scene right now. Just try to think about another band I posted here some time ago - Douglas Feto Alado - that by now produced just two track but they are both sublime. I ensure you that there is much more bands based in Brazil or Argentina that are worthwhile, hope I could write about soon.
But let's come back to our guest. Music of ESMECTATONS is crazy, is fresh, and it's surely a tasty dish of sounds. There are elements of jazz, but much more as a composition approach than as an aesthetic. Sounds are weird, original and unconventional. Hope you'll enjoy it!


0. name of the band
ESMECTATONS (L. Borgia Rossetti's main project)

1. where are you from? 

Brasil. I'm from São Paulo, and I started recording there when I was still pretty young. But I find the definitive supporting crew here in Joinville (Santa Catarina), hometown of bands such as the Flesh Grinder, Os Legais (Gurcius Gewdner) and also, some editions of the international underground event Splatter Night. 

2. what kind of instruments/equipment you use? 
For a basic answer, I play guitar, bass, drums, saxes and other brass elements, electronics, key/piano/synth, and I try to use all other possible things, including non conventional instruments, I mean, I'm always carrying with me a tape or any record device in my pocket to capture noises and stuff I heard. That's why the audio quality of my recordings are quite irregular. There are tracks I recorded at studio, and mixed with live material and then I needed to add an instrument I don't have here so I went to a music store with a recorder pretending I was just trying the instrument but I was actually recording an important part of my suite.

3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene? 

We are living the best age for underground music. If you like to go deep you can find whatever you want online, and from the further lands. The latest releases (and the upcoming albums) are clearly current references to Zolo, Jazzcore, Concrète and Rock In Opposition culture. I have been recording since 1999 as Esmectatons but depression kept me locked, I only had energy to start uploading my work last year (2015). So, I wasn't listed into Vanguarda Paulista or the beautiful Joinville local scene when it was somehow active. Unfortunatelly the avant-garde and unusual art disappeared from this town, leaving only the close minded metalheads and a few jazz snobs. I'm ressucting the experimentalism all alone, promoting festivals and stuff. The Esmectatons discography run through different scenes, so we hit different kind of fans. Just like Zappa and Zorn, I've recorded all sort of different stuff, like Powerelectronics, Zeuhl, Circus Music, Eastern, Bossa, Krautrock, Electroacoustic, Noise, Children Music, Post-Punk, Jazz, Folk, Extreme Metal, Collage, Progressive Rock, Hip-Hop and Trip-Hop, Ambient, Ska, Classical, Shoegaze, Psychobilly, Dub, DSBM, Surf, Industrial, R&B... But always sounding avant-garde.

4. which is your method of composition? 

I'm always writing music in my mind. It's an old thing, an obsession nearly autism (I was wrong diagnosed aspergers during childhood).

5. how is your recording approach? do you use some particular record technique? 

Yes, I try unusual recording techniques as xenochrony. 

6. do you play live? how public react to your music? 

I refused to play live as Esmectatons for years. So we played as The Night Shift Elephants, Turtopsy, Porcaria, Glory Holes, and other titles. Thinking about a month spent in USA, where I played at Vegas, Los Angeles and San Francisco, I decided to leave the anonimity behind. If the event is unexpected, the crowd is unexpected. But we have some followers and fans, they don't miss a show. Once we played at an anime event. The public was kinda "what's happening there?".

7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you? 

My records are my history. They are documents of experiences of course. There are tracks I hate because they remind me of things I would better forget. When you write or improvise, you are putting out part of you, of your mood and momentary feelings. First time I tried suicide I was 7 years old. There are even noises and things I recorded after suicide attempts overdubbed in my music. My psychiatrist told me without my music I would be stucked in inertia and give up of everything. That's it. My music is the way I have to talk to the world and show gratitude to God's creation of a variety of sounds and colors.

Back to the past Vol.15

other pieces from May 2015. don't worry new works, love and music coming soon

Howww

Fragile

Back to the past Vol. 14

dry pastels on cartoon, summer 2015. BR. 

Melancholy, 2015

Distort, 2015

Orange portrait, 2015

Back to the past Vol. 13

some of my works from spring 2015.
BR

Cicatrice

Winter flames