Interview с Clawfinger : DARKSIDE.ru

Your biography says that “Hate Yourself With Style” is the first album that is written and recorded entirely by the band, with no outsiders participating. Does it make the work on the album easier or more difficult?

Mmm, a good question! It’s both. Obviously the hard part of that is that there’s no one to blame if the album fucks up. If nothing happens with it, it’s entirely our fault, and if people don’t like it, it’s because we produced it the way we liked it to be. That won’t be a very happy feeling obviously. But 13 years into our career we felt that we finally had to realize that we had it in us, and we had the knowledge not to need anyone from the outside. We tried to do it with “Zeros & Heroes” (2003), but we chickened out in the end and brought in Jacob Hellner. This time we felt, “Let’s take it all the way.” I think part of it has to do with the fact that it’s been an us-against-the-world album, because we’ve been through our fair share of hard times in the past few years, and that sort of resulted in us resorting to a bit of gang mentality – we’re in this on our own, let’s just show everyone that we can do this without you, we don’t need your fucking backup, we don’t need your help. Regardless of what you think of us, we can pull through this and come out on the other side and be that much stronger. And there are a number of different for this album being special. One of these is that our guitarist Erlend Ottem left us after the previous album, and thanks to that, our working structure totally crumbled, and a lot of the old routines were broken. I think this was a good thing – after 12 years as a band, you will find your roles and in the end you will almost not go out of your roles, because you become so used to them that you don’t even think about them, you don’t even question them anymore. And that can be a dangerous thing. But when he finally had the guts to say he didn’t enjoy himself anymore and left, it forced us out of our shells, and it created a totally enthusiastic and spontaneous atmosphere that we didn’t have on, for example, “Zeros & Heroes”. In a lot of ways he helped us by quitting. He wasn’t happy being in the band, and the best thing he could do was leave and let us go on with what we still love doing… I think I’ve answered more than a question, I don’t even remember what the question was! (everybody laughs)

OK, let’s move on to the next one then! You have said that the new album has the highest percentage of songs you are pleased with since your first album. What prevented you from achieving the same results with a few previous records? What problems were you facing?

One of the reasons I have just talked about – it was Erlend. The deal is: the more people you are in the band, the more you have to compromise and the more you have to go along with the decisions that you don’t feel 100 percent good about. Welcome to democracy, that’s the way democracy doesn’t work. There’s always gonna be winners and losers among the people who are making decisions together, because you never agree totally on some things. Of course, that’s the way bands are, and it can be a good thing, but it sometimes comes to be a very bad thing for the creative process. Like I said, when he left, a lot of problems disappeared, and we were able to focus much more on just having a good time and letting us with guts and hearts decide what decision should be made. Whereas when he was in the band, he was much more of a brainy time of person who would like to make his decisions based on what could possibly be a good tactical move. And the rest of us aren’t really good at that, and I personally believe that not being good at the tactical stuff is a strength when you are in a band. I don’t believe that you should be concerned with what is best for the money, or what is best for the commercial issues. I believe that the only decisions you should make within a band are about the music and what makes a song as good as it can possibly be. But that may be a bad thing, because that closes some of the career opportunities for you. Anyway, if I had to choose between career opportunities and being totally honest with the music, then I would obviously prefer being honest with the music. Of course, I would like to have both, but that can be hard unless you really have the business side within you. And we fucked up a lot of career opportunities because we’re not cool enough or smart enough. We tend to focus on the music more than anything, and that’s why we still have to have a manager, someone who tells us, “OK guys, get your heads out of your asses now and try to put yourself in someone else’s situation and see what can be good for you in the long run.”

On the Nuclear Blast webpage there are three members of the band listed, but on the photo there are five men…

Yeah, we like to confuse people!

Really?

(laughs) No. The thing is that from the very beginning we were four people, when Erlend was still in the band. The four of us were the ones who wrote the songs, recorded all the demos, got the record deal and all that stuff, and it wasn’t until we had finished songs and entered the studio when we took in other musicians. For that simple reason they have always remained hired guns or rented musicians. At one point we actually asked them whether they wanted to be hired guns or they wanted to be part of the band. But the freedom they have with being hired guns is very good for them, because they can do other jobs when Clawfinger are not touring. Also it means that they’re guaranteed a paycheck for every gig, even when we’re playing a small club and don’t get any profits. The bass player has been with us since day one, and the drummer has been with us since 1997. We are all friends, and we have no plans to change them, they’re somewhere in between being hired guns and full members. But they still don’t participate in the songwriting.

In your original line-up there were two guys from Sweden and two from Norway. How much are the cultural backgrounds and mentalities of Swedes and Norwegians different?

They’re not really different at all, because the countries are neighboring. Norway has always been like a little brother to Sweden, so there used to be that sort of mentality that Norwegians are not quite as smart and as effective as Swedes. But these days Norway is a rich country with all the oil, so the big brother complex is disappearing, and soon Norway is gonna be a big wealthy country, and Sweden is gonna be like, “Help us, Norway!” (laughs) The

Swedes like to make jokes about the Norwegians, and the Norwegians like to make jokes about the Swedes, but it’s like a brotherly conflict that’s still on a nice level. It’s not a serious conflict, it’s more like a long-running joke.

Some of the songs on the new album are the heaviest you have ever made, for instance, the title track sounds very extreme. Is it the influence of Meshuggah with whom you share the studio?

I definitely think that Meshuggah has a part in it. Those guys are fucked up… in a good way! (everybody laughs) Another reason is that our guitarist quit, which, like I said, changed the whole structure of how we write songs. That forced our keyboard player Jocke Skog to be a more active part of the songwriting process, and he’s actually the one who’s responsible for a big percentage of the album – me and him brainstorming, him being the musical motor and me being a sort of yes/no sayer who goes like, “I like this” or “I don’t like that.” He’s been producing a couple of Swedish bands, who are pretty fucking hardcore, one called Face Down, and the other one called Construcdead. It’s pretty extreme stuff, and he’s really been getting into the scene in the past year or two. I think that has influenced us a lot as well. And then you have just the simple fact that we decided to use live drums, which makes the sound much harder and much more organic. On top of it all, we went through hard times in the past few years with managers screwing us and record companies not caring about us anymore. All these things built a sort of resistance and created a more aggressive atmosphere within us, the need to fight back and say, “Fuck you! We’re not gonna let any of you bring us down.” This is what brought about a more aggressive attitude and created a lot of the energy on the new album.

In general, when you start writing for an album, do you specifically want the songs to have a certain musical direction, or do you just let yourself write a bunch of songs and then see the direction they go?

This album is probably the first time since “Deaf Dumb Blind” when we have been as spontaneous and have gone with the flow. This time we didn’t make decisions about what should or should not be written, what should or should not be said, both musically and lyrically. Obviously when it comes to lyrics, I always have a few topics that I have been dreaming or thinking that I would like to get across. There are always topics that I tackle on each album, and sometimes it takes a few albums before I manage to write a lyric I’m pleased with. But there has been much more of a natural flow on this album, and much more of a question of just sitting in the studio and letting the inspiration come. And if the inspiration didn’t come, we didn’t bother writing music, we just watched a movie, drank beer or whatever. We have got to the point when we realized that it has to be natural, it has to come from a natural feeling, or else it would just feel contrived and as if we are pushing too hard to do something.

In your biography you say that Clawfinger played rap metal and nu metal before you knew what it was and before the term was even invented. What were your sources of inspiration back then? And what kind of audience did you have at your early concerts – rap fans or metal fans or a mixture of the two?

There was one guy, who was pretty short, had brown hair and a Metallica T-shirt on, and he was standing at the front. And there was this girl, she was a bit in the back, she was pretty tall, she had blonde hair, she might have been a model. Then there were a few other fans as well. That’s how it looked like in the very beginning. Just kidding! (everybody laughs) It’s hard for me to say who were our fans then and who are our fans now. People who like our music are our fans. We weren’t really thinking of other bands when we were starting. I came from more of a rap background, Bard and Erlend were more of a metal background, Jocke was from more of EBM music – Nitzer Ebb, Front 242, early Nine Inch Nails. We just mixed all those backgrounds together, and what came out was pretty natural. In the beginning, a lot of the songs sounded almost like covers, because we were taking bits and pieces from a lot of different bands we liked. And after a short while we realized that we had to drop those most obvious influences and create something of our own. But it was never really planned and most of it came out very naturally simply thanks to the music we all personally liked. Somehow we managed to mix all those different things together. There were bands who had done it – Beastie Boys did “No Sleep Till Brooklyn”, Run DMC and Aerosmith did one song, Public Enemy and Anthrax did “Bring The Noise” in 1991. There were bands who had mixed it, but there was no one who had taken it all the way, made it into a concept, made it into a style of its own. That was never really something we tried to do, it just happened to happen. We had no fucking idea what we were doing, we had no idea that there was gonna be a band called Rage Against The Machine coming along, we didn’t know there was gonna be Limp Bizkit or Linkin Park or 311 or whatever all these fucking bands are called. We just made music, and the mix came out of who we were as individuals.

What was your reaction when soon after you became famous, bands like Rage Against The Machine and Limp Bizkit that mix rap and metal started appearing nearly every day?

Well, Rage Against The Machine came around at the same time, their first album was released even before ours. I remember it because we were in the studio recording the last songs when our guitarist came to the studio and said, “Hey guys, I have just heard the album of a band called Rage Against The Machine, and it’s pretty fucking good.” We listened to it when we were in the last days in the studio. As for Limp Bizkit, I liked their first album “Three Dollar Bill, Y’All”, when it came out, I remember that every fucking club was playing tracks from it. Obviously this was before they became famous - when they became famous none of the clubs were not playing them because they were not cool anymore. But that’s the price you pay for big fame – all of a sudden you’re not really liked by the alternative crowd, because you are too big and too famous. It’s a weird fucking business, this music business. What did I think? I liked some of the bands, and some of the bands I didn’t like. It’s not like I thought that we’d been cheated or anything, because we were doing our own thing and making the music we liked and playin

g for the fans that we had. Surely it would be great to be bigger and have shitloads of money, but what’s the point speculating or wasting your time thinking about what you don’t have? It’s better to try to maintain what you think is fun, and make the most out of it. There are some shit bands and some good bands, and it all comes down to a personal taste. I don’t care for rap metal more than I care for any other kind of music. I like music – period. If I hear something and it gives me a hard-on, that means I think it’s good. If I hear something and my face turns into a big frown and I turn the volume down on the radio or on the stereo, that means I probably don’t like it. It doesn’t matter whether it’s rap, metal, jazz, blues or whatever. There’s too much good music out there, I don’t wanna listen to just metal or just crossover. It’s too big a part of my life to close myself and be “a real metalhead” or “a real hip-hopper”. I’m too old for that shit, I’m able to like everything.

But have you ever felt like being trailblazers for other bands that mix rap and metal? How often do you meet the musicians or read interviews where people say, “Clawfinger were among my influences”?

That happens occasionally. I answer all the e-mails that come to our mailbox, and of course, I get mails from the people who say that we were one of their influences for starting a band. It’s a very nice feeling, but it’s kind of hard for me to really appreciate it or to see it, because I find the whole concept of someone thinking that what I do is so great kind of weird, simply because I don’t have that sort of mentality or that sort of confidence, where I would understand why somebody thinks we are so great. Even though I have favorite bands myself, I have a hard time accepting that someone would want my autograph. I’m just a bit weird, I don’t feel totally comfortable with it. I don’t have a problem with it, but at the same time I don’t totally embrace the idea. I think it might be dangerous to think too much about those things for my own sanity and for the people around me. (laughs)

Back in 1995 you had a band called Rammstein opening your shows, and a couple of years ago it was Clawfinger who were opening for Rammstein. Was this change easy for you to take?

Well, if you’re in this business for longer than a lunchtime, and if you make music because you love making music and not because you wanna have a hit on MTV, then you will go through your ups and downs. That’s something that you have to deal with, realize and take. Of course, I’d rather be a headlining band selling out aerodromes, but that’s not the reality of it. I think it was very nice for Rammstein to pay us back by having us support them. I know for a fact that we mean a lot to those guys, and I know for a fact that those guys were very influenced by our first album. They told us themselves that it is a fact, and that is why they chose our old producer Jacob Hellner. They treated us very nicely, it was a great tour, so there are no hard feelings, you just have to learn to accept it. Hopefully we will change it again, so they can support is again! That’s the master plan – to become so big that Rammstein will have to support us! (everybody laughs) I know that it’s never gonna happen, but it’s a nice thought, you know.

We heard that you even planned to come to Russia as support for Rammstein back in 2001…

Yeah, it was a plan, but for a few different reasons it didn’t happen. One of the shows got cancelled because of some riots, and when that one show got cancelled, we simply didn’t have the economy to go over and just do one show. It meant that we would lose money, and we are not rich enough to be able to afford losing money. We have one simple rule – we wanna at least break even when we do a gig, we don’t wanna pay to play. We have done many gigs hardly making any money, but as soon as we have to pay out of our pockets to play, there’s something wrong and we don’t do it.

Like you said, you’ve seen quite a few ups and downs in your career. In your opinion, how much is a musician nowadays able to control what is happening to him in terms of popularity? Or is everything up to the management, fashion and stuff like that?

That depends totally on which road you are willing to take and what kind of music you’re set out to create. If you have no concerns whatsoever what kind of music you’re playing or what kind of artist you are gonna be, then you can be as big as you want and sell out fucking stadiums, but you won’t be saying anything, you won’t be meaning anything. I think you can control everything, but the more integrity you wish to maintain, and the less you are willing to compromise with your artistic ideas, obviously the harder it is gonna be to get somewhere. That being said, there are bands like System Of A Down, who have somehow managed to balance everything very well, and are massive, even though they are not compromising with anything and are in total control. You know, it depends a lot on timing, on being lucky, on having the right song at the right time, and most of these things happen without being able to control it. In that sense, it is hard to control. Of course, you can always make decisions along the way, but unless you’re Nostradamus, you’re never gonna know if it’s a right or a wrong decision. Let me use a very simple example of the way we started. We had no idea that we were gonna have such a big start with “Deaf Dumb Blind” and that we were gonna sell so many copies of that album. We were a bunch of guys who met at a hospital taking care of old people, we had the love for music in common, we made a few demos, and all of a sudden we had an album that was selling a lot, we were supporting Alice In Chains and Anthrax. And we had no master plan, all we had was the hunger and the love for music. It can happen any time for any reason, some people are more aware of that from the start, and some bands are like us, it just sort of happens.

You’ve had some negative experiences with record labels in the past…

Any band that has been together for more than a week has. It’s nothing new, it comes with the territory.

But how do you feel about being signed to Nuclear Blast?

It’s a bit too early to say. We’ve been signed with them for a couple of months, and the only person I’ve talked to so far is Kathy Schutte from the promotion department, who seems to be very nice and is doing a very good job. Let’s put it this way – I’ve

done more interviews for this album in three weeks than I did for “Zeros & Heroes” in half a year, so obviously Nuclear Blast are doing a better job than BMG. That’s all I can really say. Apart from that, it’s too early to tell. Nuclear Blast are a big fucking label, the biggest independent label. They represent one music style, in this case it’s the metal scene, which is a pretty big scene, but still it’s better than trying to embrace loads of different styles. It’s not as fucked up as BMG, where they have Annie Lennox and all these big stars, it’s more based on a sort of street attitude and hardcore attitude, and I think that has to be better for us than a major label, because we’re not major label material at the moment. We’re not among the trendy bands at the moment, and the major labels only want big-selling bands. They’re too scared of losing money, so they don’t invest in anything that is a risk and they go with the safe bet. Whereas Nuclear Blast are willing to take more risk, do a lot more alternative promotion and maybe do things that don’t necessarily have to cost a lot of money to do. I’m hopeful about Nuclear Blast, but let’s not hope too much, let’s see what they can do and what we can do together with them, let’s see if that can lead to new things happening.

We have recently read a review of “Hate Yourself With Style”, and the reviewer wrote that in Clawfinger lyrics are more important than the music. How much truth is in that?

Did someone write that? Well, it depends on what kind of a listener you are, isn’t it? Obviously I would say the lyrics are more important, because I write lyrics. (laughs) It’s very different – some people are really guitar heads and only hear guitar riffs, some people always read lyrics first when they buy an album to see what the lyrics are like. Some people like the whole package, and some people just want a good beat they can headbang and drink beer to. I like to think that it’s 50/50, that the music and lyrics are equally important, it’s a question of making everything fit together. I take great pride in writing lyrics that mean something and are from the heart, so the lyrics are definitely important. But for me it’s 50/50, and that’s the way I like most of my favorite bands to be. Although even I have my favorites where I like music more than lyrics and vice versa. But after all, it’s one person’s opinion, and that’s the cool thing about music – we all have our very own opinions about what is good and what is bad. The only bad thing about journalists is that their opinions get printed. (everybody laughs)

As far as we understand, you usually write about the things that worry you or concern you. How much have these things changed over the past 13 years? If we compare the lyrics to “Deaf Dumb Blind” and “Hate Yourself With Style”, what are the main differences?

(sighs) I don’t know if there are many differences, to be honest. I’ve always liked a sort of naïve punk approach to writing lyrics, I like the directness, I like the brutal honesty in lyric writing. That simply has to do with me growing up with bands that tried to say something, whether it’s Dead Kennedys or Public Enemy or Sex Pistols. I like this sort of “fuck you” attitude with an ironical twist and a provocative undertone, I’ve always liked making people think by sort of forcing them to use their brain for a second and wonder what the hell someone is really saying. Of course, the lyrics have changed, maybe I’m not as naïve, I’ve found a few new topics to write about, at the end of the day I’m older and a bit wiser, but I’m never gonna be a writer who writes poetical poems about dying trees and rivers turning gray. I’m never gonna use that kind of… Mmm, I’m not gonna say ‘never’, because you never know, but it doesn’t feel like I’m going to use that style of lyric-writing. I’m still in love with directness, honesty and saying what’s on your mind.

How often do you feel that your lyrics are misunderstood? Don’t you think that people too often judge the songs just by their names and don’t even bother to listen to or read the lyrics?

You should never overestimate people. (giggles) I know for a fact that titling a song will make it different, I’ve learned through the years that people have a very short concentration span, a very short time when they can really be bothered to get into something. I’ve noticed it on this album, in case with the songs “The Faggot In You” and “The Right To Rape”, when people reacted directly simply based on the titles of the songs. Of course, a small part of me does take advantage of that, because, like I said, I like provoking feelings and opinions a bit. It sort of forces people to listen to the song or to have some sort of reaction. Obviously these songs are not about how great I think rape or homophobia are. That’s what anyone with half a brain will understand. Speaking about misunderstanding, I don’t feel misunderstood at all. I don’t feel that it’s me against the world or anything like that. I am totally aware that you can’t please everyone, you can’t make everyone like what you say. And I have to say that 90 percent of all the people who have listen to us, even if they don’t understand our lyrics, they understand what I’m trying to say or at least that I’m trying to say something, and that’s the most important thing. There are people who have misunderstood me through the years, but I don’t feel misunderstood.

The song “God Is Dead” from the new album is a very strong statement, but what effect do you expect it to have on the listeners? If someone goes to church every day and listens to nothing but TV preachers, do you expect him to change his mind?

It is a nice thought, but I don’t think so. I don’t think it will have that effect. In all honestly, it is probably one of the songs where the lyrics were the easiest to write on the entire album. It is the one that is most of the “fuck-you-finger” cliché, it is meant just to create a reaction. It took me about 20 minutes or maybe half an hour to write that lyric. Basically I just used all the religious clichés and metaphors that I could come up with to make people see that none of them are necessary or need to be used or believed in. The concept of god is old-fashioned, it holds no more truth than “The Lord Of The Rings” or any other fairy-tale. It’s all make-believe, it’s all in your own head, it’s the monster you create in your closet, and it’s not something you need in reality to be able to get on with yourself and have a good life. That’s t

he basic thing that this song is saying: “Wake up, smell the coffee, get on with your life, make your decisions based on what you need or don’t need. Don’t waste time and energy finding scapegoats, deal with your problems, it will be much better for you.” I feel that this song is one of the un-deepest songs on the album (laughs), I really just wanted to create reactions by the title. I haven’t given that song as much thought as most of the people expect I have.

This brings us to a general question – in your opinion, how much power does the music have? To what extent is it capable to change people’s lives or the society?

I definitely think that the music has a big power. A lot of times it has more power than politicians or any leaders. But of course, it depends on what target group you’re talking about, what age of people you’re talking about and which bands you’re talking about. I’m sure there are a lot more people aged between 15 and 20 who have been saved and changed by a band like System Of A Down than there are people who have been changed by a politician who represents their country. They can connect with a band like System Of A Down because they’re saying something they can understand and believe in. We’ve also been lucky enough to have songs that I know have meant a lot for people. We have a song called “Sad To See Your Sorrow” and another one called “I Guess I’ll Never Know”, they are about people close to me who have died. And there’ve been people who mailed me or told me that those songs helped them through hard times, when people close to them committed suicide or died. That in itself means that someone is connecting to what you’re doing, and that what you have done helps someone go through a hard period. If that can be done, then I am totally sure that music can do other things to other people and help them get to new places in their lives. Of course, it takes more than just listening to the music, you still have to make the changes yourself, you still have to go through the process of changing your attitude or running away from home or whatever you have to do to be happy and to be who you wanna be. But music can be a very good and healthy trigger, the first boost into daring to step out of the situation you’re unhappy with.

Now it’s time to speak about the album title. Why did you choose to name the record “Hate Yourself With Style”? And how is the cover artwork connected to the title?

The cover artwork is what you will call artistic freedom. We sent the artist the title track after we found his other works and really liked them. And we basically gave him free hands to use whatever artwork he felt was appropriate to the title of the song. We let that one go and let that one be up to him. That’s just his interpretation of what he hears when he listens to that song. As for the title, to me what it means and represents is this strange idea that we have in human beings – that we have to try and fit in, that we have to try and live up to other people’s expectations in order to be accepted and to be considered cool or successful. I think a lot of us do that too much, and a lot of times it results in losing your self-respect and individuality. You end up living this pretentious life where you are not really happy with yourself at all. To me that is hating yourself with style, because you’re pretending to be happy, pretending to be satisfied with things, and you’re not letting anyone see how bad you really feel. I think we all go though that, I can definitely recognize myself in some of those aspects. We have become pretty good in creating laws for ourselves and using masks, that was my basic idea with the title. I guess this is pretty sad in some way, but it doesn’t always have to be a sad thing, because obviously you play different roles with different people – if you’re with your mother or father you’re one side of whoever you are, and when you’re with your friends, you’re another side of that same person. It doesn’t necessarily have to be a bad thing, but when it starts becoming that you’re pretending to be something you’re not, that’s when you are in a danger zone, and that’s when you start hating yourself with style.

OK, to round up this interview, we would like to ask you about your impressions from playing and visiting Russia. What memories do you have about your first concert in Moscow back in 1998?

Mostly I remember a lot of love, a lot of the people who were very enthusiastic about us being there. I remember stage-diving and coming back without a T-shirt and my silver bracelet. (everybody laughs) I remember a very late after-party and shitloads of vodka! (a new burst of laughter) But that sort of comes with the Russian mentality, the kings of the vodka belt. If you ask for vodka in Russia, you get a fucking bottle and a big drinking glass on the table. If you order vodka here or anywhere else, you will get a small shot. It’s pretty hardcore stuff! But on a more serious note, I would just have to say, it was great meeting a lot of people that had been really hungry and hadn’t been spoiled in a lot of ways. For example, if you live in London, you can go see a band every day of a week, you can go wherever you want. Obviously, there’s sad history of why it is the case, but it’s also a very nice feeling for a band who comes there. You really get emotions back at you when you’re on stage. That’s one of the reasons why it’s the best job in the world – you get to get up on stage and play for people who paid to see you, because they fucking love what you do. Give me another job where you get that chance and that feeling, and maybe I’ll apply for the job. But until one of those job shows up, I’ll fucking stick to this as long as I can. That is an unbeatable feeling, and that feeling was really easy to feel in Moscow or wherever you’re playing in Russia. People always ask, “What do you think about our country?” But one of the worst things about being in a band is that you never have the fucking time to see the places you’re playing. You surely see the Red Square, the biggest tourist attractions, but beyond the club and maybe the after-party, you don’t get to see a lot of the country you’re in. You’re always on the move, so you have to write down things you would like to remember, gather all your favorites together and pick up one of those places when you go on holiday afterwards. But I definitely wanna come back to Russia and do more gigs, it’s always been fucking great for us there, and I hope we can be back there soon. And teach people how to hate themselves with style! (everybody laughs) No, we don’t wanna do that!

We think people over here are already very good at hating themselves with style!

I think people everywhere are very good at it. So we have to do the opposite, we have to come over and teach people how to not hate themselves with style.

Special thanks to Kathy Schutte (Nuclear Blast) for arranging this interview

Roman “Maniac” Patrashov, Natalie “Lynx” Khorina
November 8, 2005
8 янв 2006 the End

Clawfinger

Tell No Tales