We Have A Technical 525: Clod Man

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Rosetta Stone

“You must own at least nine Rosetta Stone bootlegs to get into the club. I don’t make the rules, I just enforce them.”

We like to mark every 25th episode of the podcast with some sort of special theme or format, and so on this episode we’re taking up the hefty topic of to what degree goth is a subculture tied to music. Grab your snakebite and Aquanet and expect gatekeeping, gateletting, takes spicy and mild, and no small amount of cattiness. We’re also talking about the passing of Roli Mossiman, the news of North American And One dates, and a Devours gig. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below. 

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Run Level Zero, “A Strange New Pain”

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Run Level Zero - A Strange New Pain

Run Level Zero
A Strange New Pain
self-released

Possessed by both the spirit of Vancouver-school electro-industrial and at times a downright Romantic sensibility, Sweden’s Run Level Zero have been charting a course which finds them standing astride industrial’s roots and a more florid, production-focused approach to European electro since their debut LP Symbol Of Submission was released nearly a quarter of a century ago. While the aforementioned binary in RLZ’s work found an even equanimity in 2019’s Swaerm, new record A Strange New Pain finds the different aesthetics of founder Hans Åkerman shooting out across the breadth of a spacious but at times aggressive record.

From the outset of Strange New Pain, Run Level Zero tie crunchy, layered industrial and EBM programming to more melodic styles with “The Message”. The loping stomp of the beat in tandem with emergent harmonies yields the sort of engrossing (if never showy or excessive) effect which made their Arctic Noise one of the most underrated LPs of its era and style. But much of the record opts to separate those component elements and push theme to their thematic extremes. On the heavier side, the manic pogo of “Cross Over The Line” would feel right at home at Familientreffen, while the dreamy swim of “You Are My Temple” and the bucolic synthpop of “The City And The Sword” (connoting the softer side of Claus Larsen’s work) couldn’t be further removed from such aggression.

Sometimes that split remains even in the course of one single song: “We Are Strong” has a squared off EBM rumble on its verses which is spitting distance away from the likes of Spetsnaz, but blooms into the sort of bright chorus that futurepop acts used to try to zero in on (the distinction between the two styles also lends some extra ambiguity to the aspirational lyrics linking an individual relationship to society-wide manifestos). Whether across a pair of songs or within one, though, RLZ continue to thread the needle in terms of hooks, production, and Åkerman’s vocal approach. This sort of balancing act has always been part of their playbook, it just feels as though the band is getting a bit more restless or ambitious in terms of casting back and forth between their various poles this time out.

It’s tough to say from the outside what role some recent line-up changes might play in these slight adjustments to RLZ’s approach; longtime member Ville Hising is out of the fold for this record, and recent addition Oskar Lygner (previously of synthpop act Backlash) looks to be taking a more pronounced role. Regardless of reason, these changes to the band feel like minor course adjustments rather than seismic shifts, and the care and depth they’ve always brought to their work remains unchanged.

Buy it.

A Strange New Pain by Run Level Zero

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Sacred Skin, “Born in Fire”

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Sacred Skin
Born in Fire
Artoffact Records

If you take any time to read reviews of Sacred Skin’s material you’ll notice how often the Los Angeles band is often described in filmic terms, a function of how effortlessly the duo of Brian DaMert and Brian Tarney have invoked the stylish cool of eighties Michael Mann and Ridley Scott through their brand of synth-laden rock. Their songs are widescreen, hinging on DaMert’s emotional vocal delivery and the smooth production that brings the best out of them. New album Born in Fire goes all in on the things that have defined Sacred Skin up ’til this point in climactic and sometimes dizzying fashion.

That description might leave you thinking the record is non-stop bombast, and while it has its share of big moments, the band are smart enough to arrange the album with valleys around those peaks. Opener “Waiting”‘s synth bass and chorused guitar riffs complement a more laidback delivery on the first verses and choruses, slowly building in intensity as DaMert gradually deploys his full range, the song becoming a new wave rave-up by its conclusion. Those kinds of feints are the record’s bread and butter, from the way that the romantic mid-tempo groove of “Show You Love” explodes midway through with a flurry of guitar licks, to pivots into the light and funky (duet “Call It Off”) and the darker, more anxious post-punk sounds (“Paranoid”).

Of course one of the not-so-secret keys to the band’s appeal has always been that their songs are well-crafted, with distinct choruses and arrangement ideas. Indeed, for a band who obviously put an emphasis on style, they’ve clearly got an understanding of their own strengths and how to use them to get the material across. “The Lights” is a fine enough tune from a writing standpoint, but what sells it is the way it floats its vocals ever higher above the synth toms and pads, a perfect feeling of culmination for a penultimate track, especially where it allows closer “Static Blue” to help the record go out on a sincere and melancholic note. Similarly, “Surrender” has a killer chorus, but its the transitions between sections that really allow it to shine.

Born in Fire is a proper record in the classic sense, constructed so that its songs buttressing one another so the height and breadth of the material is never in danger of collapsing in on itself. There’s no phoniness or irony here, and that sincerity is critical in keeping the feeling of exhilaration from becoming exhausting as it progresses from peak to peak. Sacred Skin have made a record that trades in grandeur without ever losing its grounding, and tops even their previous highs with cool confidence. Recommended.

Buy it.

Born in Fire by Sacred Skin

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Tracks: September 16th, 2024

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It looks like 2024 is going to be a back-loaded year, folks. We just did some accounting behind the scenes and beyond the coverage you’ll find on the site this week we have at least a dozen high profile releases by projects we expect great things from coming in the next month or two. We’ll do our level best to not get caught in the weeds here, but we’d suggest keeping your heads on a swivel for your own sake over the next while if you’re at all interested in staying abreast of good new shit…which we have to assume you are, given that you’re reading this week’s Tracks post.

How can 5 guys be Solitary, experiment or not? The answer may surprise you!

Camlann, “Numb and Hollow”
It’s the return of our favourite Indonesian socialist goth-pop duo Camlann, and new single “Numb and Hollow” displays the exact reason we found their last LP Dismantle! so compelling. The group’s pop instincts and strong melodies remain, and are if anything stronger than before, but with a noticeably improved sense of production. All of this is without compromising their slightly off-kilter, genre-hopping style, which Nick Octopus on our Slack compared to modern Ashbury Heights, a compliment as far as we’re concerned.
Numb and Hollow by Camlann

Kurs, “Omen”
The debut LP from Italy’s Kurs a few years back impressed through its approaches to electro-industrial and dark electro which placed an emphasis on subtlety and atmosphere, though Muter had plenty of substance once you were drawn into its noir cyberpunk style. Follow-up LP Dreamer looks to be doing right by that precedent based on previous singles, and this just released taster has all manner of majestic and eerie sweep to go along with a foundation of classic programming. Really good slow-burn stuff which bodes well for one of the year’s sleeper LPs.
Dreamer by Kurs

Wingtips feat. Tim Capello, “The Verdict”
Another new Wingtips cut, and one that while unexpected 100% makes sense. Sax-goth has been bubbling under the radar for a few years now, an aesthetic that certainly has some nostalgic charm but needs genuine songwriting chops and production to get over. Who better than the Chicago duo, who never fail when it comes to making songs with that wistful, melancholic vibe, and never stoop to regurgitating the past when they can be pushing themselves forward. Check how much of this track builds around the elements introduced early, so when sexy-Sax man Tim Capello (yes, the Lost Boys guy) busts out his solo it feels like a massive climax, just as it should.
The Verdict (feat. Tim Cappello) by WINGTIPS

Perdí La Luz, “Blue Car”
You shouldn’t need us to talk up Andi Harriman’s curatorial skills at this point. In addition to her own productions, her talents as a selector and boutique label honcho are impeccable, and that’s why any new joint on Synthicide gets our attention. There’s a nice mix of the softer side of EBM (think Forces or Brixx) and some classic house (and maybe a hint of freestyle?) on this number by Seattle’s Perdí La Luz. The beat here is immediate, but it’s the experience of being snowed in by increasingly chilly waves of pads which cinches this track.
Rusty Nail by Perdí La Luz

Black Light Smoke, “CRIMES 1”
In contrast to the above, there’s sure as hell nothing subtle or understated about the new single from Rochester producer Black Light Smoke. Made up of some of the most rubbery programming you’re likely to hear this year, the kicks and pacing on this number hearken back to a pre-TBM era of crossover body music (yes, think Fixmer/McCarthy) in which electro’s moment in the sun was filtering into even the grimiest and darkest of EBM. There’s a whole lot of gallop in this which has us earmarking it for end of the night play.
CRIMES 1 by Black Light Smoke

Solitary Experiments, “The Great Unknown (Steril remix)”
German electro-industrial/EBM act Solitary Experiments are the sort of act that makes up the fundament of every scene; long-running, reliable and while never a top act, they reliably put out a few tracks every album that can be used for club play or mix purposes. That might sound like faint praise, but we have a lot of affection for SE, and are especially impressed with their 30th Anniversary compilation, featuring a bevy of remixes from across their whole catalogue. Check it; you’ve got Neuroticfish, Encephalon, Xotox, Mildreda, INVA//ID and plenty more, including this one from our faves Steril. Congrats on 30 years lads, keep playing it loud.
The 30th Anniversary Compilation by Solitary Experiments

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Observer: World, Interrupted & Hexophthalma

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World, Interrupted
When You See Me, Run
self-released
We haven’t heard anything from World, Interrupted since 2021, and if the music on their latest EP is any indication, things haven’t gotten any less bleak for the Polish darkwavers. While their preceding EP was a direct result and response to the global pandemic and the associated feelings of hopelessness and isolation, the songs on 2024’s When You See Me, Run suggest a larger world of emotions and ideas, if not a more upbeat one. Bookend cuts “Mirror” and “No Turning Back” use the same template the band established back in 2021, a kind of classic gravely serious European darkwave with some modern electro touches, expanded into much more aggressive territory; the former has heavier drums and more dancefloor oriented bass programming, while the latter injects plenty of staticky noise into the mix, conveying both fragility and turmoil. The two Polish-language tracks have a certain mystique all their own, “Nocny Ptak” using layered vocals to create deeper, more funereal moods that match its screechy guitar figures, and “Sama” splitting the difference between moody ambience and its clacky, tumbling percussion. The production is thicker without sacrificing too much of the lo-fi charm previously established, one gets the impression that World, Interrupted aren’t interested in anything that might detract from their austere and foreboding approach to modern darkwave.
When You See Me, Run by World, Interrupted

Hexopthalma
Hexophthalma
K​.​J. Anderssons Mardr​ö​m
Fluttering Dragon Records
A new collaboration between Tomasz Borowski of dark ambient project Fomalhaut and Fredrik Djurfeldt (of too many projects to name here), Hexopthalma’s debut taps into a rich conceptual vein and finds a register of menacing, solemn death industrial to suit. Named for a venomous spider which lives in the deserts of the Skeleton Coast of Namibia and inspired by the shipwrecks which mark that coast and the genocides which occurred there (we can always trust Djurfeldt to draw our attention to the lesser known atrocities of colonialism), Hexopthalma is a decidedly brooding bit of business. While pure crawling distortion is present throughout its seven tracks, it’s generally kept to the role of slowly and hypnotically looping while chilly harmonic pads and sine waves cast over the desert landscape the music is meant to evoke.”Giant Huntsmans hemska bett”, with its wet drips pattering across deep, toneless drones and occasionally punctuated by distorted winds and voices, is a prime example. Longtime aficionados of death industrial and Djurfeldt’s various entryways into that world will know that contrary to its reputation for pure abrasive noise, it’s a style which can prompt solemn and even peaceful reflection and contemplation, and as this record shows, even tilt towards the cinematic soundtracking of a beautiful, if foreboding, landscape.
Hexophthalma – K.J. Anderssons Mardröm by Fluttering Dragon Records

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We Have A Technical 524: Mea Culpa

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MVTANT at Purple City

MVTANT at Purple City.

It’s a mixed format episode this week, with Alex giving a rundown of his trip to Edmonton for the Purple City Festival this past weekend, including the I Die: You Die showcase stage. Then, we’re switching gears to talk about the era of high technoid via Access To Arasaka’s 2009 LP Oppidan. All that, plus some horseshit about mainstream media’s annual fixation with goth fashion. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below. 

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tassel, “A Sacrifice: Unto Idols”

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tassel
A Sacrifice: Unto Idols
self-released

If you’ve ever seen a picture of Arizona trio tassel, or glanced at the art and track titles for their preceding releases, you might be forgiven for assuming they were deathrockers or goth rock revivalists. And while you can certainly point to elements of those sounds on their debut LP A Sacrifice: Unto Idols, their sound is high-impact industrialized synthpunk, engineered for movement and with a healthy dose of atmosphere to contrast its strictly regimented rhythms.

It’s this last aspect of tassel’s sound that informs the record’s best songs; numbers like “Nativity” with its rusty processed and reconstituted guitars and growling synth bass feel dangerous because they have a relentless energy that belies their tightly quantized nature. A large part of this comes from the vocals of project mastermind Trey SequeIra, who affects a veiled menace in his delivery, forceful when whispered, controlled when shouted. It’s a grimly determined in a way that feels almost detached, if not impersonal, as on the Dive-esque “Testament” where he pushed his way through fields of distorted and delayed drum sounds and corroded bass, undeterred by the harsh surroundings.

For all the emphasis on crushing percussion (seriously, closer “Reproduction (In Any Form)” is basically a rhythmic noise track), there’s no shortage of ambience draped over the proceedings. “Original Sin”‘s wrenching, seasick guitar riffs fill the edges around the thudding kicks, a punky bit of texture that compliments SequeIra as he bites words off and spits them out defiantly. Single “V. Crawling” benefits from the short blasts of static that roll off its snares and the phasing guitars, pulling the ear even as its main synth part rolls forward with increasing intensity. There’s a pleasantly no-frills approach to dressing these songs up from a recording standpoint that adds to their urgency; opting for a contained, claustrophobic production style keeps the pressure up throughout.

The great strength of A Sacrifice: Unto Idols is its spirit of tenacity and its drive to keep moving. The struggle between religion, sexuality and self addressed in its lyrics is potent, but is delivered with a frankness that adds to the album’s already forceful disposition. Whatever demons are hounding them, tassel never feel anything less than willfull and ready to charge into whatever bleak territory lies ahead.

Buy it.

A SACRIFICE: UNTO IDOLS by tassel

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Rosetta Stone, “Under The Weather”

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Rosetta Stone - Under The Weather

Rosetta Stone
Under The Weather
Cleopatra Records

The revival of the Rosetta Stone name – still representative of the finest goth rock of its era in this writer’s opinion – has already carried subtle ebbs and flows with it over the past five years. After the “catching up with miserylab” release of Seems Like Forever, 2020’s Cryptology felt like a proper bridging of the past and future of Porl King’s work, working some hints of the band’s more dramatic roots into the stripped down and sober sound of miserylab. New LP Under The Weather continues to link King’s past with his present, but also pulls the listener back into a much universal and much more recent past.

There’s no beating around the bush: Under The Weather is a record written during and directly about the pandemic. As if the title and cover art weren’t enough to pull you back to the fear and confusion of 2020, track after track on the record refers to COVID denialism, the depression of isolation, the prioritizing of the economy over safety, and all of the other cheery experiences we suffered through as a species. On the one hand that doesn’t make for easy listening if you like to think of goth rock as a semi-romantic escape from the mundane, but revisiting painful truths has been King’s MO for the past decade and a half via miserylab. The sorts of themes which that project addressed – austerity, class conflict, political indoctrination – align almost too perfectly with the harsh realities of COVID, and the pull-no-punches style of that project runs thematically through Under The Weather.

That’s not to say that we’re back to basics with the musical approach of the record. More than ever, it’s difficult to distinguish the different modes and periods of Rosetta Stone and King’s other work, not to mention his influences, in the thoroughly blended style of Under The Weather. You could point to the galloping melodies of “All The Devils” as a callback to the band’s most romantic dalliances, and the moody pluck of “Words To That Affect” isn’t too far off from “An Eye For The Main Chance” at its core, yet the austere, stripped-down instrumentation of miserylab remains in those. There are also plenty of indications that King’s time in the droning, post-witch house landscapes of In Death It Ends still holds some sway over the rebooted Rosetta Stone, with the hypnotic bass groove and hazy atmosphere of closing track “Change” hearkening back to that phase in King’s corpus (with perhaps a soupçon of the Sisters’ “Train” to boot), along with the pinched boogie of “Sick And Tired”.

As with the previous two records released under the Rosetta Stone banner, Under The Weather finds King engaging cautiously with his own legacy. He clearly sees the value in both the name and the style of Rosetta Stone, but isn’t interested in trying to recreate second-wave bombast purely for nostalgia’s sake. Nor, as the theme of the record shows, is he interested in sweeping history (artistic or global) under the rug for the sake of simplicity. Eschewing both the “radical new direction” and “return to classic form” cliches may make this new incarnation of Rosetta Stone a bit more difficult to pin down, but I’m guessing that suits King just fine.

Buy it.

Under The Weather by Rosetta Stone

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Tracks: September 9th, 2024

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While you’re reading this, Alex will be winging his way home from an excursion to Edmonton’s Purple City Music Festival. You’ll be able to hear about it on the podcast next week, but we wanted to highlight how cool it is to have a music festival like Purple City that doesn’t specifically focus on acts within Our Thing book so many bands that are relevant within it. Even leaving aside those acts with big crossover appeal like ACTORS, Urban Heat, and LEATHERS, it’s really neat to see them making an effort to book deeper scene performers like MVTANT and Visit0r, and programming them alongside names like Wolf Eyes and Pelada. Tune into the podcast for a rundown, but until then, enjoy some selections in this week’s Tracks.

Nuda

Nuda

SARIN, “Fire To Blood”
Some absolutely punishing, pure EBM from SARIN bodes well for the longstanding producer and X-IMG honcho’s next full-length. Between Konkurs, Human Performance Lab, and the General Dynamics collaborative projects Emad Dabiri’s dancecard has been pretty packed over the last couple of years, but stormy, slowly building monsters like this one are a reminder of his strengths as a solo artist.
Fire to Blood by SARIN

Nuda, “Break”
We enjoyed the set from Seattle industrial act Nuda we saw at Terminus in July, and have been interested in hearing more from her since then. Come to find out that the album Stranger will be dropping come November, and the preview tracks suggest a lot of what we heard on the stage in Calgary; big industrial grooves, and a fair bit of atmospherics to fill out the mix. While “Trigger” is a bit more club-oriented, and “Psycho” has a bit of a breakbeat, rhythmic noise vibe, we like “Break” best of all, as it provides a nice middle ground for Nuda’s heavier and melodic elements.
Stranger by Nuda

MODEBIONICS, “DIVIIDE DIVISION”
If you’re one of the many folks who uses our Year End coverage to find out about new or up and coming acts, you’ll already know that we were very impressed by the craft and energy Rolan Vega brought to the classic dark electro sound with the debut LP from MODEBIONICS last year. We’re happy that he looks to be picking up right where he left off in relatively short order with this new single which perfectly balances the haunting atmospheres and immediate, no bullshit rhythmic programming that the genre was built upon.
VIIXIIV (Diviide Division) Single by MODEBIONICS

Big Time Kill, “Truth”
Hey, something new from Boston’s Big Time Kill, an act who have never shied away from putting the funk back into industrial rock on their releases. “Truth” is a great example thereof, letting that big bassline lead the way, with clean vocal production and solid rhythm programming and some Chic-guitar following in its wake. As with a lot of their other tracks, there’s a bit of classic 90’s alt. rock at play here, recalling Faith No More more than any given industrial rock act you’d care to mention.
Truth by Big Time Kill

Split Diopter, “Navel Gazer”
DKA is one of those labels that we’ve been following basically since the inception of this website, and who put out records by plenty of acts that ended up being big favourites of ours, including High Functioning Flesh and Boy Harsher. While the Atlanta based enterprise has put out lots of electronic music, they’ve also worked with bands in the post-punk and goth rock spectrum, which is the spectrum that the forthcoming release from Split Diopter resides in. We’re feeling the nod to classic second wave sounds in the band’s sound, especially in using bass and pads to build up the tracks behind vocalist/producer Matt Weiner’s croon. Solid stuff from a label known for providing the same.
To Bridge And Bind by Split Diopter

Witch Of The Vale, “100 Ways To Leave (Kontravoid Remix)”
A Kontravoid tie-in is a savvy move for Scotland’s Witch Of The Vale. The pep and immediacy of Cam’s beats place this mix from the new 100 Ways To Leave EP (no, there’s no Paul Simon cover) keeps it right in the club zeitgeist, but the ethereal grace of Erin Hawthorne’s vocals which first drew us to the project endure; hopefully some of the folks who drive by for the beats stick around for the ghostly ambiance of the rest of the record.
100 Ways To Leave by Witch of the Vale

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Tryphème, “Odd Balade”

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Tryphème, "Odd Balade"

Tryphème
Odd Balade
Impatience

Club-focused darkwave has been the sound of the past couple of years, but that’s not to suggest that there haven’t been interesting developments in the more sedate corners of the genre. Recent records by Hada and Feyleux have conjured classic atmospheres with modern approaches to production and songwriting, and produced engrossing and varied results. Arriving at a similar juncture is French artist Tiphaine Belin, whose new LP as Tryphème Odd Balade expands upon the ambient electronics of her earlier work to craft lush dreamscapes.

The step forward Odd Balade represents from preceding release To Pick Musics Up? is exemplified in the slow roll of first single “Sandy Family”. Blooming from a pensive vocal and kick drum to drift between choral synths, twangy guitar and chorused bass, it’s an enveloping and deeply calming piece that’s half early Xymox, half Julee Cruise. Tryphème’s interest in electro-acoustic experimentation can still be tracked in the cut and pan heavy filigree of “Heavy Blossom”, but eschewing minimalism purely for its own sake pays off: “Nightingale” brings just enough modern production and sound sculpting to give what could have been a rote classic coldwave exercise real contour and depth.

The tension between a “less is more” philosophy and deep production indulgence is what gives Odd Balade real legs as an LP. A piece like “Stroke Of Luck” is compositionally dead simple, holding to a single bass riff and drum fill, but the art is in the build and release of the increasingly psychedelic elements being layered atop that foundation, like a more baroque version of Sixth June’s “Tatjana”. On the other side of the spectrum, the liquid synth strings of “Dancing In The Rain” set the stage for Belin’s ethereal vocal harmonies but never cede control to the tasteful production touches which emerge.

An elegant record guided by poise, restraint, and grace, Odd Balade is a reminder that atmosphere and substance can sit in equanimity. Belin’s talents for sound design were established before this release, but here her instincts bring her into truly interesting and rewarding territory. Recommended.

Buy it.

Odd Balade by Tryphème

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We Have A Technical 523: In Space

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The Horrors

The Horrors trying to make a go of Edwardian urchin goth.

We’re back to the classic two albums format for the first time in a hot minute, with the grinding industrialized noise rock of Head Of David and The Horror’s first kick at the can as a spastic garage band in goth/scene garb on the table. We’re also indulging in a bit of wanton speculation about the Nine Inch Nails name being attached to the next Tron film. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below. 

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Plague Pits, “Bukolic”

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Plague Pits
Bukolic
self-released

Swiss synth act Plague Pits’ 2023 LP Creatures was an intriguing quantity in the modern synth scene thanks to its combination of original school synthpop sound and socialist politics, recalling early Human League in both form and content. Their follow-up Bukolic leans in on cleaner, more Kraftwerkian electropop stylings, with smoothed out production and greater focus on getting the most out of a decided minimal musical toolset.

Interestingly, the record finds the band putting aside vocals for the vast majority of the cuts. The sole numbers that feature any kind of human voice are opener “Binary Stars” and “Sleep of the Just”; the former using a heavier gated snare and bleeping lead that point towards heavier modern takes on the sound, while the latter falls squarely into the sort of awkward slowed funk practiced by Fad Gadget, complete with sardonic crooning to put its pointed refrain across.

It’s hard to imagine that the rest of the album’s songs would have benefitted from the addition of vocals, oriented as they are to distinctly instrumental forms. “Future Pastoral” summons early electro to mind thanks to it’s syncopated kick-snare patterns and bassline, while “A Thounsand Points of Light” is a kosmische number, with spacey reverbs and delays creating vast empty spaces for its synthlines and soft pads to float through. Those cuts are all fine, if a bit clinical in execution: things liven up when the band allow themselves some rougher and crunchier indulgences, such as the snappy white noise snares on “Blok” and the menacing pulse of the bass sound on “Mécano”.

Like all of Plague Pits’ material, how well you take to Bukolic is pretty dependent on your appetite for the throwback sounds it trades in. If it’s the sort of thing you’re inclined to enjoy, it’s a pleasant listen with a short run-time, efficient in execution and studied in its design.

Buy it.

Bukolik by Plague Pits

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