On The Road… with Puscifer


Puscifer, by Melina D Photography

Puscifer, by Melina D Photography

It has been quite a year for Puscifer and their leader, Maynard James Keenan. Although he gets the most ink for his association with Tool, it is with Puscifer that Keenan seems to be more in tune with these days. It’s not a surprise that their recent Money Shot (Puscifer Entertainment) is a stellar album, but the level of comfort Keenan and his collaborators share in writing and performing is noticeable. It’s easy to get sidetracked by the theater of it all in person, but the staging and costumes are a guise to draw you in closer. It doesn’t hurt that his band features some amazing talent with mainstays  Mat Mitchell, Carina Round and Jeff Friedl; now joined by Mahsa Zargaran and Paul Barker (Ministry) who all play flawlessly together. Keenan per usual is hiding out, preferring to be heard and rarely seen in the middle of a traditional wrestling ring. In one of the most unconventional settings for a concert ever, one of musics’ great frontmen makes his home. Making extra use of the ring was high-flying opening act Luchafer. Captured on the last night of the tour in Prescott, AZ by Melina D Photography, we learned that Puscifer doesn’t need a submission hold or a finishing move to get their message across. 

 

Luchafer, by Melina D Photography

Luchafer, by Melina D Photography

 

Luchafer, by Melina D Photography

Luchafer, by Melina D Photography

 

Puscifer, by Melina D Photography

Puscifer, by Melina D Photography

 

Puscifer, by Melina D Photography

Puscifer, by Melina D Photography

 

Puscifer, by Melina D Photography

Puscifer, by Melina D Photography

 

Puscifer, by Melina D Photography

Puscifer, by Melina D Photography

 

Puscifer, by Melina D Photography

Puscifer, by Melina D Photography

 

 

Puscifer, by Melina D Photography

Puscifer, by Melina D Photography

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Twitching Tongues – Harm’s Way – Homewrecker: Live At The Middle East Nite Club


harmsway

The Middle East Night Club in Cambridge, MA continues to be a venue that holds some of my most memorable shows. November 27th would be another show I would not soon forget either but I am still undecided if it is a good memory or a bad one. On one hand, I was seeing Twitching Tongues, Harm’s Way, Homewrecker, and Malice at the Palace all for the first time. On the other hand, ignorant Merrimack Valley Hardcore kids who treat a show like a turf war.

As much as I enjoy having a free-rein on how I write for Ghost Cult, I do not abuse it. However, I need to get something off of my chest about the local opener, Threshold. First and foremost, on a musical stand point, they have that very typical hardcore sound that really does not blow anybody away, but at least they do an alright job with it. I clapped at the end of their set and almost walked up to the lead singer to shake his hand. He looked a little angry about something, I was assuming stress of being the opener and having to pack up the gear quickly. Little did I know, him and his cohort of thug friends were in the process of jumping one of my friends over pit drama. Yes, fucking pit drama. My friend got his lip split open and another friend of mine jumped in just to separate the four white trash scumbags from delivering anymore cheap shots. If you are reading this and book shows or are an owner of a venue in the New England area, do not book Threshold from the Merrimack Valley area in MA. They do not attract a crowd nor do they keep a crowd in-house because they would rather jump them after a set. If you want to fight, fight like a man, not a stereotypical brocore pussy. You are a disgrace.

Moving on. Fuming Mouth was up next which has become one of my favorites from the Boston scene. They have that nice balance between crust, hardcore, and metal that attracts everybody to the show. If you get a chance to see these guys crank out a quick 20 minute set, get to the venue early to catch them!

Malice at the Palace was up next on this night. As I only dabble in the world of hardcore, I was not aware of what this band was like. After a few songs it became apparent to me that these guys had a strong Slayer influence (nothing wrong with that!) and still kept the hardcore soul in their sound via the vocalist. I certainly will be keeping my eyes open for the next time this group comes around.

Up next was Homewrecker to which I kicked myself pretty hard learning I missed them at Maryland Deathfest this year. The Ohio natives were one of the outliers in the lineup as they are a powerviolence band who cater to fans of crust punk, grindcore, and me. Watching the hardcore kids stand around during chaotic passages of songs, looking confused easily made my night. Don’t be an idiot like I was at MDF this year, catch Homewrecker the next time they are in your area.

Harm's Way

Harm’s Way

One of my favorite found gems of this year, Harm’s Way, hit the stage next. To be completely transparent, this band was the whole reason I even wanted to come out to this show. Oh and of course the macho man fights continued during their set. Two fights broke out, the first actually cutting ‘Law of the Land’ short. The Cambridge crowd got a nice mix of newer tracks from Rust like ‘Amongst the Rust’ and ‘Cancerous Ways’. Some other tracks included opener, ‘Scrambled’ as well as one of my favorites, ‘Mind Control’. I will certainly be getting to more Harm’s Way shows in an effort to see more of them as eight songs was simply not enough for me.

twitchingtonguesdisharmony

Finally, Twitching Tongues made their way to the stage to close out the night. This was my first time ever listening to the headliners and I was not ready for the clean vocals. I guess it was just a complete polar opposite as to what I had been listening to all evening and as to what I was expecting. The lead singer kept the crowd engaged as everyone crowded the front through the entire set shouting lyrics back into the microphone. That, to me, makes you a successful live band and I gladly tip my hat to Twitching Tongues.

WORDS BY TIM LEDIN

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Thurisaz – The Infernal Sea – Edenfall – Scryre: Retro Bar, Manchester (UK)


Thurisaz

Opening up proceedings were newcomers Scryre. Playing only their fifth ever gig, there was an element of hesitancy in their stage movements and crowd interactions which can only have been further hindered by the tiny stage, however this was overshadowed by an impressively tight and confident musical performance.

Scryre (6)

Scryre – Retro Bar, Manchester, 2015. Photo Credit: Rich Price

The drums in particular were a percussive powerhouse and worked very well with the solid bass work. This, combined with some very nice riffs and spirited and typically shrill Black Metal vocals, helped create an enthusiastic atmosphere in the venue. There was some nice variation in their sound which kept the crowd going throughout a set that built up to one hell of a finish.

From their belting set two things are clear: Firstly, with more gigs under the belts these are definitely going to be a band to watch out for; secondly that the next band have a tough act to follow.

Edenfall (9)

Edenfall – Retro Bar, Manchester 2015. Photo Credit: Rich Price

Edenfall have a serious demeanour and a soft vocal style. They bring a nice low end, and deliver their gothic doom at a good pace, with their music possessing an ethereal yet ephemeral quality. Nice bass underpins the songs, soaring vocals interspersed with low guttural vocals give a real depth to the set. The overall feeling is the constant build up to of one hell of a storm.

They can certainly build a song nicely indeed, but with each one they create momentum only to tear it down again. Soaring vocals, elements of the majestic and magical about them, yet at the same time seem to lack the confidence to fulfil their obvious potential.

Edenfall (6)

Edenfall. Photo Credit: Rich Price

Building to a fast and heavy finish they do deliver a strong set, the build ups are nice and they pack some decent low end doom chug. Ultimately, though, it was missing something. Whether this was down to a lack of confidence and crowd interactions; or simply technical issues – on a few occasions they seemed to go out of sync with backing tracks – is unclear, but it did seem to stop them fulfilling the promise they show on record.

The Infernal Sea (21)

The Infernal Sea, Photo Credit: Rich Price

Capitalising fully on the build up from Edenfall, The Infernal Sea took to the stage doused in dark and doom green light and delivered the promised storm. Clad in plague masks, and filling the room with guttural gurgling vocals, simple but abrasive guitars, buzzsaw rattling bass and blasting beats, it was obvious that if anything they had an overabundance of stage presence. This was a great set, and a very confident performance. Fast and tight, even the slower elements were atmospheric and well done.

The Infernal Sea possess a thunderous sound that reverberated around the tiny club. Their new album, The Great Mortality (Cacophonous) is due early in 2016 and they showcased some tracks from it, which showed enormous promise, especially in the bass work – real low end rattling groove – which was potent and relentless in execution.

The Infernal Sea (7)

The Infernal Sea, by Rich Price

Towards the end, they seemed in some danger of seeming a bit samey. As if intended all along they then proceeded to pull out some thrash riffs, and disappeared behind a John Carpenter like wall of dry ice, though from a visual perspective a change of lighting wouldn’t go amiss, especially with the tumultuous sound. Savage and haunting this was a storm to be proud of, and the huge applause at the end suggests this view was widely shared as The Infernal Sea delivered the best performance of the night.

Thurisaz (8)

Thurisaz – Retro Bar, Manchester 2015. Photo Credit: Rich Price

Thurisaz were, initially, very atmospheric, measured and more meticulous than their main support and it felt like the calm after the storm.  They soon picked up the pace, though, and built up into a solid, strong, and powerful performance. Strong choruses, good harmonies, and old school metal solos were delivered, but the headliners were playing to a notably dwindling crowd.

When they blast, they showcase a decent, full sound, taking their time with a confident performance and Thurisaz are musically very tight, displaying some masterful elements to their songs, mixing up  with old school rock references, and definite hints of Iron Maiden in the mix. While bringing the thunder, a lack of stage activity is a big drawback, though their hard metal was delivered with an air of craftsmen.

 

WORDS AND PHOTOS BY RICH PRICE

 

 


An Evening with John Garcia: Camden Underworld, London


1garciatour

Two acts, two guitars, no drum kits and three leather sofas. This might well be the most sedate gig London’s Camden Underworld has ever seen. Former Kyuss frontman John Garcia is back in the capital, but this time on a short unplugged tour billed as “An Evening With”. So instead of a full band we have leather sofas and War Drum’s Ehren Groban playing acoustic.

Despite the name suggesting otherwise, Bellhound Choir is a one guitar project from Denmark. The perfect kind of jam for a hot sunny beach around a campfire, and a fitting warm up for the night with Christian Hede Madsen’s smooth baritone and sparse guitar create a mellow combo of dark country and blues.

Where some metal musicians – for example Zakk Wylde – are known for their acoustic leanings, this is new territory for Garcia. Going unplugged allows the former Slo Burn/Hermano/Unida/Vista Chino frontman to show off a more sensitive side to his vocals in a way that’s only occasionally been hinted at on record. He’s always had a quality voice and a back catalogue filled with stoner classics and the stripped back sound allows Garcia to take centre stage from the comfort of his leather recliner and shine.

We get a few cuts from the new self-titled Garcia album; tracks like ‘The Bld’ and ‘Her Bullets Energy’ work well as mellow campfire numbers, but  much like on record it’s the jumping riffs of the Danko Jones-penned ‘5,000 Miles’ that stand out as one of the best. The original numbers penned for this tour and potentially new album are a more straight ahead mellow acoustic numbers, but ‘Phototropic’ shows off Groban’s skill with an acoustic guitar; employing a series of loops to really build the layers of the song into something special, while his solo spot shows off some real Spanish classical flair.

Unsurprisingly it’s the Kyuss numbers that get the biggest cheers of the night, culminating in a one-two of ‘Green Machine’ and ‘Space Cadet’. Still sounding fresh even after 20 years, the old classics translate well to acoustic. Garcia still has a great set of pipes on him, but despite being a good show, the trouble with finishing on such a high note, however, is that it brings up that eternal question: when the hell are we going to get a proper Kyuss reunion?

 

WORDS BY DAN SWINHOE


Fozzy – Nonpoint: Soundcontrol, Manchester (UK)


fozzytour

Despite a typical rainy evening in Manchester, the rock and roll spirit of tonight’s crowd cannot be dampened as a night of rousing heavy metal is to follow. Tonight’s headliners Fozzy have continually brought their high energy show to England, acquiring a credible reputation for their unforgettable performances.  Still reveling in the success of their 2014 opus Do You Wanna Start A War (Century Media) they are back and ready to ignite the ardent crowd that awaits them.

Sumo Cyco GC (5)

Sumo Cyco. by Rich Price

Sumo Cyco, Canadian rocking punkers, kicked things off to a reasonable response, before Nonpoint take to the stage and despite my unfamiliarity with their material, they leave a lasting impression. Their upbeat, passionate delivery makes them an ideal support, front man Elias Soriano in particular shines with strong vocals and enthralling stage presence. A cover of Phil Collins ‘In The Air Tonight’ is unexpected but oddly works and provokes a big reaction from the crowd. Track ‘Bullet With A Name’ emerges as a fan favorite, bursting with nu-metal nostalgia, it’s undeniably catchy.

nonpoint GC (1)

Nonpoint, photo by Rich Price

Much to the crowds delight, Fozzy burst on stage with vigor, kicking straight into ‘Do You Wanna Start A War’. Frontman Chris Jericho lights up the room (literally) with his signature glowing jacket. Energy is instilled from the get go, as Jericho electrifies the crowd with his dazzling stage presence, executed with ease and confidence. What is so commendable about Fozzy, is the passion in their performance, despite playing a small-ish venue in Manchester they bring their all as if they’re performing at Wembley Arena.  The crowd is grateful, demonstrated by the chants of “Fozzy Fozzy Fozzy” between every song. Popular hits such as ‘God Pounds His Nails’ and ‘Enemy’ go down inevitably well, but it’s the sleazy anthem ‘She’s My Addiction’ that I personally favor. Clearly the night of bizarre cover versions as Fozzy put their own spin on ABBA’s ‘S.O.S’.

Concluding proceedings with M. Shadows from Avenged Sevenfold collaboration ‘Sandpaper’ and Krokus cover ‘Eat The Rich’, the crowd look disappointed that tonight’s festivities have come to a close. Aside from Chris Jericho’s individual prominence as a wrestler, Fozzy as a band once again prove why their live performances are immensely popular.

 

WORDS BY HEATHER BLEWETT

PHOTOS BY RICH PRICE

 


On The Road… with Scott Kelly and Bruce Lamont


Scott Kelly and Bruce Lamont, by Hillarie Jason

Scott Kelly and Bruce Lamont, by Hillarie Jason

Two of the leading lights of underground metal, Scott Kelly and Bruce Lamont have teamed up for a tour where they two continue to mine the fertile ground they have laid together in their band Corrections House, their solo material in several guises, and their work in crucial bands such as Neurosis and Yakuza respectively. Performing both separately and together, these collaborators meld their minds and muses together to make some truly challenging and rewarding songs. On this night they played selections from their own albums, a Corrections House song and a cover (‘Cortez the Killer’ by Neil Young. Joined by openers Jim Healy and Keith Bennett (Panzerbastard), the night of music was anything but mellow, despite the acoustic guitars. Hillarie Jason captured the action at The Middle East Nite Club for Ghost Cult.

Keith Bennett

Keith Bennett, by Hillarie Jason

Jim Healy, by Hillarie Jason

Jim Healy, by Hillarie Jason

 

Scott Kelly and Bruce Lamont, by Hillarie Jason

Scott Kelly and Bruce Lamont, by Hillarie Jason

 

Bruce Lamont, by Hillarie Jason

Bruce Lamont, by Hillarie Jason

 

Scott Kelly, by Hillarie Jason

Scott Kelly, by Hillarie Jason

Scott Kelly, by Hillarie Jason

Scott Kelly, by Hillarie Jason

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On The Road.. With Enslaved


enslaved-grand-magus-tour

It has been a banner year in the career of Norwegian band Enslaved. Firstly they released a brilliant new album In Times, (Nuclear Blast), sure to be on many Album of The Year lists. This was followed up by a 2015 full of touring relentlessly. Tours of Europe and USA have been fruitful, seeing the progressive metal band tour with the diverse likes of YOB and Between The Buried And Me, show not just the power of the band, but the versatility. Major concert events for the band include a turn at Roadburn festival, curating part of the fest and performing the original piece Skuggsjá in collaboration with Wardruna. They also appeared at many other big summer fests such as Bloodstock Open Air. Captured here earlier this fall in London by Jessica Lotti Photography, the band encapsulates their entire career arc in every show. While their opening sets have been drawing on their more recent work, they always honor their past. It will surely be an exciting 2016 for this very special band of artists.

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

 

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

 

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

 

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

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BY JESSICA LOTTI PHOTOGRAPHY

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Heart Of A Coward – Carcer City – Red Enemy: Live at The Fighting Cocks, Kingston (UK)


HOAC-tour-poster

“Welcome home” is the opening lyric of for Heart Of A Coward‘s monstrous new album (my pick for Album of the Year, by the way), Deliverance (Century Media). And it’s properly apt for tonight’s gig at The Fighting Cocks in Kingston. Seeing bands of tonight’s calibre in a space smaller than many toilets redefines the concept of an intimate gig. The close quarters with the bands coupled with virtually flawless sound have made this place my new favourite venue.

Starting tonight’s proceedings are a hardcore crew from Dublin by the name of Red Enemy, and very nice they are too. Space limitations in the open cupboard that passes for a stage exiled vocalist Kevin “Lefty” Letford to the pit, a state of affairs that can intimidate some frontmen, but this fellow was more than up to the task, spitting his venom directly into the faces of an eager crowd. Classic hardcore.

Next up was (for me) the surprise of the evening, a group of Scouse djentlemen going by the name of Carcer City. With a rare mix of endearing humility and huge sackfuls of charisma, these chaps delivered a headline-worthy set of precise, atmospheric and above all meaty djent metalcore played with delightful abandon. Comfortably one of the best support acts I’ve ever seen, these guys are ideal tour buddies for HOAC, being similar enough to sell to the same crowd, yet different enough to stand alongside rather than in the shadow. Their 2011 album – The Road Diaries – is available on their website for free. Get it, love it and buy merch.

Changeover consolidated the sense of intimacy, with band members threading back and forth through the crowd (backstage is effectively outside, and no space for a crew of roadies) that let them get about it, rather than hassling for selfies. This didn’t feel like a roomful of punters watching transcendent idols – it had the community spirit of a tight group of local bands playing in a room full of their mates.

All comparisons with “local bands” are off, however, once HOAC take the stage. Opening with a pitch-perfect rendition of ‘Hollow’, the headliners delivered a world-class performance that equals anything I’ve seen from the likes of Lamb of GodDevildriverMachine Head or Killswitch et al.

Jamie Graham‘s vocals are absolutely (almost Randy Blythe levels of) brutal live. His growls are throatier than on record, losing no power through the course of the hour-long set, whilst his clean and semi-clean notes were on the money and lost none of their expression and impact. The frankly astonishing PA preserved more sound clarity of Carl & Steve‘s guitars than is decent, whilst Vishal‘s bass sound must’ve been felt in Surbiton. By rights, Chris‘ drums should have sounded like biscuit tins with the kit being in what’s effectively a sound box, but it seems The Fighting Cocks sourced their PA in Daigon Alley, as there was no sound engineering going on this evening – this was pure sonic sorcery.

A titanic Deliverance-heavy set (‘Turmoil’ I & II, ‘Anti-Life’, ‘Mouth of Madness’ and ‘Skeletal I’ all made an appearance) left an ecstatic crowd stunned, sweaty and in no doubt they’d seen one of the best gigs of their lives. It certainly was one of mine.

Go and see all three of these bands as soon and as often as possible.

 

WORDS BY PHILIP PAGE

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Periphery – Veil of Maya – Good Tiger: Koko, London


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Whether you agree with the idea of Djent being a genre or not, it’s a difficult thing to pull off live, and very impressive when it happens. The hyper-technical layers of sound are beyond the reach of most in-house PAs, if not engineers.

Good Tiger, by Jessica Lotti Photography

Good Tiger, by Jessica Lotti Photography

Sadly, the first band of the evening can’t fully play that card in defence of this evening’s performance. Whilst definitely suffering from a bad case of Support Sound Syndrome, Good Tiger’s thin, reedy vocals and a collectively lacklustre performance failed to reflect the credentials of this “supergroup”. That said, ‘Snake Oil’ (their debut single) as the set closer got a decent reaction and even a singalong from a static crowd that was clearly hungry for the main course.

Veil of Maya, by Jessica Lotti Photography

Veil of Maya, by Jessica Lotti Photography

Chicago’s Veil of Maya were up next, their heavier and bassier sound clearly more compatible with the house rig and a slightly warmer (and tighter) performance was rewarded with a slightly warmer reception in the form of a brief circle pit for ‘Mikasa’. By the end of the set, the assembled Peripherals were suitably warm and even the obvious naysayers were clearly on board.

Good Tiger, by Jessica Lotti Photography, by Jessica Lotti Photography

Periphery, by Jessica Lotti Photography

Come 10 o’clock, Periphery finally took the stage to the opening strains of ‘Muramasa’ and proceeded to deliver a masterclass in How To Play Djent Live, Bitches. Clearly the secret is in the percussive advantage of having every goddamn person on the ground floor moshing in perfect time. Gotta hand it the the Periphery crowd – they got rhythm!

Good Tiger, by Jessica Lotti Photography, by Jessica Lotti Photography

Periphery, by Jessica Lotti Photography

Spencer delivered a supremely confident performance, handling the crowd with ease, allowing plenty of space for (surprisingly tuneful) singalongs and showboating. The ballroom dancing during ’22 Faces’ was a surprise to even this seasoned gig veteran! There was also some Slipknot-style “get down” action, circle pits, a wall of death that didn’t happen and even a spot of row-your-boat from one the most up-for-it crowds I’ve had the pleasure to share a gig with. It’s always a special experience when both crowd and band are clearly happy to be there and genuinely enjoying each other’s company.

Periphery, by Jessica Lotti Photography

Periphery, by Jessica Lotti Photography

Last time I saw Periphery was at Sonisphere in 2011, where they “just” came on stage and kicked everyone’s teeth in. This evening’s recital was far more intimate, polished and accomplished.

With a set list like this no-one goes home unhappy. Ravishing stuff.

 

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WORDS BY PHILIP PAGE

PHOTOS BY JESSICA LOTTI PHOTOGRAPHY

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GWAR – Battlecross: Live At Webster Hall


Battlecross OJC PICS Omar Cordy 2015 (2)

The last time I saw GWAR and Battlecross together in New York was in 2013 with Oderus Urungus (RIP). It took me awhile to get adjusted to the change and I was nervous about the future. With this tour being a part of their year-long 30th anniversary celebration. It was time to see a return to the slavepits.

Skya opened the show with their brand of hard rock. Solid band with catchy riffs. Battlecross knocked it out with probably their best NY show to date. With new drummer Brian Zink in tow, they hammered a selection of through three albums worth of thrashers. With extra time in their set due to Born of Osiris dropping off the tour because of an injury. GWAR guitarist Pustulus Maximus joined them for a suped-up rendition of Pantera’s ‘Fucking Hostile’. You can never go wrong with Pantera.

Battlecros, by OJC Pics/OmarCordy

Battlecross, by OJC Pics/Omar Cordy

 

GWAR, by OJC Pics/OmarCordy

GWAR, by OJC Pics/Omar Cordy

For the headliner tonight, it’s GWAR vs the internet and all types of social media. Going after Twitter to Tinder; no one is safe. GWAR has always been a multi-headed beast and it has never been more prevalent than now with both Pustulus and Balsac, The Jaws of Death stepping up with more vocal duties. New singer Blothar sounds great on the newer songs like ‘Madness At The Core of Time’ and ‘Bloodbath’, as well as classics like ‘Saddam A Go-Go’ and ‘Sick Of You’. The return of ‘Sexecutioner’ was met with joyous roars from the crowd. They played a varied set from songs from their whole career and sounded just as tight as ever.

GWAR, by OJC Pics/OmarCordy

GWAR, by OJC Pics/Omar Cordy

It’s been said that GWAR by design is a band meant to last a thousand years and can continue on into the next century and beyond. They have some rough edges they’re working out, but that’s expected. The future of GWAR looks bright and I’m excited for what’s next.

 

GWAR, by OJC Pics/OmarCordy

GWAR, by OJC Pics/Omar Cordy

 

GWAR, by OJC Pics/OmarCordy

GWAR, by OJC Pics/Omar Cordy

 

GWAR, by OJC Pics/OmarCordy

GWAR, by OJC Pics/Omar Cordy

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WORDS AND PHOTOS BY OMAR CORDY 

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