[Special]: Gramofonowa. x NovaFuture Blog – Poland Special | Part 7: “Selected Releases”


Gramofonowa. x NovaFuture Blog – Poland Special

Part 7: “Selected Releases”



This time we don’t have any interview, films or mixes. We just selected 7 releases by Polish born artists. There are so many good stuff – we just wanted to show that it exists 😉



Rimorsum EP


Aufnahme + Wiedergabe


click here






Counter Pulse


click here


Michal Jablonski


Chiamaera EP


Secret Keywords


click here




Direction EP


Voxnox Records


click here




Stressful Environment EP


Dynamic Reflection


click here


Michal Wolski


The New World EP


Nonplus Records


click here


Piotr Klejment


Underground Perception EP


Illegal Alien Records


click here


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[Special]: Gramofonowa. x NovaFuture Blog – Poland Special | Part 6: “Vis Maior”


Gramofonowa. x NovaFuture Blog – Poland Special

Part 6: “Vis Maior – An Interview with Dorota Smyk”


Interview & Sets:

Hello Dorota – nice to have you for a short interview about Vis Maior and your artist rooster. You are a part of the project Vis Maior. Tell us what is it and what is the concept and the artists behind the projects?
Hi, thank You for invitation to this interview. Vis Maior is a new collective which I create with my friends. Pawiel Wlatkowski and I are responsible for organisation and promotion as well as event production. Michal Jablonski, Violent, Sienn and Sept are the artists. Guys work very hard, they produce music, they continually play at gigs in Poland and abroad there’re also involved in other activities regarding the collective and scene in general. We are a group of friends who share similar passions and similar perception of music. We want to promote music in many ways: by sharing it with the people via internet, social media and events.
Michal Jablonski – “Invite’s Choice Podcast 453”

Sept – “Lost in Ether | Origin Series*”

SIENN – “Lost in Ether | Origin Series*”

Let’s have a look at the nights. Do you regularly organize partys? If so, are they exclusively in Warsaw or also in other cities of Poland or maybe even in other countries?
Together with Michal Jablonski we created a project called Niedorzeczne Techno – the open air techno events by the Vistula river in Warsaw. It was like 3 years ago. This year, after a year of break the series was coming back. The first event was held on May 26th. For the opening party we invited one of our favorite artists – VSK with live act performace. All events are free entrance events. We want to share highest quality music and we hope to reach many people in this way.

Some time ago, Pawiel created Bóg Jest w Techno, a fanpage aimed on promoting proper techno sound. Now together with Sept with strong support of other team members they’re organizing events at the highest level, inviting masters of the genre. After the first season we invited many well recognized artists for their debuts Poland. Due to the high range of this entity we were also able to use this as a platform to empower Niedorzeczne Techno.

We’re all very involved in this project. Thanks to this collaborative effort and the effects of it, we decided to create events also as Vis Maior. We think that due to the potential we gained by gathering forces the best is yet to come.

At last let’s take a look into the future: What are your wishes regarding Vis Maior and the polish techno scene?
Our activities will expand considerably soon. In fact, my wishes are already in the making. I hope everything will go as planned and I will talk more about it soon. What do I wish for the Polish scene? Surely not to slow down. I think everything goes in the right direction.

Exclusive Mix by Voilent:


Vis Maior
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[Special]: Gramofonowa. x NovaFuture Blog – Poland Special | Part 5: “Extended Scene”


Gramofonowa. x NovaFuture Blog – Poland Special

Part 3: “Extended Scene – Interviews with people who are also part of the scene”


Interview with Dorota (Lost In Ether) & Sets:

Hello Dorota – nice to have you for a short interview about Lost in Ether and your artist rooster. You are a part/head of the project Lost in Ether. Tell us what is it and what is the concept and the artists behind the projects?
Hi, thank You for invitation to this interview. Lost In Ether is a podcast project, where you can find personal visions and expressions of alternative electronic music.
Rommek & Aimee Mullen – “Lost In Ether | Podcast #43”

Which international artists/crews have influence on your project “Lost in Ether” and your person? Which criteria are you looking for if you want to sign an arist for the mix series?
It is hard to pinpoint the impact of specific artists or teams influencing the creation of this series. I often ask artists to record what’s inside their hearts, not necessarily what they play in clubs, on a daily basis. Just check Rommek’s podcast, which he has prepared together with his girlfriend. This is a combination of quite experimental music and a live instrument – a violin.

I often choose artists according to my own taste, I invite people who are at the moment interesting to me as artists. There are some less and more famous names, for example VSK, Luigi Tozzi or Citty with his outstanding modular live act.

I also run the Origin Series, which is an attempt to promote Polish artists in country and abroad. There is, among other great things, a brilliant live act by Błażej Malinowski or a mix recorded by Gem.

Dorota, thank you very much for your words about Lost in Ether. We are looking fwd to present your Vis Maior project in the near future as a own part of our Poland special.

Błażej Malinowski – “Lost In Ether | Origin Series”


Interview with Visual Family Collective & Videos:

Hi. Could you please tell us who you are (who is part of the project) and what the name VFC means for you? When did you form the collective and from where did the idea rise?
Visual Family Collective was created by Michał Gwardys, Jakub Grzeszczuk and Tomasz Grzeszczuk one and a half year ago. Name of our collective illustrates the way we work – meaning for us, there are plenty of people that are co-working with us, just like a family, we help each other to achieve what we’ve planned. Creating group like this took some time. The passion for VJing started with Jakub – he was first of us to become a VJ back in 2013 (his stage name was vj Igraszka). His hobby shortly evoluated into job as multimedia and video artist . One year later his younger brother Tom started experimenting with 2D animation and became a VJ just like his brother. After few months of working together, Tom has taught his friend, from school, Michał some basic skills in animation . Finally in 2015 Michał came up with an idea to create a collective and to start doing VJ as a full time job, as it is today.
Visual Family Collective – “Othercult Teaser”

For whom did you already realise visual art and what were the intention of these projects?
Although during almost 2 years of our shows we had occasion to work with many great DJ groups and music artists, we have our favourite ones. Vis Maior – a Warsaw based DJ collective is definitely first of them. We made together many gigs with artist like Regal, Boston 168, Cleric and more. It was the first time we did such huge projection (about 50m2). Second one is a Hamburg based group called Othercult. It’s a very solid project that we really admire and are happy to take a part in. We visited cities like Hamburg or Hannover with such artists as Sam Paganini, Marcel Fengler, Par Grindvik, Keith Carnal, Nicole Moudaber and many more. Third group that we love to work with is a Polish collective Technokracja. We really enojy to make gigs with them, due to their unique vibe and a warm welcome!
What kind of elements do you use for the visuals? There are teams using old movie sequences or animations etc. …
Our style is based on mixing vintage movie loops with 2D shapes and 3D geometry. Most of our loops are monochromatic, but we sometimes we work in wider colour palette. To prepare our shows we use bunch of softwares such as: Adobe After Effect, Premiere for 2D animations and movie loops, Cinema 4D for 3d geometry renders, Touch Designer for generative 3d animations and Resolume Arena for live shows to mix loops together. Of course we also use hardware such as projectors, LED panels, screens, Roland video mixers and MIDI controllers.
What do you use for it? What’s your equipment that you used in studio & for gigs?
see answer above
Visual Family Collective – “My Home Is My Castle”

Could you please give us a description of the production process? What happens after a client asks you for visualising a track/a gig or whatever?
Each time we start to prepare the show it’s different, and that’s what we really enjoy! However first step is always the same- we try to learn what gear we schould prepare (like projectors or screens etc). Then we visit the place (if it’s impossiible we try to gather all vital information to prepare a special content suited for the place – for instance in Fabryka Porcelany we used vertical screen because it was better for this venue. Frome time to time we also upgrade our own MIDI maps to have better control in mixing loops. Then in the day of the show we come to place projectors and screens. Having done all those steps we are finally able to make some VJing. Usually shows start around 10 or 11p.m. and end about 6-8 a.m. so it’s at least an 8 hour live show. It is really hard not to be exhausted for all night long, especially if you’re performing alone.
What are your future plans? Any interesting projects in the pipeline you can tell us something about?
In the future, we are planning to visite some interesting events. We will be back to Audioriver Festival for sure! We really liked the vibe there! But it is not the only place we want to visit again. In less than a month we will be back to France performing for three days with our friend Monsieur Nuage. VJ battle at Interference Festival is another gig we really can’t wait for! This time we’re going to be better prepared but we heard that other VJs will also bring some more elaborate works. There are also many smaller gigs that we can’t wait for but since summer just began we are entering the typical festival mood!

Exclusive Teaser For Sept by Visual Family Collective:


Visual Family Collective @ Facebook
Visual Family Collective @ Youtube
Lost In Ether @ Facebook
Lost In Ether @ Soundcloud
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[Special]: Gramofonowa. x NovaFuture Blog – Poland Special | Part 4: “Why So Silent?”


Gramofonowa. x NovaFuture Blog – Poland Special

Part 4: “Why So Silent?”


Interview with Blazej Malinowski & Movies:

Hi Blazej, describe your concept please and tell us how the idea came up to your mind!
I have played a few times to silent movies before I begun my project, so I was somehow influenced by it. However, I have to say, the concept of those events was different than my own. I felt the focal point was always the movie, while the music, composed and performed by sometimes renowned and extremely appreciated artists, played a role of its companion.

I twisted the idea around. The heart of my project is the music and the artists performing it. I think that silent movies goes very well with electronic and techno music. At first the project was only about Live PA performances. After a while I started to invite Dj’s as well. The selection of the movies always comes after I invite the artist, it is never the other way around. The music is the most important ingredient in this recipe. I feel movies are creating a better environment for focusing on sounds. They are also a starting point, an inspiration for creating music. And as it turned out there are so many great titles to discover!

This is how the idea was born and how I want it to remain for the future as well. At the very beginning the events were very small and I mostly invited my closest friends to them. After a while the project started to grow and this days I can host some of my favorite artists.

“The Seashell And The Clergyman” scored by Głós
Please give us some facts about you and your musical influence!
This is always a very difficult question with a lot of possible answers. I was always close to deep forms, especially dub and ambient music, but also I am in love in the club vibe and a much stronger music for body and mind. My taste and influences are evolving over time but they are always close to the core that I described.
How do you select movie & artist? What are the criteria to combine both with each other?
Well, when talking about the music layer, I always invite artists that are an inspiration to me. With the movies it is always a bit more difficult. I consider myself more as an occasional explorer than a fanatic. For an event I try to pick several movies with a similar ambiance and character. Sometimes a movie can be 5 minutes long, so I have to find a few of them each time. The inspiration for their choice is the music of the invited artists.

I usually open the evening with my own short Liveact. Afterwards my guest take over the stage. I usually pick the experimental and avant-garde pictures, because I do not want to show the obvious titles here. Since I have been doing it for more than four years now, it became clear to me that in the beginning of XX. century there were a lot of filmmakers that wanted to push the art forward. This is very important for me when searching for the movies.

Blazej MalinowskiTHNTSGłós
(Blazej Malinowski, THNTS & Głós)
When did you start? Is it always at the same venue?
I started Why So Silent? four years ago. From the very beginning it had the same venue – a place called Znajomi Znajomych (Friends of our Friends) in Warsaw. Its manager – Dorota Tomaszewska – always had an unconditional faith in it. Her persistence is actually the reason that the project has been on for such a long time and succeeded in the way it did. She left me total freedom of choice of both artists and movies.

At the end of this season I received some proposals to come with Why So Silent? events to another polish cities or for example to perform in Stockholm. Recently I also presented the concept in Denver with a short Live performance during my first USA tour. So I have to say that the project is growing. However Warsaw is the place where I want to do it as long as possible. As long as people would like to hear & see it.

“Un Chien Andalou” scored by Blazej Malinowski
You now live in Berlin but your events still take place in Poland. What are your future plans? Perhaps doing it in Berlin too? Which artists and movies are coming next?
I am always asking myself the same question – which artists and which movies are coming up next, in the next 3-5 events? If some venues would be interested in co-hosting the event in Berlin, I am up for it for sure. However since my main focus is in working in the studio and playing Live, I am waiting for someone who would be really interested in working with me.

I am already planning the opening of the next season in Poland. This time it will probably be held in a club and it will turn into a regular club party running until the early hours of the morning. The evening will begin as a regular show and afterwards I plan to invite a VJ that will work with the pictures presented for the past four years. But for now I cannot say much more about the lineup but I think people will enjoy the concept of the night.


Exclusive – “Dante’s Inferno” scored by THNTS:


Why So Silent?
Blazej Malinowski
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[Special]: Gramofonowa. x NovaFuture Blog – Poland Special | Part 3: “Playing Poland”


Gramofonowa. x NovaFuture Blog – Poland Special

Part 3: “Playing Poland – Interviews with DJs played there”


Interview & Sets:

At which venues & in which cities did you already play?
Głós: In the last two years I played in Kraków and Warsaw. I visited Kraków years before with my parents when I was a child, spending the holidays there and visiting the Wawel castle, so I was quite pleased to return and get to play there at Święta Krowa—which happened to be one of the nicest gigs I ever played. Warsaw, on the other hand, was a first. I got booked to play there alongside Concept Of Thrill, Michał Jablonski and Michał Wolski in 2015 and returned to the city earlier this year to play for Błażej Malinowski’s ‘Why So Silent?’ series at Znajomi Znajomych, setting music, live, to a French 1920’s silent film.

Fiedel: I played in Poznan at Esculab, at Unsound (as MMM) and Patch Lab festivals in Kraków, Slap party series in Wrocław and events in Katowice and Warsaw. Besides this I set up the Killasan sound system in Sczeczin.

Non Reversible: So far only in Kraków – really beautiful city btw.

THNTS: I played in January at Das Lokal in Wrocław and recently in Warsaw for the Why So Silent?! event.

Mario Berger: I played in Warsaw at Luzztro, in Poznan at 8 Bitow and in a club called Oczy. I played at Sfinks 700 in Sopot twice and in Szczecin in a place called Pierwsze Miejsce. I also played two smaller parties that definitely deserve the term “underground”: one in Zielona Gora and one in Słupsk. Both were hosted by a small crew that is composed of friends from both cities.
How did the promoters get in touch with you (agency, friend etc)?
Głós: Either via the agency, via Facebook, or by meeting in person. It always depends on who it is and on what level you meet. Obviously, people who never met me have to get in touch with me via mail or the agency, while others just ask me in person when they meet me at a party, as happened with Błażej Malinowski for instance. After a common friend of ours introduced us at one of his gigs at Ohm in Berlin, he subsequently invited me to play at his silent film event in Warsaw—something that I was really pleased about and honoured by. So in the end, it’s not any different to how it usually comes together. I have to say though, that as is significant for the times in which we live, most of the contacts happen via Facebook. This is due to the fact that right now, in 2017, you end up being Facebook friends with everyone on the planet who has anything to do with Techno, regardless of whether you have met in person or not. So most contacts that you have, although not all of them, begin through social media.

Fiedel: My first gig in Poland happened, when DJ Pete asked whether I join him at Esculab. I am friends with the guys of Slap and they invite me to their events. Other requests were reaching my agent at Ostgut booking.

Non Reversible: I was invited by the promoter of the NIC series with a really lovely inquiry.

THNTS: I knew some people before, after I booked Michal Jablonski to Berlin I also got to know more people from his SLAP-crew back then, like Karol/Spectribe and Adam, who eventually invited me to play in Wrocław. Blazej Malinowski, the curator of Why so silent, is actually living here in Berlin, so we met here last year. We were talking about me playing this event for a while, so I’m happy it finally worked out!

Mario Berger: I had my first gig in Poland through Alexander Kowalski back in the days. He went on a small tour through Poland and he asked me to be his supporting DJ. Everything was well organized. We played 4 different cities. He played his live set. I was the DJ. In the end we also played back to back on every show. It was big fun! Of course I also got in touch with the promoter who organized the whole tour. He’s still inviting me to play on his parties regularly.
Głós – “Live Set At The Escapism Instore Showcase”
What do you think about the locations and audience?
Głós: Well, I was born in Poland and even though I wasn’t raised there, they are kind of my people. They were raised in the same way by their parents as I was raised by mine, although in another country. Going there and being with the people feels like being home without actually being home, which is a very interesting feeling. I even wonder if there is a specific term or name for that, maybe I should google it. However, that circumstance always makes it especially nice to be there, and as for the locations, I have not played in an actual club so far as the circumstances in which I played there to date always involved special events. But I visited Wrocław last year privately to witness an Avian showcase in a Gothic church, and I can tell you: That was really fun and special! As a westerner, you shouldn’t spend too much time at the club’s bars, though. The vodka is excellent, the prices are low for our standards, and you can pay by just holding your credit card against the card reader. It’s one hell of a bloody temptation, especially if you’re in nice company all the time, so be warned. You almost never get any headaches, though, at least I never got any.

Fiedel: Esculab was quite huge and an old multi purpose location as far as I can remember. People wanted to dance, they longed for raving to techno music. Last year in Kraków, I played in an old hotel from the 80ies that is not in use anymore. Cannot speak the name but it was an interesting location.

Non Reversible: The location where i played was a really nice one. Spliniza 1 is a basement vault in the middle of old town from Kraków. The audience was great, extremely friendly and warmly as well.

THNTS: Das Lokal reminded me actually of Berlin clubs in their best times, small place, escalating crowd and great sound (thanks to Karols insane sound system!). The venue of Why so silent is not exactly a club, so it’s hard to compare, but in both places the audience was very open and into it. It’s always nice to hear feedback during and after your set.

Mario Berger: People are really enthusiastic in Poland. As far as I can tell they really like Techno. So everyone puts a lot of effort in throwing parties. I remember nice and ornate visuals in the clubs for example. They always were special.
Fiedel – “Closing Set Ostgut Ton Nacht Berghain 08-2014”
Is it different to play in Poland compared with having a gig in Berlin/Germany or any other international booking? Any specifics?
Głós: The difference with Berlin for me is that, at the gigs I had in Poland, people were way more passionate for the music than usual and everything had this certain “underground” attitude attached to it, you know, this particular “something” that is very hard to describe and yet very observable in practice. Don’t get me wrong, I love partying in Berlin’s clubs, but they have existed for so long already and they have this very definitive business structure attached to them, meaning that everything is kind of a routine and there is a lot of money involved. Contrary to that, in Poland everything feels quite new and fresh, and whenever I am visiting Poland, people are very happy to have you there and they don’t give you the impression that it’s a regular thing to go to parties every weekend and have whomever playing there all the time on a regular basis. They really appreciate the music and their enthusiasm is very catching. You certainly get a very different vibe out of it.

Fiedel: There is no difference between the gigs in Poland or elsewhere, but I think it is more energetic compared to Germany.

Non Reversible: The difference to Berlin was – of course – the play time and the length of the party but also the vibe. I found it very pleasant and less hectic – but the people for sure are not so spoiled like in Berlin. It is not all designed for peaktime, and the DJs may play a bit more diverse. In Berlin you would surely do the “Moses” if you would play similar tracks between 5.00 till the end.

THNTS: Wouldn’t really say different, but the party I played definitely had a special vibe and that’s what makes it fun for me to play.

Mario Berger: Berlin is really international. People from all over the world are living or coming to Berlin to experience its club culture. So you kind of always play in front of an international, probably also touristic crowd here in Berlin. But I don’t think that there are any big differences to Poland. I always had the feeling that Polish people like Techno in its whole bandwidth. As a DJ you can try different things during your set. This makes it a lot of fun to play there and this for me is the most important thing.
THNTS – “Hypnoza”
Did you know Polish DJs or artists before playing there? Do you check out the Polish scene now regularly after your gig in Poland?
Głós: Before even having my very first gig in Poland, there was actually a time when I lived in Cologne and one day decided to look through Soundcloud and actively search for DJs and producers coming from there. I found a lot of interesting artists that way, and the thing that I liked the most was how many female DJs and producers Poland had to offer compared to when I looked for them in other countries. Apparently, there seems to be something happening in Poland that encourages women to become passionate DJs more than in Germany which I find to be very very pleasing.

Fiedel: I used to play stuff by Echoplex. He is from Poland, isn’t he? I am not really interested, where a producer or DJ is from, it’s just the music that counts for me. DJs I have seen recently and I like are Olivia Ungaro and Eltron John.

Non Reversible: In Poland there are so many talents and I always have an eye on things happening around us. Especially I would like to mention VTSS from Behind The Stage – I think we will hear a lot from her in the next years.

THNTS: I was following it before actually and really admire the quality of music that is coming from Poland lately. They deserve more attention, so it’s great that you are doing this Poland special!

Mario Berger: I knew the guys of Technosoul through mutual friends before. They have been throwing parties and inviting DJs from Berlin for many years. So I knew that there is a strong scene for Techno. I also knew Milena Kriegs who I saw later play at ://about blank here in Berlin. Last year I gladly invited Blazej Malinowski to play at my New faces issue at Tresor. I’m a big fan of his productions. So of course I’m still curious about what he and his guys are doing now and that’s why I keep on following them. I also notice that ‪Michal Jablonski who I saw play at Tresor last year is getting more and more popular.‬
GłósFiedelNon ReversibleTHNTSMario Berger
(Głós, Fiedel, Non Reversible, THNTS & Mario Berger)
What do you think about the Polish scene (clubs, DJs, producers, labels)?
Głós: I find the Polish scene to be very interesting, not only for personal reasons as I was born there and therefore naturally interested in how the scene keeps evolving, but also because artists like Błażej Malinowski and Michał Wolski are just too fucking good to be ignored. A lot has happened since my first booking in 2015 and there is too much other good stuff going on for it not to be on the international radar. Festivals like Unsound in Kraków, hosting international and well-respected artists, are no longer an insider tip, and someone like Gareth Wild who usually operates out of the UK just got signed to an agency from Poland. Furthermore, there are a lot of interesting labels like Technosoul, Unknown Timeline or even Jacek Sienkiewicz’s Recognition, the latter having put out a full Ambient long-player by Michał Wolski last year. Not to speak of all of the different promoter crews active in their respective cities. And there is still so much new stuff happening, i.e. Concept Of Thrill launching his new Drvms imprint and new parties and events spreading around the country and becoming more and more recognised by the rest of Europe. It just keeps getting more and more interesting, which pleases me a lot.

Fiedel: The scene right now is still kind of fresh and original, like I experienced the first time. But there are also tendencies of being hip in some places. Many people travel to Berlin to enjoy electronic music and bring the spirit to Poland. I greatly appreciate the effort that people try to make things happen in terms of organizing parties presenting a high standard in music.

Non Reversible: Very open-minded, entusiastic and detailed in love. Looking forward to my next time!

THNTS: What I can really say stood out to me the most, was the hospitality of everyone! I felt super welcome and taken care of and you can feel the love and passion everyone has for the music.

Mario Berger: As I mentioned before I remember the people being very enthusiastic in what they are doing. And they definitely know how to party. 🙂 They also seem to be really well connected over the different cities which of course is really good. This symbiosis creates a high standard of the events people in Poland are doing. And of course last not least you also can hear it in their productions. I mean Blazej’s music lives up to high international standards and a label like Technosoul is more and more becoming a trademark for high quality electronic music. I also think they are heavily influenced by what’s going on in Berlin, which is quite obvious, since cities like Poznan and Szczecin and even Warsaw have a direct train connection to Berlin. When I played in Poznan a couple of years ago I was told by someone that their crew is going to Berlin by train several times a year to go to the clubs here. So you can feel that they really like and live electronic music .
Mario Berger – ” Modular Expansion #039″
What was your best moment in Poland?
Głós: There are actually a great number of specific experiences that I could name, as every visit had its memorable moments. However, the best thing about visiting Poland always remains the same: getting a pack of my favourite blend of flavoured cigarettes—banned in Germany—and a grand variety of the aforementioned good wodka in the clubs’ bars. To me, the taste of both of those things combined is just pure heaven.

Fiedel: A great party to remember was Ars Cameralis in Katowice where I played together with Tobias. The audience was totally up for it. Not to forget the Slap parties in Wrocław. The crew does a very good job and people are full of energy.

Non Reversible: Middle of the set to see the faces. 🙂

THNTS: hmmm, hard to make out a single moment. It was really a great time overall…

Mario Berger: Actually there wasn’t one “best” moment. I always had loads of fun playing in Poland. Every gig was different and special in its own way. Maybe retrospectively there was a funniest moment. When I played Zielona Gora, I had to play in Słupsk the next day as well. We went there by car. There were 5 people in the car and it was supposed to be a four hour drive. In the end it took us more than eight hours since someone claimed to know a cutoff. That led us through fields and woods in the polish coutryside and we completely got lost on our way. At some point we got accidentally back to the correct route. So we arrived late in Słupsk but accurate enough to have one of the best pizzas I ever had before I had to start playing. I gladly remember this happening. 🙂

Exclusive Set by Non Reversible:


Non Reversible
Mario Berger
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