Interview mit Sylvain Demercastel von Savage Lands

First of all, maybe you could introduce yourself a little bit, and tells us how you got started with SAVAGE LANDS?
Well, I’m Sylvain Demercastel. I’m a musician and also an environmentalist for a long time. I don’t want to give numbers. (laughs) I’ve been playing metal pretty much all my life and I was in a band with Dirk [Verbeuren; editors note] in the 1990s and now he’s in Megadeth. After stopping playing music for a long time and being only in the environmental things and watching the world going bad, I had the idea to connect with Dirk again and try to do something which would have one foot in the metal scene and one foot in the forest and the biodiversity protection. And he immediately said he thought it was a good idea and we should start finding a name and he came up with the „SAVAGE“ idea and came up with the „LANDS“ idea. So here it started, SAVAGE LANDS. We didn’t think it would bring us so far and so fast, but yeah, that was a pretty simple idea at first.

So, we’re already in the middle of our today’s topic. SAVAGE LANDS is a band as well as an environmental project. Which part of this project came first or was it thought as this combination from the beginning?
First was the environment. The band was not really an idea. I mean, we wanted to address the community and the artists and of course, with Dirk and his connections, it was something that we thought about. But we were more thinking like, oh, it would be cool if we could gather a few guys and write some songs and have something happen. And then I was already back to music and I was already composing just for fun, you know, and I sent the songs to Dirk and he said, man, that’s cool. Let’s do it. You know, again: easy. (laughs) And yeah, I was working with [Sebastian] Poun, the singer from Black Bomb A, and we were in something totally different. It was even before SAVAGE LANDS. And then I told Poun, OK, Dirk likes the music … maybe we should use it as the core SAVAGE-LANDS-music, instead of waiting for everyone to be available. Big artists are really busy, you know. We thought it was a good idea maybe to provide the music, at least the basis, and then offer other people to participate. So that’s how it started.

Let’s talk about the band a bit later and make a deep-dive into the environmental stuff first. You already told us that you’re engaged as an environmentalist for a very long time. So what brought you into it, what was the initial spark for your engagement?
I really think that’s the main thing, you know: Where does it start having a connection with nature? And why do you want to do something to preserve nature? And why is it important? I think it comes from personal experiences and something that is not in the books. For me, it was probably a really simple childhood experience – my vacations were in the countryside with my family, my aunt would bring me outside with the bike, photograph the butterflies … very simple things and good memories from childhood. And then, reading books and watching documentaries and stuff and watching things change. When you become a young adult, you want to change the world. So you go into some movement and that’s what I did. I started being an activist in the late 1980s, alongside with being a metalhead. So it’s always been there. (laughs) But yeah, the connection, I think, is the most important thing. More than technology or science or whatever. You have to have a link with nature.

Do you think too many people lost too much of that link to nature nowadays – is that a part of the problem we see today that too many people don’t care about nature at all?
Yeah, that’s probably one of the explanations. Some environmentalists also don’t present things, at least from my point of view, in the right way. Because most of the time, people feel like they are being told what to do, what not to do, what to buy, what not to buy, burn less CO₂, eat less meat, blah, blah, blah. This is, of course, probably something that we have to do, but it doesn’t create any emotional link. It’s more like a punishment. That’s why with SAVAGE LANDS, we don’t talk about CO₂, for example. We try to bring something more positive and still very important: If you bring people into planting a tree or financing the acquisition of a forest, and then you bring content, you show them what’s happening there, immediately the person feels something good, feels connected. It’s not a punishment, it’s a positive action. That’s the first step – and then, from that, we can go further. I mean, it’s been a long time since the environmental movements are there. And what results did we get? I mean, it’s not their fault, but maybe we need to find other ways. I’m not saying they’re not useful. Everything’s useful, like radical movements and more educational movements, but my goal is not to convince the people that are already convinced. I don’t want to talk to the people that think the same as I do. I’d rather try to convince people that are completely on the opposite side, because that’s how you make a change.

Yeah, definitely. That’s the biggest challenge, I guess. So, if we talk about SAVAGE LANDS today, how big is it as an organization, how does it look like behind the scenes, how many people are working for SAVAGE LANDS? Is it only you, or is it 10, 100 people?
No, no, no, it’s not only me. (laughs) I would be dead already. It’s been a few people for a while. Now we have the American SAVAGE LANDS, that’s the mothership, Dirk and I. And now we opened the European branch, based in France. We have a team, and we’re gathering more people. We now have an orientation committee. It’s kind of a steering committee. Also, we have artists that are really close to us, like Heilung, who, by the way, give us $1 per ticket sold, so it is a very nice gesture. And they’re also very committed, so they are going to enter the steering committee. And also, one important thing … we did that in Costa Rica, and we do that in France now: We try to create a coalition with other non-profits. So, I’m happy because I am almost done with convincing four French non-profits to come with us under the „Army Of The Trees“ banner, and together we are going to create „metal forests“. (laughs) So, it’s pretty cool because they are not connected to metal, but the way we presented things, they think it was cool, and they want to ally. And that is the main thing that we want to achieve – create some kind of movement where people are happy to join and make it bigger and more efficient. That’s the only way, because even if we grow, we are not going to do what we need to do, so we need to bring other people and other organizations with us.

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I guess starting out with a project like that is maybe the most difficult part in it, because you have no connections in the first place and have to make those and so on. So, what would you say are the biggest difficulties or hurdles you had to get over with the project so far?
Well, actually we had connections, thanks to Dirk, and I have a lot of background on that topic. And so, when people meet us, they have both sides, you know, they have the famous artist and his connections, and they have the guy that is able to talk seriously about the environment and not saying any stupid things, I hope at least. (laughs) So we have a seduction potential, I would call that, because we are different. We are not just the next environmental organization. We are metalheads, we are musicians, and we are using music … we are the first non-profit being signed by a record label, which is something! It means that every album sold goes directly to the non-profit, it doesn’t go to the band and then the band would give a percentage. No, the non-profit is the artist. So, it makes us kind of unique for now, and that’s probably our strength, and I hope it’s going to seduce more people, because that’s going to help us achieving more things on the field.

What would you say was so far your biggest achievement or success you had as a project with SAVAGE LANDS so far?
First of all, we are not the type of organization who wants to go through numbers, because there’s a lot of those. Some are doing good, but some are doing bullshit. For example, some are pretending they are planting one billion trees. The French government is pretending that. They are planting the trees, but they don’t follow up, so, when you have 50% or 80% of the trees that are going to die, it’s just greenwashing. We are more interested in doing something that is very inspirational and symbolic, instead of throwing numbers that have no meaning. One of the things we are really proud of is that we secured some land in Costa Rica through ecological easement. That means that we put a little money in someone’s land – not a lot, you know – and it grants us some kind of rights over the forest. We are going to do that now in France and we are in touch with different organizations, so basically we are going to buy pieces of forests in France and soon in other countries – I would love to do that in Germany! Actually, I would like to come and meet the people from the Wacken, for example, because I am sure they could do like the Hellfest did, partner up with us and start projects with the metal community. But basically, what we are really proud of is to address the metal community and feel the feedback that we had, and we had a great feedback from artists and from the audience, and that’s something that makes us proud, because we come from this community, and it’s a very good community for this project.

Let’s talk about this project of buying rights to use the land, or acutally rather not to use but to conserve it. Like many of the projects you claimed to be „geenwashing“ it sounds great in the first place – but how do you make sure that these trees are safe, that they are not illegal harvested? So, how can you be sure that these contracts are really fulfilled?
Okay. First, it is official, it’s not a handshake, it’s legally protected. But you’re right, you always need to watch what you’re doing. In France, it’s going to be easier, because there is a law – if the guy accepts money and then cuts the trees, he would get a really big fine. But the main thing is to gather with other organizations, because one organization can’t do everything alone. That’s why we call it the „Army Of The Trees“: We definitely need to raise an army of people, of organizations, and have eyes everywhere, and ideas, and projects. You’re totally right, that’s the main thing. Otherwise some projects would bring results like the one I told you about, the French government planting one billion trees … but if the trees die after two years, what’s the point? So, the follow-up is the really important part, and people forget about it. For example, you want to give 50 $, and ask me: how many trees are you going to plant? Some organizations will tell you, oh, we can plant 5 or 10 trees with this. Oh yeah, that’s true, if you just plant them. But it’s not true that they’re going to survive. I would tell you, maybe we’re going to plant two trees and then follow up, with difficulties, because it costs a lot of money to water the trees, to clean around the trees when they’re young, because otherwise they could get stuffed with other species … so, that’s why I prefer to insist on specific projects, very inspirational projects with the right people. For example, we ally with Jane Goodall – she’s an iconic environmentalist, and I think making a smaller project with Jane Goodall will have more impact than doing a bigger project alone. That’s the idea.

But do you also work together with local people from Costa Rica, for example, because I guess involving the people living in the area you want to protect is a very big part of having success in the end?
Exactly, that’s important. I was just talking about the projects we’re going to start with Jane Goodall, so there’s one in France and one in Africa. It’s creating a biological corridor in Burundi, and especially in countries where people don’t have so much money, it’s really important to connect with the local economy. So, sometimes a part of the project is not just about nature, it’s also about the people, because if the people don’t have money and they don’t have enough to eat, of course they will kill the animals or sell the precious wood. We know that, so it’s a good question, and it’s very important to do both, and to bring the people on board. Again, it’s about the emotional link. Once people do something and they spend time on a project, it’s more difficult for them to destroy it. So, of course, this is a very important part.

In Costa Rica, there is a problem because of gentrification – rich people come there and the price of land is going up. So, one idea could be, we, SAVAGE LANDS and other organizations, gather some money to buy a bigger space, like, let’s say, 100 or 500 hectares, make it a natural reserve – but also use some of this space, cut some land, to sell it at a very low price to the local people, exclusively, and of course with a preservation deal and try to involve them in the process. Of course, we don’t want to destroy part of this, but that would be a way to give back to the country, to show people that environment can help them. I think this would be a very symbolic and important project.

We have talked about Costa Rica a lot now. What’s your connection to Costa Rica personally or why did you choose Costa Rica to start with?
Yeah, that was the beginning, but of course, now we’re going to be very active. Next year is going to be Europe a lot. But Costa Rica was nice. First, I’ve been living there for a long time and the law helped us there. It’s easier than in Europe. Europe has lots of administrative burdens. You’re from Germany, you probably have the same issues that we have in France. So, it was easier to do that in Costa Rica and cost efficient, too. And also symbolic. And then, there’s one thing that I like to say because some people tell me, oh, you have to do something in Europe, so people feel that you’re doing something here, close to them, too. I agree to that, but we have to remember that biodiversity is all around the planet, and the tropical forest contains more diversity per square meter then the european Forest. So, of course, we have to to that in Europe, too. But it has it’s own importance to work on the tropical area.

But does it make it easier or more difficult, if you broaden your focus, away from being focussed on Costa Rica only, but also working on projects all around th globe? Doesn’t this also mean a lot more administrative and organizational work?
It doesn’t have to, because when you’re growing like this, you of course have to find the right people, but then you have more opportunities, too. This example of the coalition with anderen non-profits that I talked about before is going to help us because each of them has a specialization. One of them is buying agricultural land and they are specialized in reforesting agricultural land. The other one is buying forests for their quality in biodiversity. So we’re going to work with each of them and they’re going to bring projects and they’re going to help us managing the projects. So acutally I think: The more we grow, the easier it gets. It was hard to begin with, because we were just Dirk and I and we had to do everything, vut with the support of environmentalists, artists and friends it actually becomes … I’m not going to say „easy“ (laughs), but more potential, actually.

In the USA, under the Trump regime, we are seeing an alarming decline in any form of conservation from the political side. And this is by no means just an American problem; we are seeing a similar trend in many countries that are sacrificing their climate targets to the economy or reducing investments in nature conservation instead of raising the funds. Can an NGO achieve anything if politics undermines these efforts? How can you look positively at what you achieve on a small scale when you could get the feeling that the whole world is burning on a large scale?
Well, to be honest, I am not really optimistic, but we have to fight with honor. (laughs) That thing with Trump … of course, it does not go in the right direction, but sometimes it has the opposite effect, because it might wake some people up, people that were sleeping. And also I think this thing with Canada, he wants Canada to become part of the states … maybe that’s because he knows the global warming and climate change is real and they will have to move north. That might be it. They don’t want to say it, but they insist so much on that, they can’t be that stupid. I’m pretty sure it’s about it. If you see what’s happening with Ukraine now, it’s all about the resources. Anyway, whatever happens – it’s not a matter of are we going to be successful or not, it’s that we can’t stay and do nothing. The time where you just complain and denounce is over. For a long time, artists were doing that, denouncing things and stuff. I think now we have to act. It’s everyone’s responsibility and you don’t have to act the whole day. That’s why SAVAGE LANDS is there, too. The guy that just wants to headbang on our music is already helping, because all the royalties, which is not a lot, are going to the non-profit. Let’s act! Let’s stop asking questions and conflicting ideas. I see so many environmental movements that are talking to each other, saying, no, you’re not right, we should do this, we should do that. Come on, we don’t have time for that anymore. Let’s do something simple. Biodiversity is simple. Give space to nature, reforest, and you see results. That’s also one reason why we don’t speak about climate change, because how to motivate people about some result that you might see maybe in 50 years – or more. With biodiversity you see a result next year. You leave your garden without cutting anything, and next year you have more insects, and maybe frogs, and maybe other things in it. So it’s motivating, because you get results, you see something.

Talking about „the effect“, when it comes to SAVAGE LANDS as a band, you just said that the royalties are not that much Producing music costs money, and people are not buying physical media in a big number anymore. But we all know how little money you make with streaming. So is it more of a symbolic project to do this NGO band supporting the environment with it’s music, to get the name out there, or is it really a relevant amount of money contributing to your project?
I don’t know the numbers, but I think it’s been pretty good as far as pre-orders and stuff, at least in Europe. Of course, it’s small money, but if we’re efficient in the way we use the money … that’s actually with the advance we got from the label that we could buy this piece of land in Costa Rica, so it’s already doing something. By the way, it’s better to buy the vinyl: It’s a bio-vinyl, limited edition, so it’s pretty cool! But of course, I’m not betting on that. It’s more a tool to spread the message and being special. If you think about it, two years ago this project didn’t exist, the band, nobody heard about it, the music … it’s already pretty cool.

Definitely. Congrats on that. That’s definitely amazing! So let’s talk about your album, „Army Of The Trees“. There were a lot of guest musicians contributing to this album, from Andreas Kisser to Alicia White-Gluz, Heilung as you already mentioned, as well as Lord of the Lost from Germany. That’s a quite weird or quite diverse combination, at least from their musical background. How did that come together?
It’s a different process every time. The first guest we had was Andreas, because he supported us during the first Hellfest, when we came with the guitar, he signed the guitar. This guitar was made out of a dead tree that fell down in Costa Rica and he played the guitar on stage, so it was a cool connection within. And then, when I brought this song to Dirk and he said that he would hear John Tardy’s [Obituary] voice on the song, but he didn’t have his contact, so he asked a friend from Decibel Mag and sent an email and 24 hours after, John Tardy was like, let’s do it! So it was pretty cool. Lord of the Lost, we met them at the next Hellfest, still with the guitar and they signed it too. It was just an opportunity I was trying to meet with people and I talked with the people from Napalm and they said if you want to meet those guys, they’re pretty cool! We had a good connection, and it was quite the opposite way round: They were super happy to sign the guitar that was already signed by Gojira and Sepultura, and I thought it was really nice behavior from them not pretending they’re big stars and stuff and we have a very good collaboration with them. Acutally, I think that’s the song that reaches the more streams. The singer is a fucking performer and they’re cool people. Alicia, it’s just Dirk contacted her, because she’s a vegan, she’s really active in animal rights and stuff and again, she said yes immediately. It was complicated to find the right schedule and find the time to record and then to do the video … in Costa Rica, rainy season in the jungle, feeling sick … you should watch it, because it was like „Apocalypse Now!“. It’s pretty easy, those guys are super cool, they’re just super busy. Now we have contacts with other people, like Bill from Mastodon and I invite any artist to contact us because we’re going to keep releasing singles. We just recorded new material with Dirk in Los Angeles a month ago, so keep the process going!

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You just dropped the name Gojira: I was a bit surprised because they are not part of the project but they are famous for being involved in environmental projects as well is there a reason or did it just not happen?
Ask them! (laughs)

So did you ask them to contribute?
No, no they signed the guitar …

But musicwise, as a guest on your album?
Yeah, I would have loved to, but they are really busy. I think they like to do their own stuff, which I respect. And maybe also they take their time to make sure that the project is a good project. I think everything comes when it’s time. We know each other, Dirk knows Mario very well, but they are more than busy. It was already complicated with Alicia, because she has a crazy schedule. I think with Gojira it would be even worse. (laughs) But it might happen in the future, we will see.

There are still a lot of people who think that music should not be political and I guess this engagement for the environment is political from their point of view as well. So what would you respond to people who say something like that – why is metal, or music in general, perfect for bringing a message like yours to the people?
Well, first of all it talks to the emotion. That’s a good thing. And also I understand people don’t want artists to tell them what to think, in a way I can understand that. But that’s not really what we are doing. We are just trying to say something … you know, you can be right wing, left wing and still love nature and biodiversity. I see different people visiting Costa Rica for example, from all the political range. I’ve seen idiots on both sides and smart people and interesting and nice people on both sides, too. If you focus on the environment, of course then, if you push the debate to the type of economy and capitalism and how can it go along with protecting the nature, then it can become more complex. But we first try to initiate something positive and from this people might do their own thinking and see where they go. There’s many things that we don’t talk about in the environmental debate. Like the population – are we too many? Are we not too many? That’s the typical taboo in the environmental movement. Because everyone has a different answer. I just try to watch what’s happening to nature, what space is available for nature and just try to make people realize that we are part of it, and we need it, too. Because if some species keep disappearing we might see very strange events. We work with scientists they even tell us that the collapse of biodiversity might be even more dangerous than the climate change.

Let’s talk about that Hellfest collaboration you already mentioned, and your concert there at last years edition, which can be still seen on YouTube. With all those guests on stage it has to have been a nightmare to organize … so how did you approach that, did you have rehearsals with each of them or was it more or less improvized?
We had rehearsals with Andreas and Chloe [Trujillo], and one rehearsal the morning before the concert with Daniel [de Jongh] from Textures and Shane [Embury] from Napalm Death. Yeah, man, it was a challenge! (laughs) You can’t see it very good on the live footage, but there is a lot of content on the screens. That’s actually the main goal: When you see us live, it has to be with the screen, because all the emotional content and the message, we want to spread, is there. It’s not us on stage. The important thing is not us. It’s the non-profit and the images and the music. But yeah, I mean, I didn’t sleep for a long time before Hellfest, I can tell you! (laughs)

Was it easy to convince the Hellfest guys to give you that slot on the main stage for this experimental project or how did that come along?
No, actually they offered it, because we pretty much started the project – I mean we started in Costa Rica and in the US – but the act of birth was really in Hellfest, because that’s where we became visible. So, after two years of seeing me doing my stuff, having the guitar signed blah blah blah, Ben Barbaud, the guy who created Hellfest, touched my shoulder and said: hey we need to talk about your project! And that’s what we did, and then he said: I need to understand what you do, I need to feel, if it’s something true. So I said: OK, come to Costa Rica, spend ten days with me and you can judge, you can tell, if it’s bullshit or if it’s true. And after those ten days he said: OK, I’m in, let’s work together. You’re gonna play on main stage, we’re gonna have a booth and we’re gonna do something together. I was like: wow! Let’s hope all the festivals are gonna follow up with that, because that would be great – to see the metal world going on board of a project and make a change. Because I think, if all the big festivals jump on board, we could really make a difference.

So, are you already talking to other festivals about that, and how could a collaboration with other festivals look like?
This year we play in two other festivals, one in France and one in the Netherlands. It can be any type of collaboration, as long as the non-profit gets something and not the band. I mean, the band needs to cover the expenses and stuff like that, but it’s not the band touring for promoting itself or the album. When we’re on stage, it’s because there is a partnership between us and the festival. Some festivals give us one dollar per ticket, some festivals can do more, because they are bigger, like give us a window and an audience, or we can create a project together … there’s really no rule, as long as they want to do something and use us as a speaker on stage. And we don’t even have to go on stage … we can do a deal first about the environment, and then maybe later we do a concert. But we have this concept that we’re going to release … „Army Of The Trees“, the name of the album, we’re gonna make it a free open license. That means that – some bands already do it, Benighted just did it – they do a t-shirt with their own band and „Army Of The Trees“ and the illustration they want, their style. And then they give back whatever they want. It can be 1%, it can be 100%. But we want to show that it’s an open movement. And festivals could do that, too: I could totally imagine a limited edition „Wacken Army Of The Trees“ t-shirt to support the forest that could be a first step. The „Army Of The Trees“ license, that’s one of the ideas, to let people do something easy. I mean, that’s not that easy, but at least it’s cool, because they want to target their own community. If a black metal band wants to use the „Army Of The Trees“, it’s probably not going to write it the same way as a deathcore band or whatever. But that’s the idea: Everyone taking this from us, using it, to make the movement grow. It’s a cool symbol.

What other ideas for collaborations or ways to get support do you have? Can anyone do something, or is it only worthwhile with really large cooperation partners?
Nothing is too small! I always give this example of this guy in France, Olivier Leclerc: He has a burger restaurant [La Cuisine de Comptoir], he won the best burger prize last year. He’s a metalhead, he was at Hellfest, and he contacted me and said, I want to do a SAVAGE-LANDS-burger. I was like, ok, maybe a vegetarian burger … that’s better for the story. I thought, OK, it’s going to bring nothing, or just a cool story. So he makes this burger, it’s a black bread, there is the SAVAGE LANDS logo on it. Man, you know how much it’s going to bring with this burger, in a six months operation? He’s going to give us 6,000 euros. Imagine if you have 2 or 3 restaurants per country, 1 or 2 t-shirt operations … it can make some noise, you know? It’s not a small operation, if you do it with heart, if you do something smart and cool, I think the metal community is really following and supporting that type of thing. That’s really what we want to encourage.

I’m wondering why the „evil“ metalheads are so couraged, kind people? Are they more open-minded or empathic than „normal“ guys?
Definitely … smarter. (laughs) I’m not joking! There is a study in France, and they say you can’t be totally stupid if you listen to that type of music because it’s a complex music and you have to listen and analyze it. So you can’t be completely dumb. It makes a filter. We get only the best people in the metal scene. (laughs) The metal world is very violent music and non-violent people most of the time.

Let me tell you a fun story regarding the image people have about metal. In Costa Rica, they are really religious. So when we started to find deals for collaboration with Alicia coming for the video, some people were like, we saw the pentagram and she is a satanist and blah blah blah. So some deals we could not make because of that! I told that to Alicia and she laughed. And then, the first thing she does when we go to this park, who, by the way, is a partner. They help us. You see it in the video, the metal bridges … it’s a private park, a Costa Rican family owns that place, and they are really religious. And on the back of her rain jacket was a huge pentagram and written „Satanic motherfucker“. (laughs) Perfect! But they signed already, so it was ok. And I explained that it’s more like the theatrical thing, more than opinions.

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But is it a problem in general that people that are not connected to the metal scene at all or don’t have any contact to the metal scene have maybe opinions on metalheads you have to overcome first before you can convince them that metalheads can help as well?
Yes, but also it is more trendy now. I don’t know how it is in Germany, but in France definitely everyone wants a VIP pass to the Hellfest. It goes in both directions … people are intrigued. They are like, what is that? And then you explain them and you show them. When I meet people that don’t know shit about metal, I tell them about our non-profit and that we are in the music and in the forest and they are like, oh yeah, ok. Then I show pictures or live footage from our concert in Hellfest and then, even if they are not at all in that music, they are like „What?!“ And then I get their attention. „That’s a lot of people, oh yeah, ok, let’s talk!“

If you play at other festivals, like you said in Netherlands, how does it look like? Are you „only“ playing with a core band or are you planning to have guest appearances there as well?
We always try to have guests. Of course it’s random because you can’t make sure it works out. With the big thing like Hellfest it’s easier because it’s so important that you can ask people to come. But at smaller festivals we always manage to have featurings either because they play there or because they live close. And I think it’s going to be easier when we keep going because now people start to understand the concept. It’s not just a „one shot event“. We get contacts now. People contact us because they want to do things. We have the core band of course, because we need to deliver something. But we always have guests.

Are there already plans for shows in Germany, for example for Wacken?
I don’t know anyone at Wacken but the people from Metal Hammer made a story about us and the poster also last month. And I think they’re going to help us to get in touch with them and at least do a presentation and let them know what it is. Germany is pretty sensible to environment, probably more than France. So I don’t see any reason for it not to happen. Maybe we can build a concept with them. I’m sure we can work something out.

So thanks again for having me and taking the time late in the evening.
Thanks Moritz and hopefully we meet for real, in real life! Bye!

Images courtesy of © SAVAGE LANDS (used with kind permission)

All other parts of this series can be found here:

Publiziert am 12. Mai 2025 von Moritz Grütz