Just a Beard

In honour of my brother growing a wee beard-here’s a video that made me smirk recently-

Anti Exhibition

This Tuesday sees the Launch of the new Anti Exhibition which sees various NI luminaries pay tribute to 10 trail-blazers from the last few decades. I wrote a piece on one of the bands but I’ll keep it under wraps until it’s up and running (in fairness though, it doesn’t take a mind reader to guess who I offered my thoughts on).

Here’s the press release below. You should really check it out-

 Anti / 7 Jul 09 10:00 am-31 Jul 09 5:00 pm / Waterfront Hall / Free

Belfast is often portrayed as a city of two opposing cultures, but throughout the recent history many have chosen to align themselves with a third. The often bleak setting young people in Belfast found themselves in meant that many, feeling no affinity with either of the traditional tribes, through themselves enthusiastically into the music scene. And if that scene embodied a rejection of the status quo, a resounding two fingers to the establishment, then all the better.

Anti is about documenting this part of our culture, ensuring that when people look at the cultural history of Belfast they get more than two tribes.

We asked you to send your answers in on a postcard (both literal postcards and digitally, through forums and networking sites) to let us know what iconic people/places/events/times symbolised Belfast’s alternative heritage for you. Everyone was then invited to debate these symbols and we got together to decide 10-12 iconic subjects for this exhibition.

The list of Belfast’s icons was never going to be exhaustive. We felt it was important to acknowledge the multifaceted web of people, places, things and events that went together to help form this alternative culture. This isn’t about nicely mounted pictures in a white-walled gallery either; this installation is designed to present Belfast’s icons in the quotidian, gritty reality in which they existed. We’ve mounted your icons on toilet walls, so that you can look, praise and defame them at your leisure.

Gallows interview

Here’s a reprint of my Gallows cover story for AU.

Gallows

Misery Loves Company

Words by Edwin McFee

As Gallows return to the fray bigger, better and ballsier than ever before, we sit down with frontman Frank Carter to dissect their new album ‘Grey Britain’ and talk bloodshed, bad tempers and being spokesmen for the next generation.

“Great Britain is fucking dead…”  ‘Crucifucks,’ Gallows, ’09.

 “For the past three years we’ve been such a cartoon band in the press,” spits Hertfordshire-based hardcore punk Frank Carter. “Everything they thought we were-we weren’t. Everything they made us out to be was wrong. This time around it’s all about the music. The press have had three years of us getting in fights, spitting and having tattoos and I think the general public is bored with it all now. They know we’ve got tattoos, they know sometimes our shows can get a bit raucous and there is plenty of blood, sweat and tears, but now people want to genuinely hear the music and see if there’s substance behind the style and the fact of the matter is that there is. We’ve always been about playing live and living and dying by our music and now we’ve got a really solid record behind us that we’re all extremely proud of.”

If Frank sounds more than a little fucked off, then he has every right to. You see, ever since his band arrived on the scene a handful of years ago with their debut ‘Orchestra of Wolves’ it seems that the five-pieces’ collection of tattoos and craving for chaos has fired more people’s imaginations than their ballsy brand of sonic smackdowns that former WWE superstar Stone Cold Steven Austin himself would be proud of. But that’s all about to change once their sophomore effort ‘Grey Britain’ hits the shelves.

“This record attacks everyone. It’s anti-authority, anti-religion, anti-government-it’s anti-life really. It’s mainly anti-apathy though. I want to try and break the idea that you can’t make a difference. I’m speaking to the kids of the world and trying to tell them that they can change things if they want to. A lot of the younger generation feel worthless and feel like they can’t make a difference but in actual fact they are the future for all of us.”

It’s quite surreal talking about educating children with a man who’s become notorious for busting himself open (albeit unwittingly) at gigs and who can often find himself strangled by his own hatred, but even the most pig headed right wing bigot would admit that he’s talking sense on tracks like ‘London is the Reason’ and anti binge drinking anthem ‘I Dread the Night.’

“It’s time for a change,” offers Frank, warming to the subject. “Whenever anything falls to its lowest point, that’s when the power is really up for grabs and that’s when it can go back to the people. When you’re put in a situation that is just horrendous, they can take the power back and I think that’s what needs to happen and I’m not talking about a revolution of riots-I’m taking about a revolution of fresh education and to help people dream again and start having aspirations. I want listeners to know they can do something with their lives-whatever you want to do-you can do it. Everyone goes through that bad spell of being a fuckin’ raucous teenager, getting fucked up, going down to the park. When you first find girls or boys it’s fuckin’ exciting, but really, the problem is that parents aren’t teaching their children that it’s ok to go through that but to find yourself while you’re doing it.”

“Take that 13 year old kid who became a dad recently,” he continues. “He needs to realise he’s got nothing to offer that child. He may think he can look after it but he can’t because he can’t even look after himself. At that age you can’t even legally get a job, so how can you expect to look after a family when you can’t even work. Parents now are teaching kids that it’s better to claim the dole and benefits than it is to go out and earn a living and that’s really got to change. We have to try and impress on these kids the value of a hard day’s work. It’s difficult for me because I’m in a position where I’m doing what I love to do. When I’m not in the band I try to tattoo as much as possible but that’s still a very easy job compared to most. I worked hard to get there though. These days, the only time now where I feel like I’ve done a hard day’s work is when I’m out in my garden with my brothers. We built a fence last summer because the old one was haggard and we rebuilt it by hand and we really felt like we did something good and I think we need to instill that sense of pride in one’s work to the next generation. We need to make children contribute to society or else there’s not going to be a society anymore. I just want them to have pride in themselves.”

 

And this renewed sense of pride is a theme that runs through ‘Grey Britain’ like the River Thames. The lyrics may be grim and cover a range of topics like the hypocrisy of religion (‘The Great Forgiver’) and politics (‘Black Eyes’) but there’s an over-whelming feeling of catharsis too. A feeling that if we all turn off Jeremy Kyle for half an hour and do something with our lives, then we can achieve something positive. In short, ‘Grey Britain’ is possibly the greatest punk rock record of our generation.

“This album is pretty much exactly what we wanted,” states the singer. “We’ve always been fighting against ourselves but now we want to offer something to people and prove that there’s more to punk rock other than venom. Like look at children now-they are the next wave of prime ministers and police and priests and teachers and you kinda think-what good do they have to look at in the world. There’s nothing there. That’s going to make for a very bleak outlook. If they don’t have something to live for, what can they then offer their children? Hopefully we can provide the alternative.”

The theme of ‘Grey Britain’ is a pretty simple one. It’s Frank Carter saying “the world is fucked and so am I.” However, with lyrics which bathe in images of Union Jacks, does he worry his songs might be misinterpreted? As a way of explaining the point, AU tells the singer that Iron Maiden’s cover for their single ‘the Trooper’ (a tune based on the Crimea War during the 19 century that features a red coated Eddie on the sleeve holding a Union Jack) was adopted by loyalist paramilitaries in this country. They even went as far a painting Derek Riggs’ image on a wall in the Maze prison, thereby totally missing the point of the song and high-jacking the image for their own purposes. Does he worry that the BNP or, on the flipside, anti-British factions may do something similar?

“You’re completely right-I am worried about that. I was very careful when I came to writing the album because I didn’t want it to be adopted by the wrong crowd of people,” admits the singer. “For example-the lyric ‘Great Britain is fucking dead’ is just a line about how I feel and about how a lot of other people feel. It’s not hard to see that the world is fucked but I don’t want anyone twisting my words. I’m not singing for anyone other than myself and the generation of children that are coming now because everything is in their hands.”

As well as a marked musical change (more on that later) Frank has also made a conscious decision to alter his lyrics too. Gone (well, for the most part) are the crude curse words of ‘Orchestra of Wolves’ and obvious as a high-waisted trouser joke round Simon Cowell’s gaff imagery and in its place is a more restrained, yet still utterly pissed off prose.

“I’ve still got the anger in me, but it’s more refined and focused this time around. Beforehand we were quite a messy band and on the last album I was always behind everyone else. The music was always written and I was usually late with my lyrics, but this time I got to sit down and consider the whole concept and idea behind the record. I got to be offensive and completely attack it. I think the lyrics are slightly more intelligent and ten times angrier than the first one. I’ve toned down a lot of the swearing (even though that’s just how I speak) because when I was writing the songs I just didn’t need it. The hatred and the bile was there without using any fucking swear words. Every word I needed was equally disgusting without cursing and in a way they had more venom to it.”

 

To say that ‘Grey Britain’ is an ambitious record is like saying Vannesa Feltz enjoys the odd snack every now and again. The slab of wax is complex (it features a 33 piece string section) catchy (‘I Dread the Night’ is the best Murder City Devils song the band never wrote) and controversial (Gallows perform acoustically on ‘the Vulture Act I’). But perhaps most surprisingly though, it’s a (gasp) concept record. So will the band be breaking out the capes and keyboards for their up-coming tour?

“Fuck off,” he laughs. “God I hate that word ‘concept album’ but you know what? That’s exactly what we were trying to do with the story and ideas behind it. More importantly we just wanted to make the record we’ve always wanted to make. As kids we grew up reading rock magazines and went to Reading and other festivals and followed groups on tour and we were in our own little band that never got anywhere and then this dream of ours happened and it’s happened so fast. We’ve toured the world so many times off the back of a record that was really a compete mistake. To be given this opportunity and be given the last great record deal of probably the rest of time [author’s note-the band signed to Warners for a reported £1 000 000] we all felt like if we didn’t use it wisely and live up to our full potential by doing every single thing we wanted to do, we would’ve felt like we’d robbed ourselves. We got to work with Garth Richardson and Andy Wallace-just complete rock legends and we even got to work at Abbey Road studios-one of the most important recording studios in the world. We did everything live and everything about this record is real. We wanted to hark back to an era when everything was simpler and just go-let’s fucking do it.”

For all of his bravado, Frank is admittedly shitting himself over ‘the Vulture Act I’ however. When we tell him that we think the song (which sees him actually sing for the first time) works really well, he seems visibly relieved.

“I’m really glad you said you love it because I’m a bit nervous about it. It was a risky decision on my part.  I really wanted to do it but didn’t know if I could pull it off and the boys were like ‘definitely give it a try. If it doesn’t work we’ll let you know.’ They seemed happy with it and I feel like it works. Any other time you could say ‘oh Gallows have recorded an acoustic song’ and people would look at you and think what the fuck are you talking about-you are lying through your teeth, but in the context of this record it really works. I’m so proud of it. I don’t listen to that song and cringe and that’s all I was worried about. I didn’t want that one song to ruin the whole album and it doesn’t. It flows so perfectly and effortlessly and it doesn’t disturb the ebb at all. In my opinion we’ve always been about making brave choices though.”

At the time of our interview, Frank is just back from tearing Texas a new bum-hole at South by South West. With yet more images of the singer’s face covered in a crimson mask circulating on the web, we ask him if he’s the clumsiest man in the world, or just a clever PR guy.

“Yeah…” he laughs, slightly sheepishly. “The thing is with those shows, there’s a lot of press there and it’s really industry only and maybe a few fans, so in that respect, because it’s industry only, we go there and destroy absolutely everything-including ourselves-in an attempt to get those industry people to understand what we’re about. At the same time though, if you go on You Tube and watch us perform I can guarantee you’ll see that same fury no matter where we’re playing. It’s tops off, sweating to fuck and completely trashing everything. We’ve never dulled down what we’ve done.”

And does he worry about his band’s success? Gallows are playing somewhat roomier venues this time around…

“We don’t know how it’ll pan out. The stages will be bigger but we don’t plan on changing any time soon. I won’t let anyone put a barrier between me and the crowd. We’re all as one and you can guarantee I’ll be in the middle of them, leading the charge.”

 

Of course, with a band like Gallows, it has to be a concern that their success will inevitably cause a split in the punk community. In the past bands with similar ideals have strayed away from their roots, but we get the feeling from talking to Frank that his boys will always be ones to believe in.

“People message me on MySpace asking if it’s really me and I’m like-of course it fucking is. Who else would it be? I don’t ever want to get to a stage where we’re kept apart from the fans because the way I see it is there is no real difference between anyone. It doesn’t matter anyway, it’s not like we’re going to be around in 20years time, is it?”

A lot has been made of the band’s longevity in the past. A year or two ago, this writer interviews Lags [Gallows guitarist/songwriter] and even then he confessed he couldn’t see the band surviving the decade, so I was intrigued to hear Frank’s take on the subject.

“I’ll put it like this,” he says. “Will the Ting Tings be around in five years? I don’t fucking think so. Most modern bands don’t last that long and most modern bands don’t play at the same level we do. Other groups usually have some sort of drug to keep them going but my brother [Steph, guitar] and me are sober-so we’ve nothing to rely on which means we’ll probably be fucked in two years time, but I still wouldn’t change a thing.”

After spending time in Frank’s company, I’m rather taken aback by the similarities we both share. Apart from the cosmetic traits [we’re both heavily tattooed and we both love the Murder City Devils more than life itself] we view the world in the same way-work hard, keep your principles intact and don’t give a fuck about the people too stupid to understand.

“There’s a song on ‘Grey Britain’ called ‘the Queensbury Rules’ and on it I’m almost harking back to an era that’s completely lost,” reflects Frank, expanding on the point. “Like back to a time where if men had a problem they would sort it out by a fist fight that was governed by the local towns-people instead of talking shit behind their backs. I think things back then were a lot easier. You didn’t need to worry about biological warfare because it wasn’t fucking invented. They were too busy about worrying about the Plague and putting food on the table and working to support their families.”

As we finish up our talk, we go back to his initial outburst about the media in general misrepresenting him and writing him off as some steak headed tattooed thug. Obviously it annoys him somewhat, but if the recent April Fool’s story about him guest starring in an episode of Eastenders is anything to go by (there’s more chance of a zombie Pete Beale turning up and eating Big Mo’s brains than Frank being Barbara Windsor’s bit on the side I’m afraid) he’s willing to see the funny side.

“Yeah, that was hilarious,” he laughs. “I got so much abuse over that and I think what was worse was that people actually believed it!”

By the time you read this, ‘Grey Britain’ will be on the shelves of record shops around the world. It’s an album that sees the band finally live up to their potential and is up there with the greats. Before e bid the singer goodbye, we ask, does the impending ascension to punk rock royalty concern him?

“Not really. I’m happy with everything we’ve achieved in this band and there’s not a day goes by where I’m not thankful and humble about it,” he says finally. “I feel so proud of this band right now, man. I feel proud and blessed. Well, I don’t believe in a god, but whoever’s blessing me I’m thankful for it.”

Things That Have Amused Me This Week

It seems that for the past month I’ve been slowly working myself into the ground, but a few things have made this week exciting. Firstly, Captain America:Reborn is out in Irish comic shops tomorrow. As some may know I was gutted when Ed Brubaker killed off Steve Rogers and personally I’m glad to see him (hopefully) come back. Yeah, all you kids that are too cool for school might have predicted this two years ago but you know what? I don’t fucking care.

Marvel.com have an 8page online prologue up too featuring Sin, the Red Skull’s daughter. Go look! http://marvel.com/reborn/

This week I’ve also found myself laughing at this photo-

Check out Ghost Rider’s buns of steel! Oh, if you’re stuck for ideas on what to get me for my impending birthday, then you can’t go wrong with these bad mo-fos.

Right…back to the coal-face.

NME Download Review

If you were at Download (or want to know what happened at Download) then check out my review in this week’s NME. Featuring the likes of FNM, Down, Manson, Therapy? and more, it’s out in the shops now so go have a look.

Hot Press NI Special

I’ve been writing for Hot Press for a year and a half now, and while the Hole anorak in me loves the fact that I contribute to the same magazine that Courtney Love once did (well, she claims she did anyway) I’m proud to pimp out as many NI bands as I can. This issue there’s a Northern Ireland 8page special with lots of bands either interviewed/mentioned/recommended etc etc including In Case of Fire and Smalltown America interviews, short pieces on Glasgowbury, Dirty Stevie, Black Bear Saloon, the Beat Poets, Not Squares and tons more. There’s also an 18track cover mounted CD and it’s only 2quid so pick it up now.

Delirium Tremens

Here’s a reprint of a recent interview I did with Delirium Tremens. Great band with Chris Goss-esque vocals.  Enjoy.

Delirium Tremens

Loved by tattoo toting types and lauded by the likes of Radio One’s Huw Stephens, Delirium Tremens are slated to play the third Big Gig this June. A few weeks ago the Big List managed to drag singer/bassist Peter Gilmore away from his Rocky-esque training regime in preparation for the show to talk horror films, scene spirit and inter band love affairs (in a purely platonic way of course) so sit back, relax and enjoy.

 

 First things first, Peter. Tell us how Delirium Tremens first started.

Basically we all went to school together in Rathmore and one day in mid august ‘07 I was in the Parlour drinking strawberry daiquiris and I bumped into Damien [Delirium Tremens’ guitarist] and we got talking because I hadn’t seen him in a while. His housemate Brian, who’s our other guitarist, was also there and we ended up going back to their house. They were in a band at time and already had a singer (they kinda sounded like Bon Jovi) but he ended up leaving and I took the helm as the vocalist. A friend of ours knew Glenn [our drummer] and she said to him we were looking for one (he’s been in lots of bands like Patio Sounds) and he was up for it. We got together in a community youth outreach centre in east Belfast to play about a month after I met Damien and Brian and we spent a lot of time in a dusty garage just going over some of my song ideas. I’ve been in bands since I was 15 and I’ve never been in a group where the personality and the music mesh so well. Usually if the personalities don’t get on very well the music’s really vital and really interesting, but once you finish playing you don’t want anything to do with them, but Delirium Tremens is different because we enjoy hanging out together as well as playing great music. We’re real homos about stuff like that [laughs].  We’ve a good working and friendly vibe. Nothing’s labored and it all fits into place really well.

 

Did you find it hard getting gigs in the early days?

I knew a few people who were willing to take chances on bands they’d never seen before and places like the Pavilion, Auntie Annie’s and Lavery’s were very good to us. The good thing about playing all those shows is that you get to meet a lot of different bands and it’s all about who you know and stuff like that, so we tried to get our own clique going with like-minded people. Our first gig was on December 13 ‘07 and then the next day we recorded ‘Barabas’ and ‘Butterknife.’ We’ve got a bit of attention for ‘Barabas’ and it’s been played on Huw Stephen’s show as well as Rory McConnell’s. We did a session for Rory too in February and it was cool to be in the BBC studios because we’re not really used to doing things like that.

 

We hear the band’s music was going to feature in a horror film last year too.

Yeah, in the summer of ‘08 we went to the Blueroom to record more stuff with Peter [Pratt, producer] and one of those songs (which we don’t play anymore) ‘Remora’ got us attention from the makers of this low budget British horror movie. It was the guy who worked on Hollyoaks and he heard our tune and got in touch asking to use it. So we sent it off and he took it to the money men but it didn’t work out. We got a lot of publicity out of that though.

 

How important do you think it is for bands to play outside of Belfast?

I think it’s really important. Personally speaking, we’ve played so many gigs in Belfast that we decided we had to get out of the city and play somewhere else. So many Belfast bands are like dogs chasing their tails. Look at groups from Portrush however-they tour everywhere and play places like Cork, Galway and Dublin just as much as here and that’s what we intend to do too.

 

What was it like playing the Dublin Tattoo Convention last year?

It was such a great show. We went down on the Friday and basically started drinking straight away. The thing is, I’ve no tattoos whatsoever and neither the majority of the band so we were walking around like freaks [laughs]. Our drummer has got one on his arm so we kept trying to convince him to roll his sleeves up so we didn’t look quite so out of place. We ended up quite drunk beforehand (which is something we rarely ever do when we’re playing a gig) and played a great show. Maybe there’s something about playing in an environment where people are getting tattoos, but it seemed to spur us on. Every time we would stop between songs we’d see people bleeding from getting them done and we just really liked the idea of sound-tracking this kinda stuff. We went ape shit and the energy we had was unreal. The coolest thing about the convention was that we were playing to people from all over the world and we had Americans and Italians coming up to us to tell us they enjoyed our music.

 

Are you excited about playing the Big Gig?

We can’t wait to play it. I think it’s great for the local scene and we’re happy to be a part of it. It should be a really fun night.

 

Finally Peter, what are your aspirations for the band?

We want to get to a stage where we can record everything ourselves, play gigs in as many different places as possible and pretty much be self sufficient. We know we’re still a new band and we’re happy to keep progressing. It’s a good time to be in Delirium Tremens right now.

 Delirium Tremens play the Big Gig in the Spring and Airbrake, Belfast alongside A Plastic Rose and Ablespacer on June 27. Admission is £4 and doors are at 9pm. www.myspace.com/deliriumtremensrock

The Maccabees

Last month I went to see Indie hopefuls the Maccabees for Hot Press. Here’s the review from a few weeks ago

 

The Maccabees at the Spring and Airbrake, Belfast.

Perennial indie underdogs the Maccabees are an exasperating bunch. Shuffling onstage at the punctual time of 10.15pm, the Brighton-based five-piece mumble a few words into the microphone, flop their fringes over their eyes and keep their heads down, chugging out renditions of songs from their last two albums (‘07’s Colour It In and ‘09’s Wall Of Arms for those keeping score). Don’t get us wrong, songs like ‘X Ray’ and ‘Kiss And Resolve’ are note perfect anthems that are well received by the crowd, but there’s no real connection that convinces us they’re ready for the premier league.

But then, five songs in they hit us with the lilting ‘Toothpaste Kisses’ and we finally start to see a crackle of electricity between the performers and their audience. The noisy, spray-on jeans clad clan of Maccabees devotees sing every word and even whistle the “switz-swoo” bit in the middle, much to frontman Orlando Weeks’ amusement. Bless. Despite his inability to say anything audible tonight, he does have a pleasing set of lungs though. On ‘Precious Time’ he sounds every inch the love-struck artisan, lamenting all of life’s wrongs and on the pulsing ‘Lego’ the band throb with some Joy Division inspired goodness.

Rounding off their set with recent single ‘Love You Better,’ the Maccabees appear quite touched by their reception. The song itself sounds huge and hopefully points the way to much bigger things for the band in the future. At 45minutes with no encore, tonight’s gig was a short and sweet experience but then, we wouldn’t want our first date with the Maccabees to be anything less.

 Edwin McFee

Off To Download

Well, after a week of cramming in two weeks work in three days, I’m about to pack my bags to fly over to Donington for Download. Ever since I was wee I’ve had fond memories of Donington. Myself and my brother Martin used to watch my Iron Maiden live at Donington video constantly (”Bruce Dickinson still ain’t tried our bucket yet”) and this year is my third time going. My first visit was in ‘03 for Maiden and the secret Metallica slot where they played to a few thousand, my second was last year where KISS fuckin’ rocked it and I met Valient Himself from Valient Thorr backstage (Pic below. LOVE that band)  and this year, well, who knows what’ll happen.

I’m bringing my laptop over this year as I’m covering the festival for a mag and their deadline is Monday (will tell you more when it goes to print) so if you need me give me a holla. If not, I’ll catch up with everyone when I get back.

Gallows Grey Britain Hot Press Review

Last month I reviewed the new Gallows album for Hot Press. I wasn’t a huge fan of the band’s first record, but I adore the second one. It’s my favourite album of the year so far (hence the 5star review) so here’s a reprint for y’all to enjoy.

Gallows

Grey Britain (Warners)

Five out of five

“And I wanna be/Anyone in the world but me/Trapped in the body of a man defeated/ I am the shape of mistakes repeated” sings Gallows frontman Frank Carter on the biting ‘I Dread The Night.’ It’s a lyric that sums up their sophomore effort Grey Britain perfectly and best of all, the band have now learned how to write a tune so you can sing along with the tattooed tunesmith too (misery loves company, after all). Grey Britain is an extremely brave effort by all accounts. Hell-for all intents and purposes it’s a concept record (the worse two words in any self respecting punk’s vocabulary) and its theme of a dying society flows through all 13 tracks like the River Thames itself.

Largely recorded in Abbey Road studios, Grey Britain stretches the boundaries of the genre and creates something entirely new. Samples of pigs being slaughtered and orchestras under-scoring the still venomous music fits perfectly with Frank’s twisted vision and tracks like ‘Leeches,’ ‘London Is The Reason’ and ‘Death Voices’ pay tribute to their heroes the Misfits and the Murder City Devils while still retaining their own identity. As well as the aforementioned ‘I Dread The Night,’ album highlight has to be ‘The Vulture Act I’ which features Frank actually singing backed only by a battered acoustic guitar. The frontman’s voice sounds naked and raw, yet all the more passionate now that he’s dropped the hardman routine for two minutes.

There isn’t a single note that’s wasted on Grey Britain. It’s hardcore enough for their rabid fanbase, tuneful enough for those who are a little faint of heart and the lyrics would make even the most right wing bigot sit back and admit that Frank has a point. Never mind the bollocks, Grey Britain is the most important punk record in a decade.

 

Key Track: ‘I Dread The Night’

Edwin McFee