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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2748577 times)
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Bloated Slutbag
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« Reply #7755 on: December 11, 2019, 08:15:10 AM »

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Hostage Pageant & The Cherry Point & Kazuma Kubota
Gotta love the kinky shit. Straight-to-the-hilt no-holes-barred rrrriiiipper meets fully flushed heavy metal butt-thunderer meets obscenely contorted tightrope jerker. In that order. To try and divine rhyme or reason is to waste energies better spent reveling in multi-hued harsh bliss. But that never stopped me before. Therefore, after several complete run-throughs, I’m pleased report my findings. If you’ll just bear with me while I consult my extensive notes. Let’s see now. Oh yes, here we are. Ahem: “It works.” Yes, well, there you have it. The fat one balances the two skinny ones.

Hostage Pageant rrrriiiipps into hole with some not-unanticipated no-bullshit scorch. To worriers of more bullshit-inclined persuasion, no fear, plenty of that to come later. For now though, all the excess blubber is stripped clean to dish one lean, mean, sphinct-rupturing machine. Exceedingly high-energy, balls-slapping-the-wall, pummel. Dry pummel. No lube. Violent. Physical. The feel is as though loads of full-on brute are edging to push out, frustrated, hemmed in, by the unforgiving confines of the speaker cones. In between the general brute, an occasion or two for buckled lurch and stammer, setting off renewed bursts of rage-wracked stabbing. At three minutes or so a whitened scorch-blaze blasts clear into open airs, upping the harsh, driving in a straight line for the kill before heavier burbling crumble shuts the shit down.

And now, some bullshit. Hostage Pageant still here, but with the straight goods evidently Falling Out Of Place. Wrinkled crinkling forced through bass-bilged sewage grate and what sounds like an ill-tended doggy yapping in the background. Abbreviated balls-out blasts come at random interval to establish a nice little spastic dialog. Then that damn pooch wanders over to investigate, panting heavily, slobbering all over the mic. Now, I mean. This here’s some sick shit buddy boy. Hope someone got it on camera. Downpitched pooch takes center stage, raggedly huffing and groaning over low-brow gutter-filth. Then the out-and-out balls-out blast and hots damn is it fierce, ascending storms of puritanical seethe obliterating everything in their path, clustered earbleed frequencies drilling hard, fast, good.

Hostage Pageant’s final Enabler posits straight-up harsh purity with brief dabs of ye olde bullshizzle. An initial call-and-response bullhorn digs into sputtering scrunch grits before browned rim-dangles recoil along taught length of steel cable. Sudden snap and the not unanticipated explosion. All the violence and physicality to be desired, but twisting and turning through singularly singed splurgings of semi-erratic hack and spazz. There are even a couple moments wherein the brakes are duly slammed, ultimately to end careening in ill-controlled masses of straight-up scorch bliss.

The Cherry Point drop, smack dab in the middle, with some seriously fat-cheeked weight. Dense, phantasmagoric folds of cumulonimbus reverberation, the great billowing mass swelling to truly monumental, sky-blottening, proportion. In the wake of Hostage Pageant’s hard drilling severity, Just Before Dawn sounds practically ambient, an impression not diminished by generous applications of delay. In seeking shared airs, a first temptation is to reference that other TCP on Cipher, at least as far as the heaving densities humping deep into Rusted Gut. Let’s throw in others from thenabouts, like Smog City and Bloodstalkers, just for fun.

The initial moments of JBD frame an already fully fleshed development, sounding like a windstorm surging through deep-sunk subway tunnel, faint industrial whines and moans rounding out the edges. Heavier rumbling thrusts buffet the walls, shaking under tectonic duress, pressures steadily increasing throughout the longform stretch. At six minutes the taps open and waterfalls of psyche-tinged whitewash pour into wide open spaces, quickly saturating the outlying chambers, stealthily suggestive of legitimately harsh encroachment. From this point onward the slow sultry sink into delicious depths, luxuriant layers enveloping defenseless core in crushing embrace. At thirteen minutes a supremely tweaked upper ended wheedle sears the fringe, just to remind the listener that, yes, yr ‘holes are pretty much fuck’d by the time this is through. Final brown buzzer to fizzle on out, but wait- just as the first rays begin to peep at the horizon a mighty raging blast just to make sure y’all are still paying attention.

The opening of Kazuma Kubota’s Zattou Ni Tokete had me diving under the table for cover. Perfect simulation of an earthquake in a workshop, or boudoir, slowly gaining in orgasmic, or seismic, intensity, tumbles, bangs and slithers cumming from every possible direction. Perfect prelude to the signature cinematic soundworld of carefully composed All-Boxes-Tickled(tm). Things soon settle down, disembodied metal dongs spicing whispered build to the inevitable, and inevitably abbreviated, harsh spastics. Plus, of course, the requisite ambient intervals- coming soon to a planetarium near you. Call it: vintage Kubota (the noise artist, not the tractor maker). The range of materials brought to bear is as impressive as the skill with which it is so adroitly negotiated. Everything just so. All the excess trimmed down to a svelte fourteen minutes and nineteen seconds, perfectly placed in precise proportion with the picture perfect poise and balance of an Olympic gymnast. On the technical alone, worthy of at least an eight, though the Russian judge gives it a two.

At 1:43, dainty mouthed acrobatics meet fully-loaded spectrum of spasmodic jerking rips, though by the third minutes we’re prancing through a muffled antechamber of tinkling keys, the peaceful inflections drawn out longer than seems necessary as subtle acoustic shuffles and grinds- and obligatory spot of bird chirp- presage a second abbreviated inflection of whitewashed harsh-scathe cum electronic stutter-blurt. Making our way through ghostly highway tunnel, a range of clattering clutter runs scattershot into genuinely heavy-handed steel-on-steel dungeon thunk, carefully panned rust-whines gently escorted out the back amid glowing pads of candy-sweet liquescence. From here a soft hush of tranquil starbursts twinkles in the twilit sky, angelic ululations reaching for the spheres- the occasional harsh ripping blasts jarring in their spasmodic intensities and yet somehow serving to emphasize the becalming calls to deep space serenity.

Digest spew
Some like it harsh, some like it heavy, and some like it every which way, in every which hole, from every which angle, with some glistening acquamarine ambience lubing up the more savagely inflected extremities. Hostage Pageant brings the straight up harshgoods, surging pummeling bristling with ill-managed fury, just the way you like ‘em, though he also brings his dog and no comment there except that I probably should have punted for the artist’s edition with accompanying dvd. The Cherry Point are by accounts principle instigator and duly deliver almighty butt-thunder of truly monumental dimension, psychedelic raptures burning blisses of densely layered crush deep into hole in a way that feels real niiice going in, but no comment on what’s in store for the morning. Kazuma Kubota prances and pirouettes across a bewildering array of carefully choreographed precision with all the studied poise of an Olympian tightrope tumbler, acrobatic contortions rather obscenely strained across their signature cinematic spread, clever dick, winking in and out, now you see it now you don’t, attentions left dazed and flustered, ultimately lost deep in space-ace-ace... no comment on where he hid the big dipper.
« Last Edit: December 11, 2019, 08:38:01 AM by Bloated Slutbag » Logged

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« Reply #7756 on: December 11, 2019, 06:32:56 PM »

I just started listening to some Military Position tracks this morning, and am liking it quite a bit.  Any recommendation on albums that are particularly good?
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« Reply #7757 on: December 11, 2019, 11:50:52 PM »

I just started listening to some Military Position tracks this morning, and am liking it quite a bit.  Any recommendation on albums that are particularly good?

Recent full length on No Rent is ace! She has a strong back catalogue overall
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« Reply #7758 on: December 12, 2019, 06:23:16 PM »

I just started listening to some Military Position tracks this morning, and am liking it quite a bit.  Any recommendation on albums that are particularly good?

Recent full length on No Rent is ace! She has a strong back catalogue overall

Thanks, I will check it out!
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« Reply #7759 on: December 12, 2019, 09:18:03 PM »

I just started listening to some Military Position tracks this morning, and am liking it quite a bit.  Any recommendation on albums that are particularly good?

Recent full length on No Rent is ace! She has a strong back catalogue overall

Very much agree, one of the best tapes on No Rent (so far). "Black Noise" is another great release, despite crappy title. People can say all they want about her, but she's got style and talent, for sure.
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« Reply #7760 on: December 12, 2019, 09:40:42 PM »

I just started listening to some Military Position tracks this morning, and am liking it quite a bit.  Any recommendation on albums that are particularly good?

Recent full length on No Rent is ace! She has a strong back catalogue overall

Very much agree, one of the best tapes on No Rent (so far). "Black Noise" is another great release, despite crappy title. People can say all they want about her, but she's got style and talent, for sure.

Thanks, I will look into that one also.

I just remembered that Military Position was going to release an lp/dvd through Viva Angel Press this year, but it looks like it never happened.  Anyone know why?
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« Reply #7761 on: December 12, 2019, 11:00:35 PM »

lately it's been

Bacillus - Serial Infector

Bacillus - Out Of Control 

Regurgitation - Tales of Necrophilia 

Lurid Panacea - The Insidious Poisons
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« Reply #7762 on: December 12, 2019, 11:01:21 PM »

I just remembered that Military Position was going to release an lp/dvd through Viva Angel Press this year, but it looks like it never happened.  Anyone know why?

lots of MP in the works, including the DVD, reissues and new material
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« Reply #7763 on: December 12, 2019, 11:56:00 PM »


Lurid Panacea - The Insidious Poisons

this album is fucking mind blowing.
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« Reply #7764 on: December 13, 2019, 12:26:26 AM »


Lurid Panacea - The Insidious Poisons

this album is fucking mind blowing.

I was late to the party with them - but holy fuck this album destroys
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« Reply #7765 on: December 14, 2019, 02:56:59 AM »

Eternal Champion - Terminus Est (Sword Worship 2019)
Brief dungeon synth EP by the guitarist of Texas heavy/power metal band Eternal Champion. This is the first release on their new Sword Worship label, and 50 copies were available at Hospital Fest, 50 to be sold online. Side A reminds me of Depressive Silence; that kind of thudding percussion moving things along as evocative synth work twists over the background. The B side goes a bit spacier, riding an arpeggio and bringing to mind Tangerine Dream and the like. The combination of the two is certainly evocative of The Book of the New Sun, of which this release is "based" on.

Skin Crime - Lot No. 249 (Self Abuse)
Lot No. 249 is a brilliant story from Arthur Conan Doyle. A macabre and occult story of a murderous mummy found in a lot of Egyptian artifacts, this tape is one of those things where the inspiration is perfectly mirrored in the sound. this record follows the patterns of the last few Skin Crime tapes; pulsating dark ambient gradually building to scrap sheared cacophany. The A-side hums with what sounds like distant cicadas, dreadful shuffling and geiger counter clicks building into swarming anxiety. The B-side keeps the "I am covered in ants" thing going, while bringing in some heavy steel on steel scrapings, stone on stone, very earthy textural sounds. Never a dull moment over it's lengthy run time. Really enjoyed the almost rhythmic sensibility of the pulsing bass throb. Frightening and exciting stuff.

Worth - Hidden in Christ (Self Abuse)
New (pretty sure?) tape on Self Abuse. Side A opens with blown out bashed metal gurgling into a piercing wall of white noise. Chaotic loops layer and involute. Chains in a blender. Lava in a cement mixer. Evocative noise. Thick, sputtering textures allowed to develop and ride out. The B-side brought to mind an almost orchestral sensibility, organlike drones, rusted timpani junk drumming. Just a huge sound throughout. Thick textures explode again and again. Hell vacuum. I appreciate that this tape avoids the "build to a climax" mentality and just goes balls out, sputters to a near halt, then starts again.
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« Reply #7766 on: December 20, 2019, 11:06:30 PM »

Howard Stelzer - Anathematization of the World is Not an Adequate Response to the World 2019 - IMPRESSIVE.  102+ minutes.   So many layers while remaining a simple-feeling, leisurely listen.  The organic sounds had me thinking of everything from Grzinich, Kojo, Nehil, Dauby, and Northam to Hum of the Druid, Niellerade Fallibilisthorstar, Tarab, and Nebris.  I should pay more attention to him than I do.  He's been busy the past few years.  I still have a couple tracks to go, but this will make my "best of" list of the year.
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« Reply #7767 on: December 20, 2019, 11:17:31 PM »

BODY CARGO - Echoes, Tape
A Lithuanian death industrial/mumbling noise tape that has been sitting on my shelves through several relocations. The oversized cardboard cover and the band moniker must have felt somehow uninspiring, I guess. Turns out this lack of inspiration was pretty much unfounded, as far as the sound goes. Deep, rumbling destruction, and oppressive, subterranean bass/distortion manipulations. Here, there are things being taken apart. Not exactly violent, but there are few or no really melodic and ambient qualities either. May lack cult appeal, but does its job really well. Multiple copies in mint condition still available from discogs for next to nothing; perhaps the unassuming extra-sonic appendages have confused more people than me.

JAAKKO VANHALA  - Cuts of Grace, 3" CD
Vanhala's stuff continues to combine harsh inaccessibility with Haloo Helsinki smash hit qualities in a way I find difficult to fathom. This is not something you would ever consider recommending to an "outsider" showing some interest in industrial music; it is relentless, violent, cut to pieces. If you're already in the game, however, it can't really get much better than this. You have the incoherent, aggressive energy of japanoise, yet somehow made more European by a a kind of punkish maltreatment of electronics and metal scraps. Almost-but-not-quite digital noise pulses mesh with shitty delay, only to be broken up by feedback and whatever else herra Vanhala deigns to dream up. The production is extremely clear and well mastered, yet the atmosphere retains a clear touch of rural Finnish rape basement. The absence of faux analog fetishism and the high production value coexists uncomfortably but effectively with rough and tumble, improvised noise cacaphony. Absolutely spectacular. I have absolutely no idea why this is still available from the label (Freak Animal).

V/A - The Night and the Fog II, Tape
An old classic. The ambiguity surrounding much politically suspect black metal these days is nowhere to be found - the tape is subtitled "The Hammer of National Socialism" and is unlikely to see much play in the upcoming Democratic primaries. If you disregard the pure crap, which does exist in the scene and on this tape, NSBM can be roughly divided into two camps. The first is made up of of the "subtle" stuff, music that combines the qualities of black metal with an extremist political touch (often conveyed through occult/spiritual symbolism, with the politics forming but an edgy backdrop) and so keeps the flame of the genre alive. This approach creates a strange and appealing juxtaposition of supposed traditionalism and "avant garde", pubescent revolt (even a shitty nazi band is 10 times more controversial and provocative than literally any other form of western "subversive" art, and hence even the slightest tendency towards intellectualism WILL produce maximum aesthetic Orgasmatron). The second camp is more about Eastern Europeans/South Americans aggressively mispronouncing English and German alike over ill tuned guitars and once-cheap drum machines. All reasonable persons can agree that this latter form of black metal is as great as it is hilarious. Both BM incarnations are represented a-plenty on this tape. Also, there may be a track or three that falls into the very first type delineated above - that of pure crap - and to complicate matters some of these lieder ambulate between all three categories. Nevertheless, this is a snapshot of early 2000's extremism that has rarely if ever been surpassed. Staples like ABSURD, BILSKIRNIR and TEMNOZOR rub shoulders with less cherished (but equally long lasting) acts like COMMAND, EISENWINTER and WOTANORDEN.  I assume this is banned for sale everwhere these days, but there are probably obscure but efficient Greek distros still carrying copies.
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« Reply #7768 on: December 21, 2019, 10:13:23 AM »

JAAKKO VANHALA  - Cuts of Grace, 3" CD
Vanhala's stuff continues to combine harsh inaccessibility with Haloo Helsinki smash hit qualities in a way I find difficult to fathom. This is not something you would ever consider recommending to an "outsider" showing some interest in industrial music; it is relentless, violent, cut to pieces. If you're already in the game, however, it can't really get much better than this. You have the incoherent, aggressive energy of japanoise, yet somehow made more European by a somehow punkish maltreatment of electronics and metal scraps. Almost-but-not-quite digital noise pulses mesh with shitty delay, only to be broken up by feedback and whatever else herra Vanhala deigns to dream up. The production is extremely clear and well mastered, yet the atmosphere retains a clear touch of rural Finnish rape basement. The absence of faux analog fetishism and the high production value coexists uncomfortably but effectively with rough and tumble, improvised noise cacaphony. Absolutely spectacular. I have absolutely no idea why this is still available from the label (Freak Animal).

Maybe foreign people don't get the Haloo Helsinki reference, haha. One could say it's harsh noise with Lana Del Rey production values? Reason why it is still available, like the rest of the 3"s that came same time, was that I pressed all half more copies than I did for first batch of 3"s (Sick Seed, Umpio, Mania). Material of each project felt strong and I know none of projects is releasing material frequently so... Grunt, Vanhala, Worth and Selected Killing might be available a bit longer.

DETRIMENTIAL EFFECT "Your Truth" CD
Tesco
Good heavy electronics from the contemporary scene. It has it's advantage and disadvantages. Basically it does everything else well, except having its own voice. So getting well done heavy electronics album and liking what I hear. Yet one can't really say that there would be any songs that stood out in a way that it could be concluded to be his own style of doing things.

CONTROL "The Abattoir" CD
Old Captain
As opposite of this. CD is collection of old rare works. Pretty much instantly, when Control started, he had his own voice. You put this CD on your player, hit the play, and if you know Control, you will recognize the sound, the atmosphere, the way he composes material. The way he layers things and processes vocals and so on. This has not been imitated by anyone. Nobody else really does it like Control does. While ago listened handful of his Ant-Zen CD's. It is clear man has had vision and skills to put that into reality since very early on.

STRAIGHT ARM SALUTE "Teachings of Traditionalism" CD
Europa Erwache
Right wing extremist industrial, that has this element that it could easily been WarCom label related. Instead it has been published by label mostly known for putting out RAC titles. There is the same clumsiness and oddity that many WarCom label bands had. Martial beats on drum machines. Awkward electronic sounds. Movie samples from famous movies and actors you recognize. In times when all the martial industrial is so well done, they remind of movie soundtracks, SAM seems like fresh blow from deepest corners of underground. From artistic or technical point of view very very clumsy. Certainly not for people who dislike clear politics in music.

BIZARRE UPROAR "Lily the flesh" LP
Asrar
Literally ages ago, IOPS was planning for VHS themed compilation tape. It was meant for guys who actually took part of the VHS trading circles and collected stuff. Bizarre Uproar was also invited and he started recordings based on this particular VHS, using it as part of source for sounds. Not only recording became way more than requested 5 minutes, it became so good, that BU decided to put out material as it's own tape. Set was also performed live in Lahti years ago. There is plenty of variation in BU's output. This is one release that stands out with it's eerie droning quality. It's really killer release, and could have been rated as "album" if you ask me.
Bizarre Uproar later recorded track again for VHS themed compilation for IOPS. More than half decade later, it still waits for completion. It includes also track from MANIA. Surely will get finished at some point!

YANNICK DAUBY & HITOSHI KOJO "La vie dans...." 10"

Substantia Innominata
Very good material. Somewhere between drone and perhaps even sounds one often associates with ritual music. Hard to decide if the physical sounds have odd percussive quality, or if they are just something one could file under "electro-acoustic composition", hah.. Listened this many many times.

MICHAEL NORTHAN "Suhina" 10"
Substantia Innominata
Minimalistic and subtle drone release. Also several times spinning on turntable, but less memorable than title above.

CONTROLLED DEATH "Ritualistic Mutilation in the Bloody Darkness" 2LP
Urashima
First time Urashima doing regular full color gatefold cover. Photos of skulls and skeletons all over. At the same time I appreciated that it's not just series of black & silver stuff, but then in other hand it was nearly as if this wasn't even Urashima title, haha..  Nevertheless, I do hope he will use this type of covers for bands who have their own design ideas. Less black & silver and tamplate designs.
Controlled Death - I guess I have said pretty much everything what there is to say. It recycles the same idea since beginning and there is seemingly no progress or change. When you got short clips of improvised synth death industrial and buried vocal patterns, and every "track" is like sketch, with no beginning, no end. Just starts in middle and ends as abruptly as started, like from click of pause button... Well, I could say I have enough of Controlled Death now. Next time probably will skip. Not because it would be shitty, but I can easily re-listen previous works unless he will come up with new ideas.

MO*TE "anti is anti is anti" tape
New Forces
Technological changes are what has changed MO*TE sound, but not that much. In it's core, we got the same spirit now that there was. Japanese home recording harsh noise. Some more audible rhythm here occasionally. Mostly harsh noise without gimmicks. Just doing good "harsh noise for limited tape" type of stuff!

MERZBOW "De-Soundtrack" CD
Slowdown Records
1986-87 recordings mastered from cassette tape in 2018. Noisy experimental collages. Really good stuff. Hit instantly and listened this several times.

MERZBOW "Merzbeat" CD
MERZBOW "Dead Zone" CD

as opposed to these two. Merzbeat was lame. Was almost pushing stop in middle, but decided to give it a chance. Well, not going to keep that disc. Pretty useless. Dead Zone is 2011 works focusing on nuclear power. Released by Quasi Pop from Ukraine, recorded while Fukushima incident was happening. Chernobyl / Fukushima connection is there, as well as noise is vastly better than Merzbeat. But is it good by Merzbow standards? If you compare to De-Soundtrack, this ain't too good. It is different. It is software era and despite it is quite good on that, it is like shadow of the best days. It is good enough to keep as reminder of this era of Merzbow. Reminder that I don't need more of that really. Even when approaching material with intent to want to like it, specific qualities of material just reminds it is unlikely to happen. Still looking for bunch of older titles I never had, so there is work to be done in collecting Merz..




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Bloated Slutbag
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« Reply #7769 on: December 23, 2019, 11:36:22 AM »


YANNICK DAUBY & HITOSHI KOJO "La vie dans...." 10"

Substantia Innominata
Very good material. Somewhere between drone and perhaps even sounds one often associates with ritual music. Hard to decide if the physical sounds have odd percussive quality, or if they are just something one could file under "electro-acoustic composition", hah.. Listened this many many times.

I've also given this plenty of eartime and have more than once threatened to subject it to a proper(ly) retarded commentary. On first percussive insistence, through to the more protracted metal-on-metal drawling, I'm hearing strains of earlier, Organum flavored, Kojo. Hangin out in swampier end of the forest with druid and frog, Jackman scraping the bong of ritual, can I hear you shout gloria sanctus omega.


edit for requisite cliche-

The brevity makes the experience that much more precious

Amen.
« Last Edit: December 23, 2019, 11:38:38 AM by Bloated Slutbag » Logged

Someone weaker than you should beat you and brag
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