Category: Live Reports (Page 13 of 37)

PETER ASHWORTH Mavericks

20 November 2018 /

A graduate of the London College Of Printing, photographer Peter Ashworth created some of the most iconic images from New Romantic and beyond.

His photographs adorned albums covers such as the debut long player by VISAGE, SOFT CELL ‘Non-Stop Erotic Cabaret’, ASSOCIATES ‘Sulk’, EURYTHMICS ‘In The Garden’, DEAD OR ALIVE ‘Sophisticated Boom-Boom’, ADAM & THE ANTS ‘Kings Of The Wild Frontier’ and many more.

Meanwhile, his memorable portraits have included artists as varied as FRANKIE GOES TO HOLLYWOOD, ERASURE, ULTRAVOX, THE THE, THE CLASH, THE CULT, THE ART OF NOISE, SWING OUT SISTER, PUBLIC IMAGE LIMITED, THE LIGHTNING SEEDS and SPACE while his photos of BLANCMANGE, EVERYTHING BUT THE GIRL and THE CULT appeared in ‘Smash Hits’.

But it was his image of Annie Lennox in a mask and an ironic strong arm pose for ‘The Face’ that was to become his best remembered shot; the visually powerful statement was then used on the cover of ‘Touch’, the third album by EURYTHMICS.

At a time when image was critical to how an act and their music were perceived, record covers were the first port of call for any potential fan. Thus Ashworth’s eye was ideal as he worked mostly with large square format Hassalblad cameras, so there was never that dilemma of what might be cropped out in a landscape format shot. Having already debuted the ‘Mavericks’ exhibition in Liverpool, the London variant was specifically adapted for the Lever Gallery in Islington. In Ashworth’s own words: “the prints have deep colours, strong graphics, and are beautifully printed”.

Ashworth loved to create extravagant sets for his backgrounds like The Jungle Of Desire for various formats of FRANKIE GOES TO HOLLYWOOD’s ‘Welcome To The Pleasure Dome’ or the kaleidoscopic horticultural menagerie for ASSOCIATES to inhabit on the cover image of ‘Sulk’. What Ashworth helped to reinforce was the element of artifice in music of this period, which ultimately allowed the listener to embark on a truly escapist adventure.

So it was a total honour and privilege for ELECTRICITYCLUB.CO.UK to have Peter Ashworth personally guide around his wonderful ‘Mavericks’ exhibition and to hear the stories behind his iconic photographs.

Many are now time capsules of fashion and popular culture like his dressing room photo of TRANSVISION VAMP which adorned their ‘Velveteen’ long player, capturing a time before mobile photos when bands would pass the hours away before showtime reading books about THE VELVET UNDERGROUND and sex movies!

Interestingly, Ashworth confessed to rarely listening to the artists he was photographing so that he could focus on the best visual presentation possible.

Meanwhile, he also admitted he wasn’t really a fan of anybody except perhaps the late German producer Conny Plank and that his favourite type of music was deep house.

Though his cool portrait of Bryan Ferry dragging on a Marlboro has been popular with many casual observers, Ashworth’s own favourites are actually of two lesser known New Romantic personalities Ronny and Peter Godwin.

The former was a French protégée of Rusty Egan who cut a striking figure androgynously suited in Anthony Price, while the latter released two singles ‘Torch Song For The Heroine’ and ‘Images of Heaven’ which featured members of ULTRAVOX. Although never having a hit in his own right, Godwin hit paydirt when David Bowie covered ‘Criminal World’ by his previous band METRO on the ten million selling ‘Let’s Dance’ album.

A regular visitor to The Blitz Club, Ashworth was a natural choice for the eponymous debut VISAGE album cover image in 1980. Shot in the actual club itself, he had titled the photo ‘The Swing’ thanks to the dancing pose captured of Steve Strange and model Vivienne Tribbeck in front of three silhouetted jazz musicians, one of whom was the soon-to-be famous milliner Stephen Jones. The eventual artwork was actually hand tinted by Iain Gilles, so it was fabulous to see the original photo which to be honest looks better!

One of the acts most closely associated with Peter Ashworth has been SOFT CELL and he took many photographs of Marc Almond and Dave Ball during their career, as well as being an occasional drummer in Almond’s MARC & THE MAMBAS venture. The ‘Bedsitter’ image highlighted Ashworth’s use of props which in this case were a number of kitchen utensils. But the duo’s tense facial expressions can be explained by the fact that the props kept falling off the wall behind them!

‘Mavericks’ is a must see exhibition for anyone remotely interested in pop music and its visual presentation. There is also the opportunity to purchase a quality greeting card set of six iconic Peter Ashworth images which because they measure 6″ x 6″, four can fit perfectly into one of those album artwork frames available in HMV or Fopp… so guess what ELECTRICITYCLUB.CO.UK did???

ELECTRICITYCLUB.CO.UK gives its sincerest thank to Peter Ashworth

‘Mavericks’, a photographic show by Peter Ashworth runs at the Lever Gallery, 153 -157 Goswell Road, London EC1V 7HD until 20th December 2018 – entry is free and open Tuesday to Sunday or by appointment

http://www.ashworth-photos.com/

https://www.facebook.com/peter.ashworth.photography

https://twitter.com/peterashworth

https://www.instagram.com/p_ashworth/

https://levergallery.com/

https://www.facebook.com/levergallery/

https://twitter.com/levergallery

https://www.instagram.com/levergallery/

Text and Photos by Chi Ming Lai
20th November 2018, updated 11th December 2018

NEW ORDER Live at Alexandra Palace

10 November 2018 /

It’s interesting to think that when Bernard Sumner and Stephen Morris were in their 20s, NEW ORDER gigs would be around three quarters of an hour! But with both now in their 60s, the band are onstage for close to 2 hours and 20 minutes! 

The pair with younger founder member Gillian Gilbert and new recruits Phil Cunningham and Tom Chapman played their only UK gig of 2018 at London’s Alexandra Palace and delivered a superb show that acknowledged their history, one which a number of their contemporaries could learn from.

Alexandra Palace is an iconic building, full of prestige as a live venue, but its practicalities are hindered by limited public transport access and with a standing capacity of 10000, a stage so low that anyone under 5 foot 11 inches automatically has a restricted view! Luckily, NEW ORDER’s live presentation with its vibrant widescreen visuals more than compensated.

Opening with ‘Singularity’, footage compiled from Mark Reeder’s documentary ‘B-Movie: Lust & Sound in West-Berlin 1979-1989’ complimented the track’s rock electro tension before the quintet launched straight into ‘Regret’; welcomed back like a lost friend, the 1993 hit single had not been in the NEW ORDER live set during their last UK tour in 2015 or the ‘So It Goes..’ synth orchestra shows.

Appropriately for Remembrance 100 weekend, a superb ‘Love Vigilantes’ was dusted off while there were even bigger surprises with ‘Ultraviolence’ from ‘Power, Corruption & Lies’ set to stark images of bullets and a blistering version of ‘Disorder’, the JOY DIVISION song which opened the now classic 1979 debut long player ‘Unknown Pleasures’.

2001’s ‘Crystal’ naturally came accompanied by the promo video from which THE KILLERS got their name. Meanwhile a rendition of ‘Academic’ from the ‘Music Complete’ comeback highlighted how impressive the ‘Akademixx’ reworking by Mark Reeder for his ‘Mauerstadt’ collection was, as NEW ORDER’s own take now came over as slightly underwhelming.

The glorious ‘Your Silent Face’ with its serene neo-classicism was a highlight, illustrated by a ‘Dallas’ style montage which drew cheers as each starring band member’s name was flashed onto the screen.

On the whole, the very bright visuals based around geometric shapes and specially filmed life sequences were magnificent, although at times, the unnecessary use of lyrics on some of the projections bordered on karaoke unless they were prompts for Bernard Sumner.

There was the old jibe that Ringo Starr was not even the best drummer in THE BEATLES and Bernard Sumner is known not to be the best singer in NEW ORDER, but he has learnt to use his limitations well over the years. Tonight, his vocals were as wayward and vulnerable as ever; part of the omnipresent charm of NEW ORDER, while there were a few missed cues too, one thing that was obvious was his enthusiasm and that he was throughly enjoying himself.

Introducing the Italo House flavoured ‘Tutti Frutti’ as “quirky”, NEW ORDER launched into a sensational electronic disco extravaganza akin to an over 50s rave, although there were plenty of youngsters in the audience who knew ALL the words!

The baroque sex anthem ‘Sub-Culture’ combining the best elements of the original ‘Low-life’ version and the John Robie remix triggered massed dancing, as did a Richard X assisted update of ‘Bizarre Love Triangle’ segueing into the dreamily emotive ‘Vanishing Point’, one of the stand-outs from 1989’s ‘Technique’.

The only misstep of a wondrous setlist was an electronic take on ‘Waiting For The Sirens’ Call’, the transformation of a classic NEW ORDER guitar driven number not working at all. But victory was snatched back by ‘Plastic’, with the hypnotic sequenced influence of Giorgio Moroder reflected by a spectacular road trip of flashing nocturnal illustrations.

The mighty triad of ‘The Perfect Kiss’, ‘True Faith’ and ‘Blue Monday’ rewarded the audience while with a steady introduction comprising of the string quartet motif from Lou Reed’s ‘Street Hassle’, ‘Temptation’ saw the song’s memorable chant reprised by all present like some communal hymn.

It was a long energetic evening that ensured the crowd were exhausted so despite somewhat muted calls for an encore, NEW ORDER returned for a JOY DIVISION triathlon beginning with ‘Atmosphere’.

Using David Bowie and Giorgio Moroder’s ‘Cat People (Putting Out Fire)’ as a re-arranged first section, there were roars of approval as the forever looming figure of singer Ian Curtis appeared on the screen. An emotional ‘Decades’ from ‘Closer’ and its sonic grandeur set to archive footage of Manchester was the evening’s pièce de résistance while ‘Love Will Tear Us Apart’ sent people home with strength through joy, despite the song’s sad backstory.

Yet another band who are better than the current live incarnation of DEPECHE MODE, NEW ORDER win on many points thanks to a drummer in Stephen Morris who actually knows how to play along to electronics, a guitarist in Bernard Sumner who can play a variety of styles without lowering to blues noodling plus the use of original sounds synonymous with the songs, like the Oberheim DMX on ‘Blue Monday’ and the synthetic clap on ‘Decades’.

And that’s without mentioning an inventive setlist of not just hits and tracks from the most recent album ‘Music Complete’, but songs from the early days of JOY DIVISION, not just one but four fan favourites from the classic albums, singles that weren’t hits and sensational visuals that impacted all of the audience and were not just seen by a privileged few.

Now just imagine for a moment DM actually giving some thought of making that effort and doing the equivalent…

‘Education Entertainment Recreation’, the live recording of this show is released by Rhino as a Bluray film + 2CD plus audio 2CD, 3LP and download on 7th May 2021

http://www.neworder.com/

https://www.facebook.com/NewOrderOfficial

https://twitter.com/neworder

https://www.instagram.com/neworderofficial/

https://www.youtube.com/user/neworder

Text by Chi Ming Lai
Photos by Simon Helm
10th November 2018, updated 26th March 2021

JOHN CARPENTER Live at Glasgow Barrowlands

23 October 2018 /

John Carpenter’s career as a film maker has run parallel to that as a musician allowing him to have control over not only the visual in his movies but also the audible too.

In fact, a look at his IMDB listing shows his credits under “Soundtrack” are almost double the number of credits for “Director”. But this really shouldn’t come as a big surprise at all. Carpenter’s father Ralph was head of the music department at Western Kentucky University.

John himself studied there before going on to film school in Los Angeles. From the earliest days as a director with the Oscar winning short film ‘The Resurrection of Broncho Billy’, he has provided the musical accompaniment to his films, writing some of the most memorable scores along the way.

In recent years, his influence can be heard across both film and television soundtrack and also in the new influx of bands releasing under the Synthwave genre. This in turn has not only lead to a reappraisal of Carpenter’s musical output but also the surprise release in 2015 of ‘Lost Theme’s, an album of soundtrack styled music produced with his son Cody and godson Daniel Davies, son of THE KINKS’ Dave.

That release in turn brought Carpenter’s soundtrack work together on ‘Anthology’, and an extensive tour to support. And so to legendary Glasgow Barrowlands and the show under scrutiny here…

It was always going to be a strange offering, given the sort of music being performed and the potential audience this would attract. And looking at the queue outside the famous Glasgow venue, the mix was indeed eclectic to say the least. Film geeks rubbed shoulders with Synthwave guys in trucker caps and rockers.

Inside, the near capacity crowd waited patiently whilst the merch stall did a roaring trade in shirts and tour edition vinyls. The stage was sparse apart from a large screen behind the band which added to the anticipation amongst many of the folk around where we stood.

The man himself wandered cooly onstage about 10 minutes later than scheduled with his younger 5 piece band and with a quick “Good evening Glasg-Gow”, launched into the set. Opening with ‘Escape From New York’, the video screen came to life and we were treated to a greatest hits from the movie. This approach accompanied the film pieces throughout and led to a few strange moments when the crowd cheered what was on screen louder than the music that was playing alongside.

The iconic ‘Assault on Precinct 13’ followed with its relentless synth bass and large string motifs. Probably the most influential of JC’s works, it has been referenced by many electronic and hip-hop acts. There was even a vocal version released in 1975 by Trinidadian singer Jimmy Chambers with lyrics by Kenny Lynch and titled ‘You Can’t Fight It’. It’s now, thankfully, a rarity! For a more listenable take look for ‘Assassin’ by Mark Shreeve which takes the piece and adds to it in a very acceptable way.

“We now visit a place none of you have ever been to…” says Carpenter of ‘The Village of the Dammed’ which led one wag in the crowd to reply “You’ve obviously no’ been to Cumbernauld big man!”

Following this, ‘The Fog’ slowed things down before we had the first of 3 tracks from the aforementioned ‘Lost Themes’. This brought an interesting observation from Glasgow promoter Barry Douglas who was with me at the gig: “All the Synthwave bands are influenced by Carpenter but the ‘Lost Themes’ stuff sounds like any other Synthwave act”; this has some credence but why that should be is harder to fathom. Carpenter himself said the ‘…Themes’ albums were fun as he had no pressure to score over images. Perhaps the combination of working in both media however is what makes Carpenter Carpenter…

Normal service was quickly resumed with the band all donning sunglasses for an excellent ‘They Live’ which had some people bizarrely dancing along. Then came 2 pieces from the soundtracks Carpenter didn’t write. ‘Starman’ was dedicated to the beautiful women of “Glas-Gow” and the Ennio Morricone penned main theme from ‘The Thing’ were followed by ‘Distant Dream’ from ‘Lost Themes’.

From here, it was all Carpenter however. “Have you paid your dues Jack? Yes Sir, the cheques in the mail” heralded ‘Big Trouble in Little China’ and brought the 2nd biggest cheer of the night, before the moment most had been waiting for. The 19th of October saw the release of the latest ‘Halloween’ movie and the theme from this segued effortlessly into the classic piano motif of the 1978 original. From here, the pacing of the show dropped off a little underlining that this wasn’t a rock show despite the venue and the staging.

An encore consisting of some of his later work was rounded off with the message to drive home safe and the theme from the Stephen King adaptation ‘Christine’. Heading out into the developing chill of a Glasgow (Glas-Gow?) October evening, I was left to ponder on what the legacy of John Carpenter will be. As a film maker, the extracts that formed a visual greatest hits to accompany the music certainly left me wanting to revisit some of those films.

As a musician he should be recognised as one that brought the synthesizer into the soundtrack mainstream and in doing so, probably exposed as many people to electronic music for the first time as Jean-Michel Jarre and Vangelis. For that we should be thankful. We may even in the long run be able to forgive him for being one of the fathers of Synthwave.

‘Halloween – Original Motion Picture Soundtrack’ is released by Sacred Bones Records in CD, vinyl LP and digital formats

http://www.theofficialjohncarpenter.com

https://www.facebook.com/directorjohncarpenter/

https://twitter.com/TheHorrorMaster

https://www.sacredbonesrecords.com/collections/john-carpenter

Text and Photos by Ian Ferguson
23rd October 2018

AFTERHERE Live in London

8 October 2018 /

AFTERHERE are Berenice Scott and Glenn Gregory.

Gregory is best known as the front man of HEAVEN 17 while Scott is a singer / songwriter who is also the Sheffield electronic pioneer’s live keyboardist; she joined their concert set-up in 2011 while releasing her most recent solo album ‘Polarity’ in 2014.

As well as HEAVEN 17, the pair have also been part of HOLY HOLY.

A supergroup led by Spiders drummer Woody Woodmansey and producer Tony Visconti, HOLY HOLY perform the songs of DAVID BOWIE from the period between 1969 to 1973 at concerts around the world and it was while touring that AFTERHERE came into being.

What began as a platform for soundtrack work eventually mutated into songs for their debut album ‘Addict’; “Glenn being part of one of the most innovative electronic bands calls to mind elements of KRAFTWERK and of course HEAVEN 17” Berenice Scott said, “We both love classic, brilliant songwriting such as the HALL & OATES catalogue and one of my favourite singers is Karen Carpenter, and then we kind of end up meeting somewhere in the middle with a shared love of DAFT PUNK.”

For their debut gig at Venue 2 of 229, an underground location in Central London, Scott and Gregory reversed their known roles from HEAVEN 17. Beginning with an introspective instrumental ‘Butterfly’, it was certainly unusual to see Gregory behind two synthesizers.

The soulful electronically assisted pop of ‘After the Night’ had its rainy backdropcomplimented gentle backbeat from Al Anderson on electronic drums,

It showcased how with Scott taking the majority of the lead vocals, AFTERHERE’s songs take on a more personal and emotional level compared with the socio-political animal that is HEAVEN 17.

‘Darkstar’ saw Gregory take the first verse in a duet with Scott, their two very different voices working well in unison and providing enough anguish around a solid bassline, swooping electronics and subtle piano.

Aided by a synthetic rumble and thundering rhythms from Anderson, ‘Unbroken’ was full of emotive drama with Scott exclaiming “I’ll be there for you”. The jazzier overtones of ‘It’s OK’ were disturbed by some solid schaffel beats, although Scott’s terrifically rich voice was not overawed by the dominant percussive backbone.

With a solemn demeanour, ‘I Won’t Cry’ with its mix of piano and synths came over like an electro-FLEETWOOD MAC and was amusingly boosted by Gregory’s BEE GEES inspired falsetto backing vox. Then in a nod to HEAVEN 17 and David Bowie, Scott provided solo piano interpretations of ‘Temptation’ and ‘Wild Is The Wild’ which were both voiced by Gregory.

The haunting overtures of ‘Liar’, which formed part of AFTERHERE’s first soundtrack commission, more than suited the parent TV show’s heavy subject content; “is he dead?” grinned Scott to the audience at the song’s conclusion in a reference to the series one cliffhanger…

The excellent ‘Addict’ album title track dealt with emotional exploration of relationships, but proceeding were injected with a dancey boost, courtesy of the funky GOLDFRAPP of ‘Breaking Rules’; with groovy reminisces of ‘Twist’ and ‘Yes Sir’, the song’s captivating sexually charged seduction almost got Scott up on her feet, although she remained somewhat the reluctant front woman despite having the voice and looks to more than fulfil the role.

The nocturnal atmospheres of ‘A Place To Be’ were perfect as the penultimate song of the evening before Berenice Scott and Glenn Gregory closed with a stark trip-hop styled cover of ‘All Along the Watchtower’.

With an introduction by ‘Liar’ and ‘Vanity Fair’ director James Strong, he explained how he wanted the music for his shows to be slightly darker in tone. A song that has been reinterpreted by many in the past including Jimi Hendrix, Bryan Ferry and U2, authentic guitar sounds emerged from Gregory via his Roland GAIA. Combined with Scott’s spooky air, it came over like MORCHEEBA doing Dylan.

It was an enjoyable debut performance from AFTERHERE with Scott particularly impressing. Gregory had said he was particularly nervous in his new role as a live musician, but he needn’t have worried. Both he and Scott just need to get a bit more confident within their role reversals and everything else will nicely fall into place.

With thanks to Sacha Taylor-Cox at Hush PR

‘Addict’ is released by Manners McDade in CD and digital formats

https://afterhere.co.uk/wp/

https://www.facebook.com/AfterhereMusic/

https://twitter.com/WeAreAfterhere

https://www.instagram.com/weareafterhere/

http://www.mannersmcdade.co.uk/composer/glenn-gregory-berenice-scott/

Text by Chi Ming Lai
Photos by Chi Ming Lai and Richard Price
8th October 2018

RATIONAL YOUTH, PAGE + PSYCHE Live at Non Stop Electronic Cabaret

7 October 2018 /

In recent times, there have been a number of music events where there have been so many acts of varying abilities on the line-up, the suspicion is that it’s a ruse to ensure that are actually people in the venue. Having more band members than punters does not make for a good music event…

Luckily, ‘Non Stop Electronic Cabaret’ in London hosted by music and culture blog Cold War Night Life managed to avoid all that. An event where quality prevailed over quantity, the sold-out show featuring an esteemed international line-up comprising of RATIONAL YOUTH, PAGE and PSYCHE was rammed from the minute that the opening act took to the stage of The Islington.

With SOFT CELL playing what was billed as their final concert at the O2 Arena the following day, dark Canadian / German synthpop duo PSYCHE paid tribute Messrs Ball and Almond by opening with a fine respectful cover version of ‘Martin’. Featuring Darrin Huss on vocals and Stefan Rabura on synths, there was passion from the former while aided by a high quality sound system, the latter was able to get to work on a variety of hand played synthetic inflections.

PSYCHE brought things up to date with their most recent single ‘Youth Of Tomorrow’ while the industrial Italo of ‘Uncivilized’ kept up the mutant dance tempos. Introducing ‘Truth Or Consequence’, the edgier B-side of ‘Youth Of Tomorrow’, Huss joked that it was getting more streams than the A-side, while an excellent reinterpretation of Q LAZZARUS’ ‘Goodbye Horses’ was appreciated by the PSYCHE faithful that had travelled over from Germany, Sweden, Finland and Italy for the event. A glorious ‘Unveiling The Secret’ from the 1986 album of the same name concluded a wonderfully engaging set.

Swedish poptronica exponents PAGE were making their return to London after a successful live debut in 2014. More recently, the duo of Eddie Bengtsson and Marina Schiptjenko have been exploring their inner Numan via the EP ‘Start’, while an enjoyable trilogy of albums ‘Nu’, ‘Hemma’ and ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ have maintained their cult standing.

Appropriately beginning with the ‘Start’ EP’s title song, the mash-up of ‘Tracks’ and ‘Metal’ partied like in was 1979. The catchy ‘Som Ett Skal’ from ‘Hemma’ and the glam Schaffel swing of ‘Ett S.O.S’ from ‘Nu’ kept the crowd moving while there was even a band clapalong on ‘Alla Som Väntar’. ‘Krasch’ kept up the thrusting Svensk elektronisk essence but closing their set early due to battery recharge difficulties, ‘Stör Ej’ took the Numan fixation to its zenith with the Compurhythm pattern from ‘Love Needs No Disguise’ appearing halfway through.

Canadian synthpop trailblazers RATIONAL YOUTH were making their first ever live appearance in the UK and mainman Tracy Howe was particularly fired up. Accompanied by his wife Gaenor on backing vocals and synths, the fitting political statement of ‘This Side Of The Border’ from 2016’s ‘Future Past Tense’ EP provided a poignant message for the multi-national crowd that was gathered. The stark ‘Dancing On The Berlin Wall’ from the ‘Cold War Night Life’ album (which the event hosts were named after) recalled a time when there really were divisive physical walls, while the midlife angst of ‘Here It Comes Again’ said it all!

Possibly RATIONAL YOUTH’s best known song, the intense electro drama of ‘Holiday in Bangkok’ provided one of the set highlights, although the sense of occasion got the better of Howe as he forgot some of the words. One-time member Dave Rout, now of TECHNIQUES BERLIN, joined the duo on synth for a rendition of their co-write ‘Energie’, while closing a spirited set, two ‘Cold War Night Life’ evergreens ‘City of Night’ and ‘Saturdays in Silesia’ more than satisfied the now very sweaty crowd who had danced from the beginning of the evening.

ELECTRITYCLUB.CO.UK often goes on about how the best electronic music events are curated by electronic music fans and Cold War Night Life did it again with their ‘Non Stop Electronic Cabaret’.

The lesson for other promoters? If the acts are of a sufficiently high quality and the bill has some appropriate fits, the rest will be then straightforward. And as Jim Morrison said in Wayne’s World 2’, “Book them and they will come…”

With thanks to Simon Helm at Cold War Night Life

https://rational-youth.com/

https://www.facebook.com/RationalYouth/

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/

http://www.psyche-hq.de

https://www.facebook.com/Psyche/

http://www.coldwarnightlife.com/

Text and Photos by Chi Ming Lai
7th October 2018

« Older posts Newer posts »

© 2017 ELECTRICITYCLUB.CO.UK | Email: theelectricityclub@googlemail.com
Privacy Policy

Up ↑