Digital Summer Dance Hits with KALAMATA, KARIN PARK, PAON and PICASTRO

Yes, no. Of course these aren't actually all Dance artists. Maybe I should established a durable name for this kind of column. But you know what this is: If there's digital in the title, I'm talking about releases, which are either only available as download / streams - or of which I personally just don't own a physical copy (yet).

KARIN PARK - Evo (2026)

Karin Park is back with the first of what is going to be a trilogy of digital EPs. After the trajectory of her last albums "Church Of Imagination" and "Private Collection" saw her moving into a more Norwegian Gothic and solemn, introspective direction, these new four tracks created with French producer Anthony Belguise mark a return to a decidedly more danceable Electronic Music format, but without neclecting the formerly established contentual depth.

In these only slightly over fifteen minutes the Swedish-Norgwegian singer shows almost all her strengths. Rich in variety and excellently produced the EP unites exciting sounds, Park's wonderful signature vocals delivering piercing emotions and addictive hooks, internally and outwardly moving songs... what else do you need except for of course more?

That break followed by the escapist dancefloor finale in the heart piece "Sing Your Sorrow" alone is everthing.

PAON - Philosophie Du Soi (2026)

Plus c'est plus! This five-track EP s a wild exuberant fever dream of Experimental Electronic Future Jazz Fusion, flute and flamboyant Chanson vocals by videogame singer Pernelle. She's a real person though, don't worry!

Her project Paon with composer / arranger Lemm is bursting with a spirit of musical adventure, as if someone had condensed the epic double album playing time of Janelle Monáe's "The ArchAndroid" to twenty-five minutes and injected it with an extra high concentrate of Jazz history and a neon-sparkling dose of sci-fi metropolis / Space Opera aesthetic.

Weird and... a lot. Yet also very enticing. This wonderful mindblower is another bold win for the exceedingly great Jazz year 2026.

PICASTRO - Double On Time (2026)

Picastro have been around for decades, but 'm starting into this new EP of the Canadian project led by singer and multi-instrumentalist Liz Hysen without any previous knowledge. And alongside the immediate realization that this is defintely isn't as suited for the club much as the two releases above, my mind goes to the most Experimental tracks of Lucy Kruger & The Lost Boys, to Jarboe, to the minimalist singer/songwriter version of Chelsea Wolfe, to the darkest side of Björk... to various other artists in the field of slow burning Avantgarde or Alternative Folk music, which actually come closer to what I'm hearing here. I just don't know who they are. I know that certain parts of these five rather short tracks remind me of familiar music, but I just can't grab it. Damn.

So instead of fitting references I can only give you my honest recommendation for this short but eery collection of sparsely arranged pieces. You don't find such a smoothly stripped down, delicately sinister gathering of piano, synths, strings, guitars, samples and vulnerable vocals at every corner. Give in and float through this shadow!

KALAMATA - Zenosyne (release: June 26th 2026)

Yeah, one could ask whether this actually belongs here: It hasn't been released yet. It's not an EP, but an album. There's no female band member - and not even a singer. But I make the rules here, so fuck it.

The reason "Zenosyne" even caught my attention was a vague familiarity with the the name Kalamata. And indeed I've written about the German Stoner Rockers almost eleven years ago, when they played as the first of seven bands on my first Pink Tank Festival in Itzehoe.

Of course I don't remember that show even remotely good enough to judge the group's evolution from then to now, but what I can say is that these five tracks called "There", "Is", "No", "Coming" and "Back" are all fantastic examples of how to mix heavy Desert Rock riff fuzzery with great guitar hooks and instances of beautiful Post Rock elation.

Even though the cover rather speaks German winter, this perfectly works as the soundtrack to a sunny fair weather cruise. And that's all from me tonight. Audio Ohlsen Overkill bringing you all the hits for the summer holidays! Please tune in again when we're back on air for more! 

cassette craze chronicles XLVI feat. AIDAN BAKER & WARIO PIANESI, CATATONIC LEISURE ALONE, CHURCHLICKERS, COLIN WEBSTER / BALÁZS PÁNDI / MATT CARGILL and COLIN WEBSTER / MARK HOLUB / NOAH PUNKT

Phew, that headline was a mouthful, wasn't it? Even though I snuck a cassette into my last Temple Fang double review there's still enough new tape left to justify this forty-sixth edition of cassette craze chronicles - and of course we're starting with the elephant-blue item, which sticks out most in the picture above:

AIDAN BAKER & WARIO PIANESI - 4Rooms (2026)

Yes, this tape is actually connected to a name tag and several layers of cardboard cutouts with a key ring. And no, it's not as impractical as you might think. It's indeed pretty easy to loose the shell from the ring, so you only need to think about how to store this thing. Mine is hanging on a hook close to my player.
I bought this tape directly from master Aidan Baker himself after his show on the MS Stubnitz in April. I don't know how many copies exactly exist, but it's surely among the rarest items in my music collection.

Musically this is a live improvisation session of the quality you should expect from the Experimental guitar player, who once again impresses with beautiful layers of Ambient, Drone and Noise Rock, while the source of Industrial beats (and probably other sounds I cannot with certainty distiguish from his performance and effects), operated by Wario Pianesi comes as a little surprise, since it's a Nintendo DS.
Full disclosure: Despite its apparent household-name popularity I had to look up, what this Gameboy successor even is, so I can only assume that there were (are? Sorry, I'm completely out of this loop...) not only games for the mini console, but also some kind of music / drum computer apps.

Well, if your name is Wario** this is for sure a fitting instrument of choice. And this session - divided into four rooms ("Room1", "Room2" etc.) - sounds seriously good. Intriguing stuff!

CATATONIC LEISURE ALONE - Veil of Sparks (2026)

The Japanese label NEUS-318 presents a live recording from China by a Russian musician living in Switzerland.

Catatonic Leisure Alone is a solo moniker of none other than Electronic Noise artist and saxophonist Anton Ponomarev (P/O Massacre, Witness Wounds, Suncuts, Teufelskeller - just to name the projects I have already written about).  "Veil of Sparks" consists of a half-hour long performance called "A Noise of Bunch" in two parts, both filled with immersive, aggressive, expressive, mean yet somehow meaningful Industrial Noise. Even the saxophone turns into a manipulated shrill murder apparatus far from a musical instrument and much closer to a mechanical drill recklessly probing your brain. A profoundly brutal trip to Dystopia, scaringly close the actual hell we're building right now. Sick!

The cassette in minimalist design is limited to not 50, not 75, but for whatever reason exactly 23 copies.

COLIN WEBSTER / MARK HOLUB / NOAH PUNKT - Neue Hard (2025)

The following two tapes were ordered directly from another saxophone player, the prolific Colin Webster, whose many appearances in my tape/record/CD collection mostly see him beside Rene Aquarius and Otto Kokke in Dead Neanderthals and in Jason Köhnen's projects Bong-Ra and The Lovecraft Sextet, but also jamming with many other musicians in various outings like Kodian Trio, Saxoctopus or the Martina Verhoeven Quintet. And then there's of course also the work (which probably paid more than all of these combined) on the latest Florence + The Machine album.

"Neue Hard" is a trio recording from Zürich with Mark Holub on drums and Noah Punkt on upright bass. Classic chaotic, but still seamlessly flowing, very musical and listenable Free Jazz with just the right Experimental edge. Rather on the traditional side of Webster's work, but not antiquated at all. Inspired performances, great natural sound of the instruments and a mix flawlessly showcasing both. What more do you need? Awesome!

I always love the lino-print on recycled cardboard aesthetic of his releases and the simple bold typo of "Neue Hard" on this cassette cover is no exception. Since this stuff is already from last year, there might not be too many copies left, so better check it out sooner than later!

COLIN WEBSTER / BALÁZS PÁNDI / MATT CARGILL - Chewed Up And Spat Out (2026)

The second Colin Webster session here, on which he jams with drummer Balázs Pándi and Matt Cargill (Sly & The Family Drone) on electronics, is a darker and weirder beast.

And a little under forty minutes is just the right length for this kind of beautifully eery, yet still wild Doom and Heavy Jazz. Brilliant stuff - and as far as tapes go - also almost gone...

CHURCHLICKERS - Churchlickers II (2026)

Is this an album or rather an EP with bonus tracks? I'd say the latter, because I already owned the second half of this latest Churchlickers tape - which consists of live recordings from the MS Stubnitz - as a digital release from last year.

The opener "Whiteout" is also familiar as a previous live single, but now we get to hear a studio version of this great slowly building Post Rock track, which begins with dark piano, adds twangy and later more and more heavy and atmospheric guitar work. What could have been produced to a huge epic of Mono dimensions with many instrumental layers and a perfect bombastic sound doesn't give in to this temptation, but willfully keeps the unfiltered punkish DIY attitude. And exactly that interplay between cinematic ideas and honest minimalist rawness is the central strength defining the trio from Hamburg.

Only a quarter as long as the opener the three-minute track "Wasp Cemetary" is another great example for that, as well as the familiar live tracks, which well... also include a repeat of that very track. But anyway, that actually doesn't attract any negative attention and it's of course generally nice to have this material on tape now, too. The intensity of those keys in "Frost" alone is worth it. Lick this! 

** Hmm... Coming to think of it... is Wario even real or is this some kind of "Adaption" Kaufmann & Kaufmann situation? ;)

KAZUYA ISHIGAMI - For Postcard

The FMOA Audio Postcards series by the Experimental label Fifteen Minutes of Anonymity is a nice example of pairing an otherwise completely digital release with a limited physical item.

In this case it's only - you just read it - a postcard with some debossed and silver-foiled details. Nothing spectacular, but nonetheless something which lets the release seep from the digital realm into the real world, adding sentimental value to it. And even with international shipping it only costs four US dollars, which is of course less than you would pay for many downloads anyway. I like ideas like this!

KAZUYA ISHIGAMI - For Postcard (postcard / download) (2025)

However, I didn't order this card from the American one-man label, but got it as free bonus directly from Kazuya Ishigami, featured artist on this eighteen's edition of the series, when I ordered a tape (more on that in the upcoming next part of my cassette craze chronicles!) from his Japanese label NEUS-318.

The EP is a twenty minutes long collage of birdsongs, civilizational noises, computerized and Electronic sounds. The beautiful randomness of field recordings merging with a decidedly vague sence of intent, a mixture definitely more sonic installation and Ambient exploration than music in the common person's understanding. In my ears this kind of Electroacoustic sound design demands at least as much artistic choice and musical sensibilty as any kind of "real" music, so I can enjoy it just the same.

Ishigami's recording "For Postcard" is an interesting soundscape, which of course recommends itself for being experienced with headphones.

And as a final note to save you the time: That Bandcamp download code  below is of course already taken, so don't bother! ;)

VOIVOD - Symphonique

One cannot claim that there has been a shortage of releases celebrating Voivod's catalogue in recent years, be it in the shape of reissues, remasters, re-recordings, demos or live albums. It doesn't bother me, since there's thankfully still enough sensational new material coming, but I'm also happy just to be a fan - and not a completionist.

The French-Canadians' latest live release however is one impossible to leave out - a culmination of their career in full orchestral bombast.

VOIVOD - Symphonique (2LP) (2026)

It still somehow feels like this shouldn't have happened. Of course the unique Prog Punk Sci-Fi Thrash Metal of Voivod has earned them a global cult status for over four decades now, and especially in their home country the visible well-earned respect for both their current work and legacy has grown significantly. In the greater picture they still remain a mysteriously obscure phenomenon, forever too out there to be recognized as the defining force of Metal they truly are. And surely not among the first names coming to mind, when you think of bands, which might play a special show with a huge "Symphonique" setup.

But Voivod played that show - even twice - in Montreal in January 2025. Both performances were an exclusive experience for those in attendance, since there was no professional recording. Luckily the whole thing was repeated later that year with the Orchestre Symphonique De Quebec. And that show from the fourth of June is what we can listen to on this album now. 

If you think about it from a strictly musical point of view a lot of Voivod's chord progressions, (dis)harmonies and structures come pretty ready-made not only for a Classical adaption, but for one which avoids the cheesiness several Rock/orchestra collaborations of the past are guilty of. Many Voivod songs already have parts which seem to emulate the drama of old-school historical, sci-fi and horror scores in a way that makes you almost hear strings, horns and orchestral percussion in your head.
And of course the most obvious ones are part of the show's tracklist: "Pre-Ignition" from "Nothingface", in which Piggy famously quoted Igor Stravinsky, and much more recently from "The Wake" the decidedly cinematic "The End Of Dormancy", which we've already heard with a 1960's soundtrack style horn section - and a full-on Jazz sax solo in the live version - on its own EP. Now it seems as if the track has reached its final stage of evolution.

More than half of the setlist consists of the two classic albums "Dimension Hatröss" and "Nothingface" - and it would have been pretty hard to explain if the band had left classics such as "Tribal Convictions", "The Unknown Knows" and of course the mandatory Pink Floyd cover "Astronomy Domine" fall aside. Luckily however Voivod don't insist on the band-name-titled theme song from their rowdy debut "War And Pain", since "Nuclear War" surely was the way better option for this orchestral treatment.
There are also tracks from newer releases. Especially "Fall" from the "Post Society" EP proves itself once again as one of the strongest Voivod pieces of the millenium.

Of course a lot of albums aren't covered at all. Both "Angel Rat" and "The Outer Limits" feature several songs I would have loved to hear too, but also the dark Eric Forrest era and even the more straight-forward Jasonic phase offer plenty material worthy of being symphonified. But which tracks would I strike in favour of that stuff? Certainly not "Into my Hypecube"! "Forgotten In Space"? "Cosmic Drama"? The opener "Experiment"? I'd probably sacrifice one of those, albeit with a heavy heart, because all the arrangements here are so phenomenal. So ultimately the real complaint is that this album cannot last infinite hours and some choice just had to be made.

And even if some songs may seem such eternal staples of Voivod history that it would have felt fair if they had yielded to less overplayed material, the orchestration of courses justifies their inclusion in spades. I've already mentioned that the orchestra has a distinct cinematic style, which matches the tone of Voivod perfectly. Instead of watering them down, it amplifies their songs' characteristics. And in the mix a clear decision has been made: One could keep the Metal band in the foreground and present everything else as an augmentation. Or one could blow the violins, flutes, trumpets, organ etc. right into the listeners face, even if sometimes overpowers the band and especially the singer, who of course doesn't possess the kind of operatic pipes to command an ensemble of this magnitude. Voivod opted for the latter.

So if you want audiophile perfection and Snake not sometimes sounding desperately lost in the spectacle - which he uses to his advantage -, this might not be for you. "Symphonique" is a live recording and despite the setting is still has the same raw energy you'd expect from any Voivod show. The merging of strings, winds and orchestral percussions with the Thrash Metal quartet would probably work objectively better in several instances if recorded in a studio environment. But what would a little bit more clarity even mean against the special vibrancy of the moment captivated here?

Anyone who was at this show can consider themselves blessed in my book - and "Symphonique" leaves no doubt about why I think so.

And do I even need to mentioned that Away's cover artwork hits the nail on the head with its Victorian Jules Verne bombast, the Cyberpunk technology, the rust, bombast and scale of nuclear destruction? Fantastique!

Since the drummer has stated that Voivod would love to bring this experience to other parts of the world in the future, my mind of course automatically goes to the Netherlands, to my beloved Roadburn Festival, which not only hosted the band - and even had Away curate in 2012 -, but also to the  Metropol Orkest, which is known for its many successful collaborations and has played there with Die Wilde Jagd and Triptykon before, too. So if this is to happen anywhere in Europe - it's not too wild imaging it happening there, right? Fingers crossed!        

YAZZ AHMED - Shinrin-Yoku

So achingly beautiful! Yazz Ahmed's music is always a dream, no matter if it comes in long conceptual albums like "Polyhymnia" or "A Paradise In The Hold" - or as an EP with the simple premise:

Music celebrating the healing power of the natural world.

YAZZ AHMED - Shinrin-Yoku (12" vinyl EP) (2026)

Where are the High Fidelity nerds sorting their record collection by themes? If I was insane enough to do so, I'd probably have a Pandemic Recordings section by now. And appearantly those still keep coming, as Yazz Ahmed brings us this little collection of four songs recorded at home and remotely with friends during the height of anti-covid isolation measures in 2020.

The Japanese have at least two words I know of, which can very much be seen as approaches to the pandemic isolation situation. "Hikikomori" (="pulling inward, being confined") is one I already knew from songs of that name by Zola Jesus and Trialogos. It refers to the social phenomenon of people isolating themselves from all social contacts, living as recluse hermits inside their own four walls.
The healthier alternative is "Shinrin-Yoku" (="forest bathing"), which describes the practice of therapeutic relaxation in nature, while focusing on and connecting with your surroundings.

On this EP the British-Bahraini Jazz musician captures the latter as stunningly in her music as her congenius longtime illustrator Sophie Bass does in her once again amazingly fitting artwork.

The base of all pieces are trumpets, flugelhorn and performed or programmed electronics by Ahmed, on three of the four tracks accompanied by her partner and fellow trumpet / flugelhorn player Noel Langley.

The opener "Dawn Patrol" begins with a repeating horn and synths pattern reminiscent of The Comet Is Coming, while the dynamically grooving drums of Josh Blackmore soon stir it into Sons Of Kemet waters and Samuel Hällkvist's first atmospheric, later funky guitar complete these wonderful seven minutes of complex Jazz Fusion fire.
The title track "Forest Bathing" is the most stripped-down song, recorded by Yazz alone. It basically is a meditatively meandering flow of Electronic Ambient with a slow, patiently blooming flugelhorn solo on top of it.

On "A Moment To Be Free" the guitar returns and two further guests provide additional richness of both programmed and natural percussion. With Ahmed  playing one of her mictrotonal horns this adventurous back and forth between her naturally jamming side and the spirit of her remix EPs most obviously features her signature mixture of traditional Arabisms and (Future) Jazz.
"Questions Not Answers" finally is another quieter track, a horn / trumpet duet between Yazz and Noel before an Ambient backdrop with increasingly experimental live sampling of the instruments.

This EP surely is one of those purchases where my memory blinded out the price including shipping immediately after ordering. But I just couldn't resist this treasure - and it will amortise soon enough. Maybe it already has. A just all-around wonderful release.  

Sshhhh... if you need more Yazz Ahmed, you definitely need to check out her appearance on French TV, where she recently presented a live re-imagination of Miles Davis' "Bitches Brew":

 

DOPE PURPLE - Midnight Session

Nach dem Bericht vom psychedelischen Superfreakout in Husum am Wochenende liegt es nahe, hier nun auch eine kleine Rezension meines Mercheinkaufs im Speicher nachzureichen.

Es handelt sich um ein vor drei Jahren in Taipeh aufgenommenes Livealbum, welches als physischer Tonträger auf CD nur exklusiv auf den Shows von Dope Purple verkauft wird.

DOPE PURPLE - Midnight Session (CD) (2026)

Dass die Taiwanesen mit dem frech inspirierten Bandnamen offensichtliche Zitate und Anlehnungen nicht scheuen, ist dem Kenner ja bereits bekannt. Davon zeugt z.B. dass ihr tatsächlich neuestes Album (welches ich mir Samstag nur nicht mitgenommen habe, da es bereits bei WV Sorcerer Productions vorbestellt ist) auf den u.a. berühmtestens von Miles Davis verwendeten Titel "Live Evil" hört.

Der Name des neunminütigen Openers der "Midnight Session" ist allerdings nicht stibitzt. Nein, es handelt sich nämlich tatsächlich um eine Coverversion von Funkadelics, mir gerade erst in Trompeteninterpretation auf Fleas Debütalbum "Honora" untergekommenen Klassiker "Maggot Brain". Neben der sehnsuchtsvollen dreckigen Gitarre fällt hier vor allem das Lead-Blasinstrument auf. Eine Pocket-Trompete? Ein extra schrilles Sopransaxofon? Nein, es ist die in traditioneller chinesischer Musik gespielte, hoch, laut und schräg trötende Suona, die dem Stück - und dem Rest dieser Session - deutlicher als alles andere eine speziell asiatische Note gibt.

Dope Purple live in Husum

Danach folgen neben zwei kürzeren Interludes noch in anderer Reihenfolge die drei epischen, schrill, krachend und vielschichtig lärmenden Krautrockexzesse von "Children In The Darkness": "Night Flying", das komplett durchdrehende "New Psyche & Beyond The Body" und der erhabende Titeltrack jenes Albums.

Wie immer sind Dope Purple zwar hypnotisch rauschhaft, aber aufgrund ihrer ungehemmten Liebe zum Krach kein Easy Listening. Und das ist auch gut so. Sehr geil!

Da die Band ihre aus nur einer Show im Hohen Norden bestehende Clubvisite in Deutschland während der laufenden Europatour ja schon abgeschlossen hat, dürfte wohl kaum jemand, der dies liest in nächster Zeit die Gelegenheit haben, sich die CD zu besorgen, die in einem coolen Digipak mit quadratischem Poster daherkommt.

Aber die Musik an sich gibt's natürlich auch digital auf Bandcamp. Wer auf Psych Rock der Eskalitionsstufen Acid Mothers Temple und Slift steht, der wird um Dope Purple über kurz oder lang eh nicht vorbeikommen. Also warum noch warten? Nichts wie hin da! 

DOPE PURPLE live im Speicher Husum (06. Juni 2026)

Was für ein Zufall! Die taiwanesischen Acid Mothers Temple-Verehrer Dope Purple, auf die ich nun schon ein paar Jahre dringend Bock habe, kommen auf ihre erste Europatour und ich ärgere mich schon, dass ich dieses Jahr nicht vorhabe zum Esbjerg Fuzztival nach Dänemark zu fahren - da kündigen sie auch schon ihre einzige deutsche Clubshow (abgesehen vom Desertfest Berlin) an. Und diese findet ausgerechnet im Herz des nordfriesischen Nirgendwo, im touristischen Hafenstädtchen fucking Husum statt! Klar, nichts wie hin da!

Da ich Zeit habe, fahre ich statt Autobahn die kürzeste, aber auch langsamere malerische Route, bin in Friedrichshafen noch einkaufen und abendessen, habe aber trotzdem noch genügend Zeit für zumindest ein bisschen fotografischen Spaziergang (teilweise mit Film, also hier noch nicht zu sehen) bei nicht mehr allzu großzügigem Licht, da das Wetter sich trotz warmer Sommertemperatur bemühte, dem Ruf der "grauen Stadt am Meer" gerecht zu werden.

Um zwanzig Uhr war es dann aber Zeit, direkt neben den Restaurants, Jahnny's Eis und Booten des historischen Hafens in den Speicher einzukehren, wo die Sause - leider ohne Vorband, die die Zuschauerzahlen evtl. noch etwas weiter nach oben gepusht hätte - auch schon bald darauf losging.

DOPE PURPLE

Die Show begann ganz harmlos mit Gitarrist Hung Jiun Chi (den ich der Vergangenheit schon zweimal in Berlin und Tilburg als Hälfte des Duos Mong Tong erlebt hatte) an einem ziemlich großen, mit vielen Extrareglern ausgestatteten Instrument, dem er oftmals an Kikagaku Moyo erinnernde Sitarklänge entlockte. Nach und nach kam der Rest der fünfköpfigen Kombo auf die Bühne, um zunächst Atmosphäre aufzubauen, aber schon bald in diversen immer wilderen, chaotischeren und lauteren Zündstufen neue Raketen psychedelischen Freakouts abzufeuern.

Abgesehen von Gitarren, Bass und Schlagzeug gibt es bei Dope Purple wohl eine gewisse Fluktuation in der Besetzung. So waren zu meiner Überraschung keine Synthesizer am Start, dafür aber Tenorsaxophon - ich nehme mal an gespielt von Yong Yandsen, der auf "Children In The Darkness" noch als Special Guest geführt wurde. Und dieses dauereskalierende, freejazzende, aber manchmal auch wie eine Zurna jaulende Saxophon war im Grunde der Frontmann der nur aus wenigen, dafür aber sehr langen Stücken bestehenden Show.

Wenn sich nicht der am wildesten rock'n'roll-posende Gitarrist/Sänger Kozma Lui in den Vordergund - was auch mal der Publikumsraum sein konnte - schob. Was er sang oder schrie war im ohren- und sinnenbetäubenden Krautgetose kaum auszumachen, spielte aber auch keine Rolle. Wichtig war hier vor allem der vollkommen auf Anschlag in Stufe elf gedrehte Exzess - welcher durch leisere und langsamere Aufbaupassagen nur noch mehr akzentuiert wurde.

Vollumfänglich zu beschreiben, was in diesem oft scheinbar einzig durch den stoischen Bass zusammengehaltenem einstündigen Rausch alles geschah ist genauso müßig wie unmöglich. Es war einfach überwältigend übertrieben - und genau richtig so. Dope Purple bespielen jene verwegene Ecke kosmischen Krachs, in der neben den japanischen Vorbildern auch die französischen Heavy Psych-ologen Slift Radau machen. Einmal kräftig durchspacen bitte!

Eine absolut grandiose Show. Ich fühle mich privilegiert, dabeigewesen zu sein.