Tag Archives: Nordic Folk

A CeltCast Classic
Kati Rán – Sála (2024)

23 Jun
Cliff de Booy
0 Comments

Some records become instant classics the moment that they are released and Sála, the 2024 album by Kati Rán, is one of those. A bold statement, I know, but one I can quite easily explain.

As a kid I discovered my need for ‘healing music’. Music that would lead me into a different world. My own inner world. A world where I could be safe, open up and feel. I had (and still have) the need to sometimes escape this whole darn demanding world and disappear into my own little subspace and recharge. Just some ‘me’ time to be able to let my emotions flow and deal with them in a controlled and safe way. It was and is my way of dealing with this weird, twisted world full of triggers, chaos and insecurities. Music became my safe haven.

Normally, I need a couple of well-chosen songs to work those emotions out, but sometimes, just sometimes, single songs are composed so well that they can take me on that journey by themselves. Telegraph Road by dIRE sTRAITS was the first song that did that. In the pagan folk scene I found a few more: Hymn to Pan (Faun), Circle of Stag (The Dolmen), Torc (SeeD) and Reis Glorios (Estampie), to name a few. Every time I hear these songs, they bring me into that state of emotional bliss were I can let myself go and mentally recharge myself. Put a couple of those songs in one playlist, and I can take on the world again.

Never in my wildest dreams did I think it possible that somebody could write a whole album that could have that effect on me. And then there was Sála. The first time I listened to it was on an evening after a long frustrating day at work. I felt agitated, chaotic and was full of frustration. So I put the music on, crawled into my little corner of the couch and it happened — I just instantly connected with the first archaic notes, ages of wisdom seem to pour out of these notes. The tribal -almost Native American- rhythm opened up the path to my inner self I know so well and the soothing voices of Kati Rán, Gaahl and Gealdýr started doing their healing work.
And it continued, song after song after song. Before I knew it, 77 minutes were gone and the last notes of Sátta had played. My mind was at peace again, and the calm silence that followed was just as beautiful as the whole CD I had just listened to. Minutes where I said nothing. Minutes I needed to comprehend what I’d just heard. That’s a rare thing. Even now, after many rounds of intense listening to the album for this review, Kati’s creation has this effect on me.

The music on Sála works in so many ways. The first is the flow of the songs itself. The rhythms, the voices, the compositions, the sounds Kati specially recorded to connect all of them together. All these aspects make listening to this record a meditative, almost spiritual experience. Of course, this starts with Kati’s soothing singing style. If silk had a voice, it would be hers. And luckily for us, she combines that beautiful voice with lovely, almost minimalistic music. Quite often less is more, and Kati understands this concept like no other. Don’t get me wrong, it is not like there is nothing happening in Kati’s music. On the contrary, she knows exactly what to add to keep you captivated till the very last note. No, it’s that perfect balance between ‘less’ and ‘more’, between adding and removing. Kati is a master at it: it is spot on, during the whole album!

There is a picture in the booklet by Gigja Einarsdottir of two Icelandic horses on the beach (used here as the cover for the single Unnr – mindbeach) and that picture embodies every song played on Sála. It is minimalistic, yet full of detail. It is calm, yet full of energy. It is still, yet full of movement. It is the art of using white space to fill a whole world. That is the best description of the music on Sála. Kati uses silence as a note. She uses space as a sound. You don’t have to use words to get a message across. Sound is enough. That is exactly what Kati Rán is doing here. I am moved purely by the careful selection of sounds. Wisely picked one by one. I don’t even need words. Up to this point in the review, as I am writing these words that you are now reading, I haven’t read the lyrics yet. And as I don’t speak Old Norge, Nynorsk, Icelandic or Norwegian I haven’t got a clue what the songs are about. Still Kati –and the other voices on Sála– soothe me in a way I did not think possible. In perfect harmony with the rhythm of music. With the rhythm of the silence. Stone Pillars is my absolute favourite song on this album as it is the accumulation of everything I have said until now. But there is no bad song on here. Every song needs the one before it and the one coming behind it to make the overall experience work. In one word: a masterpiece.

Although Sála should be taken as a whole, I still want to take this moment to mention some individual highlights. I already picked out Stone Pillars, my absolute favourite song on this amazing CD. I love the soundscape feel of this song. The mantra-like lyrics, as much recited as they are sung. And of course the rhythmical melody played on the stone marimba. That combination of the marimba rhythm and those ghost-like yet soothing, slightly whispered voice is just amazing. Kati Rán at her very, VERY best.

The opening song Sála is another highlight for me. I love those deep drums. It’s that rhythm that pulls me straight into a meditative state. I also love the male vocals here by Gaahl and Gealdýr. The combination of the drums and the choral vocals give this song a slight Native American vibe. I love that combination of Nordic folk and Native American chanting. The two go wonderfully together. I love the arrangement of this song as well. It has such a beautiful build up. Pure magic.

The sound of Hefring connects wonderfully to LYS, Kati’s first solo album. There is a sense of longing in this song that I find really captivating. A sense that I hear more often listening to this whole album.

Blodbylgje is of course more than just a song. Its an epic poem, a musician painting, an iconic scene with sound. Some even call it a shamanic audio experience. I had trouble understanding it when I heard it when it was first released. I could not connect with it. But now, put in the context of this whole album, I finally understand it. Yes, it is indeed a very special song.

Dröfn starts with an intriguing sound effect. I’m still trying to figure that one out. What is it? Why is it there? Don’t tell me though, I’ll figure it out. The song itself is actually a poem. I love how after the epic grandness of Blodbylgje, Kati chooses to recite a poem! It is that contrast, that well thought out flow, that makes this album work so well. Your mind is constantly triggered. And on you go on the journey through Kati Rán’s musical world.

Stone Pillars I already mentioned but it fits perfectly at this point of the album. The most introspective point. The main theme of this album are the nine daughters of Ægir and Rán. In Nordic mythology Ægir and Rán both personify the sea. The nine daughters are the sea waves, all with their own personalities. The cool thing is that Kati tells their stories in poems that talk about universal themes. Longing, loss, hurt and warfare. This poetic approach means that we all can take our own feelings and needs out of it. Even if you are not knowledgeable in Nordic mythology, you can take something away from this album.

A next highlight for me is Unnr – Mindbeach. Again, the build-up is beautiful. There is something hypnotic about it. The repetition of the choral part is mind-boggling, the lyrics beautiful. Just take your time to read them. To read the translation. The words fully deserve that. Some of you will by now have noticed I’m not going deeply into those lyrics. That is true and for good reason. First of all, the story is not mine to tell. They are Kati’s lyrics, so I’ll add a YouTube link Kati shared with all of us so she can explain what they mean to her herself. Secondly, I don’t want to ruin your own journey. Find your own meaning in them just as I have done.

At this point I’m fully immersed in the meditative experience that is Sála. Himinglæva is a beautiful duet between Kati Rán and Jaani Peuhu (Iconcrash, Swallow the Sun, Mercury circle). It feels more like a story than a poem. A story of love, longing and loss. And beautifully sung by both Kati and Jaani who also mixed and produced this album. Again that feeling of longing is in there, but Sála is not a sad CD. Nor is it a meditative one although I mention this word so many times in this review. Sála feels inspirational and positive. It also feels like a band project, not a solo CD. Jaani, Gaahl, Gealdýr, Umbra ensemble, Emilie Lorentzen, Florian Ravn (Ravn), Yana Veva (Theodor Bastard) and all the other musicians don’t feel like guests on this album. No, they are all part of this experience. The are all essential contributors to this beautiful piece of art.

As I mentioned a couple of times in this review, Kati has a really soft, soothing voice and up till Hrönn that is the one she used most on this album. But she can also belt and tear through music if she wants to, and she does that to the fullest advantage on Hrönn. I love that part of her music just as much as I love the poetic, healing side. The music itself also picks up momentum again. We get to point where I start to rejuvenate again after the cleansing introspective experience of the previous four songs.

Kati recorded a lot of sounds that she and Jaani used to connect all the songs together, to make this CD sound like one song. The best sound she chose to do so you will find between Bára and Segið Mér. And again it is the power of silence. Bára starts small, like a little drop in the vast ocean of time, but builds up to a powerful crescendo, then suddenly stops, only to continue on as the war cry Segid Mér. What a beautiful transition. I really thought it was one song the first six or seven runs I had Sála play. And what a beautiful song this combination of Bára and Segið Mér is. So powerful. So strong. So… So… I have no words for it. Just put it on and feel it yourself. Put it on loud. Use your headphones. Use your best loudspeakers. You have to feel this, immerse yourself in it. Feel the power of Kati’s whispers, feel the anger of her belted rhythmical chant flow over you. The clever way Jaani and Kati have layered the instruments around this stunning piece of art! As I said at the start, an instant classic in my pagan folk…, in my entire folk…, no, in the whole of my music collection!

On several occasions, Kati said that this album is a journey. Well, that is totally true. It is the ‘healing’ album I did not know that I needed until I listened to it the first time. A classic Nordic folk album that everybody must have in their collection. And that’s my final word on it.

Cliff

Editor: Iris
Cover picture: Arne Beck
Unnr cover picture: Gigja Einarsdottir
Kati Rán portrait: Ruben Terlouw (Woedans)

You can find Kati Rán here:

New Sowulo album out soon

27 Aug
Cliff de Booy
0 Comments

On Friday the 29th, Sowulo will release their 5th studio album called Niht.

We were honoured that we were allowed to listen to the album in advance.

Our reviewer Cliff de Booy has been all over this new masterpiece from Sowulo, and came back all enthusiastic and inspired.

According to Cliff: ‘Niht is a beautiful album, taking the intense power of previous Sowulo recordings, and adding even more layers to it, leaving me longing for more, every time the music finishes.’

Read all about the new Sowulo album Niht here on the CeltCast website. We at CeltCast can’t wait for the official release, so we finally can share this beautiful music with you, our listeners, on our radio playlists.

Sowulo – Niht (2025)

26 Aug
Cliff de Booy
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I still remember listening to Mann for the first time. It felt like an intense outpouring of male emotion in all its raw forms. I was stunned by it, overwhelmed. The 2022 album Wurdiz had a slightly different energy. It started with that same emotionally overpowering wall of sound but the impressive vocals of Micky Huijsmans brought more balance to the songs, a female perspective so to say. And the theme of that album -fate – also made room for different perspectives which reflected in the music. It made room for softer songs, even a tender ballad. This makes Wurdiz a lovely album, beautiful to listen to.

And now we have Niht. The Fifth Sowulo album altogether and the third one in its current Anglo-Saxon orchestra form. Just as on the previous albums, composer and lyricist Faber Horbach takes us back deep into the dark ages and beyond. Back to the times of the Ingvaeones, the Germanic North sea tribes. The

Angles and Saxons in particular. And again, the end result is stunning.

The intro Niwe Mōna sets the tone. Tribal, enchanting but raw with a touch of inner pain. Seolfren Sicol then kicks in with the punch we are used from Faber. Strong, powerful and full of emotion. Micky and Faber sing the lyrics together as a two-man choir. Their voices blend really well together, Micky adding hugely to that already impressive mix of clean and distorted layered vocals that Faber always uses.
But to my pleasant surprise the music then eases back, giving Sowulo’s music a new dimension that I haven’t heard on their last albums that much. The driving percussion and strong vocals are still at the core of this song, but there is suddenly room for some subtle harp playing, some beautiful clean harmonies by Micky and Faber, some lovely cello, some impressive sweeps of the carnyx. And the chorus is seriously catchy. I’m liking this. I’m liking this very much.

Āsteorfan is an equally impressive song. It sounds like a whole orchestra and choir just entered the room. The carnyx joning in makes this tribal orchestra sound even more majestic. The composition itself keeps building up to something truly huge. Layer upon layer of vocals, strings, percussion and carnyx create that wall of sound that Sowulo is so well known for. Wow, this is something. Only downside is you need some headphones and the volume cranked up all the way to fully appreciate the potential of this composition (this is too massive and orchestral to be called a song). Somehow the mastering seems a bit flat. A bit safe. I’m missing something. A bit of a kick. The sound does not grab me by the throat when I play it as I’m used to with the previous albums. Maybe it is because I got the album in advance. I sure hope so, because the potential in the song is there. Faber clearly wrote it to be something massive, something huge.

I have the same problem at the start of Sōl ond Māni. The drums sound slightly overproduced. There seems to be too much effect on them and at the same time they sound clipped, therefore pushing the other instruments away. Especially the subtle percussion elements under it that I can only hear with my headphones fully blasting. But let’s not dwell on that, and listen to what we do have here. Another strong song oozing dark folk out of every note played. Listen to that impressive carnyx wailing over Micky’s vocals. Pure goosebump material. The drums do drive the song on by the way. Like a slow monster. Treading over the world. Unstoppable, scary, beautiful. A song that gets stronger and stronger the more I listen to it. Which goes for the whole album, actually. These songs are like good wine: they need to ripen. I started out liking them. Now at my eight or ninth listening run I’m truly loving them, despite the small remark I made about the mix earlier.

I have to focus on Micky Huijsmans at this point in the review. Faber has given her a much bigger -almost leading- role on Niht and I’m so happy he did that. She is glorious on it. Just listen to her powerful vocals on Sōl ond Māni. You really need some huge lungs and vocal chords to be able to hold your own against the wall of sound that Faber created while writing this composition. And she is nailing it, trust me. Yet, her voice is flexible enough to start small, to be fragile and breakable and as the song progresses she is blasting those notes out. Climbing up on top of that huge wall of sound. Wailing her heart out from the top of it. Becoming one with it. Well done, Micky.

OK we carry on. Full Mōna is another epic song with a lovely catchy chorus to cheer things up a bit. I predict this will become a live hit during concerts, just like Wulfwiga
Miċele Steorran is sung by Faber, but with a lot less effect on his voice then he normally uses. His sound is clean on this song and I like that. It suits this tribute to the stars, this celebration of the night. Faber once wrote and recorded Alvenrad because he wanted music he could play to celebrate the pagan year celebrations. This time it feels he wrote the music to honor the powers of the moon and the magic of the night sky. It seems to celebrate eternity and the darkness that goes with it. The further I get on this album, the more it feels like a ceremony to me. A celebration of the night. And through its darkness also a celebration of life.

The next highlight is Nihtēagan. It starts really beautiful with an intimate moment between Faber, Chloe on harp and Micky. The contrast between the subtle harp play and the raw emotional harsh vocals of Faber make this such a powerful moment. This is so well composed. Before you know it the sound of the nyckelharpa grabs you, sweeping you into a grand chorus of orchestra and choir. Again Micky shines in a beautiful solo moment. And again I wished the mix was a bit more dynamic so her vocals would really cut through the music, making her outpourings really hurt inside, because I can feel the music was meant that way. It was written by Faber to touch something deep inside of us, in a truly spiritual or emotional way. This is where Faber Horbach excels. It is not the first time that I have called him a classical pagan folk composer and it most likely will not be the last time. His compositions have the same strength, the same grand power that songs like Land Of Hope And Glory by Edgar Elgar also have. But then in a tribal, pagan way.

Talking about classical pagan music, we now come to one of my highlights on this album. A solo for carnyx. And what a solo it is. This beautiful instrument gets its moment to shine. It is truly stunning to hear all the possibilities this beautiful instrument has. It growls, it screeches and it tears at the moon. Its howls are beautiful and disturbingly eerie at the same time. It can sound beautiful, full and harmonious like a horn at one moment; growling, gnarly and angry like a wolf the next; or even impressively high-pitched like an elephant’s cry in the night. And all that with a human touch, a deep sadness in it. Absolutely beautiful and disturbing at the same time. No wonder the Germanic tribes used the carnyx as a war instrument. Imagine what would happen if you have a 100 of these things wailing at you while you wait for the things to come. But played like this, by Faber, it’s an instrument of beauty. A prehistoric voice brought back through time, crying out from the ancient depths of history in all its beauty.
Faber, thank you for that!

Eald Mōna beautifully picks up on this. To me it feels like a march. A tribe on its way to find the light again; marching into a tunnel of darkness; one by one; looking for the new moon; to drag it out of its cave and have the circle start all over again. There is a beautiful sadness in this song, a melancholy in the melody that I really like.

Swefnian has beautiful lyrics. Without music it reads like a poem. Overall, you can hear that Faber has grown as lyricist, just as he has grown as a composer. Niht is a beautiful album, taking the intense power of previous Sowulo records, and adding even more layers to it, leaving me longing for more every time the music finishes. Luckily, Niht is just a chapter in the cycle of life; just a moment in time. There are many more moons to come. Many more moments to grow. I cannot wait what the next cycle will bring for Sowulo, but until then I will happily have Niht ‘cycle’ its rounds in my CD player, time and time again! To celebrate the beauty of music, to celebrate the beauty of the night -and most importantly – to celebrate the magic called life.

Cliff

Editor: Iris
Cover Art: Faber Horbach
band photography: Henk van Rijssen (FB)
live photography: Cliff de Booy

Sowulo can be found here:

Noiduin – Korven Kolkon Kainalossa (2022)
Alinen (2023)

03 Mar
Cliff de Booy
0 Comments

Noiduin is a Finnish dark folk band that I have been following since their debut EP Korven Kolkon Kainalossa came out in 2022. Fascinated by the sound of the jouhikko and Finnish folklore, founding member Jemina Kärvi started building her own instrument and writing her own music.
Over the last three years Noiduin has recorded two EP’s and 3 singles; they have gained more and more momentum among fans of Nordic folk music and the band itself has grown in numbers as well. The current line up consist of Jemina (Vocals, jouhikko); Henri (Vocals, jouhikko, kantele); Matilda (Vocals, jaw harp, percussion; Aila (Vocals, bowed monochord bass) and Mikko (Drums, percussion).
With a possible new album looming in the future it’s about time we finally guide you into the world of ancient Finnish musical folklore that is Noiduin.

The first notes on Tuulen Teitä, the opening song on the 2022 EP Korven Kolkon Kainalossa, immediately pulls you into Noiduin’s music. It sounds ancient, archaic, haunting and mythical. The sound of the jouhikko (a Finnish relative of the talharpa) is both eerie and beautiful. Using it as the lead instrument only accompanied by a wee bit of synths sweeps you right into the dark Finnish woods of 1500 years ago, when the Finnish people still lived their lives the old way, undisturbed by their Viking neighbours.
That eerie atmosphere is enhanced by Jemina’s whispered voice greeting the moon, the day and the air. The tastefully added choir and synth sounds make these opening bars sound as a blend of Cuelebre’s debut album and Waldkauz’s Mythos album but with a decisively Nordic feel to it. Especially the sound effects on the spoken word spells make me think of the Zwielicht (Twilight), the opening track on Mythos.

Now it’s in the nature of reviewers to look for comparisons in music. It is the easiest way to describe music to someone else using words. But with Noiduin that approach doesn’t work. They have their own unique sound. The themes, the instruments, the choirs and the vocals are all what you would expect from Nordic music. But the comparisons I’ve written down in my notebook while listening to Noiduin’s music are with Spanish bands: Cuelebre, Trobar de Morte, even Ritual Duir. The only exceptions where the Polish band Furda and the German band Waldkauz. So not a Nordic band in sight!

That’s because Noiduin just sounds different. They have their own unique style. It sounds ancient but fresh, with a cool danceable feel to it. Just listen to Karhun Synty. It has a tribal beat in it that instantly makes your feet wobble. A song like Käärmeen Synty from their second EP Alinen even sounds cheeky and fun. The rhythm urges you to dance. That infectious rhythm is carried through in the harsh spoken word vocals of Henri with a very cool call and answer section that is sooo catchy. Just like the vocals used by Furda. Jemina’s vocals dancing around Henri’s harsh vocals; sometimes whispered; sometimes harsh; sometimes in a yoik; sometimes in a full lead voice; sometimes even screaming are the icing on the cake.
In the whispered spoken voice sections or the subdued singing parts Jemina has the same tone of voice as Rose Avalon (Ritual Duir) and the beautiful ballad Suru could easily be on a Trobar de Morte album if it weren’t for all the Nordic instruments being played.

So Noiduin is not your typical Nordic folk band that builds layer upon layer of epicness. In an interview the band did with Jameson Foster on the Nordic Sound Channel, Jemina was asked if the band has a preconceived vision of how the sound of the music should be. I wasn’t surprised that Jemina and Henri said that the band doesn’t work like that. Jemina just writes songs based on how she feels, or how the lyrics inspire her. And you can hear that. Noiduin’s music sounds fresh, organic and free. I want to sing along with it, I want to dance and join in. These are songs rather than ritual experiences. And I’m loving it.

There is another reason why Noiduin isn’t your typical Nordic folk band. Reducing their (Finnish) music to the Viking aesthetic would not do justice to the uniqueness of the Finnish culture. Whereas the Vikings were a part of the Germanic tribes living in north-western Europe during Roman times, the origins of the Finns lie with nomadic tribes living in the north-eastern part of Europe and Asia, even as far as Siberia. This means their mythology, culture and folklore are totally different from those of the Vikings.
In their lyrics Noiduin explore that old Finnish heritage, just as their fellow musicians of Goi do.
The name Noiduin means: ‘casting a spell‘ and in their lyrics the Henri and Jemina continue the Finnish tradition of casting spells to help with everyday life or to connect with the spirits living around them. In the interview with the Nordic Sound Channel the couple explain that in Finnish folklore everything has a spirit, from the animals to the oldest caves and mountains.
In their lyrics Henri and Jemina sometimes use the spells themselves, sometimes they get in the skin of Finnish creatures, but in other songs Noiduin use the language of spells and spirits to share their own emotions. Uni, the opening ballad of Alinen is a beautiful example of that. Just read the translation as you listen to the song and you will know what I mean.

A Fresh Organic Feel
All in all I just love the music of Noiduin. Their use of authentic, self-build instruments. I love the organic feel of their songs. I love the contrast between the harsh spoken word vocals of Henri against the powerful female vocals of Jemina. Sometimes whispered, sometimes bursting out in full power, with just the right amount of edge to make her vocals work really well in this dark folk setting. The Finnish language itself is pleasant to listen too. The lyrics flow smoothly even if I have no idea what they mean without a translator.

I love the fun bits Noiduin adds to their music. The jaw harp ‘beat’ in Loitsu and Karhun Synty for instance, the double harsh vocals in Hiienn Hurtta or the native chant-like vibes I get from Nostatus. But I also love the simplicity of the band’s sound. The songs are kept simple and to the point, and the music sounds open. Every instrument gets enough space to shine within the overall sound without being drowned out by all kinds of synthesizer layers, sound effects or other things. All the instruments have room to breathe. Yet if you listen carefully there are all kinds of fun elements woven into the arrangements to enrich the sound: Added instruments, sound effects, clever use of backing vocals, and especially that rhythmical natural flow, that ritual heartbeat flowing through it all.

Jemina recorded and produced Korven Kolkon Kainalossa, herself on [quote] ‘the cheapest recording equipment available‘. Well, she can be really proud of those recordings as the sound is pretty good for a self-produced release. Alinen, also recorded and produced by Jemina, sounds even better. More crisp and open, which gives more room to all those cool musical surprises hidden in the music to enrich the songs. It’s cool to hear how much Jemina… No, how much the bánd have grown in just a years time.It’s pretty amazing actually.
You’ve seen the name Jemina a lot in this review. Although she is the founding member of the band,is credited as writing all the music on both EP’s, and is also credited for the lyrics together with her fellow band member and husband Henri, Noiduin does sound and feel like a true band, and not a solo project.

Fans of archaic dark folk bands like Furda or Cuelebre will love these two EP’s. But also fans of Folk Noir, Kaunan, or Waldkauz’s Mythos album will. Actually anybody who loves authentic archaic pagan folk should go and check out Noiduin’s music on Bandcamp. There isn’t a bad song on there! And while you are there keep an eye out for the new album the band is working on. If the new singles Nouse Maa and Päästa Minun are anything to go by then that next album is bound to be another dark folk gem.

Cliff

My thanks go out to Jameson Forster of the Nordic Sound Channel who did a fun interview with Noiduin. If you want to know more back ground information about the band be sure to check that out.

Editor: Sara Weeda
Photograph 1: Sami Teeri
Photograph 2: Hannu Juutilainen
Photograph 3: Noiduin

You can find Noiduin here:

Daily Disc
Towarb – Unserland (2020)

18 Mar
celtadmin
0 Comments
Last month, we received a message from this band from the Alsace in France. In October, they released their first EP, Unserland, with four beautiful pieces of music. The songs are inspired by regional history and its oldest legends. As soon as you start listening you are in a distant and ancient world. Low voices, dark tones, historical instruments, and primal forces can be felt immediately. This EP is a good start. If you love Sowulo, Heilung, Munknorr and Wardruna it’s a good possibility you like Towarb too. We at CeltCast are looking forward to hearing more of this band! And, maybe on stage in the near future?
and My favourite song on Unserland? That is: Sterne.

Musical greetings, Ilona CeltCast


You can find Towarb on:
Facebook: Towarb
Bandcamp: Towarbensemble
YouTube: Towarb






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