please consign this info-sheet with the shared music - thanks !


This torrent includes just a few photos of the venue & the band - they
are ALL amateur shots from the taper/sound engineer (close friend of the
musicians - with their permission) or from the promoters/club owners (also
with their permission), pictures just made by fans for fans...
FURTHERMORE the uploader of this torrent is fully aware that professionally
shot photographs are copyrighted material and therefore cannot be shared on
DIME without the express permission of the copyright holder.
THIS TORRENT INCLUDES NONE OF THIS MATERIAL...



WIRE
- February 11, 2012 -
Cobra, Solingen, Germany
-- "Anon Y. Mouse" SBD/AUD MATRIX master, MWM 0294 --
A MUST HAVE: THE ONLY GERMAN GIG 2012 - headlining the "OX #100-Festival"
++ DEDICATED TO OUR FRIEND "BRINKHOFFS"...R.I.P. ++ samples & covers




THEIR FIRST CONCERT (OF JUST SEVEN !) THIS YEAR...A VERY SPECIAL ONE...



**************************************************************************

also #1 in a new series of mysterious & stunning recordings.
==============================================

As you might know, there are some reasons that certain tapers do
not want to read their real names in public, and a couple even refuse
using an alias. Some months ago we've started to spread the news of a
special anonymous folder in a cybercloud...and it works - unbelievable...

To keep those taper's secrets, i'd like to
call them all "Anon Y. Mouse"-recordings.


AND THEN:

...Woke up wednesday morning and found a soundboardtape
in the "special dropbox" - ONE big raw 24/48 WAV-file...
together with a lineage...by a certain "Dr. A. Nonym"

**************************************************************************


Deafmusic attended this festival and recorded this concert as audience.
He noticed a Zoom recorder lying on the boarddesk, but his question for
a patch or soundfile copy was sadly refused...back then.


THIS HERE IS NOW THE RESULT OF BOTH SOURCES - a masterful
deafmusic matrix - AND HE INSCRIBES IT TO HIS LONGTIME FRIEND:

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

"In fond memory of Rolf Ossenberg, who sadly passed
away much too early on Monday December 17th, 2012.
He was a big fan of this band and I made this recording
for him. This matrix mix has never before been shared.
If you download it, and like it, turn off your stereo
for a minute or two and think of those that left too early.

Dedicated to Rolf Ossenberg, a true friend
and music lover - Shine On You Crazy Diamond"

- Frizze

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


TODAY, FRIDAY @ 14:00pm, WAS ROLF'S FUNERAL IN EVINGSEN, ALTENA...
==================================================================


"I'm mourning the passing of a moment
A blackened silence, uneasily as led..."

- Graham Lewis


R.I.P. Rolf

Rolf AKA "Ossi" AKA "brinkhoffs" AKA "grolsch" was not just a fellow DIMEr, he was also
a friend (a REAL one...not the over-extensively used term @ f***book, as he even had NO
profile there...), music maniac, and the most experienced European Pink Floyd collector.


"Blue, blue windows behind the stars
Yellow moon on the rise
Big birds flying across the sky
Throwing shadows on our eyes"

- Neal Percival Young




ABOUT THIS BAND HERE:
=====================

Wire is an English rock band, formed in London in October 1976 and originally associated
with the punk rock scene, appearing on the Live at the Roxy WC2 album � a key early document
of the scene�and were later central to the development of post-punk.
Inspired by the burgeoning UK punk scene, Wire are often cited as one of the more important
rock groups of the 1970s and 1980s. Critic Stewart Mason wrote, "Over their brilliant first
three albums, Wire expanded the sonic boundaries of not just punk, but rock music in general."

Wire are arguably a definitive art punk or post-punk ensemble, mostly due to their richly
detailed and atmospheric sound, often obscure lyrical themes, and, to a lesser extent, their
Situationist political stance. The group exhibited a steady development from an early raucous
punk style (1977's Pink Flag) to a more complex, structured sound involving increased use of
guitar effects and synthesizers (1978's Chairs Missing and 1979's 154). Although the phrase
"early Pink Floyd" was uttered dismissively in some quarters, it was well-received.
The band gained a reputation for experimenting with song arrangements throughout its career.



SBD/AUD MATRIX master, downsampled to 16 Bit/44.1 kHz:
======================================================
total: 69:04.01 minutes
WAV - files: 697 MB total size
FLAC - files: 420 MB total size
FLAC - ratio: 0.6034 (17 files)



THE COMPLETE LINEAGE:
=====================

1. recorded by Dr. A. Nonym, soundboard to flashcard
2. recorded by deafmusic, audience to SDHC-card

*** This matrix also exists in original 24/48 format, WAV size 1,13 GB - ask for it ***


the recording:

1. Dr. A. Nonym's equipment:
SBD desk: Soundcraft Venue II Theatre Return > ZOOM digital handy recorder, possibly H1,
line in with 24 Bit/48 kHz > unknown (SD?) flashcard > PC? laptop? > "the anonymous dropbox"

2. deafmusic's equipment:
Neumann USM 69i compact switchable stereo microphone (XY stereophony mode) clamped to the
batten (lighting bridge) > > SPL Gold Mike Preamp with Phantom Power Supply > adapter XLRs
to stereo 3,5mm mini plug > ZOOM H2, line in with 24 Bit/48 kHz > 16 GB SDHC card


transfer 1 (deafmusic)
"the anonymous dropbox" WAV soundboard file > "download" > Medion studio PC
PLUS
16 GB SDHC card > Medion studio PC
THEN
all 4 tracks mixed carefully together in cool edit pro (adobe audition) > file dropboxed


transfer 2 -or- what lonetaper did (nearly nothing, as usual...):

dropbox "download" via fast VDSL2 Annex B connection > FRITZ!Box 7390 (what else ?) > LAN >
> self customised studio PC, Motherboard with new watercooled AMD Phenom� II X6
six-core processor 1090T, clock speed 3,2 GHz, Serial ATA Interface >
> actually 1TB Western Digital Harddisc with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> lonetaper's secret box of miracles # (e.g. the PC's Azimuth was here & now fully digital aligned...):
WAV 24bit/48Khz > Ozone5 & a few additional programms: complete mastering, normalizing etc.pp. >
> iZotope Ozone5 SRC & MBIT+ Dither: exceptionally transparent conversion to different bit depths >
> WAV 16bit/44.1 Khz > Exact Audio Copy (WAV files check) > Traders Little Helper 2.7.0 (Build 172):
Sector Boundaries aligned, level 6 encoding > FLAC 16bit/44.1 > Traders Little Helper (test encoded
audio files, check audio for SBE, show audio file details -> included in a separate subfolder!) > DIME


MBIT+: This is a proprietary iZotope word length reduction technology that reduces
quantization distortion with minimal perceived noise. While this might sound like
a paradox, MBIT+ is a very smooth, quiet and almost "analog sounding" technology.
http://www.izotope.com/support/help/ozone/pages/modules_dithering.htm
http://izotope.fileburst.com/guides/Dithering_With_Ozone.pdf

CHECK OZONE & TEST/COMPARE IT WITH THE REAL TRUE
QUALITY OF YOUR OWN SRC (sample rate converter):
http://src.infinitewave.ca/



# -> OUR DEAR FRIENDS - mainly Dr. A. Nonym - NAILED THIS SHOW HERE...

so NO additional EQ'ing was used here, and none of those compressors, Sonic Maximizer
or other psychoacoustic processors - why ruin another true "Anon Y. Mouse" recording ?

It sounds completely the way it was distinguishable
that night in this venue - IF NOT WAY BETTER ;-)

I balanced just the stereo channels (the right one averagely +0,86 dB),
and reduced some of the instrumental plug ins - leaving the rest untouched.
The only further addition was a short fade-in @ the beginning and a fade-out @
the end, after the audience applause, so truly NO MUSIC was harmed or lost.




THE SOUND HERE ?

It's a true soundboard recording, with additional Neumann
microphones used for the ambient sound between the songs, and
deafmusic mixing & just a bit of lonetaper mastering - 'NUFF SAID !



if you're still beset BY DOUBTS,
please check the samples...or better:

LEAVE IT, GRAB SOMETHING COMPLETELY DIFFERENT !!
================================================






WIRE (band's name)

"OX #100-Festival" (the motto)

Soziokulturelles Zentrum "Cobra" (the venue)
Solingen (the city)
Germany (the country)

February 11, 2012 (the date)




"SOLINGEN - Rock City No. 1"

Solingen is a city in North Rhine-Westphalia, Germany. It is located on the
northern edge of the region called Bergisches Land, south of the Ruhr area,
and with a 2005 population of 162,685 is the second largest city in the
Bergisches Land. It is a member of the regional authority of the Rhineland.

Solingen is called the "City of Blades", since it has long been renowned for
the manufacturing of fine swords, knives, scissors and razors made by famous
firms such as DOVO Solingen, W�sthof, J. A. Henckels, Boker, and numerous
other manufacturers. Wilkinson is also based here.

In Medieval times, the swordsmiths of Solingen coined the town's image, which
is preserved to this date. Some 90% of German knives are produced in Solingen.


http://www.cobra-solingen.de/

http://www.cobra-solingen.de/Archiv/Ox-Fanzine-100-Festival-AUSVERKAUFT




as far as we know NONE of this torrent was used commercially...




the complete recording:
=======================

All songs by Graham Lewis & WIRE unless otherwise specified.


01. intro -> Ally In Exile 6:36.03
02. Another The Letter 1:13.02
03. The Spare One 3:08.56
04. Lorries 5:17.56
05. Please Take 4:35.58
06. Part Of Our History 4:05.34
07. Smash 3:12.64
08. -> Drill 4:50.47
09. Clay 3:24.68
10. Map Ref 41�N 93�W 4:10.19
11. -> Boiling Boy 6:00.52
12. Moreover 2:15.50
13. Colin curses the f***ing wanker $ 0:48.07
14. Witness To The Fact 2:15.50
15. Two People In A Room 3:03.66
16. Underwater Experiences -> crowd noise 4:22.40

encore:
17. Pink Flag -> final crowd noise 8:57.46

total: 69:04.01 minutes



the notes:

$ - the "beer incident": starting middle of track #11 and increasingly
through the whole track #12, a drunk "fan" spilled beer over Colin to
attract his attention - and HOW HE GOT IT...Colin was mad as hell at
him, ready for a brawl. Final result: calmed down & shortened the gig :-(



the musicians:

Colin Newman - front-man, rhythm guitarist and tunesmith
Graham Lewis - bass guitarist and main lyricist
Robert Grey (Gotobed) - drummer, known for his minimal, metronomic style

and, since 2010 - "a new boy" for the WIRE touring experience:

Matt Simms - lead guitarist (from 'It Hugs Back')





ABOUT THIS CONCERT HERE:
========================

To celebrate "ox" fanzine's number 100 issue, they organised a party in
Germany's Rock City No. 1 - Solingen. The venue "Cobra" was sold out long
before the event, visitors & friends from all over Europe gathered together
to enjoy themelves - and all the bands. Headliner (and also "oldest" group)
was WIRE - playing an EXCLUSIVE CONCERT, and now, at the end of 2012, we can
sum up: their ONLY German gig this year - and one of just 7 live appearances !

The time slot for their concert was ~90 minutes,
the original setlist (pic included in the torrent)
showed 19 songs minimum - including two encore breaks,
and also 2 brandnew songs (*) waiting
for their Solingen & world live premier:

01 Ally in Exile
02 Another the Letter
03 The Spare One
04 B/W Silence (*) �
05 Please Take
06 Part of Our History
07 Smash
08 Drill
09 Clay
10 Map Ref 41�N 93�W
11 Boiling Boy
12 Question of Degree
13 Witness to the Fact
14 Two People in a Room
15 Deeper (*) %

encore: %
16 5/10 %
17 Underwater Experiences

encore:
18 Adapt %
19 Pink Flag


the notes:

� - substituted with "Lorries"
% - completely omitted


Sadly, after the reported "beer incident" by a drunk idiot (or is
this REALLY today's true fan behaviour ?), the band shortened the
concert by omitting minimum three songs...and left, completely pissed...



Am Samstag, 11.02. riefen wir zur gro�en Ox-Feier anl�sslich der 100. Ausgabe in
die Solinger Cobra, und �ber 500 Menschen aus ganz Deutschland feierten mit �ber
30 Ox-Schreibern eine gro�e Party.
Bis auf eine durch Pogo verursachte Platzwunde lief die Sache wunderbar harmonisch
ab (ok, Colin von WIRE mochte den mit Bier spritzenden Deppen vor der B�hne nicht
und �u�erte sich entsprechend ...), und SNIFFING GLUE, PASCOW, JINGO DE LUNCH, EA80
und WIRE (die Bands spielten in der Reihenfolge ihres Alters) sorgten f�r den
"soundtrack of your lives".
Danke an alle Bands, an alle, die mit uns gefeiert haben, und auch an alle, die
geholfen haben, die ganze Veranstaltung zu organisieren und durchzuf�hren.

http://www.ox-fanzine.de/web/ox100_so_war.1311.html



"2012 war eher so ein Einzelkonzert. Starke Spannungen zwischen Band, Publikum,
anderen Musikern und Veranstaltern, die sich dann gegen 56:00 oder so entlud...
Eventuell kein Auftritt, auf den die Band stolz ist."

- fan's opinion (staying anonymous)



Wire kamen in der gleichen Besetzung wie im Februar 2011 auf die B�hne. Und sie spielten
einen au�ergew�hnlichen Set. Es waren neben einigen St�cken vom letzten Album "Red Barked
Tree" viele St�cke vom Anfang bzw. von der unmittelbaren Zeit nach "154" zu h�ren. Und das
war aufregend. Wire ist ja eine Band, die mehrere Phasen hinter sich hat - jede Phase hat
ihren eigenen Charme und ich k�nnte mich nur schwer entscheiden, eine dieser Phasen als die
einzig gute hervorzuheben. War es lange Zeit Politik der Band, die alten Sachen eben nicht
zu spielen oder eben nur total verfremdet, hat sich das in den letzten paar Jahren ge�ndert.
So geh�rt eine krachige Version von "Pink Flag" schon seit einiger Zeit zum festen Bestandteil
als Zugabe. Aber St�cke wie "Witness to the Fact", "Lorries", "Alley in Exile" oder "Underwater
Experiences" standen - so weit ich wei� - lange nicht mehr auf einer Setlist. Nur bei einem
St�ck war ich unsicher: musikalisch fing es an als "Question of Degree" hatte aber dann einen
ganz anderen Text. Wie dem auch sei: war das Konzert in K�ln letztes Jahr grandios, haben Wire
das dann noch einmal getopt. Es gab - wenn �berhaupt - nur einen Wermutstropfen: im Publikum
befand sich �lterer Typ, der sich wohl vorgenommen hatte, die Sau rauszulassen und mehrfach
Bier auf die B�hne gespritzt hat. So ein Arschloch, dass im Normalalltag Biedermann ist und
jetzt mal zeigen wollte, wie toll er ist. Colin Newman war sichtlich angepisst und war
eigentlich kurz davor mehr zu machen als eine Schimpftirade abzulassen. Der Typ - peinlich
peinlich - f�hlte sich gar nicht angesprochen und grinste nur dumm. Aber wie es eben so ist:
bei jedem Konzert ein Arschloch!
Trotzdem: es war ein fantastisches Konzert.

http://konzerttagebuch.blogspot.de/2012/02/ox-festival-solingen-cobra-1122012.html



Ob es so schlau war, Wire als letzte Band aufs Programm zu hieven, wei� ich nicht.
Die alten Engl�nder brachten viele St�cke aus ihrer Wave-Phase, brachten aber auch
ihren Punkrock, der 1977 v�llig neu und originell war und heute nach wie vor �berzeugend
ist: Pogo gibt's da aber keinen, und die Stimmung ist naturgem�� verhalten.
Man steht halt rum und guckt sich interessiert die Band an. Toll war's trotzdem.

http://enpunkt.blogspot.de/2012/02/festival-zum-hundertsten.html



Bei einem doch eher "klassischem" Punk- und Hardcorepublikum bin ich mir zun�chst nicht
sicher, ob Wire der passende Schlusspunkt sind. Zwar sind die Engl�nder seit der ersten
Stunde des Punks dabei und haben den Weg f�r alle anderen Bands, die heute in Solingen
auftreten, mit bereitet. Aber schon fr�h entwickelten sich Wire weit �ber den Punk hinaus
hin zu einer experimentierfreudigen, manchmal gar avantgardistischen Band. Meine Zweifel
best�tigen sich gl�cklicherweise nicht: Die Leute, die mit dem, nun ja, "Art-Punk" der
Band nichts anfangen k�nnen, zollen Wire auf ihre Art Respekt: Statt sich laut zu unterhalten,
verlassen sie die COBRA. So spielen die ergrauten Engl�nder zwar nur f�r ein kleineres,
daf�r umso aufmerksameres Publikum. Das Bleiben bis zum Ende lohnt sich: Nur 40 Sekunden
dauernde Song-Skizzen ohne erkennbare Struktur wechseln sich mit wunderbaren, eing�ngigen
Punk- und Popsongs ab.

http://www.crazewire.de/berichte/festivalbericht/ox-100-festival/281/



HERE ARE MORE PHOTOS & ADDITIONAL
INFORMATIONS ABOUT THIS CONCERT:
================================

WIRE pictures:
http://www.scene2act.de/index.php?option=com_content&view=article&id=1226:wire-solingen-cobra-ox-100-festival-11022012&catid=414:wire&Itemid=59

The complete OX100 Festival:
http://marc-gaertner.de/portfolio/20120211-ox/
http://www.stageload.org/fotos/ox-100-festival

Festival poster etc:
http://www.ox-fanzine.de/ox100

Interesting interview with Colin:
http://www.guitarworld.com/interview-wire-guitarist-colin-newman-bands-new-live-album-gear-and-plans-future




Wire emerged out of the British punk explosion but, from the outset, maintained a distance
from that scene and resisted easy categorization. While punk rapidly became a caricature of
itself, Wire's musical identity -- focused on experimentation and process -- was constantly
metamorphosing. Their first three albums alone attest to a startling evolution as the band
repeatedly reinvented itself between 1977 and 1979. That capacity for self-reinvention,
coupled with a willingness to stop recording indefinitely when ideas weren't forthcoming,
has been crucial to Wire's longevity and continued relevance.
By the time of punk, British art schools had long been a hotbed of musical activity, spawning
some of the nation's most innovative rock acts from the '60s onward. Like many punk contem-
poraries, Wire had roots in the art school tradition. At Watford Art College in 1976, guitarists
Colin Newman and George Gill formed Overload with audiovisual technician Bruce Gilbert (also
on guitar). Subsequently, the three recruited bassist Graham Lewis and drummer Robert Gotobed
(aka Robert Grey), and the first Wire lineup was in place.
Wire began playing dates in London and, having ousted Gill, started from scratch, writing new
material and taking a more pared-down, experimental approach. A gig at the Roxy in early 1977
proved auspicious. Wire met EMI's Mike Thorne, who was recording groups for a live punk album,
The Roxy, London WC2. Thorne included two Wire tracks and was then instrumental in bringing
the band to EMI in September. By then, with Newman writing most of the music, they were eager
to record before they lost interest in material, abandoned it, and moved on; a pattern that
would define the group.
Produced by Thorne, 1977's amphetamine-paced Pink Flag found Wire taking punk to extremes while
also keeping an ironic distance from it by introducing elements of tension and abstraction.
Pink Flag's 21 highly original tracks (each averaging just over a minute and a half) compressed
and twisted rock into often jagged, taut shapes. The album met with critical acclaim and a
follow-up was recorded in spring 1978.
Chairs Missing was a radical departure. Although the phrase "early Pink Floyd" was uttered
dismissively in some quarters, it was well-received. With Thorne playing keyboards and producing,
this was a more complex, multi-dimensional record that supplemented Pink Flag's harsh minimalism
with dense, occasionally unsettling atmospherics. Wire albums usually feature one near-perfect
pop song and Chairs Missing's "Outdoor Miner" almost became a hit, until it was scuppered by a
payola scandal at EMI.
This was an enormously creative phase. Songs were being written and jettisoned at a considerable
rate and the band was gigging relentlessly. In summer 1978, Wire played in the U.S. for the first
time and, in March 1979, toured Europe with Roxy Music. Although Chairs Missing had been released
only months before, live sets included a significant amount of material that would appear on 154.
Indeed, Wire often tended to bewilder live audiences by playing new, unrecorded tracks rather
than the numbers people expected to hear.
If Chairs Missing saw Wire exploring the possibilities offered by the recording studio, on 154
they took fuller advantage of that environment. With Lewis emerging as a vocalist alongside
Newman, the result was an expansive, textured album with a more pronounced melodic orientation.
154 was Wire's most accomplished statement to date and the group seemed poised for success.
The opposite happened. Wire's relationship with EMI unraveled and they were soon label-less.
In February 1980 at London's Electric Ballroom, the band played an infamously chaotic show
(captured on Document and Eyewitness) that was more like performance art than a rock performance.
A five-year hiatus ensued.

read the complete story by Wilson Neate here:
http://www.allmusic.com/artist/wire-mn0000672910






And if there's some interest, maybe there is MORE TO COME...
it just depends on YOUR demeanor, and lotta useful comments ;-)




PLEASE support the artists, visit their concerts
and buy all their available CDs & merchandise...
Check out the following websites:

http://pinkflag.com/
http://en.wikipedia.org/wiki/Wire_(band)
http://www.myspace.com/wirehq
http://www.youtube.com/user/wirehq

http://www.mindspring.com/~outdoorminer/wire/
http://www.wireviews.com/
http://www.brainwashed.com/wire/




***********************************************************************************************
Hey You !

There are more truly stunning recordings out of our collection on DIME.

please check all our other uploads...BUT: BEWARE - LOTS OF TEXT TO READ !

-> still a damn lot more to come...



AND HERE ARE TWO "brinkhoffs" AUDIENCE MASTER RECORDINGS:
=========================================================

WIRE
germany
bremen
spedition
21.march.2009

http://www.dimeadozen.org/torrents-details.php?id=281713


WIRE

germany
k�ln
luxor
28.february.2011

http://www.dimeadozen.org/torrents-details.php?id=347106


AND check his account for more interesting stuff:
http://www.dimeadozen.org/account-details.php?id=103511

***********************************************************************************************

DE FACTO THIS IS FROM - deafmusic - ANOTHER PRICELESS "TAUBMUSIC" MASTERPIECE...




!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Dime allows alternative versions, I don't own the music, so I can't stop you, but
the correct thing to do amongst tapers/editors is TO ASK FIRST...(C. by scdegraaf)
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!



====================================================================================

carefully recorded and secretly dropbox-ed by "Anon Y. Mouse" (all thanks go to him/her...),
torrent completely prepared & first uploaded by FK & Leo on DIME, December 21, 2012.
This is "MWM 00294"


please consign this info-sheet with the shared music - thanks !

Images for all shows as well as full size images for this show.

Images for this show:











Wire2012-02-11CobraSolingenGermany (19).jpg
Wire2012-02-11CobraSolingenGermany (2).jpg
Wire2012-02-11CobraSolingenGermany (20).jpg
Wire2012-02-11CobraSolingenGermany (21).jpg
Wire2012-02-11CobraSolingenGermany (22).jpg
Wire2012-02-11CobraSolingenGermany (23).jpg
Wire2012-02-11CobraSolingenGermany (24).jpg
Wire2012-02-11CobraSolingenGermany (25).jpg
Wire2012-02-11CobraSolingenGermany (26).gif
Wire2012-02-11CobraSolingenGermany (27).gif
Wire2012-02-11CobraSolingenGermany (28).jpg
Wire2012-02-11CobraSolingenGermany (29).jpg
Wire2012-02-11CobraSolingenGermany (3).jpg
Wire2012-02-11CobraSolingenGermany (4).jpg
Wire2012-02-11CobraSolingenGermany (5).jpg
Wire2012-02-11CobraSolingenGermany (6).jpg
Wire2012-02-11CobraSolingenGermany (7).jpg
Wire2012-02-11CobraSolingenGermany (8).jpg
Wire2012-02-11CobraSolingenGermany (9).jpg
Wire2012-02-11CobraSolingenGermany.jpg