HD #001

DIRTY WATER - RCDCDirty Water è il programma di Radio Città del Capo che ogni settimana si tu!a per voi nelle acque sporche e fangose della storia del rock alla ricerca di legami, a"nità, curiosità, segreti e storie che uniscono band, canzo-ni, performer spesso molto diversi tra di loro. Il nostro viaggio subacqueo ci porterà a esplorare i meandri delle in#nite connessioni tra il pop, il rock and roll, la musica popolare tout court con altre forme di espressione: cinema, pittura, performing art, poesia e letteratura di vario genere. Un’ apnea di mezz’ora negli archivi segreti

del rock and roll a cura di Ferruccio Quercetti e dei suoi graditi ospiti.

Don’t be afraid of the dirt!DW va in onda ogni giovedì dalle 20.30 alle 21.00 sulle frequenze di Radio Città del Capo (94.7, 96.250, per Bologna e zone limitrofe) oppure in streaming http://radio.rcdc.it/tag/streaming-audio (per il resto d’Italia e

per l’estero) radio.rcdc.it, Bologna, Italy

10 Glam Rock pearls

by Lorenzo Moretti

Chunky - Alb

atross Baby

Blackfoot Su

e - Bye Bye

Birmingham

Soho Jets -

Hi-Heel Tarza

n

Stevie Wright -

Hard Road

Fat Daddy -

Roll Daddy R

oll

Ice Cream - S

hout It Out

Giggles - Ju

st Another S

aturday Night

Black Fire -

Do It

U.K. Jones -

Let Me Tell

Ya

Bubbles - Th

is Is Where T

he Hurdie Gur

die Heebie

Geebie Green

ie Meenie Ma

n Came In

? ? ? WHAT DO YOU THINK

JUSTIN CRUMPTON ??? BELFAST PUNK SPECIAL:ABOUT:

FAZ WALTZ by Jason Duncan

UK SUBS pasquale boffoli

NEW SWEARS

AUSMUTEANTS

Ci racconteresti un po’ come avete iniziato, dai Taxi ai Giuda, e perchè il nome Giuda?Con i Giuda iniziammo a suonare dalla #ne del 2007, dopo la morte di Francesco, il nostro batterista. Non aveva senso continuare come Taxi senza di lui, suo-navamo assieme da quando avevamo 12 anni, però avevamo voglia di continuare a farlo e così sono nati i pezzi di Racey Roller, che abbiam fatto uscire nel 2010.Il nome Giuda non ha signi#cati nascosti, è solo un nome che ci suonava bene e rimane impresso. Com’è stata la creazione dei due album? A quando il terzo?Racey Roller (2010, Dead Beats Records/White Zoo) è più vicino ai nostri primi riferimenti, ed è il nostro pri-mo approccio a questo genere di sound: siamo partiti da zero.Lets do it again (2013, Fungo Records/Damaged Go-ods/TKO Records) è meno “costruito”, e grazie al fatto che avevamo alle spalle l’esperienza del primo, avevamo le idee molto più chiare. L’abbiamo registrato in circa sei mesi. Siamo partiti con le registrazioni a dicembre 2012, e poi pian piano abbiamo fatto sovraincisioni e mixing.Riguardo al terzo...posso anticipare che sarà un po più grezzo. Uscirà per la #ne del 2015.

Siete molto attenti ai particolari: copertine, suoni, mer-chandise...Sì per dirla tutta siamo proprio maniacali, facciamo mol-tissima attenzione ai dettagli di ogni cosa. Soprattutto per il sound e le registrazioni. Io sono anche produttore artistico insieme a Danilo Silvestri che è il nostro fonico dal vivo, con il quale escogitiamo vari ac-corgimenti tecnici: dalla registrazione in analogico, all’u-so di ampli#catori hi-# francesi, i Bouyer, che abbiamo modi#cato per ottenere il suono dell’epoca.Riguardo il merchandise e le gra#che, se ne è sempre oc-cupato interamente il nostro amico e gra#co Tony Craze-ekid (http://crazeekids-music.blogspot.it) e ovviamente a"deremo a lui anche quelle del nostro prossimo disco.

Tra i vostri fan, Robin Wills dei Barracudas, Phil King, bassista dei Lush e per un periodo dei Jesus And Mary Chain, e James Pallotta della AS Roma.Qualcun’altro che mi sfugge?Beh, c’è anche Joe Elliott, il cantante dei Def Leppard, i Turbonegro (soprattutto il nuo-vo cantante,Tony Sylvester, e Danko Jones!

Ormai avete suonato un po in ogni dove, dove torneresti e dove no?In tutti i paesi dove siamo stati non abbiamo mai avuto esperienze particolarmente negative, magari in qualche locale non ci torneremo, ma in generale anche l’ultimo tour, dalla Norvegia alla Spagna ci siamo trovati dapper-tutto molto bene, e poi vedere che un po dappertutto

c’è gente che già ci conosce è molto grati#cante.Avete suonato addirittura al carcere di Rebibbia che tipo di esperienza è stata? Suonare a Rebibbia, il carcere più grande d’europa, è stata un’ esperienza veramente unica per molti motivi.Vedere chiudere alle proprie spalle i cancelli del peni-tenziario mi ha fatto venire la pelle d’oca.In quell’occasione una cinquantina di persone, le più veloci ad iscriversi ad una lista girata poi al magistrato, sono potute entrare nel carcere ed hanno potuto assi-stere al concerto a stretto contatto con I detenuti con i quali hanno potuto scambiare due chiacchiere. Tra loro c’erano persone che torneranno in libertà tra 20 o 30 anni.Quando abbiamo iniziato a suonare i dedenuti sem-bravano abbastanza interdetti, non essendo abituati, ma poi si sono cominciati a divertire tant’è che sono dovuti intervenire alcune guardie per far sedere che si era alzato in piedi ad urlare e applaudire.“Ma che sò de Roma??? Braviiii”Alla #ne sono venuti ad abbracciarci e a ringraziarci per aver suonato per loro e per avergli regalato un po-meriggio inconsueto e divertente. Un momento vera-mente toccante che non dimenticherò mai.

Quali band italiane ma anche estere trovi più interes-santi attualmente?Siamo fan dei Fatz Waltz da sempre, e anche il loro ultimo disco spacca (Move Over -2014- Contra Rec/ White Zoo/ Sur#n’ Ki, NdR).Un anno fa invece, a Marsiglia abbiamo suonato con un gruppo di ragazzini di 18/19 anni, che ci hanno col-pito un sacco, si chiamano Tomy & $e Cougars, fan-no del punk rock alla nord irlandese, molto forti, e li abbiamo aiutati a far uscire il primo singolo, con Carlo Figliucci - Sur#n’ Ki (sur#nkirecords.bigcartel.com)

Intervista con LORENZO MORE!I

BELFAST

PUNK

SPECIAL

An interview with Dave from

PROTEX

by RAISSA (One Way Ticket magazine)

We all know how important punk was during the late 70’s in England. It was more than a musical movement. It was a cultural movement that explo-ded like a hand grenade. While london was living its glory days, cities like belfast pulled out a kind of punk that was much more spontaneous. Belfast was a di"cult city to live in and so that the music helped to support the new generation’s di"culties. Along with Rudi and Outcasts, Protex were one of the best punk bands of the scene in Belfast. For me it is a great honor to speak with Dave, the guitarist of the band. What happened between England, America and Au-stralia during the late 70’s is an incredible story of how society changed the music and the music changed society. You are representing Belfast in this interview,

how do you remember the scene in Belfast?It was a dark time in Belfast, almost like a ghost town a%er dark. $e con&ict between the natio-nalist and loyalist factions was at its peak and the entertainment in the city centre was non existent. $e Clash came over and eventually were allowed to play a gig…Belfast City Council banned the #rst at-tempt because of a UK wide fear of Punk music!! It makes you laugh now, bur the right wing UK press had the nation braced for this wave of teenage rebel-lion!!!! Terri Hooley had opened Good Vibrations Record Shop with huge enthusiasm and then he star-ted promoting local bands at the Harp Bar. $ere was no outlet for young bands playing their own original music before that. $e Harp bar was amazing, such a great atmosphere! It was another world.

Our #rst gig was supporting Rudi and they were lovely, very supportive and kind…like big brothers!! We also played support to the Undertones on their #rst gig in Belfast. I remember it so well because their sound was absolutely amazing. It was like a brick wall of rock n roll sound…We also supported legends like $e Fall and the Nips at the Harp Bar. Some very happy me-mories in what was a very troubled time for Belfast. How di!erent was London in comparison to Belfast in

terms of the Punk scene?Coming to London felt like being released into a normal world. Belfast felt very dangerous and restri-ctve then. London was a living breathing city with nightlife and a good music culture. It felt like there were so many opportunities for gigs at our level...$e Marquee, Dingwalls, $e Hope n Anchor, $e Rock Garden (Covent Garden), $e Fulham Greyhound, $e Nashville...the list goes on…and when we arri-ved in 79 the punk scene was nice… it had merged into rock’n’reggae and was easy going and really fun! "e recent documentary about Terry Hooley’s Good Vibrations is a telling release, that can really inform us as to what really happened at the time. How much do you think Terry helped the whole music scene in

Belfast grow?Terri had a huge in&uence on the music Culture. His enthusiasm for music was infectious and he made the musicians realise that anything was possible. He crea-ted the Harp Bar as a venue for young bands at a time when Belfast was dead and on its knees. He personal-ly funded bands to go into the studio and record their music. $e Undertones was a great success but you have to remember he did the same for many bands who would never have had that opportunity...Rudi, Outcasts, Protex, Victim, the Idiots…He personally took Protex over to London (at his own expense) and put us in the BBC Maida Vale studio for John Peel/Kid Jensen sessions. $is led to our Polydor record deal. Terri was never motivated by money, he wasn’t a businessman god bless him...but he was driven by the love of music. His in&uence can not be over stated.

Your #rst 45 was released in two di!erent versions on

Good Vibrations and a third through Rough Trade, containing three songs - ‘Don’t Ring Me Up,’ ‘Just

Want (Your Attention) and ‘Listening In.’ How did you create ‘Don’t Ring Me Up’?

I #nd it one of the greatest British Punk songs...$ank you! It was written by Aidan. A girl called Julie really liked him and the band and she star-ted phoning him constantly…Needless to say the amorous girl’s a!ections were not reciprocated and

Your tour with Adam and "e Ants lasted only one show. What happened?

It was a transitional period. Skinheads had taken over the club level gigs and hated our sound. $e #rst gig descended into violence and we thought di-scretion was the better part of valour and fucked o!. You were a part of an era when Radio was the most im-portant medium in spreading music. Where there was the BBC1 show with Kid Jenson (on which you’ve per-formed), comparable now is probably the Mark Riley show on BBC How much exposure can a band get on the radio? How do you follow new bands, personally?I really only listen to BBC Radio 6, I love it! But I must admit I am in my own head so much I am really bad at keeping up with new bands but I love listening to all kinds of music.You have just re-recorded some songs on a 45, do you think you’ll release new material soon?Yes, theres a lot of new stu! written…its just a mat-ter of the band learning it. It’s not too di!erent…you know we love a good pop tune!!!

she became a pest. Poor wee thing I say, she was only following her heart….I have sympathy for her. So Aidan was moved to write that song about it.

How did you #nd working on your record with Chas

Chandler from "e Animals?It’s a di"cult question because I was never con-vinced that Chas liked Protex. I think he took the job because of his big connection to Poly-dor but to be honest I don’t think his heart was in it. It was a very workman like regime, not much creativity. It felt like…ok let’s get this job done. I don’t have fond memories of those sessions. Two of your sessions at "e Mickey Most’s Rak Stdios in London have never been released by Polydor. Do you still have that material? Is it possible it will ever be released?I don’t know. $e tapes are in a vault somewhere. I have tried (and many others have) to contact the record company, but I never get a response. As I re-member, we were really happy with the RAK recor-dings, more so than BARN (Chas Chandler).

Diplomatics - “Dont Be Scared, Here are The Diplomatics” (2014) First off, these dudes are underrated. Obiviously co-UQVO� NZWU� I� ��� X]VS� QVÆ]MVKM�� Q\� [PQVM[�through in the best way possible. From the opening track, No Heart, No Future, This re-cord is a wave of explosion that i can only compare one band to here in the states, Dir-ty Fences. In fact, these guys might be a little better. Not overproduced or doing too much, but has a level of originality that will have you coming back for more. Replay value: Very High. Riffs and gang vocals for days.

Lazy - “Obsession” (Monkiker) (2013) Kansas City apparently is the new Party +Q\a�� <PM� ÅZ[\� [WVO� WV� \PQ[� ZMKWZL� [Ia[� [W��Their debut lp is a noisy punk thing that ke-eps you on edge but not for too long, because the record clocks in only at 23 minutes. A buddy of mine in the midwest turned me on to these guys and ive been hooked ever sin-ce. Probably the best punk band in the US right now. Only being released on vinyl and cassette makes this release a must have for collectors. I managed to get my hands on a copy of the cassette but i was way too late for the vinyl. Only 500 copies were released. If you can get your hands on a copy, DO IT.

Matthew Melton - “Outside of Paradise” (Southpaw) (2014) Fellow power-pop/gara-ge guru and an old friend Matthew Melton has been in the game for quite some time VW_��)TT�WN�PQ[�XZWRMK\[��;VISMÆW_MZ����*IZM�Wires, and Warm Soda all have the their pla-ce in garage scene here in the states. This compilation reaches into the vault of songs \PI\�M^MV\]ITTa�\]ZVML�]X�WV�MIZTa�*IZM�?Q-ZM[�IVL�;VISMÆW_MZ����IVL�M^MV�\PM�[PWZ\�TQ-ved Nectarine Pie releases, and some seeing \PM�TQOP\�WN�LIa�NWZ�\PM�ÅZ[\�\QUM��<PM�WXMVQVO�track “Images on the sand” immediately ta-kes me back to his more psychadelic tones _Q\P�;VISMÆW_MZ����_PQKP�Q�IT_Ia[�\PW]OP�never quite got the exposure it deserved du-ring the bands existence. This record sort of peeks into Matthew’s brain and gives you an up close and personal view. There isnt a [QVOTM�\ZIKS�WN�ÅTTMZ�QV�\PQ[�J]VKP��)VL�Q�_I[�pleased to hear the early incarnation of “Are you taking her home” that was later rere-KWZLML�IVL�ZMTMI[ML�WV�\PM�ÅZ[\�IVL�[MTN̉\Q\-TML�*IZM�?QZM[�48��_PQKP�_I[�XZWL]KML�Ja�the late Memphis punk legend, Jay Reatard.

? ? ? WHAT DO YOU THINK

JUSTIN CRUMPTON ???

Stiff Little Fingers- No Going Back (2014) The kings of irish punk are back ! I have to admit this is a very impressive recording. Great riffs, Catchy Choruses, Harmonizing guitars, the full package. It is impossible to turn back the sands of time to that 77 recording sound. So do not think about In-ÆIUUIJTM�5I\MZQIT�_PMV� TQ[\MVQVO� \W� \PQ[��Not when there is digital recording. It’s all half stack marshalls. “I Just Care about Me” is def the stand out on this record for me. Also half way through this one is a tra-ditional Irish Folk sounding song ? That took some bravery but they pull it off well. Sounds like The Pogues ! Once again i cant get enough of the harmonizing guitars on this record. “Trail of Tears” follows suit with this being the most prominent aspect of this record. It shows that age only adds wisdom. Replay Value is very high. It grows on you.

UK SUBS – XXIV (2013) Captain Oi! Records

pasquale boffoli

Ci� sono� due� modi� per� recensire� un� nuovo� album� uȗciale� degli� U.K.� Subs� -� il� ventiquattresimo�per� la� precisione� come� recita� il� titolo� -� � tutti� e� due� scontati,� quando� il� redattore� non� �� pi�� un�ragazzo�proprio�di�primo�pelo,�ventisette�anni�allÕepoca�dellÕuscita�di�due�pietre�miliari�della�di-scograÞa�della�band�del�sessantottenne�frontman�Charlie�Harper�e�della�prima�ondata�del�punk�inglese:� ÒAnother� Kind� Of� BluesÓ� (1979)� e� ÒCrash� CourseÓ� (1980).� � Il� primo� �� quello� di� liquidar-lo� in�due�parole:�ÒSon�37�anni�che�ci�servono�sempre�la�stessa�minestra�punk�riscaldata,�ma�che�aspettano�gli�U.K.�Subs�ed� il� canuto�Charlie�a� tirare� i� remi� in�barca?Ó.� Il� secondo,�politicamente�punk�corretto,�sarebbe�quello�di�sottolineare�lÕincredibile�inossidabile�coerenza�di�un�uomo�-�Char-lie� Harper� -� che� non� si� �� mai� venduto� al� business� musicale,� un� vero� santone� punk� senza� mac-chia,� che� ha� abbattuto� da� sempre� le� barriere� tra� la� sua� vita� e� la� musica� a� muso� duro� che� con-tinua� a� predicare� sui� palchi� di� mezzo� mondo,� insieme� a� tre� ragazzi� molto� pi�� giovani� di� lui� e�maledettamente�in�tiro,�Jet�occhi�a�mandorla�(guitar)�Alvin�Gibbs�(bass),��Jamie�Oliver�(drums).Dopo�aver�ascoltato�e�riascoltato�ÒXXIVÓ�e�vibrato�insieme�a� lui,�non�ci�resta�che�attestarci�sen-za� esitazioni� sulla� seconda� modalit�,� scontata� certo� quanto� volete,� ma� �� quella� che� ci� pare� pi��autentica.� La� durezza,� il� � benedetto� muro� di� suono� dellÕhardcore�punk� degli� U.K.� Subs� versione�terzo�millennio,�2013,�ed�i�titoli�dei�brani�parlano�in�modo�inequivocabile�di�una�fedelt��commo-vente�-�clamorosamente�fuori�tempo�massimo�solo�in�apparenza�-�alla�causa�dellÕA�nera�cerchiata�di�nero,�del�pugno�stretto�in�rosso,�e�degli�strati�pi��subalterni:�Workers�Revolution,�Black�Power�Salute,� Implosion� 77,� Failed� State,� Coalition�Government� Blues,� au- tentici� pugni� nello� sto-maco� sonici,� rischiano� di��essere�attualissimi,�di�farsi�portatori�dellÕemar- ginazione�e�dello�sfacelo�sociale di anni durissimi in�cui�a�seminare�vittime�e� prosciugare� gli� animi� �� una� crisi� planetaria�economica,� ambientale� e�politica.� ÒA�punk�band�playing� the� bluesÓ� si� legge� nelle� info� del� loro�proÞlo�Facebook:�e� cer- to,� lÕanziano� punk� ritira�fuori� la� sua� harmonica� nel� torrido�blues�garage�Coalition� Government� Blues�(ma�per�caso�cÕen-tra�lÕItalia,�diavolo�di�un� Charlie?)�e�soȗa�via�con�rabbia� la� polvere.� Alla� Þne� di� Implosion� 77� poi�appaiono� Ð� giuro!� -� � i� violini,���stranissimo�ma�il� loro� accoppiamento� contro�natura�con�la�chi-tarra�noise�-issima�di�Jet� non���aȔatto�male.�Non���Þnita�qua:�nella�deluxe� edition� di� ÒXXIVÓ,� dopo�quattordici� brani� che� hanno� squassato�e�mes-so a dura prova – ma con un�godimento�lussurioso�-�i�nostri�padiglioni�auricolari,�le�chitarre�elettriche�spariscono�ed�i�quattro�tirano�fuori�dodici�ina-spettate��Ôbonus�acoustic�tracksÕ,�componendo�e�cantando�un�poÕ�tutti.�Acoustic�punk,�folk�punk?�S�,�nelle�chitarre�e�nel�cuore,�perch��le�canzoni�portano�ancora�titoli�scomodi,�inquieti�e�protestatari�come�Stop�Global�War,�Souls�From�Hell,�Sleeping�Rough,�The�Outsider,�Confessions�of�a�Dange-rous�Mind.�Ascoltare�il�vecchio�Charlie,�a�m��di�novello�dylan�punk,�apostrofare�i�potenti�dal�basso�della�sua�saggezza�indie�decana����una�cosa�che�fa�bene�al�cuore.�Poi�due�belle�cover:�la�dylaniana�Angel�of�Eight�Avenue�di�Ian�Hunter/Allen�e�Four�Strong�Wind�di�Ian�Tyson.�Beh,�se�i�sovversivi�dellÕU.K.�volevano�stupirci,�ci�sono�riusciti�alla�grande,�questa�dimostrazione�di�versatilit��artistica�non�pu��che�accrescere�lÕaura�di�culto�che�li�circonda:�saranno�dei�dinosauri�ma�ad�essercene�cos�!

“ Move Over” LP Italy’s Faz Waltz are back with their very solid fourth long player. Big, clean production with guitars galore. Before actually listening this group, I kept hearing how they were a glam band. There’s definitely some glam influence (Slade, T-Rex), but their overwhelming influen-ce seems to be Cheap Trick, and that’s never a bad thing. I was initially expecting big Gary Glitter-type drums, Moogs, and foot stomps, but instead it’s mostly very guitar heavy with hooks a la Rockford, IL’s favorite sons. Fur-ther evidence of their Cheap Trick influence is the very Robin Zanderesque vocal delivery, especially when they are double tracked. Faz Waltz should seriously consider sending “Let’s Get Around”, the title track “Move Over”, or the T. Rex-ish “Telepath Baby” to Rick Nielsen and Co. since Cheap Trick doe-sn’t write those kind of songs anymore. As far as their glam-inflected tracks go, the opening stomper “The Kids Are All Wild” is superb.

:ABOUT: FAZ WALTZ

by Jason Duncan

“The Kids Are All Wild” b/w “Change” 7” The A-side is the opening glam stomper from their new LP, “Move Over”. This sounds like something released in 1973 in a textured pi-cture sleeve, only to be found 40 years later in a dollar bin and called Junkshop Glam. Guitars for days, hooky choruses and great dynamics make this a no-brainer. The B-side “Change” is exclusive to to this single and not on the LP. It sounds like a glammed-up T.Rex style send-up of John Lennon’s “Instant Karma”, at least on the verses anyway. The melody is very si-milar. To quote Lennon, “We stole from the best.” Do you like rocknrol? Yes? BUY THIS.

My favorite track is the closer, “We’re All We Got”, which is also the most glam-sounding song on the album. It has great production with huge singalong choruses, hand claps, and a bit of that Gary Glitter-beat I can’t get enough of. I very much appreciate the fact that they only put ten songs on this album. Less is more. This is about thirty minutes long-the length of a sitcom. Perfect. Too many bands feel like they should put fourteen songs on their albu-ms simply because that’s what The Ramones or The Beatles did. That’s either wishful thin-king, or delusional on most band’s parts. We need more bands like Faz Waltz in America.

NEW SWEARS JUNKFOOD FOREVER, BEDTIME WHATEVER

I canadesi New Swears, per chi ha avuto la for-tuna di vederli e conoscerli nel loro tour italia-no lo sa, son dei gran cazzoni ma san suonare per davvero. Spigliatezza dei Black Lips unita a ri!o-ni alla Fidlar, il termine “catchy” usato ed abusa-to per i New Swears è però calzante e d’obbligo.Garage di ultima concezione, immediato ma allo stesso tempo mai banale, gli intrecci delle chi-tarre si uniscono alla melodia della voce che dif-"cilmente esce dalla testa nei giorni a seguire.“Midnight Lovers”, “Day Dreaming” e “No Fun” sono le tre perle assolute di questo di-sco uscito quest’estate per l’austriaca Bache-lor Records che di#cilmente sbaglia un colpo.Un bel passo avanti rispetto all’Lp preceden-te “Funny Isn’t Real”, già un bel disco dal punto di vista di songwriting ma ancora acerbo e poco consapevole a livello di suoni e arrangiamenti.Sono sicuro riserveranno altre sorpreso in un fu-turo molto prossimo. (Bachelor Records, 2014)

AUSMUTEANTSORDER OF OPERATION

Gioco a carte scoperte da subito: gli Ausmute-ants sono stati per me la rivelazione del 2014.Vengono da Melbourne e fanno parte di quella scena underground australiana imbarazzante dal punto di vista di fermento e qualità (Living Eyes, Frowning Clouds, Wet Blanket, Straight Arrows).Impossibile de"nirli e costringerli dentro a un genere, gli Ausmuteants prendono punk, ga-rage, new wave, synth e si divertono a trita-re, mescolare e reinterpretare a modo loro.All’interno dell’album e della loro discogra"a i brani si diversi"cano ma il "lo conduttore rimane sempre quello: attitudine punk e bassa fedeltà che alle vol-te riporta alla mente le sonorità degli Screamers.“Felix Tried To Kill Himself ” (uscito in 7” per l’i-taliana Goodbye Boozy) e “We’re Cops” sono i pezzi più tirati, quelli che preferisco e quelli che emergono in un disco che comunque non ha mai momenti di calo. (Goner/Aarght Records, 2014)

by Lorenzo Belli

faz waltz