Category: Uncategorized

1. Hey Bram. Thank you for making some time for us. You’ve been involved in various Zwotte Kring projects for quite some time now. How did that happen?

First and foremost, thanks for this conversation! If I go back in time and am not mistaken, it all started with Marquis, a project by Devi (Hisgen). I was asked to design the logo and cover artwork for the full length “Mitclan” in 2015. Man, how time flies! I have many fond memories of this design. This was also one of my first designs that I made in black ballpoint pen. After this, Devi came along with another project “Teitan” for which I was also allowed to come up with the logo.

Years later I came into contact with Floris for Schavot and we immediately had a very pleasant relationship and conversations about music, art and everyday things. Personally, I am a big Schavot fan, I think the debut album “Galgenbrok” is magical! He also challenged me to do a digital painting for his next album with pastel, inspired by the works of Anton Pieck. This is one trait of the Zwotte Kring, they challenge people in a very positive way to get the most out of it!

After a while designing for Schavot I also came into contact with Asgrauw and Void Wanderer Productions where I had the honor of doing a shirt design for both + the cover of their sampler CD, which also gets many spins here. The last projects for the Zwotte Kring were designs for Meslamtaea and The Color Of Rain. Bands that also give me enormous satisfaction and happiness to be allowed to design. Gerhans is another person who can bring out the best in someone! A true musical talent. I hope that this fruitful collaboration will continue for a long time!

2. You are of course proud of every artwork you deliver. Still, you’ll probably have a few favorites? Are there certain works of art that you are just a little extra proud of? Certain projects that are still fresh in your memory in terms of depth or communication?

There are indeed many designs that stick with me, but a number of them stand out with flying colours! Years ago I was able to make many designs for Bodyfarm. I then had a lot of contact with Thomas Wouters, who is unfortunately no longer with us. He had such an enormous passion for music and art. So my first shirt design I made for them (a reaper in medieval woodcut style) is very dear to me.

In addition, the designs I made for Fleshcrawl are also very special to me. Thanks to the Elpee Music Club in Deinze (with the always enthusiastic Katelijne!) I came into contact with a huge number of bands, including Sven Gross (r.i.p.) from Fleshcrawl. He also believed in my designs. The collaborations with Memoriam (Karl Willetts) and Milking The Goatmachine (Daniel Jakobi), still bring me enormous joy. These were childhood heroes for me and to see my drawings adorn their merchandise… that’s pretty cool! I also really appreciate the collaboration with labels such as Into It Records and Void Wanderer Productions!

3. How did you actually get into metal? What were your reasons to start using your talents in this culture? What is your own favorite style of music?

I got into the metal world thanks to my father. It was literally and figuratively instilled in me. On my tenth birthday he took me to a Kiss concert and I can still remember their show vividly! The cap from the show that I received then still hangs in my drawing room. After this we spent a lot of time in the Biebob and the Trix (formerly Hof Ter Loo). As a result, my interest quickly shifted to black and death metal. Immortal, Marduk, Limbonic Art all had a very big impact on me. The Xmass festivals etc. became an annual tradition. Here I got to know many bands (Deicide, Bal – Sagoth, Aborted, Dying Fetus…)

What especially appealed to me about these genres was their artwork/merchandise… For me it was fantastic to go to school with a Bloodthirst long sleeve from Cannibal Corpse or with the Panzer Division shirt from Marduk. Of course, all my school books were decorated with album artwork and logos of all my favorite bands. The teachers at the time did not always like them. My preference for old medieval designs developed very quickly.

I ended up in the “design world” very spontaneously. A local band liked my drawings and thought they could use them for our shirts. After this the ball slowly started rolling to where I am now. I have an extremely varied taste in music genres. If I’m in the mood for metal, I’ll primarily go for black and death metal. I also really enjoy listening to prog, heavy metal, etc., but the poetic music of Frank Boeijen can also move me. The people who know me very well know that I also have a huge guilty pleasure and that is Taylor Swift… now I imagine that a lot of readers will frown their eyebrows but I can’t help it, my playlists are also very varied. From “Hammer Smashed Face” to “Shake it Off”. The confusion in the eyes of the people around me always makes me laugh.

4. In an earlier interview with The Color of Rain’s Gerhans Meulenbeld we could read that he sees you as a kind of ‘secret’ fourth band member. Does it feel that way for you too? How do you try to internalize the identity of a band you work for?

It certainly feels that way! The collaboration with TCOR is very precise. Personally, I am not the fastest draftsman/painter, but we keep each other informed of every step. From sketches to updates and finished product. I really feel part of the band this way.

As I said before: I fully appreciate the constant challenge to go further creatively and to experiment with new techniques. First of all, I have to connect with the music and the idea behind the band (theme, lyrics, etc.). Only then can I convert those ideas into drawings and paintings. The band also gets to see my vision in this way. The merging of different opinions then forms the identity of the band.

5. You have delivered colorful covers for both Schavot and The Color of Rain. A striking thing because most of your work is fairly monochrome. How did that happen?

That colorful collaboration came about because Floris saw something in me that I myself didn’t know was present yet. My preference for dark, black and monochrome works will always be there, but it is very nice that I can now turn to other mediums to put my vision and thoughts on canvas. I’ll be honest, the color designs are in collaboration with my lovely wife. Because I am mainly used to thinking in monochrome designs, I sometimes have difficulty translating my vision into color. If I get stuck with that, I ask my wife. She then gives me instructions about her vision of how she would approach it.

This has now resulted in some colorful designs, such as bringing life to the fire of the Schavot funeral pyre and the color patterns on the back cover of Fleddy Melculy. So expect even more colorful designs in the future!

6. Can you tell us something about some projects you are currently working on? Are there bands that you have a longer agreement with for a series of albums or do you work one album at a time?

This is often viewed album by album, but over the years I have built up very nice contacts with people and bands who often return to receive a design from me which is an extremely good feeling. I am currently working on some very nice assignments for some local and international bands, not all names can be mentioned of course. Bands I can give you are: Wallfahrer and Lay Down Rotten. As always: “All will be revealed in due time!”

7. You have recently also started working in the tattoo industry. How did you end up there? What style can we expect your ink to be?

I also fell into this very spontaneously. This is thanks to my in-laws. My father-in-law wanted an extension of an original tattoo of his so I made a sketch/design for that (like a good son-in-law does who can draw haha). They then ended up at Cee’s Pendulum Swing Tattoo. Cedric is an artist par excellence and a true Jedi master with ink. During his tattoo appointment, the subject of a ‘tattoo apprentice’ came up and that Cedric would like to have one in the future. My mother-in-law let me know immediately and believed this was something for me. I saw this as a golden opportunity and sent him a message that evening to introduce myself.

There was an immediate friendly click that over the months grew into a professional mindset to convert my drawing skills into tattoos. I am currently still a student aka padawan (my nickname in the shop) who eagerly and enthusiastically accepts all opportunities. Regarding the style; you can expect a continuation of my dark, obscure medieval woodcut drawings that I will translate into tattoos with a twist that is my own.

8. You work a lot with both Dutch and Belgian bands. Do you notice a difference between the northern and southern neighbors in terms of how metal lives? Does Belgium also have collectives such as the Zwotte Kring? Which bands from Belgium would you recommend when it comes to the heavier styles?

Personally, I don’t notice many differences between the Dutch and Belgian bands that I design for, although Dutch bands are often a bit more direct in their approach. Something that I certainly do not experience as negative. If the passion is there and I notice that there is a gigantic driving force behind the band and I fully agree with the theme and story behind the music, then this is simply great.

I have never thought about whether there are collectives present or consciously looked for Belgian collectives, but I do know of one, namely The Nox Entity with bands such as: Rituals Of The Dead Hand, Entartung, Lhaäd, Wolven and Nox. Bands that I definitely recommend checking out!

9. Thank you so much for your time. We hope to enjoy your work and collaboration for a long time to come!

This is very much appreciated! Thank you also for your interest and very nice cooperation!

Interview: Gerhans

On our Zwotte Kring platform we interview people who we find interesting and appreciate for their commitment to the scene. Such a person is Jo Versmissen from Antwerp, Belgium. He is the man behind Babylon Doom Cult Records (BDC) which has done a lot for the scene. Unfortunately, it could be read on social media that BDC is taking a step back.

1. Hello Jo, thanks for your time! Can you introduce yourself? Who are you and how did you end up in the world of black metal?

Hello, thank you for your interest in my story. I’m Jo Versmissen and I run Babylon Doom Cult Records. About thirty years ago I was introduced to extreme music through my cousin and a friend of my sister. From the usual suspects such as Metallica, Iron Maiden and Pantera, it went to Sepultura to Morbid Angel and Deicide. Until I bought the Blackend Vol. 1 collection cd. I was sold to it immediately! Less than a week later, CDs of Immortal and Impaled Nazarene, among others, were on the doormat and I was walking around in a Pure Holocaust shirt.

2. BDC started in 2017. What prompted you to set up the label? In a short time, BDC has become a big name, especially among the open-minded audience. How did you achieve this?

I had been active for several years booking live shows in Antwerp. First just on my own, later in the OnderGronds collective. This way you naturally get to know the people in the bands you book. For example, I have booked shows for Alkerdeel, Terzij De Horde, Laster, Oranssi Pazuzu and Aluk Todolo. When I switched from employee to freelance status in 2017, I included things such as releasing music, organizing performances, etc. in my company’s activities with the idea “who knows one day…” There were no concrete plans yet. One evening I gave Pede van Alkerdeel a lift from Bruges to Ghent and this came up. He immediately said that De Speenzalvinge did not yet exist on LP. That’s what got the ball rolling.

The next releases were Kozmotron, Speed Queen, Witch Trail, Bütcher and Marginal. Perhaps the breadth of genres appeals to the open-minded music lover? There wasn’t really a plan behind it. For example, if I heard the Willie Darktrousers tape, I simply asked the label (Tartarus) to ask the band if they were interested in a vinyl release. Everything was possible, everything was allowed. Later I tried to get a bit more of a line into the releases, although I could never resist simply a good release.

I think the bottom line is that you should follow your gut feeling. If you don’t work authentically, you won’t get there or it will quickly become an assignment instead of a hobby.

3. BDC’s roster mainly consists of bands with an ‘edge’. Many bands operate in the atmospheric / post-black / punk-crust corner or are experimental. But you also dare to release very traditional black metal. What is the deciding factor for you to release a release, and what could be a reason why a release affects you?

The music has to grab me, I have to put it on spontaneously and I need to want it in my collection. Spontaneously putting on the music and wanting it to be in my collection is easy to explain. When music grabs me… that’s harder to explain. Sometimes I can’t put my finger on it. After all these years I have discovered that I love a good song, regardless of genre. A black metal song that, for example, only thrives on aggression or continues to race at top
speed all the time, will rarely appeal to me, although there are always exceptions. A song may be repetitive. The best music is music that I can’t initially say whether I like or not, but that I want to keep hearing again and again and again. If music grabs me immediately, the interest often disappears after about four listens because it is not challenging enough.

Some albums just make something happen. For example, if I put on Bat Magic or Invunche, I automatically start headbanging. Unru stirs emotion in me every time. When music triggers such an automatic response, I know it’s good.

4. A vinyl re-release of ‘Emperors of the Night’ by the legendary Flemish band Avatar has been released on BDC. The keyboardist in question, Izzy, is now part of our Zwotte Kring collective and a member of Meslamtaea, which is also released via BDC. Avatar brings back beautiful memories for many older black metal fanatics among us. Avatar played a lot in the nineties with Flemish bands such as Ancient Rites and Enthroned. How do you look back on the golden years of black metal?

What are the “golden years of black metal”? For me personally, it dates from around 1993 when bands like Emperor, Mayhem, Enslaved, Samael, Abigor, Sigh, etc. came up with legendary albums until roughly the end of the 1990s.

As far as I’m concerned, black metal has become more and more “normal”. When I listened to “In The Nightside Eclipse” as a 16-year-old, I was overwhelmed by its mystery: the sound, the singing, the stories about church burnings… Everything took place much more in your
head than it does today. Now you take your smartphone out of your pocket, look up something and everything becomes much more “tangible”. The wonder makes way for something mundane. There are several reasons for this. You lose some imagination as you get older, you become familiar with black metal and the mystery becomes less. Bands today also have many more predecessors, meaning that more influences unconsciously creep into music making their own brews less innovative. In the mid to late 1990s, almost everything was innovative, which also makes you more stimulated. Live shows also used to be much less professionally organized, which made it all more underground and sometimes created a dangerous atmosphere.

The golden years of black metal had some assets that have been somewhat toned down today. Every now and then my sense of amazement rears its head again. This can happen with new music, but also sometimes when I play “In The Nightside Eclipse” or visit a performance that completely captivates me. Or, for example, the two Müür releases have captivated me for several weeks. My tape deck can play two tapes continuously one after the other. That way I listened to those two tapes on repeat for days.

5. In recent years, the Flemish black metal scene seems to be increasingly present. What’s in your tap water, why has your scene become so strong?

I think the possibilities for recording music and releasing it into the world are much greater today than they were about 20 years ago. There is no longer any need for an expensive studio to deliver a professional product. This provides much more output, which will automatically produce more good music. I don’t actually know whether the scene is really that much stronger than it used to be. There are many good bands, but for me the bands that stand head and shoulders above the rest are the veterans such as Lugubrum or Alkerdeel. To be honest, I personally like the Dutch scene more with bands like Laster, Invunche, Turia, Fluisteraars, … We have also released quite a lot of Dutch bands with Invunche, Witte Wieven, Hagetisse, Ceremoniële Walging, Wolves In The Condo, Shagor, Alburnum, Dinbethes, Meslamtaea, Freja, Gott, Helleruin, The Dreaded Disease, Mist and Traveler. Perhaps more than Belgian music if I sum it up like that.

6. Black metal is now more popular than ever. But times have changed compared to the 1990s, when much was still analogue and no one had mobile phones or laptops. Nevertheless, many bands continue to stick to the classic style and theme of black metal, while there doesn’t seem to be much mysticism anymore. How do you view the current scene? Do you think black metal needs to be reinvented or is there still a place for the old style?

For me, there is especially room for good music. Whether it is an old style like Moenen Of Xezbeth or something more modern like DHG shows on Black Medium Current makes little difference to me. For me black metal doesn’t have to have a satanistic approach. If someone thinks it should be that way, that’s fine too, of course, in the end it’s just a name and the music doesn’t change by calling it a different genre. So I consider Frost by Enslaved to be black metal.

I like the diversity of the scene. I think a band like Krallice is great. Their music is clearly based on black metal, but still creates a completely different feeling. Or Infidel Art by Sigh, perhaps my favorite album of all time. That album alone contains doom, black metal, power metal, bombast, punk… and it works because the songs are good. Actually, I often find traditional, riff-based black metal the most boring.

7. What is the status of BDC? In September we read the message that you are pulling the plug because motivation is disappearing. Can you explain why the label fire is dying out?

At the time of writing, we expect one more release before the plug will be pulled. It is impossible to predict whether it will ever be plugged in again. As a small label it is difficult to survive. Then you have to ask yourself whether you still want to make all the sacrifices of free time. On the other hand, I regularly think that I would like to release certain albums such as “Archidemon” by Apovrasma or “Voor Altijd” by Desinteresse. We have even toyed with the idea of setting up a side label for other genres such as the cold wave of Disinterest or more electronic music such as ZackZackZack.

However, at the moment I don’t have the energy to put my efforts further.

8. Do you still remain active in the scene in some other way? I understand that you organize shows and are active in the background at Roadburn, among other things?

In the past I have regularly organized shows, ranging from small unknown bands to bigger names such as Aluk Todolo or Altar Of Plagues. I also spent some time in OnderGronds, an Antwerp collective that operated in the same way with shows by small bands but also presented larger packages in Antwerp. For example, Svartidaudi, Spectral Voice, Aura Noir, Anaal Nathrakh and Dodheimsgard have all passed by. At the moment I’m not really active in organizing show anymore. Occasionally I provide music between and after performances.

There is certainly an affinity with Roadburn, but I am not involved in the organization. I sometimes pass on some musical tips to Walter. Every now and then such tips make it to the festival. It’s not much more than that, apart from a DJ set at the festival.

9. Are there any highs or lows from the BDC years that are worth mentioning?

There are no real highs or lows. There have been ups and downs, of course.

For example, I wanted to stop doing it a few years ago. Two releases, Shagor and Meslamtaea (Geketend in de Schaduw van het Leven) were already in production, they were still to come and then it could just stop. Suddenly the Shagor LP sold out in a few weeks, Meslamtaea also did very well and Alkerdeel asked us if we wanted to co-release their upcoming album with Consouling Sounds. At such a moment you can float along on the success and the bright prospects.

There have also been quite a few releases that haven’t done so well. Then the financial and logistical pressure, which has always been there, increased. That mental pressure made me second-guess upcoming releases and ultimately required more effort from the label than they provided joy for me.

Of course it also created many wonderful memories. Contacting local bands like Bütcher, Witch Trail or Kozmotron after a performance and creating great releases, international bands that find their way to you, contact with customers at shows, seeing bands from your label play rock-solid performances at festivals like Roadburn …

In summary, contacts with people are the most enjoyable. And of course the LPs, CDs and tapes that I will continue to play for a long time!

10. How do you see the future for labels in the underground, now that streaming has largely taken over physical sales? Do you have any tips for people who would like to start a label now?

It’s clear that running an underground label is becoming more and more of a challenge. Life has become much more expensive, meaning that people have fewer resources to purchase physical music carriers, which in turn have also risen sharply in price. For example, in the past you had €100 left at the end of the month and you could easily buy five or six LPs. Today you may only have €40 left, which often won’t even buy you two more.

The role of a label has changed dramatically in recent years due to the widespread internet on the one hand and the possibility of recording with much smaller budgets on the other. Many underground bands today come out on their own with their music on platforms such as Bandcamp, YouTube, Spotify and so on. In the past, a label was a kind of gatekeeper that you had to pass through as a band to get music out into the world. Today it is the opposite and there are plenty of examples of labels that scour Bandcamp and then release music that can already be heard online on a physical medium.

The larger underground labels will be around for a while. I’m thinking of Ván Records, Osmose Productions, Eisenwald, Iron Bonehead, Nuclear War Now (who are even going to start their own pressing plant), etc. The slightly smaller ones are going to have a very difficult time, I fear. Some have already stopped, such as The Sinister Flame. Gilead Media also announced the ending. That of course gives a little more breathing room for other labels, but I still predict that labels will fold in the coming years.

Tips for starting a label? Look before you leap. If the passion is there, go for it. Don’t expect anything in return financially and don’t invest your last cent in it.

11. Besides music, I understood that there is a great passion for plants and growing vegetables? What is a hobby that currently drives you?

A passion for growing vegetables may be an exaggeration. I do have a year with a local organic farmer. That was really everything: planting, weeding, hoeing, raking, filling up, harvesting, washing, putting together packages, … I really enjoyed that year and learned a lot about plants, what we actually eat, soil management…

Ultimately, I gave up that job to… right, run the label full time.

I practice yoga regularly, take our dog for a daily walk, am in a polar bear club (you know, outdoor swimming in the winter) and am also trying to learn to play the piano. And music remains a great passion of course.

12. Is there still hope that BDC will be pulled from the shelf in the near future? (we hope so!)

Really no idea ¯\_(ツ)_/¯

Interview: Floris

1. Greetings to you and thank you for taking the time to answer my questions. Times must be exciting right now within your ranks, what with a debut EP being released. What is the mood right now within the Grafhond camp?

This is indeed an exiting time for us. We both went deep in creating this record. And although we did not concern ourselves with the opinions of other people during the creative process, it is of course very nice to see and hear that the reaction on the record so far is positive.

2. You are releasing the EP a full six years after the genesis of Grafhond. Are you a band who likes to take their time when creating, or were there other factors that delayed the release?

A little bit of both. Grafhond is a duo and will remain so. But when Grafhond started we were still open to the idea of working with other people. When most of the songs were written we contacted some individuals of who we thought would fit the concept of Grafhond, and see if we could work together. After some time however it became clear that the best and only way forward for Grafhond was to remain a duo. This ment that we would play and record all the instruments and vocals ourselves. This of course took some extra time. Also, we are not in a rush. We found that taking the time to let the songs sink in gave us the time to reflect on what was created and, if deemed necessary, change some song structures or add some stuff to deepen the compositions.

3. You write your lyrics in your native Dutch tongue. I find with a lot of Dutch Black Metal bands there is a distinctly Dutch identity, especially in terms of lyrics and artwork. Is that something that you feel applies to Grafhond? What does it mean to you to be a Dutch BM band?

To be honest, when Grafhond started we were not aware of how immense the Dutch Black Metal scene had become. We dont follow the (Black) metal scene as closely as we did when we were younger. We knew about maybe six to ten bands, but it turned out that there are hundreds now. We still dont know most of the bands so cannot give an opinion on their lyrics or artwork. The discussion to write lyrics in our native tongue was a choice made purely because it felt more personal for us to express certain emotions and feelings in a language closer to home.

4. As I mentioned, your lyrics are in Dutch. So, for us English only speakers, can you please elaborate on the themes and subject matter that runs through the EP?

The title of our record translates as “In harmony with death”. We both have our share of darker mental periodes in our lives and take lyrical inspiration from this, so this seemed like a fitting title. Sometimes we express these feelings in a more cryptical manner and sometimes in a more direct manner. For example, “Verwekker” deals with childhood fears due to an unsafe environment created by alcohol abuse from a parent, “Gefluister” deals with maddening negative voices inside of you’re head and its eventual disastrous consequences, “Gat” deals with being unable to cope with some realities in life which result in a downward spiral and leaving all behind, and “Verslagen” is about endless mental struggle and detachment.

5. Let us go back to the beginnings of Grafhond. How did the project get started? Was there a specific mission statement behind the ethos of the band?

We both have played in a more death metal orientated band over 15 years ago, but when we started to play together for Grafhond about six years ago, it became immediately clear that our focus was going to be Black Metal. We both grew up in the early nineties, when the second ​wave of Black Metal was at its peak, and this movement left a great impression on us. Many of these early bands had a certain edge and darkness to themselves, something we felt was/is missing in a lot of the more modern day Black Metal bands. Our vision for Grafhond was to make brutal, not overly complex compositions with a focus on intensity and despair.

6. What bands did you all grow up listening to? And, which bands do you feel have a direct influence on the sound and style of Grafhond?

We both came in contact with music at an early age. We grew up on bands like Creedence Clearwater Revival, The beatles, Pink Floyd, Chicago etc. Later we came in contact with Black sabbath, GnR, Iron Maiden, Megadeth etc., and after that the more extreme stuff. Too much to name.Some examples of bands/albums who we feel have a direct influence on our style on “In harmonie met de dood” would be “Total war” from the band “War”. A total classic! Same goes for “Panzer Division” by “Marduk”. Darkthrone in some riffing and in attitude. Also “Pure Holocaust” by “Immortal” and maybe even “Slaughtersun” by “dawn” and/or “Storm of lights bane” by “Dissection”.There is no particular band who has an influence on the sound of Grafhond. There was something special and magical in the production and sound on a lot of the early classic Black metal albums. Maybe one could not hear exactly what all instruments were playing, but there was a certain dark aura present “between the lines” which gave these albums a grand feeling. Hard to explain, and some people just hear this as white noise. This was an inspiration for Grafhond when we searched for a sound fitting to the songs on “In harmonie met de dood”. Andrew van der Schaft, who mixed the record, was a very important factor in this proces and helped us tremendously.

7. Do the members of Grafhond perform in any other projects? Please feel free to plug your other bands and projects.

Graaf Graf plays in the band Bullhammers.

8. What are the aspects of being a part of a band, of a creative collective, that you enjoy the most? And, on the flip side of that, which aspects do you find the most challenging?

As mentioned earlier, Grafhond is a duo. This means less opinions which is great. We both know each other very well, not only as musicians, but also as friends. This means there is trust and this makes for a save creative environment. We both went very deep in creating this record, especially in the lyrics department, and sometimes it can be hard to except certain feedback when you are in a certain mind space. We both however are able to accept this from each other, and therefore elevate each others input into something even greater.

9. Are Grafhond a live entity? If so, what can people expect from your live rituals?

Grafhond is not a live entity. We sometimes talk about bringing our material tot the stage with the help from some like minded individuals, but for now this is not our focus. Maybe in the future.

10. What are your thoughts on the Dutch Black Metal scene? Are there any bands you would care to recommend?

We are not very familiar with a lot of the Dutch Black Metal scene so do not have an opinion. There are however some band to recommend. When we came in contact with Kaos, who runs Void Wanderer Productions, we also came in contact with the “Zwotte Kring”. A collective of like indeed individuals who each play and/or perform their take on Black Metal. A lot of great band like Asgrauw, Schavot, Meslamtaea and Teitan. Worthy of checking out!

11. That is all I have for you. Thanks again for answering my questions. I’ll leave the final words to you.

Thank you for you’re interest in Grafhond. Grafhond godverdomme!

Interview: Unknown* found lost in the email.

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