Interview mit Eyal Levi von Dååth

Your last studio album was released in 2010, the year you last performed on stage. Now, 14 years later, a new album release is on the cards. Are you excited? Does it feel different to the other releases?
I’m very excited. It feels very different to the other releases. If I had to compare it to any, I’d say it’s a little bit like „The Hinderers“ release in that we were going into the unknown at that point in time. And this is like going into the unknown, just because we’ve been gone for so long, but not entirely. I’d say that there’s more pressure on this one, personally, than the other ones, because when you’re gone for as long as we have, there was a lot of pressure to just prove to ourselves that it was worth reviving. How many reunions have we seen that were a bummer to watch? Some have been great, but  there’s been so many bands that have come back, and the reunions have just been less than I, as a fan, had hoped for.

„I wanted to honor the musical tradition of this band,
and not just have it be a different band with the same name.“

It was really, really important to me that it was worth the wait, both for us and for the fans, because I have a very, very deep respect and love for the fans who kept this alive for over a decade. So I wanted to make sure and honor them, and then also honor the musical tradition of this band, and not just have it be a different band with the same name. There was a lot of pressure for it to still be, obviously, the same band. And then you add on to the fact that there’s a lot of new people involved, a new lineup that adds more pressure, because you have all these fans who have waited for it the way that they remember it, and for them to then also have to take in a new lineup, it’s asking a lot, and so there was pressure to over-deliver and make it our best record ever, and to have everybody just unanimously say, this is the best thing you’ve ever done.

How did it come about that the band went so quiet after the self-titled album? How did it look from the inside? Were you still active in any way, or at least in contact, or did you cease all activity?
Let’s put it this way: Happy bands don’t go on hiatus. It’s like happy couples don’t get divorced. So things were not good inside the band. I think that we had worked very, very hard, and only then, at the very end, were things starting to finally turn around with the fans, but we got dealt quite a few bad hands, and the inner band relationship was just not very good. And while we were making the self-titled album, we were saying to each other that this is the last time we’re doing this. We knew we were at the end. We were talking as all of our conversations had that overtone of finality to them, and you can kind of hear it in the music, and it was just like we were joking about it, but we were serious. So I think that from the inside, it looked like bad times. I was in contact with Sean Z mainly, and here and there, I’d communicate with some of the old lineup, but we were not active as a band in any way, shape, or form. The hiatus was not my idea, and so I tried to revive the band several times. I tried to get us to do a single or do an EP or just do anything, and it didn’t work, and yeah, it was totally dormant.

When and how did the decision to revive DÅÅTH come about?
Like I said, I had tried to revive DÅÅTH several times, once in 2011, once in 2012, once in 2013, in 2020, talked about it, and then finally, this last time that it happened for real. So when I decided I wanted to do DÅÅTH again, I had to think about it. I thought a lot about what went wrong and just a lot of soul-searching and really like vowed to myself that if we’re going to do it, we’re going to do it for real, and Sean was the first person that I contacted, and I asked him, do you want to do DÅÅTH again, because I do, and he said, I’ve been waiting for this call for 13 years. Of course, I’m in, and I said, well, look, we might need to do it with new people. I don’t know, but we might. Like, if the rest of the lineup doesn’t want to do it, we’re doing it anyway. I want to do it anyways. I’m doing it anyways. This is happening. Are you still in? And he said, he’s in no matter what. And I guess it was a decision that was taken that this time we were going to make it happen. Nothing was going to stand in our way.

And really the thing that had changed was: I had gone, you know … I’ve had, let’s just say, severe clinical depression my entire life. Sometimes it’s better, sometimes it’s worse, but it’s something I’m always fighting. And one of the ways that I have found to deal with it is through exercise. There’s a combination of things that help deal with depression, but exercise has been one of the most powerful antidepressants, and all through the pandemic, I was working out a lot, a lot, a lot. And in September 2021, I injured myself really badly, injured my back. And I was laid out horizontally. Like, there were a few days there where I literally couldn’t even walk, and I couldn’t move. And after like a week on the couch, I, you know, the antidepressant effects were starting to wear off. I had all this nervous energy from not being able to exercise, and it’s like, what am I going to do? What do I do with this? I need something. I need to do something with this, or it’s going to get really negative. Why not pick up the guitar? So I picked up the guitar and one thing led to another. It was kind of like an obvious thing, though, that once I picked up guitar, the band would restart and here we’d be talking now.

Since only you and Sean are left from the last known lineup, I guess the others no longer wanted to take a part … or did you no longer want them there? And when was it clear that you would have to replace the rest of the band?
Look, the door was open and it did not work out. I can’t speak for anybody else. I can’t tell you why they didn’t do it. All I can say is that 14 years is a long time. People move on with their lives. They just move apart. They get their own things going, and before you know it, you’re not the same person you were in the past and I just don’t think they were interested, for whatever reason. Again, I’m not going to speculate on why or put words in their mouth. Nothing but love and respect and well wishes for them. But it was pretty clear to me that we would have to replace the band pretty early on in the process. If we say we started talking about the band in October, November, something like January, February 2022 it was pretty clear.

How did you approach the project? The routine must have been gone…
You’re correct. The routine was gone. So the first few months, I was basically just teaching myself how to play guitar again. And luckily, you know, I started a site called RiffHard and there were lessons on there from some of the very best guitar players on the planet. And so I did the same thing that I tell guitar players to do, and I created a schedule for myself, a practice schedule. I called it The Shredule. It’s actually something that’s on RiffHard and just systematically got better. I approached it like working out. And as I started to get my playing back, I started to write because I actually consider myself more of a writer than a player. And, you know, at first my writing was really terrible. It was just gone. But as I got my playing back, my writing came back, and then it was business as usual. Just sit down and do the thing and write like I’ve always written, which is, just do it. Just do it and get lost in it. That’s it. So, yeah, it took a little while to get the engine going, but once it was going, it was going.

With Jesse Zuretti, David Morvuglio, Raphel Trujillo and Krimh there is a total of four new members in the band. How did you approach the new line-up, and why are these four the perfect musicians for their positions in DÅÅTH?
First of all, Jesse Zuretti and I have been friends for over 10 years and him and I had been talking about the band getting restarted for a long time. He was one of the people that encouraged me the most to do it, and he really, really pushed hard to be able to do orchestration for it. I guess he was an old fan of the band, and he really wanted to see me do it and so with him, it was a very organic thing: He was just there encouraging it to happen from the beginning, and he did one of the original versions of the orchestration for „No Rest No End“ I think in February 2022, like really, really early on and when I heard that, it was just very, very clear that that was an element that we had been missing this whole time and the thing is, the world now is very different from the world in 2010. At least my life is very different now, and I know a lot more musicians than I did back then. Also, I think that there are more great musicians now than there were then, at least they’re easier to find. So it wasn’t difficult to find them.

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Luckily, we got our first choices with everyone, but we took it very organically and gradually so for instance with Krimh: He was always my top choice like, that’s the drummer I wanted in the band. We just had to see if he wanted to do it and actually if we could work together so we took it slowly, we said, do you want to write a song together or two songs? We didn’t phrase it like, do you want to join the band? But we did say that we don’t want it to be like normal session work. We wanted to write with him, pretend we’re in a band together, write some music, see how it goes, go from there. No strings attached, no nothing. Just write some stuff and if it’s just these one, two or three songs, cool. If it leads to more stuff, cool. And you know, those songs were „No Rest No End“, „Purified By Vengeance“ and „The Silent Foray“. I would say that they went well. They got us a deal with Metal Blade. So obviously, we were going to keep going.

With Raphael, it was the same sort of thing: There are many great guitar players out there, but there’s not that many people that are right for this band and Krimh showed him to me, showed me Raphael’s Instagram, and I was blown away. I mean, the guy is phenomenal and when I heard him, I wanted him in the band immediately. But obviously, I’m not going to just invite somebody into the band just because I saw a video. So we offered him a guest solo: He did the guest solo on „No Rest No End“, that went great. So we offered him a guest solo on the „The Philosopher“ cover that we did, that went great. So the last thing remaining was to see how does he write with us, because I already knew he was a good writer, but could he write with us and have it work in DÅÅTH and so the song „Ascension“ that we just put out a music video for … the beginning of it was partially written, and I gave that to him and just said: What can you do to make this better? No rules, pure freedom. If you want to delete something that I have and replace it with your own, cool. If you want to keep something that I have, no pressure to change it – you don’t have to change it „just because“. If something’s good, don’t change it. Or, if you feel like something just needs a little bit of tweaking, go for it. Just no rules, just do whatever you want. And what he gave back was amazing. It was so fucking good! At that point, I was like: Alright, let’s do this! My only regret with Raphael was not asking him earlier … because we were already halfway written on the record when we asked. That’s why we have the next record to work together on.

It was a similar sort of thing with David Marvuglio. A producer I respect very much told me I need to check out this bass player who used to be in Ice Nine Kills, is now a professor at Berklee College of Music and he’s amazing. We hired him to do session work on the three first songs. He did amazing, it was great, and that led to him being in the band.

So it was very organic, and we had criteria. The criteria were that they have to be amazing players, they have to be really, really good writers, really creative, they have to be really good communicators, and they have to organically be in line with the essence of the band, meaning that their musical tendencies already have to be in our direction. They don’t have to try to fit in, if that makes sense. And then also, that they all have something else going on, that’s really important like Jesse has Riot Games and other soundtrack stuff, Krimh’s got Septicflesh, etc. I have URM Academy and RiffHard. We all have things that are our main income sources and that allows DÅÅTH to remain pure. Because nobody is forcing or putting undue pressure on this to be their everything. That allows this to be purely what it’s supposed to be.

So the musicians were already involved in the ‘test phase’ – to what extent was the rest of the songwriting a collaboration?
I was a very collaborative album! I started the band, and it’s my baby – so that’s for sure. I guess it’s my primary vision. But within that it’s not a dictatorship at all. I really want to honor other people’s contributions and I feel like it gets better as a team effort so that’s why it made it so important to choose the right band members so that when taking in their input, and you’re getting their musical influence in there, it works with the vision and the essence of the band. That’s why you have to pick your band members wisely! If you pick a band member whose musical tendencies are at odds with yours or don’t totally work together … I’m sure it could work in some cases, but not in this one. So, it was super collaborative. Sometimes I write a song from start to finish, and it’s just pretty close, like for instance „Hex Unending“ was really, really close. I sat down, and I wrote it in like four hours and then Krimh did his thing on it and when I got Krimh’s revisions on drums, all that I needed to do was refine my parts a little bit. So if you listen to the version 1 demo and the final, it’s very similar. The only stuff that wasn’t on the version 1 was Jesse’s stuff. He added melodies. But he really worked with what’s there, he didn’t turn it into a different song or anything.

But there’s a spectrum, so some songs that I’ll start I’ll only have this is a great first 2 minutes, this is a great verse and a chorus or this is a great section or I have the whole structure but something’s not there … anyway, an incomplete song. I usually go to Krimh first, but I like to send it around to the band just to get a feel, see if they hate it or like it or whatever and then Krimh will give fantastic feedback, or he’ll do his demo drums. But lots of times he’ll say something like: It’s great for 2 minutes, but then it’s too much of this, we need to go in this direction, a different direction, or why don’t we try something more like this. Or Jesse will hear it, and he’ll say these are great ideas, but there’s not enough connective tissue between them etc … the thing is that we all trust each other’s musical opinions. So, when they give an opinion or a suggestion, I take it seriously. I welcome it, because I feel like the songs get better that way. I’m not going to limit myself when I’m writing, but there will be parts where in order to get to the next part. I need to have something there. And I know: What I’m putting here is just a placeholder, we’re going to delete this and Raphael will be able to put something here, or we’re going to delete this and leave space for Jesse. But I need it there now, just in order to be able to make sense for myself to get to the next part. But it’s very collaborative in my opinion. It’s definitely not like I just sit down and write everything and just tell everybody what to do. It does not work that way.

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Krimh is, of course, a particularly exciting personnel matter: He plays in other bands like Septicflesh and was intended as a live drummer for Devin Townsend, but he doesn’t live in the USA. How do you find the time to work together?
Well, he doesn’t play with Devin Townsend – I think that he was going to do a tour with him, and it didn’t happen, but he is in Septicflesh, and he is an active session drummer, and he has his YouTube channel, and he does clinics and that’s great. Like I was just saying, that’s part of the appeal. Because that means that when he’s working with us, he’s got his priorities in order. I would be lying if I said that the distance wasn’t a logistical hurdle, but that’s all it is: it’s a hurdle. And there’s nothing we can’t solve with communication and planning. One of the first conversations we had up front was: What happens if there’s a scheduling conflict, and we agreed that we will figure it out, we’ll work it out, if we need to take a fill in on the road at some point. I hope we don’t, but if we do, so be it. We will figure it out. As long as all parties are willing to figure things out, it’ll be okay. On the list of things that could be challenging, this is pretty low on the list, in my opinion.

How would you describe the album you came up with in the end to someone who is familiar with your previous work?
I would say that it is a mix of „The Hinderers“, „The Concealers“ and a little bit of the trippy stuff from „Futility“ – but times a thousand and with insane production. „The Hinderers“ had orchestration on it and synth, „The Concealers“ had insane solos and really heavy riffs, „Futility“ had a lot of really trippy, atmospheric stuff … so it’s kind of like if you put all those three together but with a new fire behind. I’d say that it’s our most impressive record, but it’s in the spirit of those three. So if you like those records, I think „The Deceivers“ is worth a listen, and obviously I’m going to say this, but lots of people have said this: It’s our best record ever.

And how to someone who has never heard of DÅÅTH?
Extreme progressive metal that’s heavily orchestrated with insane guitar work, insane drums and epic! And beautiful! We are very hard to describe, I’ll say, because people don’t really know how to categorize us. We kind of just do our own thing and I also don’t know how to categorize us … but I think that if you’re a fan of dark extreme metal that isn’t bound by genres or conventions and you’re not a genre purist, you might want to give this a chance. And if you really like great guitar playing, or you like orchestral metal, or you just like really intense music, maybe give it a shot!

To me, the album seems a bit more opulent and symphonic, or at least more melodic. Interestingly, „Hex Unending“ reminds me of Septicflesh, for example. Would you agree with this general assessment, and if so, how did this development come about?
OK, so … „the album seems more opulent and symphonic or at least more melodic“: Yes, 100%. That’s by design: I’ve always wanted to go more symphonic, and more melodic, and more opulent or over the top. So this development is 100% the vision. And that’s honestly what I always wanted to do with the band. So, that development is just the evolution and where I always had the vision for it. A song sounding like Septicflesh? I have no real opinion about that, because I’ve only ever heard a couple of their singles. I mean I think they’re excellent, I watched that live video, where they played in Mexico with the orchestra, and I’ve heard their singles we had them on Nail The Mix … but I purposefully don’t listen to them very much because the drummer is in the band (laughs) and I don’t want it to cross over too much. So I think maybe the reason you might think it sounds like them could be because it’s not one of our faster songs, and they tend to be more of a mid-tempo kind of band … that could be my thoughts. But this is what I’m thinking: „Hex Unending“ is like if the following four bands had a baby: Morbid Angel, Korn, Dimmu Borgir and Muse, OK? To me, that’s what „Hex Unending“ is. So, maybe because the tempo is not 250 BPM and there’s an orchestra and the same drummer, that might be why you are hearing Septicflesh and look, art is open to interpretation, it can remind you of anything it reminds you of – but in my mind that song is the love child of Korn, Dimmu, Morbid Angel and Muse.

The album is titled „The Deceivers“ – can you tell us something about the lyrical concept of the album?
Foremost: We called it „The Deceivers“ both to honor our own fans and our tradition and to very much draw a through line to those records that our fans love and to make the statement that this is a DÅÅTH record in succession to those records. It’s not just something I put together and put the same name on it. It’s specifically the next record in the evolution. And the lyrical concept … you can probably tell from the title. It’s about those that use deception to harm us or hold us back and that can be other people, it can be people in our lives, or it can even be ourselves, because we do it to ourselves a lot.

You switched from Century Media to Metal Blade with the album. What led to this label change – and are you happy with the decision?
Well, we didn’t switch from Century Media to Metal Blade. Century Media dropped us in like 2011. So it’s not like we switched labels here. (laughs) When the band went on hiatus, we got dropped. We were actually totally free agents this time around, and we spoke to several labels when we came back. I mean, you can guess who we spoke to – obviously Metal Blade, but we also spoke to Century Media, Nuclear Blast and a few others. All the labels that you would expect, we spoke to. And we went with Metal Blade for several reasons, and I’ll just say up front: I’m very happy with the decision. Metal Blade is a label that I always wanted to be on. Firstly, Brian Slagel is one of the pillars of metal, right? What he’s done with Metal Blade has helped create the scene, metal, as we know it. He’s one of those people, kind of like Monte Conner was at Road Runner, now he is in Nuclear Blast. I’d say Brian Slagel is one of those pillars, and I think that what they brought to Metal is just so important. And so, to be a part of that means a lot.

But practically speaking on a day-to-day level, I’ve had a lot of experience with Metal Blade. Back in the old days, we used to tour with their bands, so Metal Blade staff would come backstage and we’d meet them. We knew the opinions that bands back then had about being on the label. Then, as a producer, I worked for Metal Blade meaning I worked with bands that were on the label, so I was getting paid by Metal Blade and then with Nail The Mix we’ve licensed records from Metal Blade many times. So we have a long history here, going back over a decade, and it’s always been a great history, they’ve always been super easy to work with and super cool, and I’ve never heard anything bad about them ever. Never, not once. You would think that by now I would have heard something bad, but I haven’t heard anything bad.

And then our A&R guy, the one who reached out to us, Ryan Williams aka „Bart“ – he used to play bass in Black Dahlia Murder and I know him from the old days because I did some work on „Ever Black In Ritual“ … I didn’t produce or mix those records, but I was involved in those records in the studio, and that’s when I met him, and we got along. We’re kind of similar, we’re very detail oriented and very serious people. And he’s the one who reached out to me when it was announced that we were coming back. He wanted to know how serious are we, like what’s the plan, and he was interested before we even had any music, and they were the first label that got interested in us … like I said, they were interested before hearing anything. And my thoughts are that it’s best to work with people that want to work with you, and they showed that more than any other label, so I think those are the reasons we went with them.

Are you planning any shows? Will DÅÅTH return to the stage? Are there any shows planned in Europe or in German-speaking countries?
We are planning on returning to the stage, worldwide. We are working on that right now. Details coming soon!

Due to the symphonic parts, the songs can probably only be performed live with a lot of backing tracks. What is your opinion on the general debate whether it is good or bad when bands play live with a lot of support from computer soundtracks? Is that still „live“?
Well, you’re talking to a band who has used backing tracks since 2004. We were using a computer on stage before a lot of people were. We even had our own lights back in 2007, that were controlled by the computer, when we were an opening band, and we didn’t have a lighting person on tour, we would have these lights that were strapped onto our guitar cabinets that were controlled by the computer and the reason that we used backing tracks even back then was because we’ve always written very layered music. We’ve written music that requires more people than there are on stage. If we could take 12 more people with us, maybe it wouldn’t be necessary. But the fact is that we can’t. And the songs are not the songs without some of those elements, they’re very important. That’s the only way that we can get them across.

Arranging our music for live is a challenge anyway, because even on the guitar side of things it’s usually written for like three or four guitars. So just making a two guitar arrangement, you’re always leaving something out. And in some cases there are some elements that are ok to leave out, maybe they’re just a texture, maybe you won’t hear them live over the PA, and so they don’t matter. But on the other hand, there’s definitely elements that will make the song worse if you don’t have them and there just physically aren’t enough bodies and limbs to play them. In that case, I don’t see what the problem is with using tracks. People like to criticize what they don’t understand – all the time. Same with that: You hear people criticizing drum triggers and saying that it’s cheating when in reality drum triggers force drummers to be more precise because if you mess up on a triggered bass drum you’re going to really hear it as opposed to an acoustic kick where at high speeds you just hear like a rumble, so you can’t even tell if the drummer is accurate. People say that you’re cheating, when in reality it’s forcing you to be better. It’s a similar sort of thing.

The idea of backing tracks being bad goes back to Milli Vanilli and those types of things, where somebody was lip-syncing, and it went the old school version of „viral“ and people associate tracks with lip-syncing, like faking it. That’s very, very different from having tracks running to enhance, especially when you can’t play those instruments. And then the question becomes: OK, so what if a guitar player is using an octave pedal where they play a note and then there’s a synth in this pedal that generates a note an octave down … are they cheating by not having another guitar player who’s playing a note an octave down? They’re using a delay … are they cheating by not playing or singing the same note multiple times in a row? At what point does it stop being a performance and does it start being fake?

My thoughts are: If you are pretending to play things that are coming through the backing tracks, that’s the line for me, OK? So if you’re hearing a guitar solo, and you see somebody doing what looks like they’re playing that guitar solo, and it turns out that they’re not even plugged in, or they’re muted, and you’re hearing a recording – OK, that’s one thing. I understand why people have a problem with that. But it’s a completely different scenario than the song requires a bigger arrangement than there are people for. That’s two completely different things. I’m in support of bands doing whatever they have to do to sound great in concert, and if that means using some tracks – use some tracks! You won’t hear us using tracks to mime anything, though.

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Alright, let’s finish with a short brainstorming session:
An up-and-coming metal band worth recommending: The Zenith Passage. Absolutely The Zenith Passage … they’re my favorite up-and-coming tech death band.

The Slayer reunion: Is it really a reunion? I mean, I think they’re doing a show or two, but I mean … is that really a reunion? Technically they’re reuniting in person to play some shows, but I don’t think that’s a reunion and I don’t have much of an opinion anyway, I’m sad whenever one of the great bands retires both as a fan of metal and also on a practical level. I wish that those bands would be around forever, because we need them in the scene. So I hope they actually reunite and just keep making more albums and more tours, but I don’t think that’s what it is.

Swedish death metal: Love it! Swedish death metal, or let’s just say „Scandinavian metal“ … there’s something about Scandinavian metal like also the Norwegian black metal. It’s just … special. Even though the Norwegian sound and the Swedish sound are very different from each other and even within Sweden, the Stockholm sound and the Gothenburg sound, they are very different from each other. There’s just a musical sensibility and look, we have to throw Finland in there, too – even though what the Finnish bands sound like is nothing like what the Swedish or Norwegian bands sound like. The whole Scandinavian region … there’s this understanding of melody and harmony that is just like inherent in everyone. I just love it. I feel like they’re my musical spiritual brothers or something. My biggest metal influences except for like, obviously, Morbid Angel, are on the Scandinavian side of the fence and as a matter of fact often times people who are hearing DÅÅTH for the first time think we’re a European band, which I guess at this point we are partially a European band because Raphael and Krimh … but even before that people who didn’t know anything about us would hear us and think we were a European band and I think that’s where a lot of our influence is, but I have so much love for the metal music of Scandinavia from Emperor, Dissection, Satyricon, Dimmu Borgir, At The Gates, In Flames, Soilwork, Opeth, Meshuggah … I mean, do I need to keep going? Entombed … I could just keep on going and going and going … There’s just something in the collective water there.

Artificial Intelligence in music and art: Well, it’s very popular to hate it right now, and obviously I am not in favor of hurting the careers of artists, so I don’t agree with that. But at the same time I think that AI is something that we are not going to be able to get away from – just like the internet was something we were not able to get away from, and the music industry really hurt itself by trying to stop downloading – even though they were right to some degree. By not learning how to work with it, the music industry got itself into a very scary place. I remember somewhere around the year 2007 through 2013 people were saying that labels were no longer going to exist, and the budgets were disappearing. It was tough to see the future. And then they figured it out, with streaming, and that kind of saved it. But I think, you see this with old school producers also, who hate companies like mine, like URM Academy and our program Nail The Mix, because they feel like we’re taking food off their table or something. Not really anymore, we’ve been around so long that people have just kind of accepted it, but that’s not the case. The fact is that technology evolves, and home recording has become affordable for almost everybody, which means that people who previously would have had to go to the studio don’t have to anymore and will learn to do it themselves and that is going to and has changed the economy for professional studios – in good ways and in bad ways. But to try to fight it is a losing battle because you can’t stop evolution. It’s the same thing with AI: Love it, hate it … it’s coming. So, the smartest thing to do would be to understand how to co-exist in a world with it, where we don’t create a new class of starving artists.

DÅÅTH in 10 years: Hopefully somewhere around our 10th or 11th album … hopefully we’ve been headlining several thousand seat rooms for years, and we’re just an institution in the metal scene and continually innovating with our music. So hopefully in 10 years we’re just as excited about our new music as we are today, and it’s just as fresh as it is today and I have a lot of confidence that we’ll be able to do that because we feel just as good about pushing new music and making new music now as we did 20 years ago. So why not 10 years into the future? Hopefully, DÅÅTH in 10 years from now, is one of the institutions in extreme metal.

Thanks a lot for your time and your answers!
Thank you so much for taking the time to ask me these questions … it’s been a pleasure and have a great evening, day, month … have a good one!

Publiziert am 2. Mai 2024 von Moritz Grütz