Archive for August, 2026

Light of Eternity / Dollface Reunion – The Crescent, York, 9th August 2026

Posted: 11 August 2026 in Live, Reviews
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Christopher Nosnibor

Just over a year ago, York had the fortune to host the first ever live show of Light of Eternity, the new band led – from the back – by drumming titan Paul Ferguson, founding member of Killing Joke, who can also boast Warrior Soul and Murder Inc on his resumé. And now, we also have the honour of being the end point of this year’s UK tour. Only a few days ago, they played the legendary punk festival that is Rebellion, and since that first performance in front of around 150 people, they’ve toured as the support for Ministry, too. We’ll come to just how much they’ve evolved since that debut shortly.

It’s not exactly rammed tonight, particularly early doors – and they are early doors, being at 6:30 and the first act on at 7 – probably because a fair few are still at Rebellion and Bloodstock only finished last night, and consequently, Dollface Reunion start their set to a very sparsely populated room. If they’re disappointed by this, they don’t show it. Having caught them in Leeds supporting Spear of Destiny in May my enthusiasm for seeing them again so soon was only middling. I was beginning to have flashbacks to the two to three-month spell in 2000 / 2001 when I saw Sona Fariq supporting pretty much every fucking band I went to see, not least of all twice in a week when I saw The Sisters of Mercy in Glasgow and then Nottingham. And they were abysmal every single fucking time. It turns out that I simply hadn’t been in the mood for Dollface Reunion when I saw them last time, and they likely suffered from having been squeezed on as late additions before Cheeks, who were nothing short of a revelation.

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Dollface Reunion

Reassessing them tonight, I appreciated them a whole lot more. As the name suggests, they’re a reunited version of 90s alt rock act Dollface, and as such, their set is largely culled from their sole album release, 1995’s Giant. Their third song, ‘Rockstars’, which was a single back in ’94, bears a lead guitar line reminiscent of The Cult, and they most definitely rock. ‘Spaceship’ is announced as ‘a song about a spaceship’, and late on, ‘Metropolis’ storms home as a stomper that sit between New Model Army and The Levellers. Only much better than The Levellers.

On the eve of this brief tour, Light of Eternity announced the addition of James OZ Bowey on bass. This means that Fred Schreck no longer has to multitask with covering bass and vocal duties, and it does make a difference, not least of all visually. Instead of being rooted to the spot (not that there was space to move at The Fulford Arms: Ferguson’s kit pretty much occupied the whole stage), he’s got the freedom to move, not just about the stage, but with arm gestures – he’s actually pretty expressive on that front – making for a much more visual performance overall. I’d even go s far as to say that, liberated from the bass, he’s quite a compelling front man.

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Light of Eternity

Bowey has found his groove straight away, and they are so tight, his thick bass sound underpinning Pauly Williams’ thick, churning riffs. The guitar sound is bright but dense. Predictably, the drumming is immense. And casting my mind back to that first show, Ferguson started the set a little loose, proving that even the most seasoned musicians sometimes need some time to bed into something new. This time around… everything is nailed down tight form the first beat. All the rehearsals in the world are no substitute for time spent on stage, and the benefit of the road miles these guys have put in this last year is evident from the off. It’s true that the Killing Joke comparisons will forever stay with them, not just on account of Ferguson, but Williams’ taut, compressed guitar sound – but Schreck’s vocals d bring something different, and the chug and churn is often closer to the sound of Murder Inc., and this is nowhere more perfectly evidenced than on ‘Worlds Collide’.

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Light of Eternity

And to top it, they’ve managed to write some new material, too. Last time around, they played the twelve songs they had – the two EPs and a further EP’s worth – and were done. Tonight, we get new material, and launching the final third of the twelve song set, new song ‘Sycophant’ rocks particularly hard and they really seem to step thing up from hereon in.

The set list still only shows twelve songs, though, and expectations for an encore are slim – but they do indeed return, and kick off a three-song encore with a throbbing rendition of ‘Dark Hope’. They slow things with the atmospheric ‘Nebula’, and the fact that there are such solid cuts from the first two EPs that they can keep in reserve from a main set that fills an hour and a quarter is in itself impressive. They conclude with ‘Explode’ – which still sounds like a blend of Ministry’s ‘N.W.O’ and Therapy? circa 1994, in the best possible way – to my ears. It kicks ass, too.

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Light of Eternity

Having seen Killing Joke in venues closer to 2,000 in capacity, and Murder Inc supporting The Sisters of Mercy at Birmingham NEC (a show which is featured on the second disc of the reissue of their eponymous album, under the title Locate, Subvert, Terminate), to witness this band at such close proximity – The Crescent has a capacity of 350) is nothing short of mind-blowing, and while writing up my (painfully sparse) notes, I learn that there are people in the audience who have travelled from Sweden for this. it’s not hard to understand why. These guys are living legends – but despite a major-league support slot, playing 1,500 capacity spaces, they’re still building things up from the bottom in grassroots venues. This is positively heroic. And as for tonight’s set… there simply aren’t enough superlatives.

Bug Facer – Nuclear Bounty Hunter / Beggar’s Last Words

Posted: 10 August 2026 in Reviews, Singles and EPs
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Warren Records – 7th July 2026

Christopher Nosnibor

I’ve written extensively on the topic of formats before, and having grown up in the 80s and 90s when the physical single was still a dominant format – in particular the 7” single, which could be purchased cheaply (and with wide availability on the high street from not just Our Price and HMV, but also Woolworths and WH Smith) for a quid or two, the whole experience of the A-side and B-side, or a double-A-side is scored into my psyche. Most digital singles now only contain one track, and while I get it, it’s just not the same – and nor is paying a tenner or more for a lathe-cut limited edition of twenty. It feels as if the market has split in directions which are diametric opposites, and neither is particularly satisfying.

The latest release from Hull’s Bug Facer manages a satisfactory compromise, in the current economic climate: a digital single release with two tracks for four quid. Because another thing that’s largely been forgotten is that the cost of production of a physical release is not all of the cost involved – in fact it’s only a fraction. A studio, an engineer, a producer, all cost. Rehearsal space. PR. And so on. All of these things are expenses involved in being a band and recording and releasing music. This is the reason that Spotify sickens me, and the culture whereby people believe music should be free blows my mind. Home taping didn’t kill music. Illegal sharing via Napster and Soulseek didn’t kill music. Legitimate corporate-driven platforms, however, really fucked things, especially for smaller artists. The industry co-conspired, and didn’t so much shoot itself in the foot as hug a landmine.

Imagine being buzzed about starting a new band and getting your music out there, and then the few hundred streams you get after some heavy plugging and a PR scoring a review or two and maybe a couple of radio plays, to receive absolutely nothing, while your fraction of a penny that actually goes to the artists rather than the platform has been dripped into the pool that’s divvied out between Ed Sheeran, Coldplay, and U2. So yes, £4 for a digital release in 2026 is probably fair – especially when it’s a proper two-song single which replicates the 7” experience of the A-side and B-side, and especially when both songs are killer.

And here, both songs are indeed killer. ‘Nuclear Bounty Hunter’ stars slow, with a tense build-up and an intimation of a riff, squirming its way to a thick, gnarly riff that’s halfway between raging punk and sludgy noise. Sling the Melvins together with Slaughter and the Dogs and you’re in the right domain. It’s heavy, hefty, rabid, and gloriously messy.

‘Beggar’s Last Words’ is an entirely different proposition: it’s nearly seven minutes long for a start, and sashays in with soft instrumentation over a waltz-time beat. It’s kinda hazy, kinda droney, deeply psychedelic, and very much of an experimental bent. In short, it couldn’t be more contrasting. The vocals, when they finally arrive, are heavily treated, warped, and woozy, and are half-submerged among the ever-rising cacophony which is building, and almost out of nowhere, we’re four minutes in and find ourselves in the midst of a sonic maelstrom. After this crescendo of chaos, everything gradually winds down, wheezing, wasted, to a slow fade.

The fact that this release showcases two vastly divergent styles is a strength. It’s a release that shows a band willing to take risks, to challenge themselves – and their listeners. It’s so easy – and tempting – for artists to create a template early in their careers and say with them. It works, the band and any PR they might have gets to tout them as X or Y, everyone knows what they’re going to get, they find their niche, find their audience, however small, until boredom sets in and / or fashion changes. It takes a different kind of band to eschew genre limitations, and particularly to go this far out on a limb with a single release. Bug Facer are that different kind of band, and their continued evolution is a joy to observe.

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Watch: ‘Judgement Day’ by Then Comes Silence

Posted: 9 August 2026 in Singles and EPs, Recommended Streams and Videos
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Long held in high regard for a sound that is a modern and unique take on classic goth and post-punk, Swedish trio Then Comes Silence have released a brand new single entitled ‘Judgement Day’. It is the first to be lifted from Requiem Ballroom, their new studio album out on 20th November.

“This song is about failure, bad decisions and poor behaviour – those who will be the first in line on doomsday,” the band explain. Beginning with a catchy Euro techno melody, the surprising intro creates a contrast to the band’s established roots from the outset and serves as a metaphor for the theme of the song. The band itself ‘fails’ by letting something completely unexpected and out of character take over.

A video for ‘Judgement Day’ has been directed by Damon Zurawski of Future Legends Films and can be seen here:

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Requiem Ballroom will be the follow-up to Trickery, the seventh full-length album by Then Comes Silence released in 2024. Collecting accolades galore, the UK’s Classic Rock magazine described it as “the post-punk influence of Bauhaus or Joy Division offset by an ’80s windblown, cinematic sense of drama presented with silky production and confidence.” Vive Le Rock concurred, remarking on its “huge, spectral sound that cascades the post-punk genres seamlessly whilst delivering a unique and compelling sound that is as captivatingly gripping as it is intense.”

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The Sunken Land – sunstead

Posted: 8 August 2026 in Reviews, Singles and EPs
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19th July 2026

The Sunken Land – the musical vehicle for David Martin, York-based solo purveyor of ‘bedsit doomgaze’ – makes a fairly swift follow-up to The Woods at Dusk three-track EP, released in May, with a more expansive five tracker in the form of ‘sunstead’. There are no notes beyond the credits, meaning the music is left – or allowed – to speak for itself.

‘horizon fires’ makes for a strong start, and continues Martin’s assimilation of current and local geography events and events by way of inspiration. There have been countless wildfires around the UK in the last couple of months, many of which have failed to make national or even regional news. One can assume that this is largely on account that their number has made reporting impossible, meaning that only significant fires in national parks or those close to nuclear plants have warranted that level of coverage. But in and around York, there have been fires lit – intentionally – on an almost daily basis, in playparks and on local moorland, with one potentially endangering cattle and threatening to make its way toward a branch of Lidl to the south-west of the city. The entire country – and, indeed, most of mainland Europe, too – is a tinderbox, gripped by drought during one of – if not the –most prolonged hot / dry spells since records began. And people – mostly teens – are starting fires for fun. It’s a terrifying and bewildering state of affairs, and seeing smoke on the horizon is disconcerting. This first track layers soaring post-rock lead guitar lines over thick, distorted chords. At times – again – reminiscent of latter-day Earth, it’s a composition which explores tonal and textural contrasts, and builds tension as it does so.

‘tupla vs. egregore’ plunges straight into the heavy drone territory, the mesh of distortion and slow pace reminiscent to some extent of Sunn O))), but with strolling bass and some extended soloing that feel more as if it belongs in the domain of prog, it combines a host of disparate elements in quite unexpected ways – almost as unexpected as the abrupt ending. At just over fine minutes long, it’s by no means a short piece, but the impression is that it would have worked quite nicely extending over a full stretch of twenty minutes or so. The same is true of the six-minute title track, which swoops and soars and is all the while driven by a serrated drone of overdriven chords which hang for an eternity.

‘swedish death cleaning’ springs quite the surprise with a thudding riff that screams Mötörhead, which is in turn overlayed with the most flamboyant fretwork we’ve yet heard from The Sunken Land. It’s certainly the most raucous, and full-on rock piece in his catalogue, and unexpected as it is, it’s also well executed, and adheres to his principles of lo-fi recording and an absence of percussion, meaning it doesn’t feel entirely incongruous.

Across the EPs five cuts, sunstead demonstrates a marked expansion of The Sunken Land’s sound, and if the last of these, ‘noctilucence’ returns to more familiar territory, the overall feel of this set is one of greater confidence, and a determination to explore wider territory, and as such, marks the fulfilment of the promise of the works which preceded it. Given his rate of output – and evolution – the next six months could prove to be very interesting indeed.

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tejploopare – gråkråka

Posted: 7 August 2026 in Albums, Reviews
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Dret Skivor – 7th August 2026

Christopher Nosnibor

How do I know it’s Bandcamp Friday? Is it because I’ve received in the region of fifty emails by midday for new releases? Well, yes, there is that. But ultimately, it’s the fact that there’s a new release on Swedish microlabel dret skivor. This month’s is a radio-friendly unit shifter available to download and as a CD in a limited edition of two copies.

With uncharacteristically voluble notes accompanying it, we find the work described as ‘A chance meeting between winged and un-winged and captured hooded crow monologue.’ It would be impossible not to infer some element of reference to the 1979 debut album by Nurse With Wound, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, which in turn was taken from Lautréamont’s The Songs of Maldoror, a work which sits within the broader oeuvre of Surrealism. All of this serves to present a comprehensible intertext given what dret skivor and its artists are all about – which, to boil it down to less academic terms, is ‘weird shit’.

Tejploopare add, ‘We thank our avian masters for the source material and Remo de Vico for his programming skills in creating the time-stretcher Loom that has been used in the creation of this piece’.

But if you’re expecting birdsong, or even something inspired by Hitchcock’s The Birds, think again. Gråkråka is just one fifteen-minute track which, regardless of its source material, manifests as one extended echo-heavy swirling drone, as much akin to the sound of a giant millstone grinding against another from the depths of a huge cavern, or the sound of a million bats taking flight from a cave with the audio slowed by maybe three hundred percent. Admittedly, I’ve never really listened to crows in conversation, and was unaware – or had forgotten – that they have the capacity to mimic the sounds of other birds, animals, and machinery’, according to learnbirdwatching.com. While the veracity of this is debatable, it is understood and accepted that crows are capable of advanced and highly sophisticated communication, using a range of techniques.

But let’s suspend disbelief for a moment and take on face value that gråkråka is simply the sound of crows, manipulated to a greater or lesser extent to forge a churning, whirring, multi-textural sonic experience. It’s not a drone per se, so much as a rumbling eddy, an endless whistle, and a slow grind, all at once, and these all shift around in tone and the level to which they sit to the fore over the track’s duration. At times, the upper buzzes and hums, the higher frequency fizz, makes my inner ears itchy, and make me feel a palpable relief that I don’t suffer tinnitus, but am coming to the opinion that perhaps a certain level of hearing loss may not be such a bad thing for the avoidance of sonic torture at certain frequencies. If only I hadn’t been so bloody sensible wearing earplugs to gigs this last twenty years, eh?

Gråkråka is not a work of harsh noise: it’s not even overtly noisy. But it is one of those aural explorations which is designed to inflict discomfort. And in that, it succeeds. By the mid-point, it’s attained a quire specific level of torturousness, and while it does pull back from this for a time, what replaces that scouring blast is a quivering ominous rumble, which again swells and replicates the sensation of some unseen fear growing closer: put another way, it’s the soundtrack to a nightmare, to a horror without words or boldly manifestation, simply a psychological attack which goes on, and on, twisting to a trebly roar akin to a demon rasping suicidal ideations into your ear during the final five minutes.

It’s not actually a criticism when I express the view that gråkråka feels like a long fifteen minutes. It’s not intended to be one of those soft ambient drifts where half an hour simply evaporates. Quite the opposite: this is an album that’s raison d’aitre is to seed discomfort and make you squirm from beginning to end. And it does.

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Watch: ‘Silk Skin’ by Mildreda

Posted: 6 August 2026 in Recommended Streams and Videos, Singles and EPs
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Creative powerhouse MILDREDA will make your skin crawl with their eerie lyric video for ‘Silk Skin’, the next advance single taken from the Belgian dark electro duo’s forthcoming double album Realities, which has been slotted in for release on August 28, 2026.

Mildreda comment: “This track revolves around unspoken desires and the familiar, exhausting push and pull between longing and retreat”, mastermind Jan Dewulf writes about the lyrical content. “I wanted to transform that tension into a ritual – a feverish invocation, a dance that binds, summons, and slowly pulls you under. Musically, the heavy bass was a happy accident in the studio, one that instantly revealed the direction that I needed to take. A relentless pulse rooted in EBM, and unmistakably Belgian at its sonic core.”

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Dymna Lotva – Vyraj

Posted: 5 August 2026 in Albums, Reviews
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Prophecy Productions – 7th August 2026

Christopher Nosnibor

Earlier this year, we received news that Belarus metal band Dymna Lotva were in some bother when some of their music videos were declared by a court in their home country to constitute ‘extremist materials’. As vocalist Katsiaryna “Nokt Aeon” Mankevich explained at the time, “This means that fans from our home country, who liked, reposted or commented on these videos in the past are now facing a real risk to disappear into a prison. The rule of law does not apply in Belarus. Just one like under a video that has only now been designated as ‘extremist material’ might mean time in jail”.

Having fled the country, they’ve continued to work, and work hard, and are now unveiling their fourth full-length album to the world, following a succession of killer singles, including ‘The Boat of Despair’ , featuring Aaron Stainthorpe, formerly of My Dying Bride.

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And now, on the eve of the new album’s release, Mankevich has been charged with ‘extremist activity’, ‘financing terrorism’, and three more criminal charges in her home country. The Investigative Committee of the Sovietsky District of Minsk officially opened a case against Mankevich, who lives in exile in Poland, in June. She has now been summoned to appear in the Minsk City Court for a hearing on August 14th.

Mankevich explains how this has come about, and remains defiant, writing ‘It is clearly connected to my participation in protests against the regime and to my support for Ukraine. To me, it feels even somewhat flattering that this regime is still keeping an eye on us six years after the protests and five years after I was forced to leave Belarus. This confirms that I am on the right path and also provides me with a strong motivation to keep going. Please do not worry about me. Poland has granted me international protection status because of such political persecution. As a result of this trial, Belarus could seize all my properties still remaining in the country. Well, spending my money on creating music turned out to be a great idea after all. And to the Investigative Committee of the Sovietsky District of Minsk I say: Kiss my extremist ass!’

Some say that politics has no place in music or the arts. Those people are ignoramuses. Even as far back as Shakespeare, art has been the vehicle by which political commentary – and dissent – has been disseminated, often via coded or allegorical means. And this context is essential in understanding the band, what they stand for, and why. And, within this context, the arrival of Vyraj is an achievement which is nothing short of phenomenal.

Dymna Lotva are staunch in their rebellious, dissident stance: as their bio states, ‘their name means “Swamp in Smoke”, which relates to the atrocities surrounding the burned villages of Paliessie, which has endured bloody massacres and brutal conflict in the past. Their lyrics are often based on Belarusian tales filled with accounts of sorrow gleaned from historical archives, folklore, and new horrors that are committed in their home country at the present’.

Black metal is clearly an appropriate medium for all of this, but they describe Vyraj as ‘a musical kaleidoscope’, a work which pushes far in myriad stylistic directions, and it’s not an album built around protest and anger, but an exploration of what they call ‘Belarusian ethno-astronomy,’ explaining that ‘in Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration’.

The album itself delivers on everything it promises, and more. The first track, ‘Zory’ begins gently before sliding into an almost Swans-like hypnotic groove, before finally the black metal blast powers in. But there’s a twist: the demonic howls and thunderous drums are paired with a sense of expanse that offers hints of prog bombast and symphonic glory. incredibly, it not only works, but is a complete rush.

‘Veha’, which clocks in at over seven minutes, is a multi-faceted epic in every sense, with some dainty chiming notes offering a melodic delicacy which contrasts significantly with the blistering guitars and throat-ripping vocals, finally yielding to a softer closing passage which borders on the ambient.

The aforementioned ‘The Boat of Despair’, which bears one of only two titles in English, is a definite standout, not least of all because it represents such a stylistic shift, introducing hunts of post-metal alongside hints of Amenra, and offers so much emotional depth.

It’s the range and dynamics of Vyraj which make it such a gripping listen, as you find yourself wondering what the next twist or turn will be, and amidst the flaming fury, there are moments or transcendental beauty which are truly elevating. There are still plenty of rabid, raving black metal blastout passages on offer here, and when they go all out, Dymna Lotva really do go all out with face-melting ferocity. But ‘Niamah Darohi’, with its sweeping operatic vocal contrasting with a hellish howl, a rolling piano paired with shuddering rapidfire kick drum is exemplary of the album’s immense range and the remarkable vision when it comes not only to the songwriting, but its execution.

The closer, the eight-minute ‘Return My Coffin Home’ is the very definition of ‘epic’, and reminds us that this may be the only way they will ever return home, at least as long as the current regime is in place. That they have produced such a remarkably detailed, intricate, and impactful work against all the odds is testament to the artistic spirit. Long may it continue to represent the instinct for survival. Whatever happens next, with Vyraj, Dymna Lotva have determined their legacy as innovators within the sphere of black metal.

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Watch: ‘The Witness’ by Gnod

Posted: 5 August 2026 in Recommended Streams and Videos, Singles and EPs
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Two decades have passed in the land of Gnod, yet the psychic travelogue only becomes more enthralling as it goes on. The page is turned, a new chapter begins…

Whilst this band has flourished via dauntless conviction, hive-mind magic and a fierce and uncompromising spirit, one ingredient has served as a crucial fuel for the fire – the monolithic singularity of the riff.

This second chapter of Gnod’s sort-of-anniversary trilogy also originates in the same six day sessions as the first, at Hellfire Studios near Dublin with producer Spud Murphy (Lankum, Black Midi etc). Yet the focus this time is on the transcendental heaviness and repetition that the band have often used as a primary fulcrum of their approach. This volume captures the sound of strings flayed, throats shredded, skins punished by the organic chemistry of this formidably powerful band in a room.

Chronicles of Gnowt (Vol. 2) will arrive via Rocket Recordings on 9th October and is preceded by the track and video for ‘The Witness’. Watch it here:

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Operating as ever stubbornly adrift of all or any genre restrictions, the coruscating workouts chronicled here evolved on the road in the last two years before being honed and perfected in the studio setup by Murphy. “Spud was masterful –recording live, pushing us to do more takes and then when the right take was done, by the time we got to the desk from the live room he already had it sounding great for playback” relates the band’s Paddy Shine.

The results are amongst the most fearsome and kinetic material that Gnod have summoned to date. The opening ‘The Witness’ takes a The Ex-ish groove and sets it in motion before driving a wall of incandescent guitar scree through it. ‘Ice Man’ redlines an animalistic Melvins-style framework into the realms of dystopian burnout. ‘Old Gold’ meanwhile centres on three-guitar interplay snaking around a muscular, taut groove, with Paddy’s feverish declamations acting as master of ceremonies.

As has often been the case for a band heavily driven by serendipity and intuition, the best plan is no plan at all. “We find quite regularly that spontaneity and the no thought approach works better than over analysis and detailed planning,” clarifies Chris Haslam, “Paddy’s stream of consciousness lyrical approach is another example of how when we remove our own will from the process, something purer, more real & more connected fills the void.”

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Listen: ‘Black Hall’ by Gatta Norta

Posted: 4 August 2026 in Recommended Streams and Videos, Singles and EPs
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Buzz Osborne didn’t need another band. JD Pinkus didn’t need another band. Coady Willis didn’t need another band. Together with Clinton Jacob, they started one anyway. Meet Gatta Morta.

The quartet makes its debut today with Burn Witch Burn, a 4-song EP, available now via Amphetamine Reptile Records. Listen to the single ‘Black Hall’, which accompanies the release, here:

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“It’s always a good time for the world to embrace a new heavy/weird band,” Osborne says. “I had the idea for Gatta Morta while touring last fall. I realized I needed to start a band with these three. Seemed like a no brainer. Solidly weird rock music that needs to happen.”

Butthole Surfers bassist Pinkus agrees: “It’s been way too long since I got to write a heavy album from scratch with such high caliber players with such complimentary styles… and we’re just cat scratching the surface of what we got goin’ on!”

Rounding out Gatta Morta is Clinton Jacob, the creative force behind Chicago’s weirdo, pop-noise rock duo Mr. Phylzzz. “I just had this feeling that one day we would work together. I became friends with Buzz over the past few years doing shows together and having him play guitar on a Mr. Phylzzz song. When I was asked to be a part of Gatta Morta, I was speechless, but I was 100% ready for it.”

Burn Witch Burn lurches between thick, riff-driven heaviness and warped, psychedelic passages, with Osborne, Pinkus, Willis, and Jacob creating music that’s simultaneously reminiscent of their previous work and entirely new.

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Photo credit: Keturah Bishop

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