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Steel For Brains: An Interview with Dave Clifford

I came to Dave Clifford by way of the instrumental post metal band Red Sparowes.  I then worked my way backwards to the thoroughly indefinable The VSS.  For me, it’s an arc of musical prowess that bears investigation.  Clifford now curates the US/THEM group representing a myriad of bands and still maintains his passion for all things heavy.  I had the opportunity to ask Dave a few questions concerning his own experience as a musician as well as the future for those musicians wanting staying power in a rapidly evolving…or devolving world.

The big thing, from like a really young age, I just really identified with music as sort of like my religion.  We had a piano at home, and my parents made my two older sisters take piano lessons, and they hated it and never played it, so my parents didn’t make me take any music lessons.  I think, just coincidentally, I started to play on that and just fell in love with the whole visceral experience of playing the piano – the emotional feeling and sound of music.  I guess that’s kind of the thing that got me started.  Years later when I was about thirteen, I got a guitar and started playing in bands from that point on – just a whole bunch of silly punk bands and stuff.  It wasn’t until I was twenty-five that I picked up drums.  I’ve just always really kind of liked drums.  They seemed interesting, but it always seemed like something that’d be too hard to learn.  I just tried to play around on them a bit and really got into that.  From that point on, I sort of lost interest in playing guitar.  I still play a little guitar and bass and other stuff like that, but drums are definitely my favorite thing to do. 

  Just looking at your work with The VSS and Red Sparowes, what was the draw, for you, when it came to heavy music?  What was different about what music was and is coming out of that scene?

I think really…and maybe this sounds strange and maybe it doesn’t…but it’s because I was really engrossed with classical music.  When I was growing up, everything that was on the radio was rock music, or what I thought was rock music.  It was terrible 70s music like disco and stuff.  It was kind of like my Crocodile Dundee moment when he turns on the TV, and it’s always I Love Lucy on there, so he thinks that’s all there is.  I thought that rock music and anything associated with it was just what I was hearing on the radio.  So I listened to classical music all the time until I discovered punk rock when I was about eleven.  From that point on, I was really attracted to the intensity and the intelligence of it.  The classical music thing is a big part of what heavy music is, I think.  For The VSS – all of us came from somewhat of a musical training background or having really diverse interests in doing things.  And it wasn’t even necessarily us trying to do something that was heavy, but just different and unusual for the time.  And wanting to have an emotional intensity MC5 kind of power.  We’d just be doing something kind of new.  I just think being drawn to that kind of stuff really does stem out of the intensity of classical music and the impact that it can make. 

  Do you feel like that kind of varied background in influence has played a role in the surge in popularity for the metal genre?  It seems like the genre is finally getting its due from media outlets that have previously all but ignored it.

I think there definitely has been, in the last ten years or so, a real growth of this affinity for more experimental and unusual types of music.  I think some of that probably came out of grunge – not like mainstream grunge but like early Melvins just taking elements from weirder bands like Scratch Acid or The Birthday Party and putting that into a heavier metal type of form.  I think that really started to develop this sound that other people grew up on, and then it became more acceptable, I guess, in heavy music to be experimental and do unusual things.  It’s definitely been a part of it, and then of course labels like Hydra Head and Neurot helped really foster that.  At this point it’s really turned into a genre that continues to evolve and grow and have lots of new and interesting ideas. 

  I think a lot of the exposure to the experimental music is so abundant for listeners today whereas only a few years ago it was still a task to search out new music and find new things.  Everything is immediate now.  The diversity of sound and influence, to me, plays heavily into what we’re hearing from heavier bands now.

I agree.  I think people have so much access to so many more different styles of music, and that’s a really great thing.  Going back to The VSS thing, that was sort of something that we really tried to do at the time was really hammering together the strangest genres and different types of music and try to make something interesting and new.  There’s a few songs that I came up with the original impetus for how we would put them together by thinking of Leonard Cohen songs and how heavy and layered that can sound.  Just the simple repletion of the arpeggiated guitar notes.  You would never hear any element of that in that music, but we were really trying to come from different areas to create stuff.  I think today it’s a whole lot easier – I guess it’s lucky that most of us were involved with music – I worked in a record store and Sonny was a show promoter – everyone had a diverse background, but these days it’s a little more commonplace thing to have easier access to that.  It’s great, though, that we’ll hopefully end up with a lot of new and interesting genres that come out of that. 

  Was the transition of going from the punkish sounds of The VSS to more of the mainline metal of Red Sparowes an easy move for you?

It was pretty organic, I’d say.  There was a pretty large time gap there.  The VSS broke up in ’97, and three of us went on to start a new band called Pleasure Forever.  And that had more of a classical feel.  There was a little more piano.  I guess you could say it was more straightforward rock-sounding.  I don’t imagine too many mainstream listeners would listen to it and think there was anything straightforward about it.  We wrote a lot of lengthy songs that used textures like Red Sparowes used as well.  Having influences like Goblin and unusual soundtrack stuff like that it just felt kind of natural going into Red Sparowes and something like that. 

What do you personally view as the greatest challenge to anyone attempting to make viable art in the 21st century?

Hm.  I guess the greatest challenge is being able to afford it.  The second greatest challenge is getting anyone to hear it.  There’s just so much that is out there.  It is really difficult to stand out.  People have to work a whole lot harder now than they ever did.  Because people have quick access to things now, they think they don’t need to work as hard or put in all the time that is necessary to be able to get anywhere with music.  I still see today, with bands that I work with, you have to record a lot, you have to go out on tour a lot, you have to just do everything full on and expect that people aren’t going to know who you are for quite a while.  Obviously some people have some immediate success every once in a while, but it’s often a fluke or something that’s a novelty that is going to last.  There are many challenges in doing it today, but the good part about it is there’s always going to be kids that want to play music and enjoy it and will sacrifice everything to be able to do that.  That’s basically what you have to do in order to make it anywhere or have anyone care about your band.  And really, if you want anyone to care about your band, you have to care about your band as well. 

When you say it’s more difficult now to be noticed is it because of the oversaturation?

I guess there’s a metaphor for it.  It’s something I’ve been saying for a long time.  Being a musician is not always going to be the most sought after thing that people want to do.  If you look back at the turn of the 20th century when everyone wanted to be a poet, because that was one of the most well respected things you could do, and everyone wanted a piece of that, basically.  Then that just disappeared.  It just went away – that popular desire.  Then film became popular along with other things that had a bigger or more immediate cultural impact and many people stopped caring too much about poetry.  I think that while music is always something that’s going to be significant for people – there’s just so many people doing it that it’s really lost a lot of it’s magic, and it’s put a lot of limitations on it as well.  We’re evolving towards the next thing that’s going to be interesting, and I suppose, as far as anyone who wants to make it rich – maybe stick to venture capitalism or something like that.  That’s kind of the new rock star thing [laughs].  I think going forward that musicians will become something like the poets of yesteryear thanks to that oversaturation. 

  What do you find yourself doing when you’re not working with the various bands, Dave?

I’ve thought about this, and I can’t really turn off what goes on around me.  I’m constantly surrounded by music – all day it’s just a huge part of my life on all fronts.  It’s my hobby and my job all at the same time.  Free time when I’m not working I’m probably listening to records [laughs].  It’s pretty much just about that.   

Thanks to Dave for his time.

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Alarm Magazine Feature Pedal Steel Music Lesson: Greg Burns of Red Sparowes & Marriages

You can download on IPAD for FREE the full Issue of ALARM MAGAZINE HERE

And this August 2012 see Greg & Emma's new band Marriages on Tour with Russian Circles and Chelsea Wolfe     MARRIAGES TOUR DATES HERE

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SPIN Premiere: Marriages' Muscular 'Ride In My Place'

From the threesome's forthcoming debut, 'Kitsune'

If first impressions are everything, Marriages are in great shape. Case in point: "Ride in My Place," the opening gust from the trio's forthcoming debut via Sargent House, Kitsune. All three members also share time in Los Angeleno post-rock collective Red Sparowes, an instrumental outfit that served as a meeting point for musicians stepping away from other projects. But here, singer/guitarist Emma Ruth Rundle steps behind a microphone to add welcome layers of smoke-bombed vocals. The result is a muscular, beautifully marbled slab of mood-rock that sounds less like a side-project's side-project and more like a band about to howl.

DOWNLOAD

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Greg & Emma of Red Sparowes Introduce Marriages - First 2 West Coast Shows

Marriages is a new band from Greg Burns (Red Sparowes) and Emma Ruth Rundle ( Red Sparowes  & The Nocturnes ). They will be playing their first two shows with Russian Circles and Deafheaven on 11/28 in Los Angeles at the Troubadour and on 11/29 in San Diego at The Casbah. We can't wait to hear what they have been cooking up together. So come early, they will be playing first on both shows.

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Red Sparowes live from Eagle Rock Arts Center on June 24, 2011. Many thanks to Tank Top Diaries to view more click HERE

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Red Sparowes Live Webcast from Sweden - July 15th

Tune in to hear a live Webcast from the Red Sparowes show in Hultsfred, Sweden from the Hultsfredsfestivalen on July 15th at 3pm (CET) time on Gimme Indie 

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Live Video from San Diego / European Tour Begins July 12

Red Sparowes performing Giving Birth To Imagined Saviors live from their show at the Casbah in San Diego, CA on June 29, 2011. The band is heading off to Europe for a series of shows and festivals, dates below RED SPAROWES LIVE  07/12 Cologne, Germany @ Gebaude 9 07/13 Hamburg, Germany @ Hafenklang 07/15 Hultsfred, Sweden @ Hultsfredsfestivalen 07/17 Joensuu, Finland @ Ilosaarirock Festival 07/19 Dresden, Germany @ Beatpol ^ 07/20 Vienna, Austria @ Szene Wein ^ 07/21 Budapest, Hungary @ A38 ^ ^ with Mono   

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Red Sparowes live at the Center of the Arts in Eagle Rock, CA on June 24, 2011 photos by: Carlos Gonzalez

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JULY 2nd in Los Angeles Just Added to New Weird America

Red Sparowes just added to the line up of the Second Annual New Weird America Festival presented by TEE PEE Records and L.A. RECORD.  Get Tickets HERE 

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West Coast Shows Announced & European Festivals & Club Dates

     Red Sparowes will be playing shows in L.A. and San Diego in late June before leaving for a run of European festivals and some headline club dates and a few with Mono in July that will include the Hultsfredsfestivalen in Sweden (featuring Morrissey, Primal Scream, Suede, The Prodigy, et al.) and Ilosaarirock Festival in Finland (w/ Aphex Twin, Iced Earth, Melt Banana, et al.) This will be the bands first shows in nearly 8 months, joining them on both dates will be Coliseum and newcomers Aeges (featuring members of Pelican, Shift 16).

RED SPAROWES LIVE: 06/24 Los Angeles, CA @ Eagle Rock Center for the Arts ** 06/29 San Diego, CA @ The Casbah ** 07/12 Cologne, Germany @ Gebaude 9 07/13 Hamburg, Germany @ Hafenklang 07/15 Hultsfred, Sweden @ Hultsfredsfestivalen 07/17 Joensuu, Finland @ Ilosaarirock Festival 07/19 Dresden, Germany @ Beatpol ^ 07/20 Vienna, Austria @ Szene ^ 07/21 Budapest, Hungary @A38 ^ ** with Coliseum, Aeges ^ with Mono  

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Flab Mag: 20 Questions with Drummer Dave Clifford

Dave Clifford, Red Sparowes 

Origins:

When and why did you start playing drums?

I started playing drums in 1995… very, very late in life at the ripe old age of 25. I’d been a guitar player since I was 12-years-old (piano before that), and after getting deeply into music theory, I became really disillusioned with guitar. It quickly began to lose interest to me as anything other than a physical weapon. Many people would comment about how I was always air drumming along to music and I began to become fascinated in the primal force of rhythm after getting behind the drum kit at my band’s practice space. For a while, I snuck in late at night to play along with tapes of old Motown, soul and punk rock. I was hooked immediately.

Luckily for me, Angel Hair, one of my favorite local bands with whom I was good friends, broke up when their drummer announced he was moving away. We all got together that week and talked about starting a new band and I quickly volunteered to play drums, despite not owning my own kit, much less really knowing how to play at all. I bought a cheap drum set and we set about practicing every day for 3-4 hours and dubbing the new band The VSS. From that time on, I practiced and practiced and have developed an incessant love with drumming. Despite being a much better guitarist and bassist than drummer, it’s my favorite instrument and the transformative and transcendent feeling I get from playing drums is impossible for me to let go.

I grew up listening to classical music because the “rock” I’d heard on the radio was utterly uninteresting to me. I discovered punk rock when I was 11, and have spent my whole life trying to create music that embodies the monolithic force of classical music, combined with the primal intensity of punk. Playing drums has always felt like the best instrument on which to attempt to achieve that goal.

What, if anything, transpired to keep you playing all these years?

It’s simply an obsession that feeds itself. It’s both creative and deeply physical. I trained in karate as a kid and have been jogging daily for most of my life, so obviously the endorphin rush of physical release is a big part of my addiction to playing drums. But, while I love running, there’s a very unique feeling of creative expression tied to the physical exertion that becomes heightened when playing live with other musicians. It truly is a sense of being part of one force: with every motion of my arms and legs, there’s the sounds and movements of the others I’m playing with, and we’re creating something greater than just ourselves, something that has meaning for other people. I always aim for every show and every practice to be cathartic.

What was your first kit and how did you pay for it?

My first kit was a cheap used Pearl Export 4-piece. I think I paid $250 for everything, including hardware. I had no idea how to tune the heads and went through Aquarian Hi-Energy triple-ply heads every week before I figured out I was tuning them too low. I’ve never liked high tuned drums, but learned over time how tune them and make them last while being a pretty hard hitter.

Spec out the kit(s) you are currently playing on – if there is significance to the set-up, in terms of sound or the genre of music you are currently making, please note it as well.

I’m still playing on the second drum set I ever bought, in 1997 just before The VSS launched our first full-length album and toured for much of the year. It’s a Tama Granstar, which was made for a short period in the 80s in primarily mega-monster configurations for drummers who required approximately 2000 toms, all of equal concrete cinderblock weight. My kit is a simple 24″x16″ kick, 13″ rack, 16″ and 18″ floor tom set up. They’re very thick 3-ply birch with a distinctive “thunk” sound and very little versatility. But, they sound good for loud, heavy music. I use coated Emperor heads and Evans Genera HD Dry snare heads. I use Paiste cymbals: currently 22″ Dark Metal Ride, 20″ Signature Full Ride and 20″ Signature Crash Ride.

The significance to the set-up is basically that I’ve always attempted to find some sort of meeting point between the massive bombastic sound of the classical music I grew up listening to and the forceful rhythms of Motown, Phil Spector and The Stooges.

Myths:

What are your thoughts (philosophies or opinions) on the “natural ability” vs. “practiced player” discourse surrounding percussion?

That’s an extremely complicated notion. It is the defining characteristic of all artistic expression in general just as much as it is part of one musician versus another. We all serve a role in a collective and what matters most is how the personalities combine, really. Anyone can play drums, but it’s a matter of how much feel they bring to it as well as knowing the fundamentals of music. To really excel at drumming, you should be about 60/40 in the natural ability/practiced player equation.

I’ve heard many stories from musicians who have said they were “spiritually called” to play their instrument. Playing along with this idea, do you believe you were called to play drums? If so, was this something that happened early in your career or later?

No, I was physically called. As in, we needed a drummer and I loved hitting things. People told me from the beginning that I had a very natural ability to play, though it took me a long time to learn to play things correctly because I never took lessons or studied the basics of drums. I’ve always been technically challenged, I believe, because I am left-handed and learned to play drums on a right-handed kit. I have always considered music to be my religion. So, in that way I am spiritually called to play music, because it means everything to me.

Can someone who didn’t have the hand of god reach down and move them to play drums develop the skills of Tony Williams or Neil Peart? Or did these players posses something innate (pre-ordained by some god) that cannot be learned?

I love all music with audacity. It’s not important whether the artist has impeccable skill or is making the most lovable lunkheaded attempt at their instrument. It’s the audacity of those who create something that many people would consider foolish or cheesy or whatever. And, typically all legendary drummers have had the nerve and skill to play with such flair and panache that others envied their playing. But, I think it all comes down to anyone who can convey the essence of their personality in their playing. That cannot be learned.

What makes a player a “legend” or “great”?

A style and sound that is immediately recognizable when you hear it. Some drummers whose sound I always recognize include: Bill Stevenson, John Bonham, Dave Grohl, Jim Kimball, Ronnie Tutt, et al.

Can a woman ever be as great a player as a man? Name one female player who is, or isn’t, destined for greatness (Please don’t say Meg White!).

Certainly. There are many great female drummers. It’s just that oftentimes their approach is different. A former girlfriend of mine who played guitar and sang in a band with a girl drummer once put it in perspective well when we were discussing why most women are great dancers, but many are poor drummers. She said it’s because women are too intent upon being graceful. Men are mostly flailing, stomping beasts without a wisp of grace, but oftentimes, their freneticism passes as “drumming”. But really the best drummers — both male and female — have that natural grace while investing their very being in every beat they play. Clearly John Bonham had the same grace to his playing as any great ballerina, and put the same physical intensity and graceful form into each beat as any great dancer puts in to their physical expression.

I was recently at a dinner party seated next to two fantastic drummers, Gina Schock and Patty Schemel which reminded me just how much bullshit that women drummers have had to endure and how little appreciation the two of them have received for their talents. Gina and Patty, Cindy Blackman, Lindsey Elias and many others have continually proven that skill and ability transcend gender.

What kind of drummer do you aspire to be?

One that finds a unique way to approach a song while still making sense in the primal notion of rhythm. White people are too into celebrating themselves by trying to stand out in the music as a virtuoso rather than creating that rat king of rhythm that is rock’n'roll.

Pragmatism:

How often do you practice? If you don’t, why?  If you do, what aspects of drumming do you practice the most often?

I rarely have enough time to practice on my own, as much as I know that I should. Between work and playing in two bands, most of my practice time comes from playing in a band. The value of warming up with rudiments, and practicing them on your own, is immense. I try to be disciplined, but circumstances often interfere.

Do you rent rehearsal space or are you the neighborly nuisance?

I have a rehearsal space shared by two bands in which I play drums. I did have a home basement practice space for a few years living in Portland, OR which was great for practicing on my own every day. I wish I could have that again… without having to live in Portland ever again.

Even at this stage in your career, do you occasionally take lessons with a professional instructor? If you are an instructor yourself – describe your teaching style.

I really should, but despite forcing myself to learn the fundamentals of drumming over the years and practicing warm-ups, I worry about being told the right and wrong way to approach an instrument ruining it for me. This is a contradiction, of course, because I love a very carefully and intelligently constructed melody, but I think rhythm should often be the barbarians pounding at the gates… and I think I know enough about how to do that without instruction.

Have you had, or currently have, any physical difficulties from playing and what have you done to alleviate them?

More and more over time. My hearing has probably suffered the most because I never wore ear plugs for 14 years of playing drums at practice 5 days a week and throughout hundreds of shows. Otherwise, mostly just getting older and not feeling quite as spry as I had been a few years ago. My grandfather rode his bike between 20-30 miles every day, despite being hit by cars and hospitalized with several broken bones many times, he kept on doing what he enjoyed. An active body works its hardest at keeping it alive. I intend to keep on playing as long as my body allows me to, and as long as technology allows me to replace those body parts that no longer cooperate.

Given the instrument is physically taxing do you have a health regimen you employ to maintain stamina and strength?

Yes. While I’ve never been a jock and never played team sports, I realize now that I’ve always been involved in physical activities like karate, running, biking, drumming, etc. I’ve had a regimen of running for 30 minutes combined with biking for at least 15 minutes every day for the past 26+ years. I’ve never been a smoker and I try to take care of myself, though I definitely drink too much.

Whimsy:

What was the first instance in which you managed to play a song in its entirety without missing a note? What song was it?

Hmmm… on drums, I don’t recall. On guitar is was Butthole Surfers. When I was 14, I’d figured out how to play one of their songs and was so excited I ran downstairs and declared to my parents, “I figured out how to play Butthole Surfers!” I’m not so sure it was a proud moment for them. On drums, I had more of a crash course, so it was overall just a pleasure to be able to play through any song all the way without making a mistake.

Was there ever an instance onstage you knew you were going to be sick or were feeling extremely fatigued? What did you do about it? Did you leave the stage or keep playing?

Yes. When The VSS was on tour in January 1997, I’d come down with a high fever and was feeling really, really sick earlier before the show. We’d driven overnight from Omaha, NE after our van broke down in a huge snowstorm, forcing us to buy an old car for $500. We left our roadie behind until the van was repaired because we had to fly out of NYC the day after the show in Philadelphia. We played on borrowed equipment, which was an added challenge and throughout the set I was reeling and having incredible fever-induced hallucinations. During one of the last songs that had an extended pounding trance-like ending (“Nervous Circuits”), I felt like I was having an out-of-body experience. As I was hitting the drums I felt myself drifting out through the crowd. It was really pretty incredible. I’ve hoped to have that same experience again over the years, hopefully without being that sick.

Is it true drummers have superiority complexes specifically derived from being in much better shape than most people, especially fellow band members?

No, I’ve never encountered this at all. But, then again, I’ve never played in bands like Red Hot Chili Peppers, Rollins Band or Kraftwerk. So, it’s never been an issue. Typically, people assume that the drummer in a band photo is the most buff person, but typically, drummers are very spry and thin — it’s all about flexibility. It’s in the wrist, not the bicep. Lead singers are the ones who need to flex muscles.

How often do you glance in the mirror and say, “Damn I have great __________!”

Sense of irony! (All the time).

After all these years: How’s your hearing?

What? My hearing is destroyed. I used to have really, really great hearing. Now, I am haunted by a phantom hi-hat in my left ear that follows me everywhere, especially when people are talking to me. Wear your earplugs, people. I feel like that woman in the anti-smoking commercial who inhales her cigarette through her tracheotomy tube. I knew it was bad for me to not wear earplugs, but drumming for me has always been about throwing caution to the wind and playing every song, every show as if it were your last moment alive. Perhaps that is the essence of playing drums — running everything at full throttle, with a sense of artful purpose, body be damned. Photo: Samantha Franklin 

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Sight Interviews Red Sparowes Part I

Photos: Alicja Kwiatkowska Camera: Tomasz Pulsakowski Visual effects: Jerzy Chaba & Tomasz Pulsakowski Music: Red Sparowes Sound: Eshabe Editing: Tomasz Pulsakowski Questions: Krzysztof Bienkiewicz

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"Big Burns"

Wanted to give a huge thanks to Todd Corbett who designed this custom Cab for Greg named the "Big Burns"  Check out some more of his great work at his site

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Red Sparowes live from Italy on October 25, 2010 photos by: Andrea Celeste Lamedica

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Part 2 of 2 Photos of Red Sparowes in Paris at La  Maroquinerie - 16th October 2010 courtesy of DJIL

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Part 1 of 2 Photos of Red Sparowes in Paris at La  Maroquinerie - 16th October 2010 courtesy of DJIL

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EU/UK Headline Tour Dates

Red Sparowes are heading overseas for a EU/UK tour in support of their third full-length album, The Fear Is Excruciating, But Therein Lies The Answer which was released via Sargent House earlier this year and on Conspiracy Records in Europe. 

RED SPAROWES EU/UK 09/27   Warsaw, PL @ Hydrozagadka 09/28   Gydnia,PL @Uchio 09/29   Poznan, PL @ Pod Minoga 09/30   Berlin, DE @ Berghain 10/02   Malmö, SE @Babel 10/04   Stockholm, SE @Debaser Slussen 10/05   Oslo, NO @ John Dee 10/06   Goteburg, SE @ Pusterviksbaren 10/07   Hamburg, DE @ Hafenklang 10/08   Holland, NL @ W2 Den Bosch 10/09   Antwerp, BE @ Trix 10/10   London, UK @ Scala 10/11   Birmingham, UK @ Hare and Hounds 10/12   Dublin, IE @ Crawdaddy 10/13   Leeds, UK @ Brudenell Social Club 10/14   Glasgow, UK @ Stereo 10/16   Paris, FR @ La Maroquinerie 10/17   Bordeaux, FR @ L’Heretic 10/18   Nantes, FR @ L’Olympic 10/20   Madrid, ES @ Ritmo y Compas 10/21   Barcelona, ES @ La (2) de Apolo 10/22   Lyon, FR @ Grrrnd Zero 10/23   Bulle, CH @ Ebullition 10/24   Milano, IT @ Bloom Mezzago 10/25   Roma, IT @ Traffic Live 10/26   Bologna, IT @ Locomotiv 10/27   Ljubljana, SI @ Menza Pri Koritu % 10/28   Vienna, AT @ Szene 10/29   Muchen, DE @ Felerwerk 10/30   Innsbruck, AT @ PMK 10/31   Karlsruhe, DE @ Jubez 11/01   Praha, CZ @ Matrix Club 11/03   Thessaloniki, GR @ Eightball Club 11/04   Athens, GR @ Gagarin 

% with No Age, Abe Vigoda