Execution ~ Live Reunion
Locomotive Records

If you’re like most of us in North America you’ve never heard of Tribuzy; so let’s get that out of the way upfront. Tribuzy is a Brazilian heavy metal band fronted by vocalist Renato Tribuzy who at 12-years old was in a hugely popular Iron Maiden cover band. Oddly enough, since forming in 2005, Tribuzy the band, have toured with Iron Maiden front man Bruce Dickinson and guitarist/producer Roy Z, recorded their debut album called Execution and a live disc called Execution ~ Live Reunion documented with this DVD. What makes the whole thing exceptional is the involvement and guest appearances of some pretty heavy hitters including Bruce Dickinson, Primal Fear’s Ralf Scheepers and Mat Sinner, Angra guitarist Kiko Loureiro and Helloween guitarist Roland Grapow.  More stunning is the band’s presence on a huge stage at CrediCard Hall in São Paulo and the rabid reaction of the massive crowd gathered.

As a five-piece, Tribuzy proves to be a brilliantly skilled power metal band that revels in their chosen genre. The first three tracks of the DVD see Renato strutting the stage working the crowd into a frenzy while doing his best Bruce Dickenson-meets-Rob Halford scream. The band is incredibly well rehearsed as heard in “Divine Disgrace” and “The Attempt’ with a thunderous guitar sound that rattles the speakers. Guitarist Kiko Loureiro (Angra) steps out for “Forgotten Time” beefing up the guitar to eleven. Matt Sinner then joins the growing stagehands for a phenomenal duet in “Nature of Evil.” Then starts the round robin as Primal Fear’s Ralf Scheepers joins Helloween guitarist Roland Grapow for “Absolution” with Sinner stepping in on “Final Embrace.” By this time the energy level has reached the stratosphere when Dickinson and guitarist Roy Z appear for a rousing rendition of  “Tears of the Dragon” and “Beast In The Light.” Pure metal in all its glory with a lust for the future – watch and see what happens.

Website: Tribuzy, Locomotive Records

Casa Diablo
Slick Monkey Records

The first half of this record is the closest thing to the Faces we’ve heard since…well, since the Faces. But it’s Faces with a Texas twang. Coming leaps and bounds from the 2003’s Cencerro Blanco White Cowbell Oklahoma (or affectionately known as WCO) have grown into a distinctly unique rock and roll machine. Hailing from Toronto the band boast nine members at last count including four guitars players and one guy that just plays the cowbell. They take bits and pieces from The Stones, Foghat and ZZ Top toss in some high-octane ‘70s grit and end up with something on par with Sweden’s Diamond Dogs. Refreshing is the generous use of organ, piano and Moog Synth which, combined with the wall of guitars, fills out the sound nicely. Their southern-fried pub boogie is the lifeblood behind “Faster Than Sin,” the riff-heavy “Get On, Get Down” and the thundering “Bulletproof.” Yet, it’s the orchestration of a stage full of musicians that come together on the Deep Purple-ish “Ace In The Hole” proving this band can truly ignite.

Keeping the lyrical genius intact with “She’s Got My Love In Her Hand,” “Tear You A New One” and “She Likes To Boogie” suggests the band still maintains humor front and center. “Fly Away” has that smooth, lap steel swagger reminiscent of the Allman Brothers trip they were on with the last record. This time around they throw in the ballsy Canned Heat sizzle of “Do Me So Wrong” and the Kiss-like anthem “Sugar City” which kicks the door wide open on the groups ability to go big. Hold on for the Humble Pie funk of “Koko Girl” making good use of lead vocalist Clem and his graveled baritone. “Time To Ride” takes the Beatle bus with an adventurous mid-tempo pop swing that sets a marching rhythmic pace. Word has it their stage show is quite a display of nudity, lesbian porn and penis guitar solos. What a night out, eh?

Website: White Cowbell Oklahoma

Shrunken Heads
Yep Roc Records

Ian Hunter’s heyday was fronting British legends Mott The Hoople back in the ‘70s. In the years since his solo years sustained him with a handful of hits including “Once Bitten Twice Shy” (re-worked by Great White) and “Cleveland Rocks” made famous by the Drew Carey show. The last time we saw him was in the early ‘90s playing selective dates with Mick Ronson prior to the guitarist untimely death of cancer in 1993. Since then Hunter has laid low only coming out occasionally as the mood strikes him. Many considered him retired so it was with great surprise and anticipation that greeted Shrunken Heads, Hunter’s first release of all new material since 2001’s Rant. The record’s first two tracks, “Words (Big Mouth)” and “Fuss About Nothin’ hail Hunter’s return to prickly skepticism, cynical observations and self-deprecating humor. His distain is made all the more tactile with the presence of an extremely astute band and co-producer Andy York (John Mellencamp).

Hunter is cantankerous as always - maybe more so in his old age (approaching 68) or so he would lead you to believe in the mischievously melodic “When The World Was Round.” Here the singer croons “You win some you lose some/You only get two shots so you take one” as he pines for simpler days. There are obvious shades of Springsteen and Mellencamp that wash over the disc as he basks in his own commentary. In “Brainwashed” he belts out “Look at how you blew it / baby you bin brainwashed” to a churning guitar riff while maligning the gluttony of society. Only an Englishman could be so critically insightful and perfectly blunt in his commentary on “Soul of America’ with its acoustic beat and Dylan-esque harmonica lead. “How’s Your House” was penned in the aftermath of Katrina. For the enlightened, the soul-stirring redemption in “Guiding Light” and the bouncing banjo of “I Am What I Hated When I Was Young” perfectly capture the man today. For those who crave that Stones/Mott rock stick to the gruff “Stretch.”

Website: Ian Hunter, Yep Roc Records

Beyond The Wasteland
Small Stone Records

These Icelandic gods of stoner rock return with their fourth installment into the darkened depths of molten magma. Leaving the murky sewer of their old contract and signing this time to Detroit label Small Stone means they get wider distribution and universal attention for their plodding grooves and bludgeoning riffs. Beyond The Wasteland is eleven essential ball-busting tracks delivered as only the men from the land of ice and snow can. Big chunks of blues metal come flying out of “Rooster Booster” with the ‘70s soaked “Thunderbird” and bass-driven title cut “Beyond The Wasteland” embracing the swelling density of Sabbath’s finest moments. The foursome turn and burn through a galloping rumble in “Hot Chicks & Hell Queens” and pound the tundra with “Black Tulip” while vocalist Jens Ólafsson bellows “I got the blues / it’s getting me down” shaking the rafters. The four-piece change pace with the Janis Joplin inspired “Snake” which embraces the melodic swagger of “Move Over” and shakes off the dust with the inclusion of keyboards.

“Mystic Lover” absolutely sells the record. The song boasts a garagey riff with tambourine fills and a wailing guitar solo that’s both hair raising and fuzzy. The modern rocker “The Baron” might echo of Foo Fighters, but its screaming organ fadeout is positively stunning. Never shying away from their Desert rock admiration is the swaying “Leo” that reaches its climax in a six-minute Ozzy frenzy. “Master Volume” leads in with a bass intro that collides head-on with a wall of guitars and crashing drums. The song may not be the strongest in the lot, but its title fits as the volume goes up. The disc closes with the numbing “Sweet Side of Evil” falling somewhere between b-side Fu Manchu and old school Cult. All the way back to “Jacuzzi Suzy” the band proved they could write radio rock with a majestic presence and with Beyond The Wasteland they deliver by the handfuls. Fans of 2004’s Electric Fungus will dig the band’s progression in sound and production.

Website: Brain Police, Small Stone Records

Universal Freak Out
Small Stone Records

Being fans of their contribution to the Small Stone Sucking In The Seventies Vol. 2 compilation and their past two records had us salivating over the new Puny Human. If what they did to the Osmonds’ “Crazy Horses” was any indication of their future drive – we definitely wanted to be on board for the ride. But hold on “Waking Up Williamsburg” was a serious departure for the NYC stoners. It had a more prog-like QOTSA edge to it and took a couple listens to lock in. “Up Not Out” and “The Bus Will Eventually Crash” were more immediate and thrilling with the freight train rhythm section we’ve become accustomed to. Yet there is the additive of pub punk that dances through the disc that’s not entirely Dropkick Murphys or Flogging Molly, but still dripping of the motherland. Check out the mid-section of “The Real Johnny Charm” and listen for the tapping of your feet. “Number Of The Beauty” and “Party On The 13th Floor” have the same urgency as they diffuse into Ramones clatter.

This isn’t the same band as it was back in ’03. These guys are more diversified. Their arrangements are more…complex. The musicianship is still reverberating but the playing is…we’ll, more mature – therefore the title is amply suited as in many cases this is a Universal Freak Out. Mixing up a montage of ‘70s rock with ‘80s song structure play an erratic assortment on the ear. Some are friendly; others are an acquired taste. “Planting My Impatience” falls right in line with quirky time changes over a solid rock line including chugging guitars and a whiplash bass. The Southern bounce in “Every Brain Cell Is Immense” and the Clutch-like dexterity of “Northern Drawl” connect in spirit while “Made On Mars” and “Twin Fever” take an eclectic spin through extended jams, signature twists and melodic breakdowns; still hanging onto an infectious riff. “Can’t Clap With A Drink In Your Hand” is a killer bar tune, perfect for closing the joint down and mean enough to scare off the riff raff.

Website: Puny Human, Small Stone Records

EMI Records

Our first exposure to Baltimore sons Cinder Road was opening for American Idol’s Daughtry last year. What caught our attention was their hip catchiness that sounded true to large-scale arena rock. One song in particular, “Get in Get Out,” stuck so firmly in our heads, that every time it played on the radio we vowed to interview the band and get their perspective. “When you’re bitten by the music bug nothing else really matters,” lead singer and guitarist Mike Ruocco told us over the phone. “Playing is all we’ve ever known going all the way back to our other band Plunge.”  Much of Cinder Road’s success, and in a large part their appeal, is from their relentless roadwork. “We would go from Rhode Island to Florida and back a hundred times until we finally got noticed,” continues Ruocco. “We played everywhere for anyone, from five people to 5, 000 – it didn’t matter, we just wanted to play.”

Cinder Road filled last year with two tours: Daughtry and Candlebox and are currently set to go out with Tesla. “We grew up on 70s and 80s arena rock,” says Ruocco. “We were listening to Tesla back when we were still playing tennis rackets. It blows our minds to be on the road with them.” The pairing is a solid one as Cinder Road’s debut Superhuman basks in the glow of their influences. Produced by Marti Frederiksen (Aerosmith, Def Leppard, Ozzy) the disc boasts a highly charged no-nonsense rock n’ roll kick that goes heavy on the rock and big on the ballads. “We’re a good time, old fashioned rock and roll band,” says Ruocco. “Def Leppard’s Hysteria was the first cassette I bought and just like it or Aerosmith or Bon Jovi, we wanted this record to have it all; anthems, ballads mid-tempos, and rockers.” Frederiksen was their one stop shop providing them with a huge sound, hook-filled songs and guest Damon Johnson (Brother Cane, Alice Cooper, Whiskey Falls).

“Marti knew Damon because they worked together in Brother Cane,” says Ruocco. “Their hit ‘Got No Shame’ was Marti’s first big co-write so after some LA sushi Damon agreed to play slide on our song ‘Drift Away’.” The track is a country-tinged rabble-rouser that along with ballads “Back Home To You” and “Learning To Love” adds texture to an album that’s heavy on punch. The dexterity between song dynamics including big hitters “I’m So Sorry,” “Should’ve Know Better” and the passionate “Feels So Good To Me” are what make the album an exciting listen. “We’re real happy with the way the record came out,” says Ruocco. “When the second season of TV’s Rockstar was coming up last year I went and auditioned in Toronto. I ended up getting offered a contract for the show but at the same time my manager was negotiating with EMI for our record deal. I made the call right there on the phone, either signs us or I’m doing the show. We got signed right then. It was a ballsy move, but it worked out for us in the long run.”

Website: Cinder Road

Still Flyin’
Grooveyard Records

Henderson’s claim to fame is his love of blues, years of noteworthy session work and association with Texas guitar slinger John Nitzinger. Both were hot shots in the early ‘70s Dallas scene playing a bar called “The Cellar” where the waitress wore just bra and panties – the smaller the panties, the bigger the tip. Quotes Henderson, “They ran three or four bands a night through there and everybody played original music. We usually didn't leave until four in the morning.” Henderson cut his teeth opening for the Allman Brothers, BB King and Leon Russell. He played on two Nitzinger LPs and later formed his own band “At Last.” Still Flyin’ is his first solo record and proudly displays his Texas blues mix with a deafening punch. The original album (released in 1981) is here in its entirety and extended by three bonus tracks including “Funky Beatrice,” “Louisiana Women,” and “Sixty Five.” A fourteenth track is an enlightening and humorous narrative as Bugs walks through the writing and recording of each track with stories, insight and nearly forgotten history.

The band at the time were a kick-ass three piece that consisted of Henderson, Bobby Chitwood (bass) and Ron Thompson (drums) with Tom Morrell and Ron Mason brought in to the session for lap steel and organ respectively. The songs were part of the band’s live set so the recording was basically plug and play. The record has long been a favorite with its spontaneous bursts and two-step swagger. Henderson’s voice is similar to Nugent but with more twang and his guitar work in “Heart (Hard) Attack” and “Baby Ruth” is absolutely scorching. Based around a blues structure, tracks like “Judi Likes the Blues” the boogie “Hideaway” and “Funky Beatrice” build the foundation while the metal prowess of “Not Guilty,” “Drugstore Blues” and title track “Still Flyin’” keep the rock up front and center. Slower tracks “Thirteen Ways.” “Please Have Mercy” and the autobiographical “Little Brother” are stone-cold chillers soaked in soul and emotion. Sonically, the disc sounds amazing considering the tapes had to be baked and remastered while the additional artwork adds a classic touch to an aging gem. Essential.

Website: Bugs Henderson, Grooveyard Records

Grooveyard Records

Machine is the debut album from Sweden rockers The Truth spearheaded by guitarist Sven Cirnski. Judging by the booklet and liner notes the group is primarily Cirnski and vocalist David Fremberg (Andromeda, Mountain of Power) with bassist Jens Lundahl and drummer Jamie Salazar lending a hand. Underneath the CD, on the traycard, is an M.C. Escher-styled illustration of mechanical gears and cylinders leading one to speculate the music to be grinding, industrial and possibly stiff. However, what we get is more Robin Trower in its approach. Cirnski is a mater of the strat pushing and pulling effortless riffs and searing solos. The 15-song songs penned for Machine showcase his ability to shift from the chugging gallop of the title cut “Machine” and “Tormented” to the scatting of “Can I Be Forgiven?” and “Big Al”. Fremberg was the perfect choice on vocals as he finds room in Cirnski’s playing to make his own statement. His phrasing and melody transform “Freedom” and “Hold Out” to classic 70’s hard rock that begs for a Camaro 8-track.

The rhythm section builds Truth with a monster foundation. Understated and in-the-pocket, it is the bedrock for the power rocker “Out of Control” and its sister track “Self Control” - together they are heaviest songs on the disc. The melodic nature of “Respect” conjures up Richie Kotzen-era Mr. Big with “High and Low” and the standout “Heavy Rain” creating a UFO feel, not so much in sound but in song-craft. ”Over and Over” is another thunderous track with a massive catchy riffs and blazing solos. Cirnski’s scratchy guitar makes “Generation Stupid” a throwback to later ‘60s blues rock that embraces a memorable dynamic solo stretch. The mid-tempo “Stand in Line” has its focus on the chorus where melody and structure intertwine. Ballads are the hardest songs for a rock band to do well and in “Angel” the Truth nail it down. Drifting surrealistically like an outtake off Trower’s Bridge of Sighs with the guitar and voice engaged in soulful embrace. Production by bassist Jonas Reingold (Flower Kings) is top notch and takes retro into the 21st Century.

Website: Grooveyard Records

Beneath A Dying Sun
Grooveyard Records

No doubt about it, Thalamus pack a mighty big wallop. Claiming to be the bastard child of Black Sabbath and Soundgarden the Swedish four piece have brandished eleven original compositions that harold them as the modern merchants of doom. Brain-damaging blues kicks into high gear with “By The River,” a bludgeoning effort that mid-way through hosts the sound clip “My advise to you, start drinking heavily.” The thunderous applause is heard in the riff of “Unravelled” a dense power vehicle that gains momentum in the shadow of vintage ‘90s-era Neanderthal rock. Here is where we first hear the Soundgarden comparison that drifts in and out like a ring of gonga smoke and haunts the dirge of “Poor Man’s Brain” “Next To Me” and “Too Stoned.” The guitar takes over as the main component with Kjell Sjostrom’s voice giving added dimension to a punishing rhythm section.

Said voice takes songs like “Maze of Revelations” and the slower “Falling” to a serial level of intoxication embracing the meaning of the lyric and giving a soulful polish to the music. Yet, Beneath A Dying Sun is undoubtedly and unashamedly rooted in the almighty riff. Nowhere is that more evident than in “Ride” where the song plays host to such a meaty drive that you’d swear is was unearthed Sabbath complete with a wah-wah infused solo. Other tracks play just as much havoc on the eardrum including “Can’t Live Without Your Love,” “Firefly” and “We’re Gonna Die Someday” with its unforgettable line “Someday we’re gonna die and wolves will feast upon your carcass.” Dude – now that’s hardcore! Granted no one is inventing the wheel here – its just how its executed. No imposters they’re just living their slogan: Stay true…rock heavy.

Website: Grooveyard Records

Keepers of the Flame
Grooveyard Records

By a bizarre coincidence the 77-minute time duration of this disc actually correlated with the spirit of 1977 in musical texture and vibe. Just about anything with Jeff Martin (Badlands, Racer X) and Davey Pattison (Gamma, Robin Trower) is going to get your attention on quality alone and Keepers of the Flame does not disappoint. This is the sixth studio record by the Blindside Blues Band, which still finds its anchor in “old school” guitarist Mike Onesko. Letting it fly from the get go “Sonic Love” builds on a muscular riff with a thundering backend. Onesko’s guitar tone and vocal styling remain captivating while rumbling along with much the same flavor as Leslie West, Rick Derringer and Pat Travers. It’s no wonder he’s popular with Tim Bogert and Aynsley Dunbar. Amid the guitar fury, tracks like “Back Stabber,” “Electric Wave” and “Jagged Edge” are blues-infused hard rock coming close to Black Sabbath / Mountain in overall presence. The Strat is loud and clear driving the tracks along while the wah adds color to each solo.

Musical brother and fellow axe grinder Scotty J. lends a hand creating a monster twin guitar sound. Together they bring magic to the title cut “Keepers of the Flame” and the keyboard-laden “I Wanna Be Free.” Martin’s drumming is precise and relentless as he guests on half the record’s eleven songs. Emery Ceo covers the other half with bass master Kier Staeheli locking into a memorizing groove. His thumping bass adds plenty of funk with a just enough blues to sync up Onesko guitar boogie. Surprising is the inclusion of both Mike Varney (Shrapnel) and Joe Romagnola (Grooveyard Records) swapping licks on “Maybe I’m A Leo.” Two label executives wailing away – now, that’s gotta be a first. Davey Pattison makes his soulful appearance on the vintage Robin Trower classic “Hannah” which not only pays homage to Trower but the late, great James Dewar. A 13-minute plus bonus track lays hidden beneath “Bluesion” called “Abbajus.” The extended studio improv-jam gets its balls from the dual drum power of Jeff Martin and Emery Ceo.

Website: Blindside Blues Band, Grooveyard Records

Volume II
Grooveyard Records

Must admit this one took a little getting used to. Volume II is simply stated the second psychedelic thriller from Swedish supergroup Kamchatka. It plays on the Nordic country’s love of ‘70s retro including bluesy power riffs and heavy guitar rumblings. Unlike its predecessor, which was a tad bit simpler, Volume II is a far more serious affair. Continuing to work as a trio guitarist/vocalist Thomas Andersson, bass player Roger Ojersson and drummer Tobias Strandvik redefine where last they left off with a brain-damaging array of cosmic deep cuts that plow through a hybrid of influences including Hendrix, Cream, Cactus and Mountain. Their press sheet calls this mixture, “progressive stoner rock/jam band madness.” But it takes some serious headphone time to really dig what’s going on here. A decent bowl of home-grown might also enhance the experience. To say this band is heavy is an understatement. Go right to opening track “Who Am I” and crank it up.

In many ways the disc is reminiscent of early British blues-rock including Free’s Tons of Sobs with a dash of Pink Floyd’s Ummagumma. “Heritage” is one of those 7-minute songs where the band find a steady groove and just ride it out with a loose structure that embraces acid psychedelic only to come to earth for a collation of twisted solos and heart pounding rhythms. There are the dense tonal elements of “Terminus” and “Enemy Maker” with the plodding “Sweet Relief” and the more melodic “Breathe.” Some songs are just happy to drift along like “Withstand” and the jazzy “From Here.” Then there are the ones that dig in their heels and peel back the layers like the instrumental “Pogonophonics “ which goes into furious shades of Frank Marino. Their songs structure takes a number of different pathways from Hendrix rips and soul-busting meandering that ends with a sonic punch. By they time they get to closing track “Jigsaw” Kamchatka are in full on Wishbone Ash-jam mode and wind their way through some of the most freaked-out boogie, stoner rock a three piece is capable of.

Website: Kamchatka, Grooveyard Records

Global Warming
Formula One Records

What a comeback. The first time we heard Loughborough-based Burn was in 1993 with their exceptional debut So Far, So Good. Two years later they released the critically acclaimed Spark to a Flame, then nothing for 18 years. Imagine our surprise when we heard the group had risen from the ashes with a stunning slab of bombastic rock and roll appropriately titled Global Warming. Original singer Jeff Ogden is back with his classy Bon Jovi meets Bryan Adams pipes. He assaults songs like “Working Man,” the big chorus-driven “Over You” and the love-tinged ballad “Diamonds to Dust.” With ‘80s flare and modern production gusto the six-piece put the years aside and jump right in where they left off belting out arena-sized melodic hard rock. Monster tracks like “Down on Love” and opening “First Time” bring back that crunchy guitar sound while picking up plenty of rhythm and grooves along the way.

Ogden is joined by brothers and original members Marc Stackhouse (bass) and Barney Stackhouse (keyboard) that keep the sound close to the fundamental thump that landed the group a 5-star rating in UK magazine Kerrang!. Benjy Reid (drums) also returns as the raging skin basher giving the songs plenty of oomph, while guitarists Phil Hammond and Julian Nicholas blaze with a sonic dual aggression that lines up with, Bon Jovi, Bonfire, FM and even Kiss. Office favorites are the “Like Only a Woman Can,” the Golden Earring-inspired “Shotgun Justice” and the spitfire “Ain’t Good For Me.” The bass-led “Wanted Man” brings back memories of Tattoo Rodeo (now there’s an obscure reference for ya) while “Shake Some Bone” gets the feet a tappin’ and before long the body follows with hot-shoe boogie and swashbuckling solos. Most comebacks aren’t near as good or as much fun. Highly recommended – maybe even 5-stars.

Website: Burn

Supernatural Cat Records

By our count this is Ufomammut’s fourth full-length opus. The Italian three piece have mastered their psychedelic sludge to perfection as they rumble through eight bone-crushing epics, most soaring past the 5-minute mark. Influenced by Blue Cheer, Kyuss, Pink Floyd and Black Sabbath, Idolum expands into doom laden trance-like shadows that dabble into industrial droning. “Stigma” sets us marching through a toned-down fuzz-fest reminiscent of an old Mudhoney sound check. Guitarist Poia keeps it simple and ultra heavy rattling the very fillings out of your mouth with his mind-altering feedback. Bassist/vocalist Urlo stomps along in steady beat with drummer Vita. Urlo’s screams are suppressed in the mix like a ghostly voice from the past adding just enough color to the dark density to lure the listener in. “Stardog” then takes over with a loose groove that peddles LSD sound mixes with acid test results.

Cosmic “Hellectric” opens the book on Pink Floyd metaphors slicing its way from left to right and then plunges the axe right between the eyes in a volcanic eruption of guitar throbs and rhythmic lava. The group’s sinister atmosphere of gloomy sounds and vintage electronics takes a transcending path through the middle-eastern “Ammonia” finding Urlo’s melodic chants the single stand of lurid intoxication that sews the entire song together. Both “Nero” and “Destroyer” are more straightforward metal monsters. With “Nero” the drum and bass set the foundation becoming a bludgeoning wrecking-ball of tympanic destruction while a mesmerizing keyboard swirls around the storm of feedback. Eventually the guitar riff unveils itself in a dizzying array of tonal complexity. “Destroyer” goes for the throat with a mastodonic framework capable of eliminating small towns with it’s sub atomic bottom end while the 27-minute “Void” lumbers on in a massive expression of power and force. Idolum is Latin for “ghost” and pretty much sums up this eerie slab. While much is heard, it is the notes you don’t heard that carry the tune.

Website: Ufomammut