David Lindmer (feat. Johanson)
Omen Running Clouds Records Out: 20th July Back for another swing in the ring for David Lindmer, this late July single is still on the up. Label founder and hard-working artist, David Lindmer creates hypnogogic techno for his own Running Clouds imprint. The new single has been christened with vocals from Berlin's very own Johanson, and has been dressed for the ball with a music video made by DRUST. There's no time limit to this release, though, it's been built to last. Made through lockdown and released just as it began to close, this extroverted track wants to be let out of as many windows as possible. It begins on a rumble of synthesiser and bass that approaches with an accelerating gate. A bass and snare strike the pulse and melodic electronics begin to explore the key and time. A fortress of sonics rises into the room which has great doors that open. As they do, the framework fades away and Johanson's voice takes the centre light. The music vanishes completely for a moment as a brief line of song is projected outwards. Then, the bass and snare with hats that rattle bring back the huge tonic of notes that harmonise and caress each other along the drifting bars. A monument of progression ensues before the music sits down for another short moment, allowing another impulse of growth to take the lead. You can find out more by visiting David Lindmer online Listen to David Lindmer on Soundcloud You can also follow David Lindmer on Facebook and Instagram
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Sallzo
Gloria We are in The Netherlands today to catch an earful of the latest single from Sallzo. The owner of a platinum-selling record studio, this fantastic artist finally finds the time to make his own cuts. This electronic sound is crafted to be both unique and popular with key insights into making a great song culminating in this latest release. Taking a break from managing A&R at Polygram Records, Sallzo is recording a debut album that's going to be killer. Gloria is the second single from the record and is available to hear right away. It starts with a flurry of notes that rises and flowers into a chiming melody. Harmonies with adjacent types of tone form neat shapes in easy-groove bars that roll out and progress with ever-more sonic layers. Uplifting and dreamy motifs rise from the keyboard as fantastic major scales climb and twirl to the sound of dancing undertones. A bass beat keeps time as composed and formulated melodies repeat and change with inventive shifts in pattern. A wonderful vibe fills the air as this brilliant and memorable music decorates the room. You can find Sallzo on Facebook and Instagram
Micko Roche
Sióg EP Independent Released 6th August Ireland's bardic spirit manifests in high definition with Micko Roche. This hugely talented and intelligent musician is fast climbing the beanstalk. With skills on the strings, keys, percussions, and technology, Micko produces his own unique and fantastical sound. Having performed with Jose Padilla, Chris Coco, Pete Gooding, and Blank & Jones, we know he's worth checking out for his own appeal. Roche is also known for penning the music for The Dance Of The Fairy, an adapted dance from a popular children's book. This EP circles on the theme within that piece and takes it on a progressive journey. Each number is centred on the concept of a particular mythical being. The music begins of a flush of beautiful sonics that flows up to greet us. Diluting like starlight, we're left with a piano melody that gracefully crawls along comforting fabrics. Humming drone notes sway within the pressure of tone that keeps the atmosphere hanging high above. Bosons of musicality lift the layered melodics from the ground and apart from each other as melancholy and thoughtful bars coalesce gently. Sióg (Tús) takes us by the hand and reminds us of the dreamland that continues to live within us. Sióg (Saol) opens with a wonderful violin sound, played in live by the fabulous Kaya Keating. The continuation of melody peels away the old paint and uncovers a vibrant under-layer that shines like something from a magical realm. With simple wishes and smiles, the new scene builds and blows like sails in the wind, expanding and flowing forever. Synthesiser tones drift and swallow themselves as meandering harmonies whist on quenched sunrisen seashores. A flutish tone howls through open woodlands as the wind carries a gust of memories and ash through its invisible crevices. Vocal ploughs the mystery and humanises the infinite as rhythmic serenades dance with the feminine energy. Reworked and made alive with vocals provided by Jessie Roche, Sióg (Contráth) turns the page again on this submersive story with electronic rhythms and looping harmonies that ring through years of familiarity. French transmissions call out over ethereal manifestations of sound. A dream builds through suggestive pin-points of melodious clarity. More human voice pours over the backdrop of allusion with affirming vespers. Strings and piano join atmospheric ruminations on slow and philosophical progressions in minimal scales. Exchanging perspectives and joining in the contribution of this special map, John Haggis of Speckled Doves, Band Of Clouds, and Emperor of Ice Cream lends his pen to bring us Sióg (Fáigáil). The EP finishes on an extended version of Sióg (Fáigáil) which continues the passage of adventure for us in a way that builds and explores further into the hillsides and forests. There is much more to be found. You can catch up with Micko Roche on Facebook and Twitter Also, you can visit the Micko Roche website Listen to Micko Roche on Spotify and Bandcamp
Gorge & Markus Homm
HOLOS EP Poker Flat Recordings TBR: 20th August Sitting on the edges of niche and classic circles, both Gorge and Markus Homm have invented a circle in the cosmos just for their fans. Expertly crafted house and electro requires a stack of skills, with many thinking they too can layer beats, there's gourmet and there's gormless. This five-star duo carry decades of experience between them and collaborating on this snap-up EP is their little gift to the shared love of music. Gorge has taken a moment away from running his co-founded 8Bit Records where-as Romanian scene-setter Homm leans over from his 20 plus year show to put together this sparkling two-tracker. The music begins with a shuffle beat that's ramped up with bass and snare. Brush drumming sloshes the percussive sounds into a cauldron of tempo. Synthesiser bass pumps a restrained motif as the drumming gathers pace in a mixing of layers. The bass grows, plucked sounds join the throng, then a sudden deepening as a powerful kick-drum fills an unknown silence. Dapples and crisps of fluctuating higher tone flow in the gaps between colliding beats and subtle mystery. Progressive, catchy, and uplifting, Holos takes us to a new dimension in sound. As Glint fires up, yet another smashing house groove unwinds from the bobbin. It's got drums and bass that wrap us up in a rhythmic blanket. We're compelled to shift our bodies as the gradual pressure rises. A strange vocal sample utters over a strong reverb as a neat bass function begins to operate. Introspective semblances of funk flavoured sound whisk and whir within a wonderment of up-flow and dynamism. Find out more by visiting Poker Flat Recordings online Get the music from Bandcamp Follow Poker Flat Recordings on Facebook
Captain Mustache
Tourbillon Nocturne (Ft. Dave Clarke and K-1) Science Cult Records TBR: 27th August In such short time, Captain Mustache has matured from obscure fandoms of loosely knitted connoisseurs to big poster fame thanks to relentless hard work and the willingness to share his talent with other chief players. Blending indie, electro, and clash with some of the brightest sparks in the fusebox, this electrifying long-play double pink vinyl will go down a treat. The music opens on a creepy bass driven lead that twangs with snapping snares and rattling hats. Melody rises in the bass-line as subtle shifts in tone reveal soulful aspects of the tempo. Electronic voice sounds then overlap the music. I Like to Program features K-1. Digitised poetry rambles and rhymes with ruminations on the pros of writing electronic music. Crafty synthesiser lines replace the phonics that swift and swerve like ghostly violins. Rhythmic attitude continues the slow burning and percussive surge through continual kinesis. Reverberations of tom-tom and zapping rolls fluxate into rivers of hat strikes that bounce into wooden blocks. More robotic voice opens, less effect, deeper expression, and an epic drone accompanying, shifty grooves splatter with dapper spreads of droplet like percussion. Bass fills the void where silence remains and thumps us with long-distance telephone calls of feeling moved. The Mirror featuring Dave Clarke is a fast and lo-bit drive into awkward harmonies and phantasmagoric voice-overs. It's followed by Super Shaver. A wholesome snare starts the show which signals the marching band bass and synth duo. Their whistling pulsations fly a flag for uplifting breezy adventure. Sliding doors peel to one side in mechanised movements and gestures. In they come, crowds of people pricking their ears like savanna beasts in a thunderstorm. Showers of high intensity rhythms bring on a glistening barrage of drifting and motionised expression. Scrambled bass lays down a crazy-paving network of suggestive beats to the friction of a one-two bass snare combo. Astral sonics glide through the upper atmosphere in twinkling displays of magnetised and heated magic. Burst glares fill the ground with light and over-sense the floor as scampering shadows zip into cover. Confinement featuring dynArec throws layers of oscillator into a conveyor of dynamism as squashed verbs outlay the angular oddities that exist here. The aptly titled Super Great Song hits us hard with a squidgy bass-riff and sudden drumming that rampages through the system. A wow siren surges outward in regular bursts of excitement as fluctuations of melody ripple and collide with the rapid beats. Melody from the 80s meets energetic moody rhythms that sit on fences between the light and the dark. A soundtrack to snooping and a dramatic atmosphere align to break the dance-floor. A springy drum program opens an abstract corner of the present. We peel away the vibrancy and well-stuck paper and find soft and warm vibes glowing inside. A crunchy rustling continues as the compressed innards flush into their new surroundings. Then an electronic motor begins to whizz, throbbing with rhythmic bursts of power. Melodic additions craft neat lines along the top of La Vérité Des Songes, squirting the notes through various tonal effects to creates snakes of melody that sit tight although abstractly. A bouncing groove splats on the table like dough being rolled into pizza. Snare and rubbery bass work hand-in-hand to deliver the impetus as multi-tonal synthesiser gradually builds to greet them. Harmonising delays bring a nuanced and folkish dynamic to the tune as happy melodies bobble on awaiting drums. A.B.R.I.L. Featuring Hiroki Esashika progresses wonderfully, growing in dancing applications as tuneful bursts of repeating digital bells lift the spirits. A new character manifests as chocolatey bass drizzles on a flapjack of building beats. A subtle vocal lifts like Michael Jackson as raindrops of tune splish onto the red-hot surface. Drinking in the beats is a glowing river of synthesiser that guzzles the charm and lurches over for more. Healthy novelties sprinkle the mix as interesting sounds mix with stable favourites to greet each other in an electronic free-for-all. Sunset Caramel turns the whole sky ochre. Fine Lame begins with a jittered snare-led rhythm. Sweepy synthesiser prizes open the chapel door and bass footsteps scamper into the room. Eager eyes peer through the crevices and senses ingest various tones that decorate the dusty air. Multi-tonal composition runs abstract shapes through the mastering device and manages to perfectly align the symphonic dimensions. Polyphonic and monogamous to the beat, a flowing and persistent electronic run—down through progressive rhythms and subtle key changes enlists the listener. With a remix of I Like To Program offered up by Cignol, the penultimate number draws a triangle from the Captain to K-1 right back to this. It's followed by a straight edged instrumental version of The Mirror, just to get us in the mood for the beginning of the album again. It's a repeater and it knows it. Discover more by visiting Science Cult online Find Captain Mustache on Facebook and Instagram Find the album on Bandcamp
ED2D
Haulage003 LongHaul Recordings TBR: 6th August UK electronic scene forerunners London Modular are full of surprises. This new record shows off the work of long-term legend Edd Butterworth under the guise of ED2D. Named after a piece of information law, creating something archetypal and templative surely comes easy to this artist. A fantastic run of 5 modular jungle cuts makes this latest offering something to be snapped up by music fans in the days to come. Released on the own-brand label Longhaul, this group of sound manipulation experts are showing us why listening to them is such a pleasure. With jittery beats and wholesome rumbled sonics Poli Digi (In London) begins. Vocal samples frame a percussive element as rhythm instruments find their way through a maze of interpretive bars. A familiarly London accented voice tells us to get off the grass as thumping beats form staggering walls of intuitive and itch quenching drums. A progressive bass-line folds in, metallic and awkward, the tune edges towards a new frame of mind while chords resonate on high-end reverberations that jangle with solid cymbals. Next, a smashing industrial rhythm pounds on the door and demands access. Of course, without question we let the music in and see what it can do. Sinister and chunky beats with melodious character create a surge of percussion that work to section drone like synthesiser tones which carry through the ordered cacophony. Hushed clatterings bounce from robotic bass utterings that whisper in seductive and gritty semblances. Rookie Delete Crash has unearthed something dark, its taking over decks and engaging deeply with club-goers. Massive pad synths vibrate outward in warm and tuneful multi-sonic bursts. It's like spring as a shower of snare and hats brings a summery drenching to a progressive and rising tempo. The beats grab a piece of the action as a grinding bass squelches through the mud and undergrowth, churning the long-grass under the weight of thumping bass. Mellow grooves surf the coasting peak of flow as a grunting synth breathes heavily into waverings of melodious description. Broke Specific thunders us to the end of side A on a punchy and gut slapping fossicks into the gloom. A tingle of bells and a vocal sample brings out the feel of side two. A child's perception of the world mingles with rummaging tempo and wooden block percussion. We listen as the boy talks about running away from home, and getting into mischief. Mobile Patrol Coupe explores a thrust of rhythms that sally into runs of lingering synthesiser and chattering youth. Spectral and mystical synthesiser ripples over tall and stretching rhythms clouded with a variety of tones. We end up in the Bonus Jungle. Hushed wind tones rustle through reeds and sunlight as percussive pottery begins to resonate with the dawn. A tumbling snare rolls in on inflections of style as the rattling tempo carries a presence forward to greet the day. The mix of percussion melts into swaying synthesiser that sponge-soaks the vibrancy into ink-bots of crawling sound. Persistent and evolutionary riffs rise and stagger like many legs on an uneven trail. The music swells, gaps in the drumming decrease and the pressure builds for a driving moment. Longhaul Records are on Bandcamp
Kerrie
We Continue Part 1 Cultivated Electronics Records Out: 19th July This Cultivated Electronics debut for Manchester's Kerrie sees the sound technician produce a run of four smashing originals that mix up dizzying electro, deep-reaching bass-lines, and thrilling acid tones. Originally from Ireland, and now working in the UK, Kerrie has become an established figure on the local and international DJ circuit. With a host of shows behind her, including in New York and Berlin, it's a rare treat for this artist to get enough time to make fresh tracks in between shows. If that's not enough, Kerrie also started DMF Records, which have big plans lined up for the future. The music begins with Heptapod K. It hits us straight away with a huge twangy bass and rhythm propped up by snare, kick, lots of effects. Cymbals rise with their friend, keyboards, to bring out a massive chunky groove that's simple to dance to yet cleverly sprinkled with salt and pepperings of percussion. Layers of rhythmic tone rumble and shake through the neat compressions and lattices of flow. Next, a deeper and darker synth bass crawls out from the shadows. It stands up, snare greets it with a hard and snappy fire. The rhythm chokes, new synthesiser begins to garble something quietly as the bass keeps rising with power. A full-on rhythm thrusts itself into our space defined by huge bass and industrial drums. Droid Nation works like a machine and holds a magic quality of drama that can be likened to human colonies. A strange spectral synth joins a jilted snare rhythm as bass and kick thunder through. Digital plucks form a bubbly edge that simmers on the heat of intense background sounds. The synthesisers increase in strangeness and glistening of dripping wet sound shimmer and shake on naked trees. The atmosphere thickens, a buzzing melody rampages into the soft middle like a chainsaw. Swarm fills the air with vibration and energy as a bludgeoning intensity brings out alien and odd dimensions to a choppy rhythm. Vibrant bass with a metallic sheen breaks over hard and carefree beats that crack the glass with each pounding strike. New layers of self-similar tone roll forward, the pitch is reduced which leaves an opening for a new thread of high end interjection. Velocity holds back as thundering beats repeat over the flattened ground tampered by the marching feet of generations. They Can't Stop Us is a relentless surge through thick and restricting surroundings with strong and powerful treads. You can catch up with Kerrie on Soundcloud Also dig into Cultivated Electronics on Soundcloud
Sarmism
Wander Lands Bricolage Records TBR: 13th August A year since the previous offering from Manchester's Sarmism on Glasgow's Bricolage label, the lockdown has ended and we're free to roam and visit once more. This latest album sheds the restraints of yesterday and adapts to the wide world once again. Designed to be a soundtrack to escapism, a score to freedom, and an exploration of modular sonics, this eclectic and prolific label once more retains its crown thanks to this new Sarmism album. It begins with Elixir. An enchanting massage of sound wafts from the speakers as it gathers sonic detritus and flyers on the way. Soon a torrent of fluttering tones list into the hillside and snake through the trees. Amplitude rises on the synthesiser tones that sparkle and shift like fluid sunlight. Then, a bass hammers in with deep and meaningful strides. The long-distance holds on the notes bring a sense of dub-step without the aggro as heavenly arpeggios drift and fly through the cracks in the ceiling. A gust of air and a change of scene brings an ethereal and fixated gaze inward. Voice samples roll over pebbles of distortion as drums punch and pound with melodious percussion. Synthesiser breaks the eggshell and throws down a smothering of bass which soon takes hold into the piece. New sounds swerve and decorate the rhythmic pace while whistles and strings reach into the abyss. New bass floats down and grafts itself in, mechanical edges now revolve and pinch as the groove is exhaled gently. Oroshi is sudden and invoking as the music changes gear into new dimensions. Ever been to a Silent Disco? That's the next title and it begins with effervescent synthesiser that builds with gradual ballast. Stability rises through spectral openings and dream-like formations of tone. Harmonies push the feelings of expansive surroundings into new avenues of thought. The culmination of repeating phrase and organic melody paints a delicious picture of winding intentions and symbiosis. Piano and string follow with dreamy trip-hop inspired grooves. Vocals chant lo-bit vibes as rhythm and bell tinkers with an orchestral pulse. Drums smash through like a presenter walking on stage. The music erupts with vibe and light as the rhythm surges into the missing space. Dramatised and cinematic melody hangs like clouds in low valley skies as a snaking bass starts to explore the contoured terrain. Melody encapsulates Dunes (Reds) with an other-worldly majesty that tingles with snippets of intuition that flicker in the ruminations. Huge synthesiser horn and wind tones tremble and quaver in the sudden purpose of being as Trig Points begins. Sunken drums begin to tumble down staircases of sonic semblance. Distinctive additions form pockets of sound in the matrix of repeating chime and drum. A gradual progression sees the drums mutate into a glitched and electronically inventive simmer. A broth of percussion bounces on the sizzling oil as it's spoon-fed into the pan. Vibrant metallic bass reaches out into darkness with hopeful fingers, willing there to be something to hold onto. Drums pounce like nerve endings that shatter the fright with realisation of substance. Twangy motifs resonate on wood and wet stone as steady progress sees the approach of luminous skies. A persistent and metered delve through mysterious sounds and oddly harmonious reflections takes us to Elysium. An enchanting and illusion invoking mirage of tones rise from vaporous beginnings. Keys strike apt tones as creaking wet wood rumbles within. Day is breaking, scattered blips begin to shine down on the forlorn landscape described with lush and evocative sounds. Bass and drum then thump through as the main element of the track blooms. Waverings of synthesiser streak across the sky and thundering surges of energy rattle through the temporary haze. With glistening surfaces and warm radiance a melody grows gracefully through a boundary. Lost in its own imagination the tune reveals a passionate envelope of humdrum and what-ifs that marble through self-awareness. Affirm is a short number yet carries us through perfectly. Next, a river of sound gushes from the open valve and covers the scene in warm crystal layers. Bubbles of bass begin to burst, releasing their buoyant sounds as they go. The flow settles to tranquillity and synthesiser describes the smooth and static surfaces submerged with gently moving water. Codename WL throws ambience to the fan and lets hyperactive mental function make a meal of the shapes and textures offered. Vocal and plucked string begin the next number. More ruminations evaporate into the ether as new thoughts replace them and build on their foundations. A rumble of drums with a dirty edge scuffs the shiny shoe before taking a cool swagger through the arcade. Avatar is another choppy number, it changes and shifts like a rolling dice with different faces. The basic design is the same, however, and familiar patterns continue to reveal themselves in numerous costumes. Completing this astonishing journey with Heroes, a distance reveals distorted choruses and heavenly songs that draw us to the light. Like a moth we're drawn to the next world that leaps at us over bar and composer led burst of emphasis. A mix of sounds join in harmonious chaos which ripples with tingling freedom and a gut-instinct for appropriateness. Find out more about Bricolage Records and artists like Sarmism online When it's out the album will be on Bandcamp Find Sarmism on Soundcloud
EMIT
Life Time EP Jujuka Records TBR: 16th August Iranian-American culture meets electronic music as Kamran Sadeghi returns under the familiar EMIT. Having just returned from promoting his Loss Less visual audio experience at the Musée de Louvre’s virtual event and the Fridman Gallery in New York City, EMIT once again arranged and crafted exquisite sound sculptures for us to explore. This new project does not disappoint, four beautifully produced experiences are hitting streaming sites and airwaves in just a few weeks. EMIT had the vision of reinventing nuance in communication, something we feel passionately about too. By giving us a product that requires deep empathic connection through music, it's bound to pop some corks. The first track is Lonely Owns Me. It grinds into our presence on mysterious mechanics that ripple into rhythm. Extra synthesiser patterns stroke colours through the tapestry and bring segments to life. Gradual progress lifts the tempo on stilts of sunny radiance and evocative sonics. Layers of drum meet each other in dreamy conjunctions as twists of silken thread pin the waves to unique angles. A quick splashy rhythm takes hold. Deep bass and raindrop like percussion rattle with snare and cymbal in tow. A frantic barrage of adjusted and neatly aligned beats spiral into the air as Data Love begins. A cut brings deep and resonant sounds that ride on a wave of mechanical industry that pounds in pulsations of kinetic energy. Rhythmic and non-melodious, the combination of unique and interesting beats flow in spacial unity as layers work to lift and breath life into the piece. A synthesiser rises with scale repeats that suddenly brings tune to the dance. Quick runs of plucked notes span outwards in a funnel of sonic sparks. Strange and warped drums then collide with the layer, overpowering many of the notes with energetic and loud crashes and zaps. The mix balances out as bass penetrates with equalising power before the music expands into a mix of frantic rhythm and melodics. Wake Transition builds with gradual clarity, from excited and minimal introductions to spectral and multi-dimensional facias of music. The final number begins with chimes like a church ringing in the morning. Peeling tones roll down a major scale as ethereal glitches scatter subtle focus behind. Effects and loops begin to repeat and overlay the tones while digital fills add spongy intrigue through tone and nostalgia. A harmony builds on the repeating synthetic bells that hum like violins. Layer upon layer rises in packages that form a growing sonic pressure. Inverse Theme pushes the feeling to its pinnacle with bursts of static and delicately positioned abstract compositions. You can find the music on Bandcamp
YOKOCHO
Everyday Diamonds EP Insult To Injury Records TBR: 30th July This reputable branch of the Ransom Note Records tree, backed up by Timothy Clerkin, is ready to release the next YOKOCHO record. The Insult To Injury roster is growing month by month, demonstrating the best in lo-fi and nostalgic cuts. This latest number is produced by Antwerp based YOKOCHO who aptly wears the New Beat crown with more style than most. Synthesiser and samples open in euphoric phrases of melody and drum. Uplifting tunes merge with dreamy drum-fills and a slow meander of progression unravels. Bass hits at the right moment as the drums rise in power. The synthesiser chords bring out a bedrock for whistle and chimed melody. Landscapes of backdrop run past in the flow of the rhythm and new elements of music present as lodestars in the journey. Everyday Diamonds lifts up the emotions and fuels a passion for movement that suits the club. Data follows, and it's got a more sinister introduction. Choppy bass oscillates and peers through intense beats. Forms of scale jostle into place through the fulcrum of rhythm created by snare, bass, and snappy hats. Synthesiser rolls by with twinkling and distant melodics that serve to lift the energy through ambient shadows. Industrial beats and a powerful mysterious atmosphere shift through subtle dimensions of theatrical delivery. Deep tribal style drums bash out with tom-toms and bells as a twanged bass begins to pluck a steady progression. The moving melodies repeat in short circular movements and extra synthesiser fills it out. A bass-line plunges in like a diver which splashes into the river of sound. New manoeuvres lift the flow into a new level as choppy and rhythmic bass tones smash down on the drum. Sonic effects glisten and swirl like wisps on hilltop lookouts as the chunky and sudden impulse of bass continues to pounce. Other Side Of The Mirror breaks into spectral melody and warped sounds as a tasty surprise in between the throbbing bass. Next is See You There. It beings quietly, and a graceful current of swirling flow rises with birdsong and ethereal tones. A smooth sensation of gladness dreams with clarity and abstract intention as the tones lift and grow like greenhouse tomatoes. The glistening sonics merge with subtle distortions that fold the music into tiny concertinas that ripple and glide through the imaginary sounds. The EP finishes with a remix of its title number, Everyday Diamonds, by Timothy Clerkin. It brings the heavenly atmosphere to a new dimension with frantic drumming and throbbing party bass. A drum and bass tonic is thrown down the hatch and the music easily adapts to the new direction. Fast and uplifting rhythms mingle with evocative and dramatised dynamic compositions. Get into YOKOCHO on Facebook and Soundcloud Insult To Injury Records are on Soundcloud and Bandcamp |
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