San Francisco, CA – January 23, 2026 – Bay Area punk rockers Druglords of the Avenues have just announced pre-orders for their new LP Gotta Light via Pirates Press Records. The LP is scheduled for release on March 20, and features the single “Ghetto Sidewalks,” along with nine other new songs. The album is available for pre-order from Pirates Press Records. “Ghetto Sidewalks” is now streaming on all major platforms! Click here to stream the single.
What began as a side project with legendary San Francisco punk singer Johnny “Peebucks” Bonnel (Swingin’ Utters, Filthy Thieving Bastards, Primitive Heads) and guitarist Matt Grayson quickly evolved into a fully fledged band with a life and perspective all its own. Now releasing their third full length, the band are locked in and firing on all cylinders with their unique brand of rollicking, storytelling streetpunk.
On past albums, influences from the fiery grit of punk & hardcore classics like the Dwarves & Circle Jerks to the ramshackle folk chaos of The Pogues and the dark complexities of The Pixies have been spotted in the mix.
What truly sets Druglords of the Avenues apart is the combination of that punk rock energy with the folk tradition of songwriting as storytelling. While the guitars and the rhythm section – where Bonnel & Grayson are joined by guitarist Rob Pierce, bassist Michael Mininger, and drummer Robert Faria – may be blazing at a breakneck pace, the lyrics are relating street level tales of poor and working class people doing what they have to to survive.
On the single “Ghetto Sidewalks,” primary lyricist Bonnel engages in complex wordplay alongside straightforward snapshots of urban decay with declarations such as “We need some light on the ghetto sidewalks / We’re always stumbling in the dark.” Indeed, Bonnel’s one-of-a-kind, dense but direct lyricism calls to mind a character he describes in “Gutter Roller Mart”: “He’s a street poet / Aggressive misbehavior.”
The characters that populate the streets and sidewalks of Gotta Light have their struggles, mistakes, conflicts, and grudges, but for the most part, they are presented without value judgements. These are simply the stories of lives lived hard, and Druglords of the Avenues are here to tell them.
Gotta Light by Druglords of the Avenues is available from Pirates Press Records on two different 12” Picture Disc editions: both feature the same art by Bonnel on the A-side, while the B-side art is available with both a black & white spiral or a limited edition pink & black spiral. The album will be available everywhere on March 20, 2026!
“The latest serves an uplifting release that chooses positivity amongst chaos and, despite the odds, journeys the desire to thrive in a deteriorating world, all while making sure there’s no one left behind to come along for the ride.” – Remezcla
“Cold World features catchy riffs and an authentic punk attitude that’s both nostalgic and refreshing. It’s an earnest homage to the garage rock scene, packed with tracks that demand to be played loud.” – Knotfest
“Whether or not they want to be lumped in with the current rise in popularity of hardcore as a genre, the punk influence in their music doesn’t go unnoticed — Death Lens make explicit effort to weave social and political activism into their lyrics and live shows.” – AltPress
Death Lens might be the perfect punk band for the moment: four working class, multicultural musicians from Southern California who write stage-dive anthems for the oppressed, wielding a message of resilience and a sound of sweat-soaked celebration that appeals to outsiders of all stripes. Today they are announcing their new album titled What’s Left Now? due for release on April 24th. Their first since 2024’s Cold World and their second for Epitaph Records, it was produced by Zach Tuch (Knocked Loose, Touché Amoré, Movements) for the band’s most fully realized record yet: crunchy, urgent, melancholy, raging and so goddamn easy to headbang along to.
Album opener “Monolith” is out now, beginning with an acoustic guitar and lyrics crooned in Spanish, it explodes into a frenzy of churning guitars and anthemic howling. Vocalist Bryan Torres says of the new song:
“Born with stones in my hands, I carry the weight my parents left behind. Forged under pressure, hardened by everything I had no choice but to bear.” He continues, “Monolith is born from a lifetime of hardship, weight and repetition. It’s my revelation that the role life gives you isn’t the only one you have to play. A testament to how being born with nothing became the source of my strength.”
Stream “Monolith” here Watch the “Monolith” music video here
What’s Left Now? is the product of two tumultuous years for Death Lens, both as people and as bandmates. The year Cold World dropped, the band toured for nine long months, honing their craft as live performers and increasing their fanbase tenfold. However, all of that time on the road stress-tested the band as an interpersonal unit, and Death Lens ended up shedding two members from the subsequent growing pains. Ultimately, they bounced back stronger than ever, gaining guitar virtuoso Ernie Gutierrez into the core lineup of frontman Bryan Torres, guitarist Jhon Reyes, and drummer Tony Rangel. Now, Death Lens are closer as friends and more musically in-sync than they’ve ever been, and What’s Left Now? is a testament to their glow-up.
“Every time we feel like we’re gonna implode, we end up expanding,” Torres exclaims. “We thrive on stress and the energy of anxiety.”
What’s Left Now? is an honest record by a band who’ve always cut the bullshit. Growing up in lower-income homes 20 miles east of Los Angeles, Death Lens’ members weren’t afforded the privilege to effortlessly ascend in the music scene. They’ve had to grind for every opportunity they’ve gotten, and they continue to write music for people just like them. “Our messaging is towards those who always feel like they don’t have a voice,” Torres explains.
Their new record includes songs about first breakups (“Am I A Drug To You?”) and learning to be genuinely, uncomfortably true to yourself (“Out of My Skin”), but also tracks about trials that are far more challenging to conquer. “Saints in the Panic Room” speaks to a present-day nightmare that Death Lens’ own families and communities are facing on U.S. soil. “I’m talking about the ICE raids, things close to home,” Torres says. “Immigrant families who don’t have papers. These are the struggles that we talk about every day.”
What’s Left Now? captures that dichotomy with creativity and candor. A fist-pumping punk-rock escape, and a hard dose of reality. Because for Death Lens, one doesn’t exist without the other.
Death Lens ‘What’s Left Now?’
Tracklisting 1. Monolith 2. Power 3. Out Of My Skin 4. Waiting to Know (feat. Militarie Gun) 5. Drown 6. Am I A Drug To You? 7. Saints In the Panic Room 8. Off The Edge 9. Useless 10. Last Call 11. Pulling Teeth 12. Debt Collector
Death Lens Tour Dates w/Seahaven Jan. 21 – Santa Ana, CA – The Observatory
w/ Drug Church & White Reaper March 14 – Chicago, IL – Concord Music Hall March 15 – Madison, WI – Majestic Theater March 16 – Minneapolis, MN – Fine Line March 18 – St. Louis, MO – Delmar Hall March 19 – Lawrence, KS – The Bottleneck March 20 – Denver, CO – Summit Music Hall March 23 – Seattle, WA – Neumos March 24 – Porland, OR – Aladdin Theatre March 25 – Boise, ID – Treefort Music Fest* March 27 – San Francisco, CA – August Hall March 28 – Los Angeles, CA – The Fonda Theatre March 29 – San Diego, CA – The Observatory North Park March 31 – Las Vegas, NV – Area15 Portal April 1 – Phoenix, AZ – Walter Studios April 3 – Dallas, TX – Ferris Wheelers April 4 – Austin, TX – Mohawk
The Casualties Share New Single “People Over Power” First New Music In 8 Years Via Hellcat Records
Today, punk lifers The Casualties break an eight-year hiatus with their blistering new single “People Over Power”, the band’s first release via Hellcat Records. Starting off the year with a lethal right-hook to the chin of the system, the track’s roaring bark is a call to action imploring us all to fight back against injustice.
“We’re getting stomped by the world, by the government, by the bad news,” vocalist David Rodriguez says of the new song. “We want systemic change, total transformation, degradation to the state. ‘People over Power’: It’s as simple as it sounds.”
“It’s a protest song through and through,” drummer Marc “Meggers” Eggers adds. “We want the vibe to be: You listen, get angry, get your crew together, and get out on the streets.”
The Casualties are the voice of the disenfranchised, the disillusioned and the dispossessed of this planet. The band originally formed in 1990, but these street fighters are still angry, still political and are still keeping the heart and spirit of punk alive. Founded on a mission to revive the sound of punk pioneers like The Exploited and The Sex Pistols, they lyrically weave in scathing denouncements of authority into frantic anthems of resistance, totaling to eleven studio full-lengths, three EPs and three live albums so far.
The Casualties are David Rodriguez (vocalist), Jake Kolatis (guitarist), Marc “Meggers” Eggers (drums) and Doug Wellmon (bass).
Drenched with the sweat of the New York Dolls and pumping Cheetah Chrome’s blood through their veins, add a dash of Eddie Rabbitt and you’ve got Amsterdam’s garage punk rockers FuckFuckFuck. These songsmiths are just about to drop their debut full length release, “Fun”.
The album offers twelve tracks of rock and roll, and a fresh take on a tried and true sound. It’s very reminiscent of what was coming out of the American Rust Belt in the proto-punk days. Sure you’ve got lo-fi guitar grit and bouncing off the concrete vocals, but the love songs are about Anal, and Drinking. See, it’s Fun!
While there is definitely a solid 70s punk vibe, some tracks like “Anal” sound like a nod to The Chats and “Geo Wizzard” brings an older Kinks vibe.
I think the new album is absolutely FUN!, but check out the band for yourself.
–Jerry Actually
Tracks: 01 AAA 1:46 02 Problems 2:12 03 Anal 2:03 04 Geo Wizzard 1:47 05 Drinking 3:07 06 Fun 2:22 07 Hard Rock 2:27 08 Jaren Mee 2:35 09 DJ 2:30 10 Bad Habits 1:53 11 Amsterdam Moord 2:28 12 Get Rich 2:52
Bio: Destructo-rock ‘n roll ensemble FuckFuckFuck started out in 2016 in Amsterdam. Consisting of 2 brothers, Colin (drums) and Jits Vlaar (vocals) and two brothers from other mothers, Hugo de Jonge (guitar / vocals) and Joris van Roozendaal (bass).
Hugo and Joris already spent time playing together in bands before, but it wasn’t until FuckFuckFuck released their first two singles “Anal” and “Bad Habits” in 2022 that things really started to roll. The songs and the accompanying videos (singer Jits is also a music video director and editor) quickly made an impact in the Dutch underground scene for their sense of humor and their raw, no-frills style of garage-punk music.
After setting stages on fire with their chaotic live shows in The Netherlands and supporting bands like Black Lips and Dirty Fences, the band was ready in 2025 to record their debut album, titled “Fun” which was released on Wap Shoo Wap Records this December.
Charlottetown punks TeethOut have released their latest EP in its entirety after dropping the lead single 2 weeks ago. It’s available now digitally on High End Denim Records.
After exploding onto the scene with their debut EP Put Your Money Where Your Mouth Is (which caught attention for its “explosive, melodic… punk rock gold” vibe) and following that with the sharpened, emotionally deeper second EP Brittle But Elite (described as balancing “chaos with clarity” while digging into themes of survival and regret), TeethOut now steps into a third chapter with Here We Go.
The first EP introduced the band’s skate-punk roots and hooked listeners with urgent melodies and raw energy. The second refined that sound while exploring survival, stumbles, and midnight worries. The new record takes that foundation and moves it forward. With songs like Here We Go, Lifeline III, Down on Richmond, Friend of a Friend, and Whales, the themes stretch wider than before. These tracks talk about travel, connection, loss, and the rush of late-night drives. They carry a sense of time passing and the instinct to keep pushing forward anyway.
The lyric in “Here We Go” – (“Here we go… There’s no sleep when on the road… How fast can we go from here?”) captures the band’s current mindset. The energy is still high, but the songs now come from lived experience. Lifeline III touches on scars and second chances, Down on Richmond reflects on small-town shows and memory, and Whales slows things down to explore loss and distance.
The earlier EPs were about introducing the band and finding their footing. Here We Go feels like the sound of TeethOut embracing who they are. The songs are fast, honest, and built around stories that matter. It’s the sound of punk lifers chasing the same rush they always have, only now with more heart behind every note.
They also released a lyric video for the song “Whales.”
“…catchy riffs and an authentic punk attitude that’s both nostalgic and refreshing.” – Knotfest
“…backed by infectious vocal harmonies, heavy punk drumbeats, and fuzzed shoegaze-leaning guitar melodies.” – Remezcla
Today, Los Angeles alt-punks Death Lens, the self-described “Brown boys from La Puente“, let loose on new single “Power”. Fresh off a tour with Militarie Gun, the punchy new single is up next to be featured in the latest edition of the Skate video game series from EA. As Death Lens’ first new music since 2024’s Cold World, the track’s hooky guitar riffs and uplifting lyrics are a positive omen to close out a tumultuous year. Frontman Bryan Torres comments:
“I know the world feels out of balance, nothing seems certain, and waiting isn’t an option anymore. We can’t let time dictate our choices or our purpose. The world has never waited for anyone, so we stopped waiting too. That’s POWER. Strength. Resilience. When life feels bleak, we push harder for what we want and the vision we hold for ourselves. A song for anyone who loves it fast, with a message that lifts you up.”
Check out the music video for “Power” below, directed by Marco Hernandez and featuring pro skaters Zach Allen, Ethan Loy, Tyler Pacheco, Marley Humphrey and O’Connor Nelson.
Following the rhythmic bark of Cold World, a poignant album that deals with social and political unrest, Death Lens continue to bear the torch for Southern California’s melodic punk tinged with hardcore and social accountability. “Power” is the latest offering in their ever-evolving journey as a band and as people, confronting burnout and feeling like you can’t get up after you’ve been consistently knocked down. Nevertheless, Torres proclaims, “the world waits for no one” and compels listeners to get back on our feet and look out for one another.
Since 2012, Death Lens have aimed to be in your ears at all times. They hide their ferocity underneath a thick veneer of style until the energy and chaos of one of their live shows leaves every audience member disarmed and forever changed. While they started as your typical party garage punks, the band evolved to using their platform to speak on living in heavily policed areas, immigration reform, and using resources to uplift communities. “One world, one community“.
Death Lens is comprised of Bryan Torres (vocals), Jhon Reyes (guitar, backing vocals), Tony Rangel (drums), and Ernie Gutierrez (guitar).
Going to a show alone usually isn’t anyone’s Plan A, but that doesn’t mean it can’t be a good time. Three local bands on a Tuesday with relatively short notice was an improbable group outing anyway, so when my mention of the show on the chat was met only with a suggestion for a new program on Apple TV+ two hours later, I wasn’t terribly surprised. I’ve been to shows alone before.
There is no “Jump to Recipe” button in amateur music writing, but if you’re looking for an account of the actual show I guess it starts in paragraph four. Otherwise, the following is a little background information.
I’d been looking forward to seeing Amusement again as they are one of my favorite bands period right now. Sometimes you get lucky and happen upon music that feels tailor made to your preferences, and when they’re local it’s even sweeter. Not to be reductive of any of their nine recorded songs (including one Dinosaur Jr. cover that is honestly so much more sick and necessary than you think it would be), but Amusement sound like a cross between Seaweed’s Four and Pegboy’s Strong Reaction, with some aforementioned Mascis style leads peppered in there. People say this kind of shit all the time about bands, and then you hear them and you’re like, “Yeah, but not as good”. This is what sets Amusement apart. They’re on that same level. These guys are the real fucking deal. Easily my most listened to band of this past year.
I went into the evening with the handicap of having had too much clam chowder at my in-laws before heading across town. Additional handicaps of being low on gas, being a little tired, it’s cold outside, and I’m thirsty, were also present. Your mind plays tricks on you when you try and go out at night when you’re over 30 (and more so every decade after). So do your eyes, making the driving tricky, because you also go blind when it’s dark outside the day you turn 45. Undeterred, I sat in my car in front of the venue considering going home, because I actually was deterred by all those things. Thankfully, I decided to go for it. I paid my $10 door fee after unnecessarily asking if they took cash, because now that I’m here alone I’ve suddenly started to behave as if I’ve never been anywhere. Perfect time to head to the bar for some self-assuredness. This came in the form of a glass of red wine, because now every time I have an IPA I get weird nightmares and gain five pounds. It came in an actual wineglass, which was embarrassing, but whatever. I walked around like I was maneuvering between groups of people I knew (I wasn’t), waiting for the first band to start. During this aimless shifting I did get to witness a very cool interaction where the parents of one of the members of SPARES showed up to support their adult son. The dad unzipping his jacket to reveal an old Psalm 69 Ministry shirt made the moment extra special. There is still beauty in the world if you know how to look for it.
Mercifully for me as I was out of ideas on how to act natural, SPARES started their set. I’d spent some time with their EP (a 23 minute 12” with six songs, some might call it an LP) in the days leading up to the show, and had been enjoying it more and more with each listen. It’s a slow burn, but really pays off and has become one of my favorite records of the year. I was curious to see what they’d sound like in a bar setting, since have a lot of tangled intricate structures and Faraquet-style noodling in their songs. They sounded amazing, it was truly impressive. That band is tight, and more than a little reminiscent of another top shelf classic Portland band of yesteryear, Thirty Ought Six.
Spares
As I’m watching them I remember that this is the same bar that my old band played an ill-fated (and poorly attended) Halloween show 15ish years ago, which was the opposite of what I was witnessing here. No members of SPARES appeared wasted, and nobody was dressed in a way too small Pinocchio costume that ripped down the center when they popped into a Johnny Ramone stance. That night sucked, this one was turning out to be pretty great. I love SPARES, and am going to try and sneak over to catch them next month when they’re playing downtown next door to the Toys That Kill show. Check them out, and make your streaming service addled brain sticks with the songs even if they start slowly. Sometimes the main hook is buried pretty deep, but it’s always there and always worth it.
FeverSleep are up next, and I notice that their singer/guitar player is also the bass player in Amusement. These three bands share a couple drummers as well. Feversleep have such a cool sound that’s somewhere between the B side of Bivouac and Broccoli. All their brilliant moodiness shines through in the live show too, and it’s a killer set. They also have a six song, 20 minute 12” that came out a couple years back. I almost picked up a physical copy, and really wish I would’ve now that I’ve been listening to it so much. Great band, and if their new track “Glassing” is any indication, they’re only getting better.
FeverSleep
I think a true sign that you really like a band is when they play a new song and you’re happy about it, so when Amusement open up with something I haven’t heard yet I’m pretty excited. It’s obviously great, and remains faithfully on-brand. They followed it up with “Walk Out to Sink” and “Holding On”, probably my two favorite songs of theirs if I were forced to choose, and by now I’m having the best time. This is evident in any of the clips people posted on Instagram (which I rejoined immediately afterwards so I’d quit missing out on shows like this) where one dude in a backwards Twins hat is bobbing his head just a little too enthusiastically. More hits are played, and I think a couple were making out in the photobooth before gleefully leaving together midway through a song. Magic is in the air. I’m glad I didn’t give into laziness and duck out last minute because something seemed potentially uncomfortable.
Amusement
Speaking of something potentially uncomfortable, I’m unable restrain myself from talking to John and Stan from Amusement after their set. This isn’t only because of the band, but also because John was wearing an Allied Recordings hoodie(!) and Stan had on a very sharp Sugar T shirt, the latter of which I fully intend to hunt down a copy of later on international punk rock marketplace, Etsy.com. Sick band shirts remain the greatest ice breakers. I chatted with these dudes after a different show this summer, and they were both very nice, cool, and interesting fellows. It’s impossible to tell if these conversations are mutual, or merely tolerated by the other party, but after hearing a story about Lance Hahn rescuing a guitar he got from Leatherface from an apartment fire, I realize that even if I’m embarrassing myself I’m also acquiring a piece of historical knowledge that is priceless.
Stan and his absolutely stunning Copper Blue shirt.
Despite going alone and being old, I left this show feeling reinvigorated by it. Whether or not there’s always a great local music scene no matter where you are, or if this particular group of bands right now in Portland is something truly special is up to you. I’d like to think it’s both. Don’t be afraid to get out there.
Stripped down to its most basic core, reviewing something is simply answering the question, “What is this?”. Violet Ray answered this for me on the front cover.
Now, “skate rock” can mean two pretty drastically different things. Historically speaking, I attribute the term to bands like JFA, Agent Orange, or Aggression. Early 80s hardcore that either has some surf guitars sprinkled in there, or someone skateboarding on the front cover, or both. The term was also co-opted in the 90s to describe more melodic stuff like No Use For A Name, Strung Out, Lagwagon, etc. While I have an affection for both definitions, I think the latter grouping would be more accurately described as “snowboard rock”.
Violet Ray are not snowboard rock. Every song sounds like the aforementioned 80s influences, with maybe some Night Birds sprinkled in there (who themselves draw from the same sources). It’s all pretty good. The songs are about skateboarding, people who skateboard, and characters from skateboarding films. It’s extremely derivative, but the source material is sick, so whatever.
Even their logo kinda looks like the Battalion of Saints. If I have a complaint, the cover art could use some sprucing up. It looks like the opening credits to a Nickelodeon show, but not a cool one like “Doug”. If you’re going full-on skate rock, put a slightly off-kilter photo of shirtless dude skating a pool on the front, matted onto a repeating wallpaper pattern of the band logo in the background. Otherwise, keep up the good work.
-Zach Akenson
Tracks: 1. Blender Knows 02:52 2. Phillips 66 02:23 3. Master of Disaster 02:51 4. Don’t Jump Off 02:46 5. Street Survival 02:44 6. Brookpark Rd. 02:03 7. All Hail Cardiel 03:00 8. Head Bongo 02:58 9. Skate or Die 03:00 10. Animal Chin 03:26 11. Dogtown 03:41 12. Poor Devils (2025) 03:46
Shrapnel is the new EP from punk / post-punk band, Giglinger from Helsinki Finland. Two tracks and two alternate “Edit” versions of the same tracks offer up some solid atypical rock and roll.
The songs are quick, fairly rapidly paced and rhythmically tight. The tunes are washed in shifting sonic themes. Despite the overall brevity of the tracks, they seem somehow more epic than the numbers would have you believe. At times the overall sound is reminiscent of Dead Kennedys, and the EP really carries some of the post-apocalyptic soundscape of a Voivod release.
If you’re looking for a little something new, check out Giglinger’s new EP – Shrapnel
Cheers! Jerry Actually
Track 1: The Man With Shrapnel in His Head Track 2: Born Dead Buried Alive
From Manitoba, Canada, Propagandhi return with their new single “Cat Guy” ahead of their upcoming record ‘At Peace’ out on May 2nd. A blistering anthem dripping with sardonic wit and razor-sharp critique, the track finds the Canadian quartet as incisive as ever, wielding breakneck riffs and subversive lyricism with a smirk and a snarl.
A tribute to societal identity with a twist, “From my songwriting perspective, the two things I was thinking of was capturing a little bit of Judas Priest’s Firepower LP as if SNFU’s Chi-Pig was writing the lyrics,” laughs frontman Chris Hannah.
In true Propagandhi fashion, At Peace is smart music for dangerous times. The ever-evolving standard-bearers of politically charged punk have actively kicked against musical confines and bro-punk conservatism, promoting a message of anti-fascism since 1986. Distilling their DNA of breakneck riffs, hardcore ethos, and radical consciousness, their message remains as vital, and volatile, as ever.
“Everything I’m singing about is still coming from being the same person that wrote and sang our first record ‘How to Clean Everything’ in 1993,” Hannah recalls the band’s snarky skate-thrash origins. “But what we’re putting into the songs now, probably reflects more despair than 30 years ago when we had similar perspectives, but with strands of hope and naivete. Now it’s the existential dread of eking out a life worth living in this completely failed society.”
There’s no mistaking that on their first album in eight years, their frontline social activism has been supplanted by a deeper sense of reflection. Nearly a decade later, the members of Propagandhi have a lot on their minds. “We’re definitely not a band that responds well to someone telling us we need to put something out,” the frontman continues. “That happens when we have something to talk about – and now is definitely the time for that.”
Marking their first release since 2017’s Victory Lap, At Peace was forged during the ominous political climate in the months before “Emperor” Trump’s ascent to power. Penned shortly before the American oligarch’s suggestion that Propagandhi’s home country become the U.S.’s 51st State, it was then mixed by Jason Livermore (Rise Against, Hot Water Music) at Blasting Room Studios in December 2024. This collection of poetic and polemic songs captures the anxieties and turmoil of the band’s four members, offering a powerful and poignant portrait of uncertainty.
Though at its core, At Peace is Propagandhi’s plea for hope against hopelessness. “Twenty years ago, we had a sense that things are fucked but that there could be a mass mobilization of people against the oligarchy, the billionaire class,” says Chris. “I don’t think that exists much in our music anymore and I don’t believe that mobilization is forthcoming. I hope to be proven wrong.”
Propagandhi is vocalist Chris Hannah, drummer Jord Samolesky, bassist/co-vocalist Todd Kowalski andguitarist Sulynn Hago.
At Peace Tracklisting
1. At Peace 2. Prismatic Spray (The Tinder Date) 3. Rented P.A. 4. Guiding Lights 5. Cat Guy 6. No Longer YounG 7. Stargazing 8. God of Avarice 9. Benito’s Earlier Work 10. VampireS Are Real
