Mortal Infinity – In Cold Blood

Unleashing thrash metal with a similarly keen instinct for death and groove metal, German metallers Mortal Infinity unveil their third album this month. In Cold Blood is a nine track trespass of old school meets new enterprise incitement, a release which left us basking in thick satisfaction.

Hailing from Zeilarn, Mortal Infinity emerged late 2009 and swiftly set about creating and releasing in the May of the following year their first EP, Eternal War. Since then they have unleashed a pair of albums in District Destruction of 2012 and three years later Final Death Denied. Both were well-received without really breaking the band out upon major attention, a possibility which In Cold Blood makes more likely given the luck all artists need.

Presenting a collection of songs which unapologetically embrace the influence of bands such as Exodus, Testament, and Slayer, In Cold Blood swiftly reveals its rich web of flavours within opener Fellowship Of Rats. Immediately riffs urgently descend on the senses, the guitars of Sebastian Unrath and Sebastian Brunner hungrily surging forth as the swings of drummer Adrian Müller bite. It is familiar territory but no less appetising for it. The raw and earnest tones of vocalist Marc Doblinger soon enter the affray too as all the while rapacious basslines escape the strings of Alex Glaser.

It is a great if unsurprising start to the release which is taken up a notch by the following Misanthropic Collapse. From its first breath seriously appetising grooves collude with hunger bearing riffs, rhythms again an imposing attack in the contagion of it all. Once more there is plenty to recognise but there is a freshness which as with its predecessor marks it out before the quickly impressing Repulsive Messiah steps up to prowl the listener within an apocalyptic collage. Within moments it becomes a nagging addiction of guitar as Doblinger stalks the landscape with his predatory words, death metal hues adding to the drama and temptation. Subsequent threads of melodic enterprise vine the confrontation bringing bolder imagination to the band’s sound.

Dream Crusher equally hooked quick and eager attention with its burly outpouring of carnal riffs and voracious rhythms, grooved wiring increasing its compelling presence. A Lamb Of God like spicing only accentuates its potency as too the momentary calm which deceptively hints at a twist but not the one which actually emerges to add to the pleasure.

From the stalking ferocity that is Long Forgotten Gods and the sinisterly Silent Assassin (Champion Of War) to Devastator, Devastated with its voracious and dextrous siege of sound the album only captured the appetite as the specific craft of individuals unitedly caught the imagination, the melodic dexterity veining tracks alone potent persuasion and only accentuated by the shades of death, groove, and heavy metal upon their thrash bred canvases.

The album’s title track equally hit the spot from its initial thrash borne chugging to the rhythmic agility of Müller and the grooved swing of its gait. Drama soaks its every move which only added to the classic breeding it springs from and the inventive dynamics it is shaped with.

Finally Ghost Ship Sailor sails forward to complete the release; the song drifting in on its own murky waters aflame with heavy metal spirals of guitar amidst a death metal sprung climate until eventually its thrash invasion breaks out, rampaging with hostile zeal. Arguably the most adventurous of the tracks and the most imaginative it provides yet another appealing aspect to In Cold Blood, one which took longer to take to but with rich rewards.

In Cold Blood is not without moments which did not quite grab as strongly as others, certain times when its twists and turns felt unnatural yet equally it all added to the intrigue and attraction of an album we only felt full enjoyment with. Whether the release is a breaking moment for Mortal Infinity time will tell but it certainly sees them moving in the right direction.

In Cold Blood is out September 6th; available@ https://mortalinfinityofficial.bandcamp.com/album/in-cold-blood

https://www.facebook.com/MortalInfinity/   https://twitter.com/mortalinfinity

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Tezura – Voices

Formed less than a year ago, Tezura is a German band which recently made a rather potent introduction to themselves with the release of their debut EP. Their demo holds four tracks of thrash bred multi-flavoured metal, songs rich in potential and strong in ear grabbing enjoyment.

Hailing from Schongau, Tezura emerged in the winter of 2018 and soon set about working on their first release. Their sound draws on its thrash instincts throughout the quartet of tracks making up Voices but is just as open in its punk and metalcore, amongst other flavours, inspirations.

Behind The Glow sets things off, a lure of guitar central to its potent invitation before the song sets off on its thrash nurtured canter. The guitars of Phil Elste and Timo Kammerer only continue to entice as the latter’s gruff tones enter the creative affray. It is an attack though with melodic dexterity strapped to its rhythmic punch, riffs and grooves casting a subtle yet bold web to the aggressive but controlled nature of drummer Lukas Mayr’s strikes and the heavy dark bassline of Max Wopinsk. There is an imagination and craft to band and song though which ultimately holds attention keenest and caps the satisfaction naturally bred by the EP’s great start.

Its title track is next, riffs immediately gnawing on the senses as the track urgently bursts through ears with punk rapacity. Anthrax spiced fuel equips its driving thrash surge, the guitars again bringing melodic and sonic enterprise to bear on familiar hues with relish as rhythms trespass the senses. Progressive essences add to the song’s infectious character and persuasion before Apotheosis uncages its rawer but no less tempting punk infused metal holler. Untamed and irritable, the song challenges as it baits but equally only gets under the skin with that aggression as well as the harmonic endeavour of vocals and the melodic twine spun by the guitars.

Completed by the predatory exploits of Sun, the track sharing another aspect to the band’s sound with more progressive metal/metalcore essences at large within its creative drama, Voices easily lured eager anticipation for the next outing with Tezura. It is early days but the signs are already there that the band has the instincts and craft to make a real mark.

Voices is available now as a name your price download @ https://tezura.bandcamp.com/releases

https://www.facebook.com/tezuraofficial   https://twitter.com/tezuraofficial

Pete RingMaster 06/09/2019

Copyright RingMaster: MyFreeCopyright

Caustic Minds – Black Oil For A Soul

With a rather potent reputation in tow courtesy of their highly energetic live performances, alternative rock outfit Caustic Minds has a certain buzz brewing up around them and one sure to be only accelerated by the recent release of the band’s debut EP. Five tracks strong, Black Oil For A Soul is quite simply an encounter which makes you just stop and pay attention.

Formed in Germany in 2007, Berlin based Caustic Minds has a background as rich as their sound. Vocalist Laura Jiménez Alvarez comes from Mexico City, while guitarist Daniel Viseras Calvache is Granada in Spain hailing. With bassist Michiel Sybers born in Antwerpen, Belgium and drummer Chris Crabtree British/German bred, it is a cosmopolitan mix as flavoursome as the blend of hard rock and indie enticement they conjure up between them. Over time the band has had references to the likes of Queens Of The Stone Age, The Dead Weather, Arctic Monkeys, and Black Sabbath shared upon their sound though for our ears Black Oil For A Soul tantalises and captivates like a hybrid fusion of Karn8 and My Baby.

Persistently compelling in its enterprise and bold in its character, the EP immediately had ears and imagination enslaved with opener Eyes On Fire. Never relinquishing its favourite track grip from its first escapade, the song instantly harries and tempts with a stalking fusion of stabbing beats and siren scythes of guitar. Instantly magnetic, the track only escalates its lures as a swagger breaks out in a sure stroll ridden by the similarly captivating tones of Alvarez. With a groove which infests hips without invitation and an instinctive roar that demands unity, the imagination soaked track easily gripped body and appetite.

Though for personal tastes the release never quite reached those major heights again, its presence and enterprise is a lofty adventure that continues to beguile, next up Baby Doll providing a fiery blaze of punk shaped rock ‘n’ roll with progressive breath to its winds as melodic seduction fuels its great unpredictability.

Similarly Destroyer teased and taunted the imagination; its immediate launch part prowl part strut and all fascination. Intoxicating in its bluesy charm and eye balling in its attitude, the temptress of a song proved another irresistible holler which never fed expectations before Blacklist brought its own beguiling lures to the party. Rising on spirals of sonic and melodic heat, the track is another which teases as it tempts. Like flames in a fire stirring thoughts and gripping attention as its spellbinding hold sprung creative shapes the song simply flirted with the imagination as vocals and individual enterprise trapped ears.

The EP closes up with Carry On, another moment within the EP that enthralled with ease as its seductive moves and shameless grooves toyed alongside the ever compelling barracuda toned bass of Sybers. As each track and the EP as a whole, the closer is all sensuous bait and steamy endeavour honed into rock ‘n’ roll that shamelessly and skilfully entices and firmly attracts.

Black Oil For A Soul more than suggests that the boisterous murmur around Caustic Minds is sound and about to boil over beyond the German borders the band is already putting under their spell and as a bonus ‘name your own price’ release on the band’s Bandcamp site, it is one encounter no one should be ignoring.

Black Oil For A Soul is available now @ https://causticminds.bandcamp.com/

https://www.facebook.com/causticminds/

Pete RingMaster 29/07/2019

Copyright RingMaster: MyFreeCopyright

Noseholes – Ant And End

 

 

Such the dark majesty and ravening twisted exploits of debut album Danger Dance last year, we found it hard to imagine that Noseholes could eclipse its striking character and triumph. Well with its successor the German outfit has done just that whilst taking their sound into new intrigue loaded, virally compelling devilment. Ant And End has not wiped the floor with its illustrious predecessor but built on all its dark and aberrant brilliance to forge a whole new and sensational Noseholes escapade so easy to greedily devour.

Within a sound bred from the voracious instincts of post punk, no wave, and anomalous disco, the Hamburg hailing quartet of Henk Haiti, Steve Somalia, ZooSea Cide, and TH have ventured into darker corners and brighter trespasses with Ant And End. Still the body was a puppet to the band’s fiercely manipulative antics as they sprung a creative harassment to drool for, but the imagination was taken into the crevices of a more dystopian exploration bringing new esurient peril to their compulsive dance.

The album opens with Snowsuit Ranger and instantly roams the body with devious grooves and atypical enterprise. Rhythms tease and taunt, directing song and listener with their infernal bounce as eagerly tantalising vocals and deviant electronics are embraced by a quirky web of guitar. Like a distant relative of a merger between Au Pairs and Blood Red Shoes, the track is glorious, setting the voracious tone of the album and submissive mood of its victim alike.

The following IQ Model is just as rich a tempting, its gait a calmer virulent but clothed in mysterious atmospheric smog of intimation. The similarly reserved stroll of the radiantly dour bass fuels the blossoming industrial espionage of the song, vocals the magnetic narration to its seduction before the album’s title track got under the skin and had feet, hips, and instincts abound again. Whether an inspiration or coincidence, again eighties bred post punk/new wave spices up a slice of inescapable insistence, the likes of Delta 5, ESG, and Pylon hinted at.

The pure captivation of Vacuum Flies followed, its initial teasing shadows and suggestive drama alone hooking unbridled attention, the Essential Logic-esque flame of sax ear manna across the equally compelling rhythmic saunter which riveting vocals intimately drape over. With a Bauhaus hue adding to the pleasure, the song just mesmerised before letting Glimmering Mamba infest body and spirit with its hungry contagion. Not for the first or last time, there is a Gang Of Four lining to the irresistible rhythmic pestering, a nagging matched by the often simple but skilfully woven hooks and swarm of electronic baiting, but as always for all the hints given song and sound are unapologetically uniquely Noseholes.

Casino E Vino provides its own infective canter next, breeding a pandemic of temptation which lingers far beyond its final greed soaked lure while Radio Universe links its wires to body and imagination, the body in turn dangling and dancing like a willingly submissive puppet.

The album closes out with the pair of Jackson 4 and Baked Beans. The first springs its indie pop involved post punk exploits with boisterous intent, once more hooks and chords as lively and hungry as the inimitable rhythmic shuffle infesting is persuasion. Its successor though heavier, darker, and far more sinister manages to be even more viral like in its strands of temptation and collective jeopardy. Increasingly catchier and irresistible by the second, the track is a glorious end to a simply stunning album from Noseholes.

 Ant And End provides one of those moments when music proves why it is the most addictive and vital thing in a chaos searching world; indeed the second such revelation with Noseholes.

Ant And End is out through ChuChu Records on May 17th; available @ https://noseholes.bandcamp.com/releases

https://www.facebook.com/pg/NoseholesBand/

  Pete RingMaster 17/05/2019

Copyright RingMaster: MyFreeCopyright

Sober Truth – Psychosis

Less than a handful of months in and 2019 is already looking like it could go down as a major year for startling releases. Adding to the growing reasons why we are suggesting that possibility is the new album from German metallers Sober Truth. It is a snarling, writhing tempest of the band’s already individual progressive groove metal but has breached a whole new expanse of varied sound driven by an imagination living a up to its title; in short Psychosis is one dramatically thrilling engagement.

Formed in 2007, Siegburg hailing Sober Truth has established themselves as one of Europe’s most intriguing propositions across a trio of previous albums starting with Riven in 2009. The quartet has grown and nurtured their presence and reputation release by release but fair to say major spotlights and recognition are set to be stirred given the required opportunity with Psychosis. The successor to their previous well-received full-length Locust ▼  Lunatic Asylum, there is no escaping a new maturity and bolder imagination to the band’s songwriting and sound within Psychosis or the richer fusion of flavours making up its boisterous canvas.

The release opens with Solitude, the song initially brewing its attack in the background before crowding ears in a rapacious but controlled swirl of riffs and rhythms. A potent coaxing, it in turn soon centres its trespass and drives across the senses as eager grooves align with hungry riffs, the vocal antagonism of guitarist Torsten Schramm soon in league with the ferocious incitement. Instantly contagious and increasingly unpredictable as melodic strands and invention entangle in the fury while variety enhances the magnetism of vocals, the song just blossoms by the second. Already hints of different styles and spicing are at play, stronger in some moments than others but all adding to the track’s potent imagination and character.

It is a stirring rousing start easily backed by the sonic tapestry that is Akardos. Classic metal lined progressive wiring initiates the temptation, a great slim but rich prowling gait emerging before those early hues inflame the melodic enterprise of Schramm and lead guitarist Aaron Vogelsberg. Darker, heavier shadows soon infest the contagion, the esurient beats of Sam Baw uniting with the magnetic pulsation and lure of Jules RoCkwell’s bass. New threads of sound and styles continue to be keenly woven into the magnetic web before Dark Valley takes over the enslaving of ears and appetite. There is a bedlamic edge to Schramm’s vocals which quickly captured the imagination, one which only escalates across the song as musically too it nurtures an anarchic pandemonium within its skilfully bred infestation; the result which is maybe something akin to Dog Fashion Disco and Mudvayne meets The New Jacobin Club but is truly unique to Sober Truth.

The brief atmospheric ally portentous instrument of Ode To Reality leads to the authoritative bait of Riven which subsequently embraces thrash metal bred enticement and blackened shadows to its creative breast. As all tracks though, it evolves and spreads into a diversity of flavours and endeavour, the song as the band’s sound, wonderfully difficult to truly pin down though there is something of a Fear Factory tint to it.

The progressively flamed, death metal flushed Horizon and the nu/groove metal webbing of Utopia only cement the album’s potency and temptation; both unforgettable escapades forged in the diverse furore of sound and imaginative craft from across the whole band before Sober (ReArranged) reveals a whole new side and character to a song previously found on the last album. As catchy in temperament and intent as the original, the song flourishes in the fresh creative winds which race through the band’s growth in sound.

Dying Dreams follows bringing tenebrific clouds over melodic and harmonic intimation before the album’s title track seduced ears with its enthralling mesh of voracious metal and gothic rock equipped with almost malevolent grooves and post punk starkness. At times the song sparks thoughts of The Mission and Sisters Of Mercy, in other moments erupts in an insatiable squall of dissonance and instability. The track is superb, and one of the album’s biggest highlights.

The album concludes with an Unplugged rendition of Collapse, it too a song first introduced on Locust ▼ Lunatic Asylum. Whether intended as a mere bonus slice of Sober Truth goodness or not it provides a wonderful conclusion to Psychosis which is very easy to be greedy over.

Sober Truth may have still been an unnoticed proposition to many but surely that will change thanks to Psychosis. Quite simply the album is a real pleasure of originality and heterogeneity which deserves all the attention and plaudits it will hopefully get.

Psychosis is available now @ https://sobertruth.bandcamp.com/album/psychosis

http://sober-truth.com/    https://www.facebook.com/sobertruthband    https://twitter.com/sobertruthband

Pete RingMaster 14/03/2019

Copyright RingMaster: MyFreeCopyright

Black Space Riders – Amoretum Vol. 2

Though Black Space Riders teased us with the news that the successor to the outstanding Amoretum Vol. 1, released this past January, would also be uncaged this year maybe few expected it to swing into view within six months of its acclaimed sibling. But indeed it has and we for one could not be any more pleased because it is one stunning slab of what the German outfit does best and which is individual to anything else.

As Vol. 1 took the listener into the dark depths and thickly shadowed corners of the modern world with intimations of hope and resolution its successor “explores the tension between darkness (fear, hate, rejection) and light (empathy, love, acceptance).” Their title is a fusion of the words Amor and Arboretum, the band’s symbolic reference to the sanctuary of nature and love. The creative and musical link between the two is strong and open; no surprise with the tracks from both albums written at the same time in 2017 and recorded together, yet Vol. 2 has a devilment in its imagination and body which makes it an even more unpredictable and at times bewildering experience. The second book in the concept flourishes whether standing alone or as a continuation of the first. Its press release asks, “Is Vol. 2 the rebellious older sister of Vol. 1, or the young, untamed brother?” Often it seems like an alter-ego, a kind of Riddler to the first’s Edward Nygma or indeed both making up a sonic Magneto where light and dark entangle for varied shades of captivating character.

The quintet of JE (lead vocals, guitars, keys, electronics), SEB (lead vocals, keys, percussion, electronics), C.RIP (drums, percussion, digeridoo), SLI (guitars), and MEI (bass) have also conjured the most eclectic flavours within their sound across the fourteen tracks of Vol. 2; at times it blazes with punk like ferocity, in other moments trespasses with metal bred inclinations before seducing with pop rock irresistibility and psych rock magnetism with plenty more in store along the way.

Set over six chapters, it opens up with Before my eyes, percussion luring ears into the snarling jaws of the track. Punk, metal, and rock all collude in its grizzled climate, grooves aligning to crisp rhythms as vocals growl. In no time it had the body bouncing and vocal chords gurning, contagion soaking every second of its forcefully magnetic enterprise. The clang of post punk guitars only adds to the irresistibility before LoveLoveLoveLoveLoveLoveLoveLove Love (Break the pattern of fear) slips in on a dark saunter. Initially it shares a Bauhaus like breath before breaking into a garage punk meets alternative rock stroll though, as becomes the norm in songs, it begins evolving by the minute if not the second. If the opener was bliss to the ears, its successor was pure rock ‘n’ roll manna and it proved just the beginning of one exhilarating ride with Black Space Riders.

Next up is Walls away, a far calmer affair with a melodic temperament which captivated from its initial lure. It has a raw undercurrent though which accentuates its elegance breeding, that aforementioned unpredictability lurking at every corner while Slaínte (Salud, dinero, amor) has a Celtic lining to its infectious festivities; an Irish Gaelic inspiration which again had the body bouncing across its primarily instrumental canter sharing “good health”.

Assimilating love leaps in straight after, its punk ‘n’ roll grumble a collision with grungier textures and space rock dynamics as it harasses ears with rousing irritability before In our garden serenades the senses with its melancholic caress. Something akin to the dark rock of Dommin in an embrace with the neo folk of Death in June within an indie sunset, the song is as enthralling as it is sombrely radiant as too the following track, Leaves of life (Falling down). For us the song is part of the pinnacle of Amoretum Vol. 2, though such its lofty heights we continue to debate that point as thoughts change by the listen. It has an energy which infests body and spirit but equally a dark glow which draws attention and the imagination like a moth to flame, and there is a definite heat to the track as its intensity and contagion rises.

Its glory is then more than matched by Body move, a quite magnificent and addictive slice of creative manipulation which has the body swinging to its funkiness and vocal chords clinging to its virulent delivery. Pop, funk, trip hop, and infection do not come any better and wonderfully invasive than this; the imagination as firmly locked into its growing web of drama.

The dub lit and outstanding Take me to the stars had hips swaying without thought within moments next, the song another weave of individual flavours in a wholly unique yet strangely familiar bold croon while Ch Ch Ch Ch pt. I (The ugly corruptor) emerges from a sonic mist to cast psychedelic hues and intimation before Ch Ch Ch Ch pt. II (Living in my dream) draws ears through the former’s growing raw volatility into its own tempestuous heavy rock envelopment, those already in place psych flames and sighs cascading off its feral storm.

The album’s final and sixth chapter is made up of firstly the melodically wired but still gnarly Chain reaction which is followed by the devilish rock pop bred No way. The first of the two did not grab us as its companions but still leaves most tracks heard this year chasing its wake while the rousing second has a whiff of pop, psych rock, and death metal to its inimitably catchy almost fearsome clamour.

Finally The wait is never over concludes the release, the track another kaleidoscope of flavours with echoes of Ruts DC in its dub shimmers and Helldorado in its swarthy atmospherics. It is an initially low key close, a kind of epilogue but one which just transfixes from its irradiant start to its ravenously tempestuous middle on to its apocalyptic climax.

Well Black Space Riders has done it again, had us drooling at their ever startling endeavours. Quite simply Amoretum Vol. 2 is immense in every aspect. It is a treat from first to last wave of imagination and creative devilment but we suggest listening to both Volumes of Amoretum as one for a complete rush of inspiration and pleasure.

Amoretum Vol. 2 is released July 27th through Black Space Records / Cargo Records on double vinyl (w/ CD), digipack CD and digital formats; available @ https://blackspaceriders.bandcamp.com/album/amoretum-vol-2

 

http://www.blackspaceriders.com/    https://www.facebook.com/BlackSpaceRiders     https://twitter.com/BlackSpaceRider

Pete RingMaster 26/07/2018

Copyright RingMaster: MyFreeCopyright

Nebelhorn – Urgewalt

Urgewalt is the third album from Nebelhorn but for us the first time we have come across the one man project from Germany. This may be the situation for a great many, fans and bands alike, as it gets harder for independent projects to encroach upon broader attention though in this case but such the accomplished and potent exploits of the release, Nebelhorn may have broken those restraints.

Nebelhorn is the creation of multi-instrumentalist Wieland; an idea emerging in 2002. Fusing black and Viking metal in sound and atmosphere, he has subsequently released two albums in Gen Helwegs Grund (2005) and Fiordland Sagas (2007) since making his debut with the Utgard EP in2004. Released on his own Skoll Records, every seed and touch of Urgewalt is Wieland alone and a striking piece of writing, imagination, and sonic adventure it proved to be.

The opening instrumental welcome of the excellent Auf Bifrösts Rücken rises up with drama and suggestion, its orchestral walls cinematic in their intimation as rhythms build solid foundations to the epic feel of the surroundings. Yet there is a melodic intimacy which equally tempts the imagination before the album’s title track with the same kind of majesty emerges. Swiftly dark tides and imposing rumblings surge as the track erupts into a rousing incitement of threat and seduction. Wieland’s vocals, raw and melodic, alone spark keen attention, their lure matched by the tidal currents and drama of the sounds. Singing in his home language the tale of the song and its companions evaded recognition but there was no escaping the Nordic and dramatic clues to the mercurial and ever darkening escapade.

As the first, the track was rich captivation with its tempestuous nature sparking the dark storm of next up Ägirs Zorn. Prowling the senses from its first breath, the track is a warlike trespass, barbarian-esque in its threat with dirtier hues in its touch though they are tempered by the siren like sighs of keys. If not quite matching the potency of its predecessors, the song is relentlessly compelling as too the predatory assault of Wilde Jagd. Its initial battlefield hunts down ears and imagination, following it up with a ravenous onslaught of sound and sonic animosity. As with all tracks though, there is a grace which courts the despoiling, keys at its heart.

Wieland’s instrumental prowess is an open attraction throughout the album especially through the inventive antics of the guitar and his imagination a rich draw as emphasized by the following Muspellheim. An invasion of sound and dark emotions, the track is simultaneously tempting and distressing, keys haunting its bedlam as vocals steer the rapacious insurgency.

A calmer air embraces Auf neue Lande, it’s exploring of new land and hope breeding melodic endeavour in the wake of the previous track’s ruinous intent. It was another which took longer to spark the appetite compared to those before yet with its melodic touch and emotive canvas, the song only firmly enticed while Funkenflug similarly gripped attention without inflaming the same intensity of reaction. Yet it too cast a wealth of craft and adventure so easy to be caught up in.

The closing Freyhall is another instrumental magnet for ears and imagination; both devouring its touch and suggestion as various flavours collude with its blackened Viking breath.  A final quest for enjoyment and thoughts to feed upon, it is a fine close to an impressive release which enticed and pleasured straight away and only further blossomed with time. There are no guarantees of success and recognition, even awareness, in an overcrowded musical market place but if there is one release you might place a bet on finding that success, Urgewalt is it.

Urgewalt is available now.

https://www.facebook.com/Nebelhorn.Vikingmetal/

Pete RingMaster 19/06/2018

Copyright RingMaster: MyFreeCopyright