Category: Live Reports (Page 8 of 37)

EMIKA, FIFI RONG + GEISTE Live at The 100 Club

14 December 2019 /


It was a year ago to the day that Ema Jolly, the Berlin based Anglo-Czech musician and producer behind EMIKA played her first true live concert at the Apple Store in London’s Regent Street.

Since then, there have been series of Planetarium shows around Europe and festival appearances.

There was also a performance of her classical symphony ‘Melanfonie’ in Mexico, a ‘Remixes’ album and now a British club tour.

Gathering together local support acts en route, the London leg at The 100 Club comprised of a fabulously talented female triple bill featuring FIFI RONG and GEISTE. And it was the latter who opened a busy well-attended evening at the iconic music venue.

Avant pop songstress GEISTE is a youngster from near St Tropez and one thing that struck immediately was her endearing Gallic charm. Despite titles such as ‘Dither’ and ‘I Just Feel Really Empty Inside All The Time’, like GRIMES, ZOLA JESUS or NIKI & THE DOVE, there was pop within the emotive darkness.

A newly written tune ‘Twig’ showed how GEISTE could make the audience dance while her excellent debut single ‘Ocean’ outlined her synthy cinematics.

‘Anthems’ also showcased the esoteric drama within her artistic palette while the closing upcoming single ‘Utopia’ indicated the epic percussive potential of her intriguing sonic universe.

For FIFI RONG, the world is now at her feet. Having collaborated with YELLO and TRICKY, she recently embarked on a tour of China to launch the Beijing-born artist’s inclusion on the roster of W Records, a women-led music branch of Marriott International’s W hotels also known for its on-property music festivals.

Re-establishing control of her own artistic destiny over the last two years, she has been working on her most ambitious project yet, embarking on a cultural fusion that combines her native tongue of Mandarin with the universal pop language of English.

Accompanied by Ben Dunkerley on electronics, a number of yet-to-be-released songs were premiered including ‘Chasing High’ and ‘Vermilion’.

‘Dance Break’ though was a total surprise with an animated techno tension never previously heard in FIFI RONG’s previous work, while the superb ‘Way Out’ flirted with electro R ‘n’ B.

A new neo-acoustic number ‘Farewell To Cambridge’ inspired by the early 20th Century romantic Chinese poet Xu Zhi Mo’s ‘On Leaving Cambridge’ explored the theme of cultural identity and belonging, before the captivating set closed with the airy whispered moods of ’Love Is A Lonely Thing Part 3’.

One of the best electronic pop albums of 2018, ‘Falling In Love With Sadness’ has established EMIKA as an artist able to thoughtfully delve into the human psyche while undertaking a glorious sonic exploration of synthpop.

Using her trusty Arturia Keylab 49 hybrid synth set-up and a Kawai MP11 stage piano, covers of ‘Wicked Game’ book ended EMIKA’s quality set which was supported by an excellent sound system, free of distortion but full of punch.

Within a deeply Eurocentric backdrop, the metronomic body stomp of ‘Eternity’ provided one of the early highlights, the aggressive energy counterpointed by the more subtle rhythmics and hushed vocal tones.

But where harsher dynamics were required, EMIKA had those too like on the ‘Falling In Love With Sadness’ title song where what sounded like corrugated iron being sharply smashed through to the underground system sat tightly next to a run of ecstatic synthetic bass.

As premiered at the Apple store the year before, classically-derived piano provided a crucial organic element over EMIKA’s electronic backing, with enough familiarity of the original track present but with the tonal ivory presence providing the contrast.

Despite what could be a perceived shyness, EMIKA’s stage manner was endearing in this imitate venue. There was an amusing game of ‘Name That Tune’ with the audience as she programmed the sequence of ‘Run’ while on ‘Close’, she used sweeping hand motions across her mouth to provide a delay effect to her vocals.

The brilliantly solemn but strangely sparkly ‘Promises’ provided a latter set highlight, with the chilling combination of cascading harmonics and dub-laden tension sweetened by further piano runs.

Now if EMIKA has a signature song which embodies her ethos, then it’s ‘My Heart Bleeds Melody’ from ‘Drei’ and that got a welcome airing tonight to big cheers along with the enjoyably sibilant staccato of ‘Battles’.

With the stoic demeanour of her 2018 Apple Store appearance now absent in line with her growing confidence as a live performer, EMIKA was smiling and thoroughly enjoying herself.

EMIKA has found her niche with her juxtaposition of rigid beat assisted electronics and classically inspired piano playing, away from the DJ format of her earlier live gigs. And with a UK Planetarium show planned for 2020, the trajectory of momentum for her music can only remain upward.

Fully relaxed, towards the end of the evening, EMIKA asked everyone: “What sort of album would you like me to make next?” – ELECTRICITYCLUB.CO.UK with would like some technopop embellished with classical piano please.

EMIKA ‘Falling In Love With Sadness Remixes’ is released by Emika Records in CD, vinyl LP and digital formats, available from https://emika-official.bandcamp.com/

http://emikarecords.com/

https://www.facebook.com/emikamusic/

https://twitter.com/emika_records

https://www.instagram.com/emikarecords/

https://open.spotify.com/artist/50Gx1SNB4vH2V7peIiYD4S

FIFI RONG ‘Way Out’ and ‘Love Is A Lonely Thing’ are available as singles on the usual online platforms

http://www.fifirong.com/

https://www.facebook.com/fifirongmusic/

https://twitter.com/fifirong

https://www.instagram.com/fifirong/

https://open.spotify.com/artist/64yPy2kBAhOJSRxOEtL3Qk

GEISTE ‘Ocean’ and ’Anthems’ are available as singles on the usual online platforms

https://www.geistemusic.com/

https://www.facebook.com/geistefromashes/

https://twitter.com/geistefromashes

https://www.instagram.com/geistefromashes/

https://open.spotify.com/artist/0Rcx8Fs982C9oeE1lRm9iJ

Text by Chi Ming Lai
Photos by Simon Helm and Chi Ming Lai
14th December 2019

UNDERWORLD Live at Wembley Arena

12 December 2019 /


UNDERWORLD have now (in a variety of incarnations) been in existence for nigh on 40 years and this Wembley show was their biggest UK arena performance to date.

It provided a fitting anniversary for an act that has continued to push the envelope of electronic music production. In an effort to make this less of an “ordinary” gig, the show had a heavy focus on the band’s ‘Drift Series’ set of tracks.

It saw an early 6.45pm start which would have caught out a few fans used to later kick-offs. The ‘Drift Series’ has seen UNDERWORLD releasing new material every week for a year and it’s a move which has revitalised the band and has seen them creating some of their most vital music in years.

In what was an innovative set-up, band member Rick Smith appeared within the middle of the arena alongside the sound and lighting desk and mixed a set of tracks from the ‘Drift’ project.

A separate central lighting rig temporarily turned Wembley Arena into a giant club and certainly provided a refreshing change from a support band starting off proceedings. Blue and purple spotlights bathed the arena in colour and by the end of the 75 minute set, the arena had started to fill with a few sporadic outbreaks of raving prior to UNDERWORLD’s main set.

With the Wembley crowd suitably warmed up, a short 1 minute multi-screened projection of drifting race cars (see what they did there?) preceded Karl Hyde and Rick Smith taking to the stage and launching into the oddly titled, but rather wonderful NEW ORDER-influenced ‘Listen to Their No’. The screens set either side and stretching behind the band projected hand drawn character animations perfectly in sync with the ‘Temptation’ style sequencer patterns and Hyde’s “magic’s never broken” hook provided an early earworm for the gig.

The anthemic ‘Two Months Off’ followed with its huge polysynth chords and in what has become an UNDERWORLD trademark, its title illuminated on the screen behind the band.

The band’s ‘Second Toughest in the Infants’ album was represented early on with the epic ‘Juanita: Kiteless: To Dream of Love’; red and green spotlights strafed the crowd and imagery of Rick Smith behind his mixing desk were streamed onto the side screens.

It took the appearance of ‘Dubnobasswithmyheadman’ tracks ‘Rez’ and ‘Cowgirl’ to truly lift the roof off of Wembley though; what is incredible about these two tracks is how original they were in comparison to many other dance tracks from that time. Both avoided the stereotypical “dance” sounds of the era and for that reason, both sounded remarkably fresh tonight considering being over 25 years old now.

It soon became apparent that this would be a career-spanning set, with tracks drawn from ‘Beaucoup Fish’, ‘Oblivion With Bells’, ‘Barking’ and their most recent (proper) album ‘Barbara Barbara, we face a shining future’.

‘Beaucoup Fish’ was represented most with the glitchy ‘Jumbo’, the ‘I Feel Love’ bassline aping ‘King of Snake’ and discordant piano anthem ‘Push Upstairs’. Obviously an UNDERWORLD gig wouldn’t be complete without ‘Born Slippy (Nuxx)’ and the Wembley crowd was hit by a blinding array of multi-coloured lasers as the almost tribal kick drum piledrived through a ten minute version of the track.

The gig climaxed with the almost poppy ‘Always Loved a Film’ from ‘Barking’ and a banging ‘Moaner’ from ‘Beaucoup Fish’. ‘Moaner’ provided an absolute audio-visual blitzkreig of a finisher, with a curtain of lasers synchronised to the screeching synth riff of the track and Hyde’s stream of consciousness lyrics weaving through it. At the end, the house lights came up and a clearly emotional Hyde addressed the crowd with “…this has been the most extraordinary year, thank you for taking part and joining us in this journey! You’re beautiful!”.

Special mention must be made with regards to the Astro sound system used at the show; it was one of the most sonically impressive arena PA rigs which ELECTRICITYCLUB.CO.UK has ever experienced and certainly contributed massively to the experience.

Criticisms? Only that ‘Dirty Epic’ wasn’t given an airing and that there will always be questions as to what exactly Rick Smith actually does behind his huge mixing desk. However, the UNDERWORLD ‘live’ show has always been this way (even in the Darren Emerson era) with Smith seemingly adding effects and mixing backing track stems with no particular played elements and more of a live dub aesthetic throughout.

These nitpicks aside, there seems to be no signs of UNDERWORLD stopping and the ‘Drift Series’ has seen them creatively re-born and reaffirming them as one of the most exhilarating sounding live electronic bands in the country. Miss them at your peril…

Special thanks to Josh Cooper at 9PR

‘DRIFT Series 1’ is released by Caroline International as a 7 CDs + 1 Blu-ray boxed set featuring an 80 page book, a ‘Sampler Edition’ is also available as a single CD

http://www.underworldlive.com/

https://www.facebook.com/Underworld/

https://twitter.com/underworldlive

https://www.instagram.com/underworld/

Text and Photos by Paul Boddy
12th December 2019

REIN, KOMPUTER + IMI Live at Electrowerkz

10 December 2019 /


It has been said before, but the best electronic events are those put on by actual electronic music enthusiasts.

Nordic friendly blog Cold War Night Life brought Sweden’s REIN over for a first UK show and she didn’t disappoint with her hard hitting, adrenaline pumping EBM with a pop twist.

In a stylistically eclectic evening, electronic duo KOMPUTER made their live return after their last appearance at Mute Presents Short Circuit in 2011. The label veterans also promised music in their previous guises I START COUNTING and FORTRAN 5. But opening was the up-and-coming Leeds based songstress IMI.

Possibly the best new young synth talent in the UK right now, IMI is blessed with a glorious soprano in the vein of Alison Goldfrapp and Tara Busch. Her debut EP ’Lines’ released this year showed potential and promise, impressing the likes of Mark Reeder, Chris Payne, Paul Statham and Sarah Blackwood along the way.

In her third live appearance in the capital, IMI opened her set of intelligent avant pop with ‘The Fence’. With a reasonably sized crowd gathering early to witness her performance, she immediately impressed with her glorious soprano, inventive electronic arrangements and a beautiful booming crescendo.

New song ‘Monolith’ suitably provided a widescreen pillar to the rest of the set, the end section of which began with the eerie but uplifting ‘I Feel Alright’ which recalled the work of I SPEAK MACHINE. Encapsulating the delightful oddness of GOLDFRAPP in their ‘Felt Mountain’ phase and trip-hop, with a piercing cry on the caesura, the magnificence of ‘Margins’ had those who had been unaware of IMI before looking at each other suitably impressed.

Illustrated with a great light show to suit the gothic surroundings of Electrowerkz, it was short set from IMI but it left people wanting more. And as their cheers combined with those of her family members present, there was a sizeable noise of approval for the first act of the night.

Wearing their red overalls from the 2007 ‘Synthetik’ campaign, David Baker and Simon Leonard opened their comeback set with ‘Looking Down On London’ from ‘The World Of Tomorrow’ album which was sampled by OMD in its ‘Metroland’ variant.

The pair delivered on their promise of playing I STARTING COUTING and FORTRAN 5 material with ‘Letters To A Friend’, ‘Heart On The Line’, ‘Time To Dream’, ‘Lose Him’ and ‘Million Headed Monster’ all getting a welcome airing.

Baker was on top form with his deadpan vocals while positioned behind his Korg Poly 800x as Leonard counterpointed robotically with a MicroKorg vocoder.

The brilliant ‘We Are Komputer’ from the debut KOMPUTER EP got people dancing, while the pretty octave shifting pulse ‘Still Smiling’ recalled the more carefree times of 1985 when I START COUNTING got the Daniel Miller production treatment assisted by Flood.

Best of all though was a powerfully faithful rendition of ‘Valentina’, probably the best know KOMPUTER song and their touching tribute to “the first woman hero of the modern age” with its echoes of KRAFTWERK’s ‘Das Modell’.

Concluding with rhythmic strike of ‘The Man Machine’ aping ‘Bill Gates’, KOMPUTER’s return to the stage was complete and more than satisfied the many Mute enthusiasts who had missed the presence of Baker and Leonard over the past few years. While KOMPUTER have remixed BLANCMANGE and METROLAND of late, what their followers really want is new material. It will be interesting to see what happens next.

Feisty and ambitious, despite the acclaim of her debut self-titled EP from 2016, REIN focussed on new material for her first ever London performance. Accompanied by the striking statuesque presence of Josefin Ahlqvist Lyzwinski on percussion, the young Swede opened with ‘Reincarnate’ by way of a mission statement.

Swathed in shades of blue light and exuding sweaty energy, the self-explanatory ‘Bodyhammer’ and ‘Accelerate’ continued the attitude with their loudness blows well-placed in the industrial friendly venue. The thrust of ‘Bruises’ added a sinister S&M edge, but the best track of the evening proved to be a new number called ‘Thieves’.

REIN discovered electronic music after seeing KRAFTWERK at the age of thirteen, so ‘Thieves’ carried over some of that teen angst, presenting a hardened homage to ‘Tour De France’ that was tough yet very catchy. The punchy new single ‘Off The Grid’ provided a calling card to REIN’s upcoming debut album while ‘Concrete Jungle’ was the only concession to her debut EP.

But she finished her set with two songs from 2017’s social-politically themed statement of the ‘Freedoom’ EP. The highly danceable ‘Misfit’ channelled aggression to a good beat while the broader modern electro-punk sound of the chant-laden call to action ‘C.A.P.I.T.A.L.I.S.M’ made REIN’s views clear, much to the approval of those moshing in front of her.

A true ‘Rebel Girl’ as suggested by the track from her debut 2016 EP, REIN showcased 45 minutes of progress such that there was no need for that song, ‘Can’t Handle Me’ or ‘I Don’t Get Anything But Sh*t From You’ in her set.

The evening presented three very distinct branches of electronic music, but with KOMPUTER’s long standing links, IMI’s obvious musical debt to GOLDFRAPP and the influence of NITZER EBB on REIN, if there was a relatable thread, then it was the artistic legacy of Mute Records.

With Mute Records sending along a representative and Sarah Blackwood from former Mute offshoot Toast Hawaii signings CLIENT also attending, the circuit was complete. As a punter who had also been to previous shows said afterwards: “You don’t put on sh*t do you…”

The organisers give their sincerest thanks to all the artists, Mute Records and the team at Electrowerkz

https://www.facebook.com/reinofficialmusic/

https://www.instagram.com/_reinofficial_/

https://komp46.wixsite.com/komputer

https://www.facebook.com/KomputerOfficial/

https://www.facebook.com/imimusicuk/

https://www.instagram.com/imimusicuk/

http://www.coldwarnightlife.com/

http://agaslobodzian.co.uk/

Text by Chi Ming Lai
Photos by Aga Słobodzian
10th December 2019

OLLIE WRIDE Live at Camden Assembly

29 November 2019 /


If Billy Idol was punk’s crossover success story into the international mainstream, then Ollie Wride could become synthwave’s…

Although best known as the voice for FM-84 and featuring on the acclaimed 2016 album ‘Atlas’, Wride’s recently released solo debut ‘Thanks In Advance’ co-produced by Michael Oakley proved that the suave Brightonian could cut it outside of the nest.

Channelling his inner Lindsey Buckingham with a dash of Kenny Loggins, ‘Thanks In Advance’ possessed swagger, style and most importantly of all, good tunes. Embracing that Trans-Atlantic friendly sound which was once the staple of MTV when it bothered to play music, OLLIE WRIDE unashamedly partied like it was 1985.

Indeed for his sold out debut solo show at London’s Camden Assembly, that era was effectively recreated and began in earnest with the feisty synth rock of ‘The Driver’. Coming over like a cross between Jim Kerr and Billy Idol, its groovy vibe brought to mind the productions of Keith Forsey who not only worked with SIMPLE MINDS, THE PSYCHEDELIC FURS and ICEHOUSE but also the man born William Michael Albert Broad.

Having also co-wrote ‘Flashdance… What A Feeling’, ‘The Never Ending Story’ and ‘Don’t You (Forget About Me)’, the former Giorgio Moroder apprentice and drummer could in some ways be seen something of an indirect muse in The World of Wride, such has been Forsey’s impact on the cultural landscape.

With a natural energetic on-stage charisma, Wride was effectively off the leash as he posed and strutted along the ‘Miracle Mile’. Following on, the rousing ‘Never Live Without You’ rocked with a fine balance of synths and guitar; backed on the latter by Josh Dally who played with Wride in FM-84, drum duties were conducted by another FM-84 cohort James Cross who did a superb job to compliment the electronically laden sound and crucially, did not overplay.

The TEARS FOR FEARS drive time shuffle of ‘Overcome’ kept the momentum going as Wride played the keytar man but for the gently percussive ballad ‘The Rising Tide’ with its hints of MR MISTER, he walked over to his M-Audio keyboard before settling down Richard Marx style for the appropriately moonlit ‘Luna’.

A nice surprise from the soon-to-be-issued deluxe edition of ‘Thanks In Advance’ came with ‘Stranger Love’, a new collaboration with SUNGLASSES KID which perhaps unsurprisingly sounded like a NINA track but with a male vocal.

However, this premier got trumped by an unexpected cover of Peter Gabriel’s ‘Sledgehammer’ with its classic art funk satisfying the enthusiastic crowd and perhaps summing up Ollie Wride’s ultimate ambitions. To close the main set, a hypnotising performance of the brilliant ‘I’m A Believer’ saw its synthy cascade point towards Hollywood but what everyone wanted now was an encore.

With chants from the audience of “ONE MORE SONG!”, Wride actually gave them two in the shape of the soulful pop of ‘Back To Life’ and ‘Running In The Night’, probably his best known song with FM-84. With an anthemic state of tension and urgency in the vein of ‘The Boys of Summer’, the response from all those present was nothing short of ecstatic with a mass communal singalong.

One thing that stood out tonight was Wride’s endearing stage craft which was not only engaging but also probably as good George Michael when he was in his live prime.

What Ollie Wride has managed to do is straddle a variety of musical styles and blend them into a melting pot of accessible pop. Some might consider it bland, but others call it entertaining and his aspirational persona is a refreshingly uplifting tonic in these darker times.

So don’t snooze and lose when he next performs somewhere near you. If there is any justice, he will be playing arenas within a few years and it won’t be so easy to get so close to one of the scene’s undoubted stars.

With thanks to Outland

‘Thanks In Advance’ is still available in various formats from https://newretrowave.bandcamp.com/

https://olliewride.com/

https://www.facebook.com/olliewrideofficial/

https://twitter.com/OllieWride

https://www.instagram.com/olliewride/

https://www.weloveoutland.com/

Text by Chi Ming Lai
Photos by Gina-Leigh Smith at Photo-G-Nic
29th November 2019

KNIGHT$, ROXI DRIVE + THEO SAYERS at The Roadtrip & The Workshop

1 November 2019 /

Halloween might be the time in the liturgical year dedicated to remember the dead, but KNIGHT$ kept things alive and kicking at The Roadtrip & The Workshop in London’s Hoxton.

For James Knights, it’s been a very busy year with albums released as KNIGHT$ and with BOYTRONIC, a UK tour opening for A FLOCK OF SEAGULLS plus assorted European gigs and notable music industry figures knocking on his door, taking an interest in his progress.

Getting through setbacks such as the collapse of Pledge Music, James Knights has shown resilience and strength of character, both much needed skill sets in music. He has also maintaned a down-to-earth demeanour free of ego and delusion, the latter two characteristics now being far too normal in modern society.

But to begin proceedings was Cambridge’s Theo Sayers who released his most recent EP ‘Ado Perma’ last July. Dressed in a similar skeleton costume to the one that his younger self adorned the cover of that said EP, he presented his unusual brand of English hip-hop, like an urban Jona Lewie. Exuding humour and a sense of fun, the set also included his streetwise take on PRINCE’s ‘When Doves Cry’.

Next came the up-and-coming synthwave starlet Roxy Drive, a girl with a self-confessed crush on Ryan Gosling and a voice not far off Pat Benatar. Her debut album ‘Strangers Of The Night’ released in 2018 showed promise and tonight, she aired a number of its highlights as well as premiering some new material.

Accompanied by an electronic percussionist, among the set highlights were the energetic neon drenched first single ‘Run All Night (Chase This Dream)’ and the more recent ‘Dangerous’ from the upcoming album ‘Electric Heart’. The latter showcased a refined development of her MTV friendly sound. She certainly looked the part and her live persona can only grow stronger as she gains more live experience.

For headliner KNIGHT$, it was to be an evening of celebration of ‘Dollars & Cents’, a contender for best electronic pop album of 2019 if ever there was one. Apart from the NEW ORDER derived electronic disco drive of ‘So Cool’, the set was largely drawn from the long player.

Accompanied by the alluring presence of Nina Casey and Jasmine Brady, both on keyboards, James Knights gave yet another of his charismatic performances bursting with energy and enthusiasm.

From the Eurobeat thrust of ‘What We Leave Behind’ and the heavenly pop ‘Playin It Cool’ to the amorous ‘Gelato’ and the snappy ‘Alligator’, Knights was hitting that perfect beat, entering the audience and somehow managing to avoid getting mic feedback. Engaging the audience masterfully, Knights asked everyone who had travelled the furthest to be at the gig. At first, it looked like it was Claudia and Tiffany, both from Berlin. But the undoubted winner was Ana who had ventured all the way from New York.

The brilliant ‘Hijack My Heart’ saw Knights tightening his trousers slightly, although the ceiling was so low at the intimate club venue, it did restrain his usual mic stand swinging antics. However, a pair of covers were thrown in. While PET SHOP BOYS ‘Heart has been a regular staple of the KNIGHT$ live set, there was a supervise inclusion of ‘The Never Ending Story’, a song that has come to prominence again thanks to its inclusion in ‘Stranger Things 3’.

By his own admission “unrehearsed”, with the assistance of a lyric sheet Knights embarked on a fun if slightly shambolic duet with Roxi Drive on the Giorgio Moroder produced classic, but no-one really minded as Roxi held her own and everyone else joined in.

Ending the evening with the album title song and new single, the catchy ‘Dollars & Cents’ captured the essence of the sparkly Britalo that Knights has well and truly mastered.

What a year it has been for the Winchester lad; after years treading the boards with SCARLET SOHO and knocking on the door several times, James Knights has finally found his sound and vocation as KNIGHT$.

With a European Union flag hung at the back of the stage in defiance, KNIGHT$ is just the escapist tonic in these bizarre times and a shining example how much better things are when people are united through music and more.

KNIGHT$ ‘Dollars & Cents’ released by Specchio Uomo is available in various formats as well as the new single including remixes by ITALOCONNECTION + THE HIDDEN MAN from https://knights101.bandcamp.com/album/

http://knights101.com/

https://www.facebook.com/Knights101/

https://twitter.com/JPSKNIGHTS

https://www.instagram.com/knights101/

Roxi Drive ‘Strangers Of The Night’ is available as a download album direct from: https://roxidrive.bandcamp.com/album/strangers-of-the-night

https://www.roxidrivemusic.com/

https://www.facebook.com/RoxiDrive/

https://twitter.com/RoxiDrive

https://www.instagram.com/roxidrive/

Theo Sayers ‘Ado Perma’ EP is available as a download EP direct from https://theosayers.bandcamp.com/

https://www.facebook.com/theosayersmusic/

https://twitter.com/theosayers

https://www.instagram.com/theosayers/

Text and Photos by Chi Ming Lai
1st November 2019

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