Filmed in The Netherlands during the summer of 2021 by Director Jacoba Cornelisse, the video beams the positive sensations everyone is yearning for. A family event of sorts, Conte, as well as his wife and kids, all appear in the video as a complimentary visual to lyrics which remind us to appreciate the simple things in life, embrace them, and never let go.
You can pre-order the new Steve Conte album, Bronx Cheer here:
Seconds out we have got the new video from the very talented Carol Hodge. ‘So Much For Summertime’ is an ode to the lost summer of 2020, and the Covid hangover continuing today. Instead of being a lamentation, Hodge digs deep to find the irony and positivity in the precariousness of our current existence. Wall of sound vocal harmonies, synths and swooping guitars ensure an uplifting listen, a counterpoint to the wry lyrics about imbalance and feeling trapped.
The music video was created by video artist Daniel Mudford Of Balham. Daniel has an impressive back catalogue that includes shooting BTS documentaries for classic movies Scott Pilgrim Vs The World, Pirate Radio and Hot Fuzz. Dan also composed the soundtrack for one of Carol’s favourite films, Shaun Of The Dead, and has toured with Bill Bailey, so she is very excited to work with him.
Finally how about some rock from Toronto? Toronto’s premiere buzz band, Wine Lips, have just announced their latest full-length release Mushroom Death Sex Bummer Party due out this Fall on Montreal’s Stomp Records.
Pareidolia is the latest release from Norwegian prog metal band Ohmwork. The band have been quite prolific releasing four albums and an EP since 2012. Consisting of guitarist/vocalist Anders L. Rasmussen, bassist Helge Nyrud, and new drummer Einar Petersen from death-metal band Deception, the band make an impressive noise.
Their sound merges metal with many different genres, opening track ‘Born from Black’ has echoes of ‘Synchronicity’ era Police with pummelling riffs mixed in. The guys are superb musicians, and they seem to be able to switch styles effortlessly. Other highlights include the extremely catchy ‘Liquid Fire’ and ‘Mental Meltdown’ which features some classy drumming from Petersen. The album is an interesting and enjoyable listen which constantly catches you off guard with the music heading in different directions.
If you like Dream Theatre, Porcupine Tree etc than you should take the time to check out Ohmwork. A well-crafted album with quality songs wrapped up in an unusual package. A double thumbs up from me!
Remember when rock n’ roll was young, dumb and full of cum?! Stevie R Pearce does, and he’s here to raise the roof, put the X back in sex and deliver the fun big time. You may know him from his days (or should that be daze?) in The Black Bullets, or more recent stints with Warrior Soul or Jizzy Pearl’s latest incarnation of Love/Hate. Well, the singer/guitar slinger is back with The Hooligans for another stabs of turbo-charged rock n’ roll in the shape of the sophomore long player ‘Major League Son Of A Bitch’.
Originally slated for release pre-pandemic, this album has been a long time coming, but it sure is worth the wait. The dirty, metallic riffage and sleazy vocalisin’ of opener ‘Rip It Out’ sets the scene with a statement of intent. The band play hard and fast and with a top-notch production job from everyone’s go-to-guy Dave Draper, it seems first impressions really do last. Remember when rock bands sounded dangerous? Yeah, I’m talking everyone from Gn’R and AC/DC to Marilyn Manson, they all had their moments. Now, I’m not saying The Hooligans are in the same league as the big hitters, but they have that certain something that just makes my ears prick up and go “oohh!”
Let’s take the commercial, radio friendly single ‘Rush Of Blood To The Head’. Now back in the day this song would’ve been serious MTV fodder. I can visualize the video now, dry ice, the band all dressed in white, with strippers writhing around them…but its 2021 right now, so there’s none of that nonsense! But, hell that’s a tune alright. And there’s more where that came from. ‘How High’ channels turn of the century Scandinavian rock n’ roll to the max. Sonically seductive guitars are slung from the crotch, and the ghosts of Turbonegro and Backyard Babies scream along to the gang vocals.
The title track features Love/Hate screamer Jizzy Pearl and was apparently inspired by that time the singer crucified himself on the Hollywood sign as a publicity stunt. Yes, that actually did happen folks, you didn’t dream it! Actually, the metallic riffage and the sleazy demeanor does bring to mind Love /Hate at their finest. A major league chorus, gang vocals and a killer guitar solo. Sleazy does it boys, you’re ticking all the right boxes here.
Yet ‘Major League Son Of A Bitch’ is far from a one trick pony. They tackle trippy 70’s rock in ‘Just A State Of Mind’, And they nail dumb ass punk n’ roll on the tongue-in-cheek ‘Lunatics By The Pool’. With its epic, soaring guitar solo, the former is a highlight, and the latter is a degenerated cacophony with an anthemic hook designed to party. An ‘oi oi’ punk melody that is as British as fish n chips on Blackpool Pier.
An album highlight must be the acoustic ballad ‘If I Were Blind’. A song that shows the development of Stevie’s songwriting and showcases the softer side of his rock n’ roll pallet. With its piano and string section it may not be quite as epic as ‘November Rain’, but it sure feels better than an April shower. Emotive and heartfelt, it tugs at the heartstrings in all the right places, building nicely to a sweet chorus that begs you to hold your lighter in the air. Boys, don’t be afraid to shed a tear and hold your girl’s hand just a little bit tighter.
‘Major League Son Of A Bitch’ is a diverse, yet classic sounding rock record that embraces the past, yet feels contemporary. While Stevie and his Hooligans sure bring the party to the max, they carry with them an element of danger, something that is lost on the majority of so many so-called rock n’ roll bands these days. Get this album on your ‘to buy’ list and when you do, crank the volume to the max, you know Jizzy would approve.
German heavy metal legend Udo Dirkschneider returns with his 18th studio album under the U.D.O. moniker – ‘Game Over’. Ah, I remember as if it was yesterday (it was actually 1986) when I heard Accept’s ‘Restless and Wild’ album for the first time. The opening double bass drum barrage of Fast as a Shark had a huge impact on this young drummer. That album was a major influence on the thrash and speed metal genre with Metallica, Anthrax, Slayer, Megadeth, Testament et al citing Accept as a huge inspiration. They had further worldwide success with the follow up ‘Balls to the Wall’ which went gold in the US and Canada.
Accept’s then frontman Udo Dirkschneider made an impact with his distinctive voice and image. After leaving (or being fired from) Accept in 1987 he formed U.D.O. and enjoyed continued success. With this latest album Dirkschneider tackles important subject matter ranging from climate change, war, and political corruption. The album delivers everything you expect, and I have to say Dirkschneider sounds fantastic, he sounds as good today as he ever did. The band also deliver some top-notch performances with riffs galore from guitar duo Andrey Smirnov and Fabian Dee Dammers and Udo’s son Sven delivers a fantastic performance on the drum throne.
Great song titles like ‘Fear Detector’, ‘Metal Never Dies’ and ‘Like A Beast’ sound just like you would imagine, metal to the core! One track that stands out though is ‘Kids and Guns’ with its almost AC/DC like groove. It feels a little out of place with the other tracks, but I like it all the same. Let’s be honest, if you’re checking out this album you know what to expect, it’s true head banging heavy metal that delivers what it says on the tin. A strong album that will appeal to U.D.O.’s hardcore fan base.
With a career that spans over forty years you must admire Dirkschneider for sticking to what he does best for all these years. As Accept famously said… ‘Shake Your Heads’!
Game Over is released on October 8th through AFM records.
Well folks, here we are again as the Sabbath catalogue gets another Super Deluxe version on both CD and Vinyl and once again to be fair to whoever is curating these reissues much like the Motorhead ones these are some of the best box sets out there from the packaging to its content a lot of love has been poured onto these reissues and be it the box office Sabbath biggies or the lesser releases they all have the same quality and eye to detail. ‘Technical Ecstasy’ is no exception, from the mini-poster to the four-CD packages it’s top-notch in the reissue department.
The reprint mini-tour book is quality even if I do need my readers to dive into the text as is the period reflected in the hardback book that’s included. Man, these gents were into their satin even as punk broke they were oblivious somewhat. Iommi sat in the produces chair for this the seventh studio release from the original line up and whilst it has one foot in the prog camp there is also an indication of the direction that Ozzy would head sooner rather than much later.
Maybe Sabbath was for the first time taking their cues from elsewhere rather than leading the genre and with the heavy influence of Gerald Woodroffe’s swirling keyboards the band couldn’t be accused of standing still from the proggy opener of ‘Back Street Kids’ through the swirling keyboards creating a good foil for Iommi’s doom-laden riffs on ‘You Won’t Change Me’ is a good example as Iommi and Woodroffe trade solos whilst the rhythm section gets that Sabbath heaviness anchored down. The Beatles tinged ‘It’s Alright’ is one of the best tracks on offer for me and has stood the test of time and proven that Ward didn’t need a bucket to carry a tune on his moment in the sunshine. Then there’s ‘Gypsy’ again with its keyboard-driven workout.
Side two of the album sees the band go for a groovy workout where they get their collective funk on ‘All Moving Parts (Stand Still)’. I do however love the groove the band gets on ‘Rock And Roll Doctor’ throwing another curveball by just jamming out a real Rock and Roller when everything else screams trying hard to be hip and adventurous it’s as if they just decided to go easy and rock out. Then step forward ‘She’s Gone’ the album’s hushed acoustic introed song with strings n all and a chance for Ozzy to try out what he would later perfect through his solo career. Then to close it’s Dirty Women’ and on reflection, it’s a decent album and unpackaging the extras this labor of love has unearthed some new mixes and the usual Instrumental mixes of tracks like ‘She’s Gone’. As for the hardback book, well, it’s full of great pictures and well-researched Japanese single sleeves as well as interview snippets from the band and a well-covered history of the mid 70s Sabbath for the hardcore fans and newcomers alike. But for me, the treat inside the box of goodies is the live album – recorded on the 76-77 world tour.
Mixing together classic Sabbath from the awesome ‘Symptoms Of The Universe’, ‘War Pigs’ and ‘Black Sabbath’ there is also room for ‘Technical Ecstasy’ tracks like ‘Gypsy’ and ‘Dirty Women’ the quality of this live recording is exceptional and through a decent pair of headphones it’s like being sat next to the sound engineer with Bill Ward’s bass drum sounding as big as an arena all by its self. It’s been a long time since I’ve sat down and actually played a drum solo and Guitar solo on a record but they are here in all their glory and the one thing that stands out is what a powerhouse Bill Ward is – absolutely outstanding. Capping it all off with the monster that is ‘Children Of The Grave’ and whilst listening it makes me smile that the reproduction tour book also has all those tour ads intact especially the £2.50 tour shirt imagine what one of those would be worth in 2021? Wow!
So in a nutshell of course its a no brainer for Sabbath fans old and young this is another of those box sets that is a must-have and another exceptional package to while away the hours and marvel at the masters of heavy metal and what a class act they really were even when they weren’t at their best they were still better than most.
Formed in 1982, LA metallers Armored Saint have been well respected and revered by fans and peers alike throughout their colourful and sometimes tragic career. Vocalist John Bush was given the opportunity to sing for Metallica after the release of their debut Kill ‘Em All as James Hetfield wasn’t confident enough as a singer and wanted to concentrate on guitar duties. We all know how that story ended, but I’ve often wondered how that collaboration would have sounded. Bush left Armored Saint in the 90s to join Anthrax after Joey Belladonna exited and that was effectively the end of Armored Saint until they reformed in 1999.
Their fourth album ‘Symbol of Salvation’ was released in 1991, this was the first album featuring guitarist Jeff Duncan after original member Dave Prichard died from leukemia before the recording of the album. Prichard had demoed a lot of the material that would end up on SOS and one of his guitar solos was used on the track Tainted Past. The album would go on to be well received and remains a fan favourite.
To celebrate the thirtieth birthday of ‘Symbol of Salvation’ we have been given a fantastic live recording and DVD of the album played in its entirety. Recorded in 2018 at New York’s Gramercy theatre, it captures the band in full flight. Bush sounds incredible (as always) and the band consisting of bassist Joey Vera, guitar duo Phil Sandoval and Jeff Duncan and Gonzo Sandoval on drums put in a fantastic performance. The album benefits from a punchy and clear mix and the album is available in various eye-catching formats. You can choose from a 2 CD/DVD digipak autographed by the band or a gatefold double vinyl ‘splatter’ LP. The vinyl version features demos from the 1989 writing of the album by Dave Prichard.
This is a great live album that really showcases one of metals most underrated bands that really should have crept up the ladder of success further than they did. Bassist Joey Vera sums up the album as follows – “All we’ve ever wanted was to make our own music, to take joy and take pride in doing it. The fact that we also have very loyal fans who continue to support what we do is the best icing on this cake. I try to look at our records as objectively as possible, and when I can do that, I’m very proud that this record is a huge part of the band’s legacy, and I am extremely humbled that I’m a part of that.”
“THE DRIP: Part 1” will be released 12th November 2021
THE FULL NEW ALBUM WILL BE RELEASED MAY 2022
THROUGH HOWLING TEMPEST RECORDS / THE ORCHARD
“You’ll love the electro stylings of Camden newbies Wax on Water” – KERRANG! MAGAZINE ESSENTIAL PLAYLIST
Wax on Water are an Alternative Rock band hailing from Camden, London, UK, that draw from grunge, electronica, and industrial sounds, mixed together with layers of strings, piano and intense guitars, to make a heady and unique ‘Electro-Grunge’ sound that is all their own. All songs are written, performed and produced by lead singer Maya Damaris with Steven Blessing working his dark magic on guitar. The band are set to release brooding new single “Seventh Son” on 17th September 2021 with a strategic ‘drip, drip, drip’ single releases to follow, with “The Drip Part” EP being released on 12th November, followed by later releases, and culminating in their full album “The Drip” – set to land in May 2022.
Maya Damaris is a multi-faceted creative talent: not only is she a consummate singer, performer and a versatile multi-instrumentalist, she also writes and produces all the musical output for the band. Originally from London, Damaris was a classically trained pianist and singer but started Wax on Water in 2012 because she “…wanted to create music that causes a reaction in people, in the same way that the grunge, rock and industrial bands that I grew up loving did to me”. Her influences are eclectic but classic: the Motown greats, Blues singers like Dinah Washington and Billie Holiday, pop and rock ground-breakers Bowie, Pink Floyd, Led Zeppelin, Kate Bush and Iggy Pop. Later, inspiration arrived in the form of experimental electronica: Kraftwerk, CAN, Laurie Anderson and Throbbing Gristle as well as metal, grunge and industrial bands My Bloody Valentine, The Cure, Soundgarden, Slayer and Nine Inch Nails. Maya expertly weaves all these formative influences to create the unique sound for Wax on Water.
Hailing from South-East London, prodigious guitarist Steven Blessing became a professional guitarist by the age of 15. After getting a music degree he started touring with the rock band Estrangor, for which he was the founder and main songwriter. Since then, he’s performed with a wide range of bands and worked in the studio with a variety of independent artists before joining Wax on Water in 2019. Steven’s guitar playing is heavily influenced by the classic rock and metal guitar greats Jimi Hendrix, Dimebag Darrell, Randy Rhoads and Jimmy Page.
Wax on Water’s 2018 debut album “Procession” was a critically acclaimed album of seven songs of admirable diversity evoking the raucous grit of Queens of The Stone Age and Nine Inch Nails, to the rootsy goodness of The Black Crowes and beyond, all infused with Damaris’ inherent grungy flair.The positive reaction to this promising debut helped the band to secure a distribution deal with The Orchard/Sony Music for their own Record label, Howling Tempest Records.
Forthcoming album “The Drip” is a collection of 16 songs that takes the band’s previous successes and, with Blessing now firmly on board, adds an extra layer of guitar energy.Drums for the album were played by LA session drummer, Garren Orr (YolkLore, Tennis System) and the record was mixed at MooseCat Studios, LA and mastered by Will Borza at the Grammy Award Winning Howie Weinberg Mastering Studios, LA.
The single “Seventh Son” was written by Damaris in a hotel room in Los Angeles and then recorded in London in the summer of 2020. The track follows the ambitious and intriguing reimagining of the O’Jays Philadelphia Soul classic “For the Love of Money” as the second release from the album and is about the dark descent of a relationship. As Demaris says herself: “Seventh Son is about how a relationship can turn from being something that makes you feel alive to making you feel less than…it’s about reclaiming yourself when you’re standing on the shadow side of love.”
There are many crazy ways I’ve discovered new bands over the years, but seeking out a band just because I liked a patch that I’d spied on a mate’s battle jacket had to be a first for yours truly. This is exactly how I first discovered London based pagan metallers Green Lung though, the patch in question initially sending me to their Bandcamp page, where just a few streams later I found myself securing a copy of their 2019 released ‘Woodland Rites’ debut on vinyl.
Given their love of all things Mother Earth, it’s no pun intended when I say that the band’s popularity right now appears to be completely “organic”, and there’s certainly no scene with which to badge this five-piece outfit, and for me that’s what makes them stand out on from the rest of the UK hard rock/metal scene right now.
‘Black Harvest’, the band’s second full length record, is one (if the rumours are to be believed) that could have seen Green Lung move to a major label, however appreciating exactly what Svart Records did for them with their debut release, the lads opted to stay with the Finnish independent instead for the release of their sophomore album, and it’s easy to hear why they decided to stay put.
For any of you who might be reading this and have yet to experience the heavy metal majesty of Green Lung I’ve always thought the best way to describe them is to imagine the soundtrack to The Wicker Man (1973 version) if it had been scored by the Ozzy fronted Black Sabbath. Now with ‘Black Harvest’ I’d actually be inclined to say its more like In The Earth scored by Ghost, as long-time producer Wayne Adams working with John Davis at Metropolis have certainly brought the band kicking and screaming into the 21st Century, well sonically at least. However, if I’m totally honest, that’s over simplifying the true depth of Green Lung’s appeal, and here’s why.
As with their debut album ‘Black Harvest’ kicks off with a short introduction, albeit unlike with the debut ‘The Harrowing’ is full of musical twists of turns and packs a Zeal & Ardor meets King Crimson with Brian May on guitar kind of progressive metal punch that immediately throws you headlong into Green Lung 2021.
The sound is simply colossal as the likes of ‘Old Gods Final’ and the staggeringly brilliant ‘Leaders Of The Blind’ relentlessly batter your eardrums. The initial Sabbath-y chug of the latter morphing seamlessly into a catchy as hell chorus delivered with suitable aplomb by the ever-excellent vocalist Tom Templar and all underpinned by a Hammond organ that simply reeks of an in their prime Uriah Heep. And that right there folks is why I say to try and compare Green Lung to any one band or style is actually doing the band (and you as a listener) a total disservice.
You try and pigeonhole the barnstorming ‘Reapers Scythe’ or the melancholic beauty of ‘Graveyard Sun’ and you run the risk of missing just what makes Green Lung so special…the fact that they are unlike any other hard rock/metal band in the UK right now.
Look, I’m actually going to let you to discover the rest of ‘Black Harvest’ for yourselves, simply because you will hear things that I probably haven’t when the album is finally released on 22nd of October. Hit the links below to secure your copy NOW!
Oh, and let’s not forget, Nazi Occultists Fuck Off!
OK Rock n Rollers, the time is here, the time is now! Sleazy Punk Rock n Rollers Killer Hearts have teased us with their EP and a few compilation cuts but now they’ve dropped their bomb of a full-length record and it kicks like a mother fucking mule. Imagine Cheetah Chrome and Stiv fronting a punk rock n roll band in 2021 with a history of sleazy rock and glam (no not the sunset strip glam – real glam) and they’ve gone and poured their molten sleaze on ten tracks on wax and then hit the explode button to supercharge this fucker with lipstick and a laced up iron fist – its full to the brim with Thunderbird fueled punk rock with the charm and borrowed gang vocal of The Boys, these cats can whip your ass if you throw them some shade and they’ll be the best damn party you’ve ever pushed a front door on.
With tried and tested titles like ‘Get Some’ and ‘Savage Heathen’ you just know instinctively what ‘Dead End Kid 4 Ever’ is going to sound like and if you’re still in doubt then maybe 24/7 Action’ and ‘Goodtime Motherfuckers’ should seal the deal. Listen, if you’re looking for right on politically correct modern rock then you’ve opened the wrong review and we don’t cover Muse or Biffy Cliro this is Rock and Roll baby, with some cheap wine, a switchblade comb and a pack of lucky strike no filter. Marvel at the artwork and the fact it’s pressed on red-light district red vinyl. It’s a late record for people who hanker after the Dead Boys, The Heartbreakers, and Hanoi on steroids these cats cut the crap and rock out using all the chords their heroes did and you’ll be damned if you think they’re going to apologise for it and why the fuck should they.
Right, the tunes. ‘Get Some’ is a thunderous downstroke killer of an opener. Setting the tone with a rush of blood it’s kicking the door off the hinges and going for broke before the cops come. “Like a bad habit, use it take it” Get some indeed. From the bass throb in the breakdown to the tambourine joining in the rhythm to that killer solo that rips across your face it’s like when Guns and Roses burst on the scene with ‘Live Like a Suicide’ before they imploded and forgot their roots this is thunder and lightning in a bottle that’s been shaken and the top taken off.
I’ve been waiting for this album to get released for a while and I was hoping that the high expectations would be met and after the opening few tunes I’m loving it and those expectations have been reached and some. ‘Do Your Thing’ is full to bursting with Chuck Berry licks a plenty played at Dee Dee speed through fuck you speakers! Take a breather kids because these punks are taking over the pit with the sonic reducer phaser and ‘Savage Heathen’ is having it both barrels and there ain’t nothing we can do about itas solos dive in through the speakers like bolts of lightning striking your ears and heart.
After ‘Dynamite Heart’ has muscled its way into the reckoning I was worried that they couldn’t maintain the standards but fuck me sideways this is the Sleazy Rock n Roll album the world has been waiting for its epic and exciting. Sure it’s been done before but who really gives a fuck its Rock and Roll baby and I fuckin Like it!
You want punchy rockers then step up and take a swing at ‘Midnight Lucifer’ a thunderous powerhouse with an earworm chorus that will rip your ear off and throw up its rock down your canal straight to your pleasure receptors in that punch drunk brain of yours. Hell, we’re only halfway through and this is showing no sign of letting up.
Play ‘Good Time Motherfucker’ to your nan she’d love it from the gang vocals through the verses and that piano tonk this is exceptional stuff. Howling harmonica approaching in the name of ‘Scream and Shout’ now join in on those gang vocals kids you know you want to, hell they’ve even loaned The Boys gang ‘oh oh oh ohs’ and I’m sure Honest John and the lads would approve it would only get cooler if they had asked them to the recording and join the band to lend a hand.
If you’re asking for a favourite song then I’m at a loss really such is the quality of the album but if you held a gun to my head then maybe ’24/7 Action’ might get the nod for its dirty riff and sleazy vocals and the punch of the rhythm section.
Shit, we even had some acoustic guitars for the intro of ‘Dead End Kids 4 Ever’ but it was short-lived and the chorus is a killer (obviously) Damn we’re on the last track. ‘Buried In Leather’ is a dark romp that is full of harnessed feedback and has an aggressive punch.
Easily one of the finest records I’ve had the pleasure of hearing all year and one I’ve already played to death – on repeated plays (not something you can say these days) and there isn’t one single weakness I’ve heard thus far. A beautiful noise if ever there was one and a crash and burn record if ever there was one, a vital, must-own if you’ve ever had a fire in your heart for loud, dirty, sleazy Punk Rock and Roll! Buy it! play Loud or else I’m sending the boys round.
Apparently, Swedish metallers Manimal don’t like being called a power metal band and I must agree with them. To me they sound like a classic metal band, think of a combination of Judas Priest, King Diamond, Queensryche and Machine Head and you’re not far away from the sound of Manimal, named after the classic W.A.S.P. song maybe?
The imagery of the band lends itself to King Diamond and the whole Norwegian Black metal scene. Armageddon is a fitting title for the latest release for the band with its apocalyptic song themes. Before we get to the music though, I must mention the album covers amazing artwork by Stan W. Decker. It’s a cross between Meat Loaf’s ‘Bat Out of Hell’ and the Terminator! A proper metal album cover. I would have bought the album for the cover alone!
Opening track ‘Burn in Hell’ begins with an atmospheric build up before a full-on metal assault with a huge riff, double bass barrages and some fantastic Halfordesque vocals from Samuel Nyman who really sounds incredible here. ‘Chains of Fury’ is a real highlight with its mid-paced chugging riff, more vocal acrobatics, and some fantastic melodic soloing from guitarist Henrik Stenroos. ‘Forged in Metal’ sounds like a track that could have been on Priest’s classic ‘Painkiller’ album. I really can’t emphasise enough how good Nyman sounds on this album. His range is incredible.
A strong metal album with plenty to keep hardcore metal fans happy. Great musicianship, songs that are not too long and great production from the band themselves make this a very enjoyable listen.
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