Category: Live Reports (Page 11 of 36)

DANA JEAN PHOENIX, LEBROCK + KALAX Live in London

22 April 2019 /


London-based synthwave promoters Outland presented a rather happening triple bill for their second event of 2019 at Zigfrid von Underbelly.

Headlined by the undoubted Queen of Synthwave DANA JEAN PHOENIX and her feel good escapism with memories of youthful innocence, first loves and first disappointments, she was supported by rockwavers LEBROCK and neon synth kid KALAX.

On first impression, LEBROCK do rather look like natives of New Jersey but Shaun Phillips and Michael Medows are in fact from sunny Peterborough. LEBROCK are an interesting synthwave mutation, coming as a result of the subgenre’s flirtation with AOR and the rockier end of GIORGIO MORODER. They have even been affectionately referred to as the “FOO FIGHTERS of synthwave”!

As a live proposition, LEBROCK are a perfect warm-up act. Energetic and likeable with an undoubted ability in the vocal department in Phillips’ powerful growly presence, he was complimented by the guitar hero virtuosity of Medows.

Their musical style is not that far off John Parr, the English rocker who found fame with ‘St Elmo’s Fire’. Indeed, one of the new LEBROCK’s new songs ‘Inner Romance’ appeared to be cut from this exact cloth.

On their recorded output to date, LEBROCK have ably adapted to synthwave’s penchant for instrumentals but only once in their set did the duo relent on the magnificent ‘Galactic Smasher’. With Phillips taking to a mobile Akai MPK Mini synth, he was slightly out of sorts and not entirely sure whether to face his band mate or the crowd, while a slight computer glitch at the end provided an unexpected remix treatment.

However with dreams of cities and hearts, it was fist punching anthems like ‘Real Thing’ and ‘Call Me’ that the LEBROCK disciples wanted to hear. They delivered accordingly and when Phillips stepped towards the crowd, he was like a possessed man in motion.

While ELECTRICITYCLUB.CO.UK prefers to dance to disco cos it don’t like rock, this was a highly enjoyable three quarters of an hour in the company of LEBROCK .

Following LEBROCK, DANA JEAN PHOENIX stole the audience’s hearts with an electric performance that had the crowd dancing from start to finish. As good things come in small packages, the stunning Canadian proved that being little means being big on stage. From the first notes of ‘Le Mirage‘, the Toronto based songstress made sure everyone was having a ball. Not only was she vocally spotless, she threw in some good moves and live sounds thanks to her pink lit keytar.

Unlike her LA based colleague PLASMIC, DJP wasn’t all pink; but her performance was glossy, sweet and very reminiscent of the classic synth years when electro could often meet funk across the Atlantic in the hands of Arthur Baker.

Talking of which, her dynamic cover version of FREEEZ’s ‘I.O.U.’ got the venue roaring with all the girls and boys singing to their hearts’ content.

Then came the fabulous ‘Losing The Connection’, which had everyone moving on their feet, reminding all present that DJP’s latest album ‘Pixeldust’ has some amazing tunes such as ‘Red Line’ and ‘Iron Fist’, which were also showcased towards the end of the set. If you thought DJP had you ‘Losing Your Grip’, you may have been right, but she couldn’t “tell you to stand still”.

Probing into faster beats, ‘Genesis’ and ‘Mesmerised’ rocked the crowd to oblivion, while ‘Synth City’ from the eponymous 2017 opus also found its way into the set, closing the hour with a gentler slower pace.

DANA JEAN PHOENIX’s performance was energising and uplifting, proving that synthwave is an sub-genre supplying pleasurable experiences to anyone present, whether you’re a lover of the synth category or not.

It was a tough call to come on after DANA JEAN PHOENIX and having just released his new album ‘iii’ in March, Liverpool based producer KALAX closed the evening’s live proceedings with a selection of moody cinematic instrumentals beginning with the triplet driven ‘Time Lapse’, probably his best known track.

Swathed in a pleasant backdrop of subdued purple lighting for attendees to mingle and relax, the performance would have perhaps benefitted from a more striking use of visuals to compensate for the static demeanour. But therein lies the ongoing challenge of presenting synthwave within a live context. However, while this section was comparatively anti-climactic, overall it contributed to a fabulous evening for everyone.

DANA JEAN PHOENIX has become something of a house act for Outland and she headlines their most ambitious event yet in Toronto this July with PARALLELS, MECHA MAIKO and MICHAEL OAKLEY all part of the supporting bill. Highly accomplished and at times mind-blowing, the lady may be small, but she’s got a great big stage personality with the uppermost levels of audience engagement.

Whether it is synthpop or synthwave, the likes of Moog, Oberheim, Roland, Korg and their offspring are not going to be disappearing just yet… the synth is not dead!

With grateful thanks to Outland

The next Outland event is their Sunset Neon Cruise II in London which takes place on Saturday 1st June 2019 featuring HIGHWAY SUPERSTAR, SUNGLASSES KID, MORGAN WILLIS + 80sSTALLONE – tickets available from https://www.wegottickets.com/event/460186

DANA JEAN PHOENIX + KALAX play Outland Toronto 2019 with PARALLELS, MECHA MAIKO, MICHAEL OAKLEY, TIMECOP1983 + FM ATTACK at the Mod Club Theatre on Saturday 6th July 2019 – tickets available from https://www.eventbrite.co.uk/e/outland-toronto-2019-retrowave-festival-tickets-57180793292

https://www.danajphoenix.com/

https://www.facebook.com/danajeanphoenix/

https://twitter.com/danajeanphoenix

https://www.instagram.com/danajeanphoenix/

https://www.facebook.com/ListentoLeBrock/

https://twitter.com/listentolebrock

https://www.instagram.com/listentolebrock/

https://www.facebook.com/iamkalax/

https://www.iamkalax.com/

https://twitter.com/iamKalax

https://www.instagram.com/iamkalax/

https://www.facebook.com/outlandsynthwaveevents/

https://twitter.com/OutlandSynth

https://www.instagram.com/outlandsynth/

https://outlandsynthwave.bandcamp.com/

Text by Chi Ming Lai and Monika Izabela Trigwell
Photos by Chi Ming Lai
22nd April 2019

KITE Live at Stockholm Slaktkyrkan

7 April 2019 /

KITE, “Sweden’s best kept pop-secret”, made their long awaited return to the live stage with a trio of sold-out shows at the Stockholm Slaktkyrkan.

Having produced some of the best electronic pop in the last decade, the enigmatic duo of Nicklas Stenemo and Christian Berg were on the crest of wider international success in 2017 with a new EP ‘VII’ in the can. But KITE had to cancel their German tour following concerns over Stenemo’s health later that Autumn.

The period of music afterwards was empty without KITE, so when Stenemo and Berg announced their return a year later with a one-off date at the Slaktkyrkan, excitement was in the air. Ticket demand led to the Slaktkyrkan date becoming a weekend residency as well as the announcement of more gigs in Sweden.

As Brian Eno and his lengthy landmark in electronic ambience ‘Discreet Music’ set the mood for the start, the unmanned stage looked impressive with ten synths of various vintages including a Roland JX8P, Korg Micro Preset, Dave Smith Prophet 08, Roland RS101, Dave Smith Pro-2, Korg Sigma and Studio Electronics SE1 plus tubes of fluorescent orange lighting set in rows of six around the stage and large Paiste cymbals fixed vertically to act as reflectors.

As ‘Discreet Music’ faded out after 15 minutes amongst increasing plumes of smoke, KITE took their positions with Berg in a black poncho capeing him like a Norse Rick Wakeman by his six keyboards.

Meanwhile Stenemo stood tall and stoic with his slightly more modest four keyboards,  like a victorious tribal leader returning from the wilderness after another hard won battle, this time against the trials and tribulations of the human condition. With that in mind, the rousing ‘I Just Wanna Feel’ was a perfect way to open proceedings and affirm their comeback.

With its splitting Alan Wilder-esque bassline, I Can’t Stand’ resonated off the orange tube light set now at full brightness, recalling those radiant electric bar heaters of old and giving off almost as much energy as the music.

Taking in a deeper textural mood, ‘Count The Days’ offered some emotive respite; the song has by Stenemo’s own confession, prophetically documented an autobiographical warning to his recent burnout, with words that “I’ve become my own worst enemy in a world on fire I’m safe at home, live in denial but the pressures on and I justify it with the sleepless nights” being particularly poignant.

The gloriously majestic ‘Up For Life’ from 2015 has also taken on greater resonance with Stenemo’s rugged emotive cry admitting “Life to me you see don’t come so easily, but I’m up for tears, up for life, I’m up for heartache”. But despite the melancholy, there was optimism, especially alongside Berg’s expansive synth interplay which turned into Vangelis after an extended ambient interlude reminiscent of MIRRORS’ ‘Secrets’, both ambitious works clocking in at over 9 minutes.

Fittingly ‘Demons & Shame’, KITE’s darkest and most epic offering yet followed. Confronting the despair that his life threw up while pursuing his dreams, Stenemo’s harrowingly powerful delivery had the audience enthralled. Surrounded by ritualistic drum mantras and Berg’s eerie bass drones, if Ennio Morricone had composed music for Nordic Noir dramas, it would have sounded like this.

For many KITE fans, ‘The Rhythm’ from 2013 is still considered one of their best songs with its trancey backbone and chanty gothic rock edge coming over like Jean-Michel Jarre meeting IAMX at Berghain. Bursting with catchy crossover potential, it probably drew the biggest physical reaction of the evening from the crowd, with Stenemo making the odd leg kick in support.

The whirring pulsing atmospheres of ‘True Colours’ allowed for a breather, albeit one with a nightfall intensity before the dial was set back again to dance mode.

Effectively their first single, the throbbing synthpop of ‘Ways To Dance’ was a reminder of how far the duo have evolved since their beginnings in 2008, before the bouncy whistling poptronica of the 2010 fan favourite ‘Jonny Boy’ played around with some Scandinavian folk traditions.

‘Dance Again’ was a wonderful spiralling hands in the air moment before KITE closed the evening in magnificent dramatic style with ‘Nocturne’; a mysteriously captivating ballad, it progressively rotated itself into a spacey widescreen continuum, thanks to Stenemo’s electronically treated vocals and Berg’s mighty percussive soundscapes.

One of the things about KITE and their releases to date is that being confined to EPs only, they don’t outstay their welcome and present the highest quality material possible. And that was the case with their impressive live show, with Stenemo and Berg departing the stage after an hour to the roars of a rapturous audience wanting more but appreciative of what they saw.

KITE are probably the best modern electronic pop act in Europe at the moment, possibly the world. With this confident return to the public arena after a short hiatus, their secret garden should be not so secret anymore…

KITE’s entire back catalogue is available digitally direct from https://kitehq.bandcamp.com/

KITE 2019 live dates include:

Arbis Norköpping (17th May), Huskvarna Park Sounds (18th May), Gothenburg Pustervik (19th May)

https://www.facebook.com/KiteHQ

https://www.instagram.com/kitehq/

https://open.spotify.com/artist/0nhhoDCycjsJVHS8sk4vzW

https://www.discogs.com/artist/1230554-Kite-6

Text by Chi Ming Lai
Photos by Simon Helm, Chi Ming Lai and Madeleine Berg
7th April 2019

GIORGIO MORODER Live in London

5 April 2019 /

Since his return to making music again with ‘Racer’ in 2013, GIORGIO MORODER has been in demand as a DJ.

This has been thanks to his glorious catalogue of productions spanning over five decades.

Despite this, the ever modest three-time Oscar and four-time Grammy Award winning Italian from South Tyrol has downplayed his role as an electronic music innovator and disco pioneer.

Having once stated that ’74 Is The New 24’, the 78 year old brought his first ever live tour to London’s Hammersmith Apollo for what was billed as ‘A Celebration of the 80s’, but which actually covered material from 1969 right up to the present day.

Leading a 13 piece ensemble comprising of a five piece band, a string quartet and four vocalists, the evening began senza il Maestro with the exotic if haunting overtones of ‘(Theme From) Midnight Express’, the 1978 track which as good as invented the currently fashionable Synthwave sub-genre.

But if that was an unexpected if welcome introduction to proceedings, when Moroder finally took his place on the stage behind a Minimoog, no-one was quite prepared for the amusing Schlager Kasefest of his 1969 million selling European hit ‘Looky Looky’! “It paid my rent for four years” he endearingly quipped, effectively preparing the audience for a fabulous glitterball evening that was firmly aimed at the populist vote and not intended to be taken too seriously.

As a producer known predominantly for working with female vocalists like Donna Summer, Chris Bennett, Debbie Harry, Irene Cara, Terri Nunn, Britney Spears, Sia and Kylie Minogue, a fine British threesome in Amy Diamond, Shanice Steele and Raya Clark had been assembled to do justice to vintage disco numbers such as ‘Love To Love You Baby’, ‘Bad Girls’ and ‘On The Radio’.

Steele was particularly impressive on the Donna Summer material and a rapturous ‘Flashdance… What A Feeling’ while Diamond held her own on ‘Right Here Right Now’ and ‘Take My Breath Away’, although the latter was slightly let down by the band with the song’s iconic synthetic fretless bassline virtually inaudible. But that was the only time the band faltered as they successfully grooved on DAFT PUNK’s ‘Giorgio By Moroder’ and kept a strict metronomic tempo on ‘Chase’.

Fairing less well however was flamboyant Dutchman Simon Feenstra; although he pulled off the rockier voice required on ‘Danger Zone’ from ‘Top Gun’, his conventional approach was unsuited to the unique monotone forever associated with ‘Together In Electric Dreams’ courtesy of Phil Oakey while perhaps surprisingly, he was underwhelming on ‘Never Ending Story’ with both tunes saved by enthusiastic crowd singalongs.

Moroder took his turn on the microphone again with the hypnotic throbbing electro of ‘From Here To Eternity’ with dazzling neon visuals to boot while for the rest of the show, he happily acted as cheerleader and watched his ensemble perform his work while occasionally banging a tambourine or phrasing on his vocoder.

He then gleefully told the story of how he invented “the sound of the future” as David Bowie and Brian Eno labelled it as he went through the component parts of Moog, white noise, Farfisa organ and bass drum that formed ‘I Feel Love’ with his band before a euphoric and powerful rendition of the song that indeed changed music and still sounds like the future over 40 years on!

The closing section of the show saw Moroder play tribute to his departed friends Donna Summer and David Bowie with their heavenly voices making their presence heard on versions of the Gothic drama of ‘Cat People (Putting Out Fire)’ and Jimmy Webb’s heartfelt epic ‘MacArthur Park’. Appropriately ending the main set with ‘Last Dance’, Moroder wasn’t done yet as he left his pulpit to join his singers at the front of the stage for some ‘Hot Stuff’, before a rousing instruction to all those present to ‘Call Me’.

As far as hits were concerned, GIORGIO MORODER delivered, although those who were hoping for more “electronic live to digital” or cooler soundtracks like ‘Metropolis’ or ‘Scarface’ will have been disappointed, while ‘Love’s Unkind’ and ‘No1 Song In Heaven’ were notable absentees in a very crowd pleasing setlist.

Yes, perhaps proceedings occasionally bordered on cruise ship cabaret, but from the minute Moroder went “OOM-MOW-MOW, PAPA-OOM-MOW-MOW”  on ‘Looky Looky’, his intent was to entertain and have a lot of fun.

The man has nothing more to prove and is now touring because he really wants to, so mission accomplished. Appropriately for a gentleman totally free of ego, tonight it was Moroder’s songs that were the stars of his show.

Popular music has been effectively mining the Moroder legend since 1975, so it is only right for him to have a platform to remind the world where it all came from. And as the majority of those attending left the Hammersmith Apollo with big smiles on their faces, it was a truly enjoyable reminder.

Now ain’t that what it’s all about??

GIORGIO MORODER 2019 live dates include:

Brussels Ancienne Belgique (9th April), Brussels Ancienne Belgique (10th April), Berlin Tempodrom (12th April), Düsseldorf Mitsubishi Electric Halle (13th April), Frankfurt Jahrhunderthalle (14th April), Amsterdam Paradiso (15th April), Moscow Crocus City Hall (13th May), Vienna Gasometer (14th May), Budapest Papp Laszlo Arena (15th May), Milan Teatro Ciak (17th May), Florence Nelson Mandela Forum (18th May), Rome Auditorium Parco della Musica (19th May), Amsterdam Paradiso (21st May), Paris Grand-Rex (22nd May), Copenhagen Store Vega (24th May), Odense Tinderbox Festival (29th June), Brussels Summer Festival (16th August), Biddinghuizen Lowlands Festival (17th August)

https://www.giorgiomoroder.com/

https://www.facebook.com/GiorgioMoroderOfficial

https://twitter.com/giorgiomoroder

https://www.instagram.com/giorgiomoroder/

https://soundcloud.com/giorgiomoroder

The Spotify playlist ‘Morodered’ compiled by ELECTRICITYCLUB.CO.UK can be listened to at: https://open.spotify.com/playlist/05D4jefsqlqNpDXs31gW1u

Text and Photos by Chi Ming Lai
5th April 2019

ARTHUR & MARTHA, PLASMIC + RAINLAND Live at The Islington

10 March 2019 /


Happy Robots Records presented the reunion of ARTHUR & MARTHA to celebrate the 10th anniversary of ‘Navigation’, their only album to date.

The last time ARTHUR & MARTHA played live, it was opening for Jyoti Mishra’s WHITE TOWN. Back in 2010, the pair had actually been the third new act featured on ELECTRICITYCLUB.CO.UK

However, they appeared to disappear soon after. So it was fabulous to see Adam Cresswell and Alice Hubley performing together in this guise after so many years.

Among the luminaries present for the occasion were David Bowie’s visual director Jonathan Barnbrook, YELLO collaborator Fifi Rong and SHELTER front man Mark Bebb with his FORM side project accomplice Keith Trigwell.

But opening the evening’s entertainment at The Islington in London were the Glaswegian duo RAINLAND, comprising of Ian Ferguson and Del MacDonald.

Experienced hands having supported ASSEMBLAGE 23, they began their performance with the symphonic neo-ULTRAVOX stomp of their self-titled signature tune ‘Rainland’ and the engaging synthpop of ‘The Light Of The Sun’.

With his self-deprecating Weegie humour, Ferguson was part cheerleader / part court jester while MacDonald remained largely stoic, save a passionate on-mic discussion with his bandmate on the merits of BRONSKI BEAT in relation to their digital bass driven ditty ‘Touch’.

There was the poetic ‘Silverlight’ while the lively set reminded those present to ‘Don’t Forget To Love’ and finished with the evergreen industrial pop of ‘Drive’.


The evening threw a curveball with the appearance of the feisty Californian PLASMIC, self-described as “your abused Barbie doll from childhood”.

Pretty in pink, Lauren Lusardi began with a spiky energetic cover of DIVINE’s ‘Female Trouble’. With a subversive DEVO edge, PLASMIC detonated lo-fi synth bombs via her Yamaha Reface with the catchy feminist anthem ‘Baby Machine’ and the social media commentary of ‘Validation Nation’, both from her most recent EP release.

Delightfully housing her work station and devices in a pink dressing case, she celebrated her recent support slot for Marc Almond in LA by treating all present with a punchy rendition of the seedy SOFT CELL classic ‘Sex Dwarf’ before finishing with the cathartic rallying cry of ‘Revenge’. Lusardi’s delightfully dervish antics won her many new friends.

And as she embraced the occasion and the crowd to celebrate her 23rd birthday, those bemoaning the lack of new young synth artists now only have to look in the direction of Orange County. 😉

Armed with a MicroKorg and a Moog Prodigy, ARTHUR & MARTHA’s headline set began with the glorious tweetronica of ‘Follow The Path’, the kind of neo-instrumental that used to accompany the sort of wiggly Czechoslovakian animations shown as intermissions on BBC2. ‘Ultra Alliance’ from the Happy Robots ‘Botpop Volume One’ also got an airing before the endearing ‘Navigation’ highlight ‘Music For Hairproducts’, an ironically titled tune given Cresswell’s alopecia.

‘Kasparov’, inspired by the Russian chess grandmaster and political activist, saw Cresswell take to the mic for a mournful guitar-centred interlude before Hubley returned with her charming off-key voice for the rhythmic organ-fest of ‘Vallorian’. An unexpected surprise came with the B-side ‘Japanese Kiss’, before the frantic motorik vocoder wig-out of the brilliantly named ‘Squarewave To Heaven’.

This fittingly set the scene for the glorious driving kosmische of ‘Autovia’, the ARTHUR & MARTHA song which has successfully endured the past decade to be now, as Cresswell pointed out, sitting next to Katy Perry on a compilation album!

Encoring with the mournful ‘Navigation’ album closer ‘Turn to Dust’, an affectionate homage to NEW ORDER’s ‘Leave Me Alone’, it was an appropriate way to end the ARTHUR & MARTHA story. Today in 2019, Cresswell continues making music as RODNEY CROMWELL and running Happy Robots Records, while Hubley will soon release her first solo record as ALICE HUBBLE.

With something for almost everyone and covering an eclectic selection of synth based music while maintaining a central curated theme, this was a fine gathering of good music and good people that exuded warmth and quality.

The organisers give their warmest thanks to all the acts who performed and Simon Helm of Cold War Night Life who provided a fine DJ set throughout the evening.

https://www.happyrobots.co.uk/

https://www.facebook.com/happyrobotsrecords/

https://twitter.com/Happyrobotsrecs

https://www.instagram.com/happyrobotsrecords/

https://www.facebook.com/arthurandmarthaband/

http://www.plasmic.rocks

https://www.facebook.com/plasmicpower/

https://twitter.com/PLASM1C

https://www.instagram.com/plasm1c/

https://www.facebook.com/RainlandtheBand/

https://rainland.bandcamp.com/

http://www.coldwarnightlife.com/

https://www.facebook.com/coldwarnightlife/

https://twitter.com/coldwar_nl

https://www.instagram.com/coldwarnightlife/

Text by Chi Ming Lai
Photos by Richard Price and Chi Ming Lai
10th March 2019

BOY HARSHER Live at London Heaven

4 March 2019 /

Since their debut long player ‘Yr Body Is Nothing’ in 2016, Massachusetts duo BOY HARSHER have become an acclaimed cult proposition.

But having opened for THE SOFT MOON on their tour of 2018, their initial aloofness has mutated into the zest and ambition of the recently released ‘Careful’. Possibly the first great album of 2019, it is a fine musical document confronting personal demons and traumas.

Beginning their London Heaven gig with foggy blocks of light, Jae Matthews on vocals and Augustus Muller on electronics built up the drama with the schizophrenic overtones of ‘A Realness’ from their debut. But getting the first big cheers of approval was ‘Fate’, its pulsing rhythmic mantra and eerie synthetic textures encouraging deviant dancing as Matthews’ expressed her shadowy discomfort. ‘Yr Body Is Nothing’ recalled the brooding drama of the same titled debut and was followed by the abstract hypno-drone of ‘Suitor’.

Drowned in shades of red, blues, yellows and greens, Muller stood mostly passively at the controls, banging the occasional drum pad while Matthews sang and shrieked with the air of a lower register Siouxsie Sioux gone darkwave.

‘Westerners’ offered some grainy orchestra stabs to the gothic disco motif, but things got more frantic with ‘Come Closer’, its threatening ADULT. backbone providing an unsettling slice of snuff movie HI-NRG!

Indeed, it was the new material from ‘Careful’ that stood out with its more focussed, less blurry vision as exemplified by the hypnotic industrial pop ‘Tears’, complete with a gloriously alluring delivery from Matthews.

Also from ‘Careful’, the brilliant sinister techno of ‘LA’ at times threatened to turn into DEPECHE MODE’s ‘Behind The Wheel’, although this was offset by Matthews’ mournful demeanour. However, show closer ‘Modulations’ probably attracted the biggest cheer of the evening from the raucous crowd, no doubt appreciating its synth-punk aesthetics.

Returning for an encore, ‘The Look You Gave (Jerry)’ summed up the substance in BOY HARSHER’s new music despite loosening their approach. Yes, it is synthpop because it has a tune, even if it is dressed an appealingly unconventional and morose manner. The lightshow was particularly effective here with melodic green penetrating against the moody blue.

Closing with the claustrophobic ‘Pain’ from the interim ‘Lesser Man’ EP, with a bassline not that far off from a wholly electronic version of JOY DIVISION, Matthews masochistically petered on the edge of implosion exclaiming “I love pain” before departing the stage.

Sadly, ‘Face the Fire’ was not included in the set but with this performance, BOY HARSHER successfully refined their approach without losing any of their artistic edge. Both passionate and cerebral, it was wonderfully tense and exhilarating.

Special thanks to Kate Price at Stereo Sanctity

‘Careful’ is released by Nude Club Records in neon orange vinyl LP, CD, cassette and download formats, available from http://www.boyharsher.bandcamp.com

http://boyharsher.com

https://www.facebook.com/boyharsher

https://twitter.com/boyharsher

https://www.instagram.com/boyharsher

http://www.nudeclubrecords.com/

Text and Photos by Chi Ming Lai
4th March 2019

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