Time for some North-American glue

Okay, forget everything. Let’s take a break for a while from the tensions in the Middle East, and dive into the comforting North-American esoterics. Here’re some tunes that I’ve been listening to, lately…

Alvvays: Alvvays


Alvvays(pronounced as “Always”) is a Canadian band, from Toronto. Their debut album is from 2014, but it totally sounds like the 90’s: Dreamy, happy, and fun. When I got to the opening chords of “Party Police” I almost began singing “what if God was one of us” – but that’s just me being stupid.


Elvis Depressedly: New Alhambra


So it turns out that Mat Cothran, the front-man of Coma Cinema, moved to Asheville, North Carolina, and formed a new band. Now, one thing that you gotta know about me: I L-O-V-E Coma Cinema. My personal favorite is their second album – Stoned Alone. Their music projects this sweet, mellow, somewhat tired melancholic state of mind that I can relate to. From this aspect, Elvis Depressedly successfully continues this artistic line. New Alhambra(2015) is actually their third album. Their 2011 debut, typical for Cothran’s sick sense of humor, was called Save the Planet Kill Yourself.

One of the things that I love about exploring not yet very famous indie bands is the mystery around them. Unlike the big acts, that have been interviewed numerous times and asked about every small aspect of their work, and writing, in the case of the small acts – there’s still a lot remains untold. Like, for example, who’s the mysterious lady on the cover the New Alhambra album?

One of my favorites on New Alhambra is the fifth track – “Rock N’ Roll”. The lyrics go like this:

There’s no such thing as rock n’ roll
Bless my reptilian soul

Jesus died on the cross
So i could quit my job

Your pain is poison grace
“what a shame Mary Jane”

Believe and be fulfilled
The prophecy of diet pills

On the eighth track, “New Heaven, New Earth” they have some kind of cool and psychedelic guitar at 01:54.

The last track, “Wastes of Time”, has these lines:

Heartbreak can’t change me
I am crazy for you
It’s a sad world we were raised in
Let it fade into something new

If you try I will try
If we fuck up it’s alright
There is so much more to life
Than all these wastes of time

Heartbreak can’t phase me
I am crazy but I’m true
It’s a sad world we were raised in
You could hate it but what’s the use?

Kind of comforting, don’t you think?


Cigarettes After Sex: I.


Cigarettes After Sex come from Brooklyn, New York. Like Coma Cinema, they have something mellow, hazy, and maybe even a bit melancholic in their sound, but in their lyrics are much brighter. The first song in their very first EP is called “Nothing’s gonna hurt you baby”, and it goes like this:

Whispered something in your ear
It was a perverted thing to say
But I said it anyway
Made you smile and look away

Nothing’s gonna hurt you baby
As long as you’re with me you’ll be just fine
Nothing’s gonna hurt you baby
Nothing’s gonna take you from my side

When we dance in my living room
To that silly ’90s R&B
When we have a drink or three
Always ends in a hazy shower scene

When we’re laughing in the microphone and singing
With our sunglasses on to our favorite songs

“Dreaming of You” is just a sweet, and addictive pop song. “Starry Eyes” is a song to get cozy with. Would be interesting to listen to future material that they’ll produce.


Ringo Deathstarr: Pure Mood


It’s quite for a while that I’m following this act from Austin, Texas – which accidentally also has one of the most brilliant and awesome band names that I ever saw. I really think that Pure Mood(2015) is their best and most polished work so far. It starts with the somewhat ghostly yet harmonic “Dream Again”, then brakes into the Grungy sound of “Heavy Metal Suicide”, then comes the psychedelic “Stare at the Sun”. I think it’s amazing how they balance between kicking ass and being mellow, or trippy – like the last track, “Acid Tongue”: Just listen to it, for fuck’s sake – you won’t regret it.

Well, that’s all for now, boys and girls. You’ve been on Dead City Radio…




My Palestinian Post

Well, originally I didn’t intend to write here about politics, but I guess that saying something like that in the middle east is like saying that you’re not gonna think about sex during an orgy.

So that’s the deal: A couple of weeks ago, the New York Times dedicated two articles to the urban culture of two Israeli cities: Tel-Aviv and Haifa. Funnily enough, the original headline of the article about Haifa was “In Israeli City of Haifa, a Liberal Palestinian Culture Blossoms”(which I highly recommend to read here). 

This headline has obviously made some people very pissed-off, namely: Israelis who were offended by the claim that there’s a “Palestinian culture” inside the borders of Israel, and Palestinians who didn’t like to see Haifa described as an “Israeli city”. Yes, welcome to the Holy Land: where people are pathetically touchy and insecure about anything that has to do with their little fragile national identity.

It seems to me that both of the “offended” parts by the NYT headline, share something in common: they are both denying reality.

This is not a secret that about 20% of Israeli citizens are Arabs. In Israel they are being mainly referred to as “Israeli-Arabs”, to stress out the difference between them and the Palestinians that are living in the Palestinian Authority and Gaza. But the reality is, that many of them are openly identifying themselves as Palestinians, or at least “Israeli-Palestinians” – meaning, Palestinians with an Israeli passport. And why wouldn’t they? After all, they are ethnically similar to the Palestinians inside the green line, they speak more-or-less the same dialect, and many of them even have relatives there. This is perfectly normal, and you can find this also in other areas of ethnic dispute – like for example the ex-Yugoslavian Kosovo Republic, where there are minorities which are obviously identifying themselves as Serbs, even though they have a Kosovarian citizenship, and they vote at the Kosovarian national elections, just like Israeli-Palestinians vote at the Israeli ones. Nevertheless, in Kosovo, so it seems, nobody says to them “why are you calling yourselves Serbs and not Kosovarian-Slavs, huh?!”

Unfortunately, however, nobody listens to me, and that’s why(probably because of Zionist-readers’ complaints) the NYT article’s headline was eventually altered from “Palestinian culture” to “Arab culture”…

From the Palestinian side, however, harsh criticism about this article actually came from one of the main interviewees in it: Ayed Fadel, the owner of Kabareet nightspot. He wrote:

First of all I think that this interview was my last interview ever, I am done with media!! In Arabic we say KHALLASNA !

I actually found this piece disturbing. It refers to certain aspects and neglects so many others that I personally mentioned during the interview, it portrays the modern Palestinian in a “Western” image that comforts white readers and make them say, “oh, they’re just like us!” Well no, we’re nothing like them, in fact, we’re very different and deep into the shit, and having to portray us in this image is insulting.

On the other hand, I do agree our community has developed and evolved and I love going to the places mentioned in this article, they feel like home, and because they feel like home, it’s disturbing the way they were illustrated.
While I do understand the writer and what she tried to convey, and I appreciate the effort being put in investigating this topic, but it’s a wider topic than this, and can’t be summarized in one article, there are so many points missing, crucial ones, that the lack of them make this article shallow, offensive and degrading.

Plus on that 90% of the interview we were talking about how the culture of the cultural resistance is growing and taking a place in so many levels, such as music, art, spaces etc. And how the Palestinian underground scene is getting bigger and bigger and full of creativity and how literally it is being a place full of intelligence and rebel agenda.

About quoting me: “We want a gay couple to go to the dance floor and kiss each other, and nobody to even look at them, this is the new Palestinian society we are aiming for.” Yes I did say that, but it was a whole build up for the conversation until I reached this sentence, and I was actually trying to explain how Haifa became a place where everyone can feel safe and comfortable, so I used one of the most extremist views that our society could accept. Also mentioning the Kooz queer film festival that we hosted without mentioning that one of the most important topics in it was the Israeli pink washing- IS MISLEADING – especially when I’ve been totally used as a “pink washer” with the quote above!!

I don’ know if what I am writing now is even enough to cover all what have been written in this article, but hopefully that could explain the situation and make it more clear that it was another trap by the white media, that is always trying to show us as the cool yay hipsters full of tattoos and piercings – far away from the grounded reality that we are facing and fighting every day!

We agreed to do this, thinking the results would be different, but they weren’t. Last chance given to white media and media in general, next time we’ll be more cautious, and we don’t allow anyone to categorize us under ” Israeli City of Haifa, a Liberal Palestinian Culture Blossoms” – dear editor, please liberate your liberalism aspects.

While he has a point in some of his criticism towards this article(like the pink-washing part), I found it funny to see that while he’s claiming that they’re not at all like western hipsters, he’s responding to this article exactly in a way that a western hipster would react.

In general, his complaining about the exclusion of his political agenda from the article is kind of silly. After all, this was an article about the Palestinian nightlife culture in Haifa, and not about political activism.

Also, unlike what’s implied from his comment, I really didn’t feel at all that this article is intended to give the Israeli government a pat-on-back for being soooo liberal and soooo accepting towards ethnic and sexual minorities, but rather to describe the special and relatively tolerant environment in Haifa city – which is quite unique both for the Jewish and the Arab societies in the Holy Land.

The funniest part, though, was when the guy wrote:

“this interview was my last interview ever, I am done with media!”

Dude, I have no doubt that the thousands of “white-press” reporters that were counting on interviewing you would be deeply disappointed!

Well, I think that’s all with Dead City Radio for today, kids! And remember:

All nationalisms are imaginary!


Best of the Noughties, part #1: Asaf Avidan and the Mojos

Alright, I didn’t write for a while, I know that. But the hell with it. As from today, I’m starting a new section in this blog. I’ll call it “Best of the Noughties”. Basically, it’s gonna be dedicated to the bands I admire, or admired, in the previous decade. It’s gonna be nostalgic, it’s gonna be cool.
It’s hard not to envy of those old people, who were living in the time of artists like Jimi Hendrix, Janis JoplinLed Zeppelin were just making their breakthrough. One of my teachers in high-school, an aging hippy, used to say that listening to each of them on the radio for the first time, was like being a witness to a turn-point in music history.
I know I’ll probably never experience a feeling exactly like that… But back then, circa 2007, at the legendary City Hall club, when I found myself for the first time at Asaf Avidan and the Mojos’ concert, it was without doubt the closest thing to that feeling that I ever felt in my life.
He came on stage, at first only with an acoustic guitar. Basically, a regular looking guy. Maybe a little bit too skinny. Then I’ve seen him open his mouth, and it felt like the world just blew-up. The voice that came out just didn’t make any sense – it was almost impossible to believe it belonged to the guy on stage. At that very moment, I knew at that he’s gonna be big. Just listen, and you’ll understand:

At their first show, I came up late, without ordering tickets upfront, payed something like 40 ILS at the entrance, and came in with no problem.

On their next concert in Haifa, however – only a few months later, I did the same – but came to find a HUGE queue that lasted from the cashiers to the end of the sidewalk outside of the club. But it was too late, all the tickets were SOLD OUT.

Here’s a marvelous take of his show at the Haldern Pop Festival:

Except for his extraordinary voice, Asaf’s life are quite extraordinary as well:

He was born in Jerusalem. His parents were diplomats, which made him spend four years of his childhood in Jamaica. He served in the Israeli army, but was released after 10 months of service because of mental issues.

During his early twenties he was diagnosed with lymphoma cancer, from which he eventually recovered. For a time he lived in Tel-Aviv, working as an animator, until a hard break-up from his long-time girlfriend made him quit his job, move back to Jerusalem, and focus on extensive song-writing.

With time, he gathered around him a group of musician friends, that have became later known as his backing band – The Mojos. Here’s another taste of their sound:

Asaf Avidan and the Mojos’ debut album, The Reckoning, was originally released in 2008 by a small, self-owned Indie label, however it was very soon bought by Sony-Columbia records, where Avidan had signed for three additional albums. His single “Weak” became the title song of the film “L’Arbre” by Julie Bertuccelli, which starred Charlotte Gainsbourg and was the closing film at Cannes Film Festival 2010.

However, his most famous song up to date is without any doubt the title of their debut album – Reckoning Song, thanks to a German remix that has made it an instant party hit. During my Erasmus semester in Warsaw, I remember this remix was played practically at every party that I’ve been at. One time, on a trip from Warsaw to Krakow, when I was walking the streets of the old-town with a group of Turkish friends – one of them, a girl, suddenly began the chorus of this song(“one day, baby…”). When I asked her about it, she had no idea that the performer of this song is in fact Asaf Avidan, or that he’s an Israeli artist. She just picked it up at a party, and it got stuck in her head. This was in back in 2013, but for me – this song is actually most strongly associated with the previous decade.

In 2009 they released their second album, titled: Poor Boy/Lucky Man. If to tell you the truth, while listening to it, I wasn’t very impressed. The album mostly featured tracks which seemed like outtakes from the previous album, or just a poor imitations of it. They were more or less in the same style, just much worse. Maybe just one song that I really respected out of it was “Your Anchor”, mostly because of the lyrics, and not because of the musical arrangement. Just listen to it:

Meanwhile, in the Israeli press, Asaf Avidan and the Mojos became literally a synonym of a self-made success. They became considered as the torch-wielders of a whole wave of Israeli musicians that preferred to write and sing in English, rather than in Hebrew, and probably the first of them to gain mainstream success in the Holy Land. The names of Avidan and his band appeared all over the mainstream press – newspapers, TV and radio. Any other acts from the same genre, like Roy Rieck and the Medley Band were massively compared to them. Very soon after that, the band began touring Europe.

But as it usually happens in the music industry, success is very often a challenge by itself, and in a way – also the beginning of the end.

I think that the main problem was that the original creative drive behind Asaf Avidan’s work in the first albums was a heartache, angst and depression. However with the success – also came love, and happiness, and better life – which challenged Avidan’s melancholic writing. He could no longer write about broken heart and loneliness in the same sincerity as before.

The band’s third album – Through the Gale, seemed as trying to deal exactly with that. It was a concept album that was describing a metaphorical journey through the storm. It was definitely much less personal than his previous two albums, but with far more complex and slightly psychedelic sound. I actually liked this album much more than the previous one, specially this amazing track:

Asaf Avidan and the Mojos disbanded in 2011. Almost as if they just felt that they don’t belong to the new decade. Three of the Mojos: Ran Nir(bass), Yoni Sheleg(drums) and Roi Peled(guitar) later continued on their own as The Wrong Demons.

The fourth mojo – the gorgeous cello player Hadas Kleinman joined the singer and guitarist Aviv Bachar in recording a mutual album in Hebrew.

What concerns Asaf himself: he went on to his solo career, recording two more albums – Different Pulses and Golden Shadow – in which he went exploring his more psychedelic side. I watched him perform in a few concerts after that. It wasn’t bad, but it wasn’t quite the same somehow. In a way, it feels like the guy lost something after leaving the mojos, maybe like Jimi Hendrix has lost something after leaving the Experience – but nevertheless, it was good enough.

Haifa/100/LIVE: Dowtown Indie


Now, here’s another little something that is worth writing about: Haifa/100/Live festival is the annual urban musical-festival in downtown Haifa, that took place this year on 28-30 of June. As implies from its title, the festival included 100 live performances, in 3 days, 17 bars and clubs, that are all located at a short walking distance from each other. It is the direct successor of a smaller urban festival in the city, that was called Haifolk.

Some of the bars and clubs that participated in the festival this year I’ve already mentioned in my previous posts about best alternative spots(Wunderbar, Syrup, House Gallery, Syncopa) and best friend-bars(Eli’s and Dovrin). Others, I’ll mention in short: Libira – a local-brewery pub that has just reinvented itself in much larger space with a stage. Gate 3 – an art gallery and concert venue. Jam – vegetarian restaurant with live concerts. Saint Etienne – a popular Arabic bar. Barki – a cute bar that is also a school for bartenders, with a rich choice of beer and alcohol, and mostly mainstream music. Urban – a bar with mind-blowing psychedelic graffiti on the walls and New-Wave music in the air. HaSimta(“the Alley”) – tiny artists’-bar with a small gallery upstairs. HaMartef(the Basement) – a club that was built in the place where once was a wine cellar of a fancy restaurant. Klemen’s – small Irish bar. AND last but not least: The Anchor – the oldest-surviving bar in Haifa, which was originally founded by few British sailors in the 40’s, with the intention to be a home-like drinking spot for other sailors and their friends when they are visiting the Holy Land.

In this post, I have prepared for you seven most interesting musical highlights of this festival(in my opinion). So, here we go…



A rap-punk group from Acre, composed of mostly ex-Soviet immigrants that are rapping and singing in Hebrew about their shitty lives in their shitty city(actually I think that Acre is more of a town than a city).

I first heard about them almost a decade ago, in 2007 when they came to perform at the legendary City Hall club in Haifa, to promote their debut album – “Park Culture”. Back then it was quite hilarious to hear the heavy Russian accent of the rapper/vocalist Falafel Crunk, and the words of the theme-song of the album, that talked about the very typical for Soviet immigrants tradition to drink Vodka in parks. Since then they already released a second album – “Hummus For the Masses”. Here’s a taste of their gig on the festival(symbolically, they preformed this time in the Wunderbar club, the direct successor of the City Hall in which they played eight years ago):


Killer HaLohetet

True dinosaurs from the 80’s – reunited. Killer HaLohetet(“the Hot Killer”) is an Israeli punk-rock pioneer from Haifa. Some even say that they’re the very first band to play Punk-Rock in Israel. Tragically enough, this band has bloomed too early, and disbanded too soon – without even getting the chance to fully enjoy the Israeli Rock-renaissance of the 90’s. Nevertheless, the band left an undeniable impact on the Israeli music scene. Here’s one of the last video-clips by Killer, before the break-up:

After the break-up, the band’s drummer Asaf Meroz took part in some of the most successful rock-acts of the 90’s – namely Avtipus and Eifo HaYeled. Monica, one of their bassists, inspired the name of another very popular band from the 90’s – Monica SexYoram Mark-Riech, Killer’s own front-man, pursued career in journalism, and became known as the main producer and host of the long-running Rock-Cinema events.

It took them 16 years to make a come back, but finally, here they are. And here’s the real mind-blowing thing: I know Yoram Mark-Riech’s daughter – she’s just a couple of years younger than me, and nevertheless I see her father up on stage, dressed like a punk-rocker, screaming and jumping and generally kicking-ass, like in this video:

Yeah, I know that most of my favorite musicians technically could be my parents, and even grandparents – but still, only such coincidences make me truly realize how much age doesn’t mean anything, and the fact that my parents and grandparents let themselves get mentally-old, doesn’t mean that I have to be like that too. After all, there’s no such thing “too old for Rock N’ Roll”.

Adir LC

This guy’s music somehow remind’s me acoustic Strokes or Libertines. I didn’t even heard of him before seeing him live in the Eli’s bar, but his tunes are quite catchy.



The direct translation of “Meuban” is “fossil”. The group is doing quite a remarkable Post-Rock music – a musical genre that is unfortunately still too underrated, in my opinion. This is also the appropriate place to brag about the fact that I know their bassist, Adam Claude, from the time that we served in the same military base. And here’s a taste of their music:

In this performance at the Eli’s bar they also brought with them some surprising guests from the Stoner-Rock act The Great Machine – whom I like very much as well, and had the pleasure to attend some of their very energetic and intense performances.


The Hazelnuts

God knows that the 30’s aren’t generally remembered as the brightest time of humankind – but the music was okay, I guess. The Hazelnuts do the old-fashioned 30’s Doo-wop with modern touch. Watch them swing:


Iliya Gertman(a.k.a NUTE) is not only a talented electronic producer, and Dj, and MC… He’s more than that. He’s a bro.

We studied in the same high-school for three years, and I never personally knew a person more talented in everything that concerns music than he is. The guy is not only a musical genius, but also a human beat-box, a multi-channel TV, and mobile comedy station in one person. During the second day of the festival, NUTE was DJing at the Saint Etienne bar for the whole evening, and was doing quite an awesome job. You can check out his works on his soundcloud, or just listen to a sample here:


Tiny Fingers

Except for having a logo that disturbingly reminds the flag of ISIS, here’s something I can say without any doubt about Tiny Fingers:  They were THE BEST show in the whole festival. I have been following this group for quite a while, and had the pleasure to see them in many other Indie festivals. Their music is a kind of a combination of Post-Rock, with Psychedelic-Rock, Electronic music, and I think that even some elements of Trip-Hop and Drum N’ Bass. Just listen to them:

Also, if you’re a fan of beautiful masturbation with musical instruments(because I know I am!) you can check this video too:

A J.Viewz Special, and other Gay stuff

Whoa, it’s been some time since my last post, but there’s happened so much to write about. i’ll start from the earliest event: 26 of June, when J.Viewz came back to their hometown to kick some ass. 

Accidentally or not, the concert was held on the day of Haifa’s Pride Parade, which resulted in the city being decorated all over with flags like this:

it felt a bit like Israel’s independence day, only gay independence day. ANd in a way, it was EXACTLY that. It was only four days after I attended my first gay wedding ceremony(a friend of mine finally married his boyfriend), And a day before the historical RULING OF THE US SUPREME COURT about gay marriage.

Anyway, let’s get back to the topic…

I’ve already wrote here once before about J.Viewz, Jonathan Dagan’s live-electronic project, in my post about 7 Israeli covers that should blow your mind, where their cover of Michael Jackson’s “Smooth Criminal” topped the list. They are currently based in Brooklyn, but still visiting their homeland quite often. And every time they come, they always give Haifa the special treatment, for being the city where Jonathan grew-up in.

This time, the special treatment was another free mid-day concert, that was dedicated to 10 years anniversary of their debut album – Muse Breaks.

As usual for a J.Viewz summer-gig in Haifa, their concert was accompanied with small waterworks, that were hanged on cables above our heads. From there, they sprayed refreshing water-drops over the crowd.

There is something very natural in the combination of these waterworks with their music. Specially with their 2011 album Rivers and Homes, which always gives me the feeling of a gentle summer’s rain, or salty sea-breeze. In a way, resembling Jonathan’s old hometown – Haifa.


Quite ironically, J.Viewz had their first taste of fame thanks to another Israeli electronic act: Infected Mushroom(if you’re really into PsyTrance scene, you’ve probably have heard about them). They did a mix of Muse Breaks title track, which made it an instant dancefloor hit. Anyway, the original piece sounds like this:


I don’t really need to re-introduce their jazzy version of Michael Jackson’s Smooth Criminal, but I’ll do so anyway, because it’s so awesome. It appears that this version had some success also on BBC Radio 1, and the British JazzFM. If you didn’t had the chance to listen to it yet, just go ahead now:


If this wasn’t enough glamour for you till now, Salty Air, from Rivers and Homes album was made famous in Revlon 2011 advertising campaign, starring Halle Berry. The full track is much better, thought… Listen to it here:


And now, we finally get to my all-time favorite: Oh, Something’s Quiet was created out of recorded voices of J.Viewz fans from around the world. It also features Kelli Scarr – that is mostly famous for doing vocals for Moby‘s album Wait for Me. Except for being just an awesome song by its own, it also has a kind of trippy, sensual, and mesmerizing musical clip. Watch it here:

And here’s my take of the live performance in Haifa:



Unfortunately, J.Viewz did only one encore this time(despite the calls from the audience for another). Maybe they were tired. Anyway, there is nothing else to do than to envy THIS EPIC ENCORE that they did a few weeks before that in Jaffa:

Electric Desert, live @ Massada 13, Haifa


This video is from a concert that I’ve been at on Saturday, at Massada 13, as recorded and published by Maya Tal. The band’s name is Electric Desert, and they play an old-school, energetic, guitar-driven rock n’ roll, with a mixture of Middle-Eastern and Balkan influences. This post deserves special attention of my Polish readers, because in the next weeks you’ll have the opportunity to listen to them live as well, at their upcoming gigs in Białystok and Warsaw. Just follow the updates on their FB page.

Haifa Frequencies

Last week I had the pleasure to be at two very awesome concerts. The first, was of the Oriental-Metal act Orphaned Land in the Wunderbar club – I mentioned them already in my previous post about 7 mind-blowing Israeli covers. The concert was pretty good, just as expected. But the second, and more interesting, was actually the monthly Haifa Frequencies event at the Syrup. Haifa Frequencies is all about introducing the local live-electronic scene. This time it was 3 acts:

The first to get on the stage were “MAD and LOST”. This new electronic duo Ran Lavi(vocals) and Lee Müller(previously known from another amazing Haifa-based electronic duo Tzif Rozenpot, that also set foot on Frequencies’ stage) made their very first debut on stage.

Mad and Lost.

MAD and LOST. Debut on stage. PC: New Perspective Photography 

Considering the fact that this duo was practically just “born”, there is not a lot of their material online yet. Yet from what there is, here’s a bite:

Second to come was Noga Erez. She was the only performer at the event that I didn’t even heard about before, nevertheless, she was the one who blew my mind the most. Later I found out that she was in the past part of the Secret Sea band(that was headed by another favorite performer of mine – Amit Erez). This young woman, except of having ghostly mesmerizing voice and impressive synth skills, is also just hypnotically beautiful.  I think I just discovered my new musical crush.

Noga Erez. Mesmerizing.

Noga Erez. Mesmerizing. PC: New Perspective Photography

Here’s a little taste:

And also check out her performance with Efrat Ben Zur:


Rowch. Kicking some-ass. PC: New Perspective Photography.

The last but not least to come on stage to was the kick-ass drummer Rowch A.K.A Offer Bymel. I already had a post with his video teaser for this event, but here’s another of his kick-ass tunes:

Well, that’s all for now. Be safe!