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Ikonika drops her third album to date and the first original material for a sometime after a busy remix and performance schedule. Like so many artists in 2017, Ikonika loads the full spectrum of new musics into her cannon - R&B and hip-hop rhythms fused with techno's modern sheen and the soundsystem rattling power of UK bass. She combines boogie synth licks with grime's urgency on "Noblest", enlisting the wonderfully talented Andrea Galaxy in the process. She collaborates with rising stars throughout the album, notably with MC Jammz on "Sacrifice" a grime slow jam with wickedly devilish intentions and one of the strongest raps I've heard all year. There's an air of futuristic mysticism throughout, depicted perfectly in the album's artwork which takes its inspiration from West London’s Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It’s this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes. As always, the future is now.

Lee Gamble

Exhaust EP

    ‘Flush Real Pharynx’ is the title of sound designer/artist/composer and DJ Lee Gamble’s new three-part album for Hyperdub. The triptych loosely explores three stages of the Semioblitz – the aggressive onslaught of visual and sonic stimuli of contemporary cities and virtual spaces. From ‘In A Paraventral Scale’ (the first part of the triptych released at the start of 2019) the coil springs out into the straight-up choked semioblitz of part 2 — ‘Exhaust’. Gone are the serpentine dopplers and seductive supercar engines. ‘Exhaust’s neon-charms coalesce into an MDMA rush of Boston Dynamics dog barks, hypnotic voices and imploding motion sculptures. From the backfiring splinters of ‘CREAM’ through disorientating photo shutter snare patterns of ‘Shard’, ‘Exhaust’s sultry voices take you for a 300mph ride down the psychedelic high street stitching together clashing strands of club soundscapes on its way. ‘Exhaust’ engages in a world well and truly with us right now – explosive, chaotic, unpredictable, contradictory, intoxicating, hyper-colourful, blown-apart and disturbingly engaging in its surreality. It’s Gamble’s ‘Gully Automated Music Concrète’, sounding out from a high rise overlooking the Ballardian motion-sculpture of a collapsing motorway system. 

    DJ Spinn

    Da Life EP

      Chicago footwork legend and co-founder of the Teklife producers crew (alongside his musical collaborator DJ Rashad), DJ Spinn makes his long awaited return to Hyperdub with ‘Da Life’ EP, and we couldn’t be happier to have him back. Featuring four brand new offerings, ‘Da Life’ EP is energetic, fast paced and classic footwork. First up is the high energy ‘Knock A Patch Out’, a frantic and cascading key melody contained in crisp claps, with Spinn’s vocal flowing in half way through the track. Next up is ‘Make Her Hot’, which starts out in half time blossoming into a full blown footwork slow jam. ‘Sky Way’, featuring Teklife member DJ Manny, has a moody G Funk melody that starts slowly in half time, with rolling snares and organic kicks. Closing track ‘U Ain’t Really Bout Dat Life’ is an ode to Teklife. Icey synths rise and shimmer with an auto tuned vocal from Spinn spelling out ''T-E-K-L-I-F-E”. Alongside Rashad, Spinn united the footwork genre's producers and took it global. 'Da Life' represents his re-entry back into the scene, four years after 2015's 'Off That Loud' EP, and he’s coming back as strong as ever. 

      Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody.

      On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, whose lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.


      Proc Fiskal

      Shleekit Doss EP

      After last year’s excellent ‘Insula’ album, Proc Fiskal returns to Hyperdub with the six track EP ‘Shleekit Doss’; in his own words, “a kind of representation of the time I was running the club night of the same name in Edinburgh. These tunes represent the night’s ethos of genre-defiance and high-energy futuristic sets, ecstatic and transcendent while still being fun and stupid. I was getting my friends to play and I made all the posters on my phone - like this EP’s artwork. I also started hoarding old FM synths which crop up a lot on the EP, and was reading a lot of sci-fi like Isaac Asimov’s ‘Foundation’, and ‘2001’. The night ran until last November when the bouncers and some punters got in a fight, the club got damaged, and unfortunately I got banned too.”

      Through this mayhem and misdemeanour, ‘Shleekit Doss’ feels like an oasis of calm; light, bouncy and melodic, the EP sees Proc developing the depth and range of his music in satisfying ways. The beatless, processed male voice choirs of ‘Satan’ open the set, breaking into glitchy drums before the melodies are time-stretched into a pretty drone and gentle rolling piano. Clouds of bittersweet synths waft across cut-up voices and clattering drums on ‘Smith’s Deli’, while ‘Pico’ is a driving mix of tight, tiny micro-edits that feel like micro-house crossbred with jungle breaks. ‘2 Moros’ takes the Sinogrime developed on ‘Insula’ deeper into dense rhythmic abstraction, and on ‘4 minutes’, charming synth melodies and 8-bit bass lines are threaded through skeletal drum machine kicks and snares. ‘Prop-O-Deed’ finishes the EP, Proc Fiskal displaying his inimitable gift for heart-wrenching anthemic melody, built around tuned Asian percussion and scratchy synth violin.


      DJ Lag & Okzharp

      Steam Rooms EP

      Durban gqom ambassador DJ Lag and London-based Okzharp combine over four club heavy tracks rooted in their long-term long-distance connection, the EP’s title originating from the Durban nickname for the local clubs where much early gqom-style music was played. Opener "Now What" layers a wooden percussion scraper with a ticking cow bell and chants. Set at a slightly faster pace than most gqom, the track harbours a dark energy at its core generated by a low rumbling background synth and pitch shifting claps.

      "Steam One" - inspired by DJ Lag’s set at Hyperdub’s club night Ø after he brought the heavy steam room vibe - has a slow and entrancing build up with a subtle melody layering on stabbing syncopated kicks, leading up to a woozy synth breakdown. 'We were inspired by that moment in the club when things get hazy and bendy and glowy. It has South Durban via South London DNA, so inevitably there's a heavy kwai-gqom vibe with a grimey funky London twist running through it'.

      "Nyusa" opens with a grinding acidic bass line overlaid with a metallic and gravelly melody with suppressed chants. Sharp kicks drive the track leading up to a wobbly synth breakdown and back up synth stabs raising the energy. Finally, "Sambe" pairs menacing strings with a steel drum melody, displaying characteristics of both funky house and gqom in a subtle meeting of the two styles. ‘Steam Rooms’ is a collection of dancefloor heaters set to make the club sweat, the amalgamation of a London / Durban link up reflecting both producers environments and sound palettes for icey cold gqom tracks with funky house shadings. 


      Burial

      Claustro / State Forest

      Ok chaps and chapettes, new Burial here for you to get your filphy mits an ears around...!

      "Claustro" occupies side A and sees Burial's formula given an urgent update. There's a killer female vocal hook, fast paced n skitty garage beats (thoroughly Burialized with hiss and coke can pops as always...) plus some nice bass plumes, ravey hoover lines and a kinda ascending / descending, slightly computer game vibe to the mid-range riff. Gotta make it to the end on this bad boi too - there's a killer switch around to see off the last 32 bars or so.

      It's destined for repeat plays across the radio networks and cutting edge club nights but there's nothing better than a Kode9-approved, 180g wax pressing to bring out all those gritty details and smash outta your bedroom window for all the neighbours to enjoy!

      B side track, "State Forest" is an ambient atmosphere, nicely constructed and full of some very interesting, bleak soundscapes; but you'll be disappointed if you're looking for another club banger to compete the package. Thankfully, that A-side track absolutely slays it, so you won't feel hard done by forking out eight quid. It's also nice to see the producer confident and inspired as ever. We heart Burial! 


      STAFF COMMENTS

      Matt says: Urgent, endorphin-rushing greatness from the UK master. "Claustro" is hooky enough to get repeat radio plays, but deadly enough to soundtrack that peak moment of release in any club environment. He's still got it!

      Barry says: There's never a reason not to order a new Burial record on sight, and this one will almost certainly fly like the rest. Get on it.

      In late 2017 Hyperdub released "Diggin In The Carts", a compilation put together by Nick Dwyer and Kode9 of pioneering and rare Japanese video game music from the 1980s and 1990s. Since then, from Sonar Festival in Barcelona to Liquid Rooms in Tokyo, Kode9 has been touring a live audio-visual set in collaboration with visuals from anime legend Koji Morimoto, who also designed the artwork for the original compilation. Finally, on this first new Kode9 EP since 2014, a handful of these remixes see the light of day. 9 rivets his 80/160bpm rhythms onto these classic 8bit and 16bit melodies, re-animating the Steve Reich-ian arpeggios of Soshi Hosoi, the grimelike horn fanfares of Yuzo Koshiro, the sour pads of Koichi Ishaibashi, and pitching Tadahiro Nitta down into a slow building, frantic low end grind. Sleeved in artwork by Konx-om-Pax, adapted from the visuals from the live A/V performance.

      Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on ‘Death Becomes Her‘ she shifts things up to another level. Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world. Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

      On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars. On ‘Death Becomes Her’, Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

      Producer Okzharp and vocalist//artist-cum-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, "Dumella 113" and "Tell Your Vision", recorded in Joburg and London respectively.

      The recording of "Closer Apart" reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.’ Describing Manthe as a co -producer, he continues ‘She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.’ Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for "Time Machine" on the laptop speakers and writing the lyrics. 'Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' "Closer Apart" has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my Lady(like) side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.’ 


      STAFF COMMENTS

      Matt says: Painfully fresh and emotional album here on Hyperdub. Evocative and heartfelt lyrics combine with cutting edge production and a skeletal, atmospheric and gaseous aesthetic. Well good!

      A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing. However, it was Rashad’s untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something…make something brand new." 100% committed to pushing further the potential of the footwork template, Still Trippin’ is ambitious in its range and scope.

      Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye’s talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork’s ability to confound. The album features a range of guests that span contemporary music; the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on ‘Get It Jukin’, Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to ‘Same Sound’, Fabi Reyna, the editor of the celebrated women’s guitar magazine She Shreds, sings and plays bass and rhythm guitar on ‘I Don’t Know’ and Jersey club queen UNIIQU3 offers production and rapping on ‘Gimme Some Mo’.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on ‘Smokeout’. Taye is ambitious in his hopes for the album; "I took this as an opportunity to not have boundaries with footwork. Different approaches to our ‘underground’ sound to make it broader. It’s only underground until it crosses that visible threshold.” This album brings all of this to the forefront. 

      "The Underdogg" is DJ Tre's debut EP for Hyperdub. He contributed two brilliant tracks to the DJ Rashad tribute set "Next Life", but compared to other long term members of the Teklife footwork crew, he hasn’t released much. Tre has been about since the early days, born and raised on the south side of Chicago. Encouraged by Rashad and his partner DJ Spinn, he has been making tracks since 1999, over a decade before footwork's ascent to global popularity. On this EP his sound, for the most part, is rooted in the speedy 4/4 of juke. It features a sparse and minimalist take on footwork but he's got a knack of adding in tight little switches and details that keep the tracks moving as essential dancefloor weapons. The EP starts with "It’s House Hybrid", which has its musical roots in Chip E's "It's House", one of the very earliest house tracks. It’s a tried and tested dancefloor devastator on dubplate, built on a crackling and hiccuping juke 4/4 which grows in intensity, until a ferocious amen break cracks it open and joins in the onslaught. "A Hammond Jam" matches a moody organ with typical sub rumbles and ghetto-tek drum programming. "Get Dat Ass Up!" bounces against a twitching melody that'salmost purist Detroit techno in its executed, save for the stuttered footwork rhythm that underpins it all. "Tha Rhodez Jam!" micro-edits a delicate Rhodes sample into flickering shapes against switching 8 bar patterns of drums that go from rolling to soca-like pulses with whistles. Essential tools for DJs on the hyperplane.

      Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015’s In Situ - but with clear reference to 2012's sleeper-hit Quarantine - Dust is an album revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure. Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there. Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics.

      Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse; acoustic drums are warped into sensual, febrile melodies. The lyrics are themselves bricolage, without a specific narrator or place in time. They slip in and out of view, something that is visualised in the album’s inner panel. Extending the influence, the album opener ‘Sun To Solar’ is an adaptation of 'Servidão de Passagem' by Brazilian concrete poet Haroldo de Campos. In line with the album’s sound, Dust is 'Laurel Halo' as a flexible cast of characters. Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier. Laurel’s omnivorous influences play out in mutated fashion - coalesced, unfettered and inclusive - a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017

      Burial

      Young Death / Nightmarket

      Finally, time for a brand new solo effort from the shadowy producer, Burial.  'Young Death' sees a warped vocal cut smeared atop atmospheric drones before launching skyward into an airy and euphoric arpeggiated synth riff. Swirling chimes and sliced loops melt into a warm bath of celestial drones and crackling faded polaroid memories. 

      'Nightmarket' takes the arpeggio route, but in a more instantly noticeable way. Opening with an uncompromised broken-chord rise and then abstracting that into darkened corners. Faded covertly into juddering drone and grown organically into slowed-down chordal bliss. Ambient passages intersperse with assured but physically fragile solar-flare lights before launching into a bout of retro-futuristic dusty hardware jet-stream shimmers. 

      As stylistically contrary as you would ever expect from Burial, but without losing any of the post-everything charm.  A classic. 



      Hardcore breaks revivalist / future bass maestro, Zomby comes at us with a brand new LP; including THAT collaboration with Burial ("Sweetz"). "Ultra" sees the esteemed producer dipping into a number of futuristic and dystopian styles. He warps discordant Eski grime on numbers "Burst", "Freeze" and "Yeti", creates dreamlike neon-blooms on "Her" and "Thaw", and builds crystalline music box takes on house and 2step on "Glass’ and "I". Side A sees the first of four collaborations as "Fly 2" has the amazing Banshee co-creating an icy but euphoric anthem for bedroom ravers and modern lovers across the UK's recession hit working classes. Not afraid to touch on England's dark underbelly, the record possess that same intent and attitude as, say, Dean Blunt's Babyfather, but does so without the lyrical content; instead relying on sonics and rhythms to get the point across. Across the LP Zomby also collaborates with Darkstar, Rezzett, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. Housed in red metallic mirriboard with debossed graphics, while the vinyl is additionally enclosed in spot-varnished hi-gloss card inner bags, designed by Ben Drury, reflecting the radioactive glow of Zomby's music. Already cited by many to be one of the best electronic albums of the year, and receiving heavy accolades from across the board, "Ultra" sees Zomby expand on his already impressive reputation with a fully realized vision of a broken England and a world fighting over what remaining resources we have left.

      STAFF COMMENTS

      Matt says: Cripes! This is good int it?! You're defo gonna be hearing me opening a few sets with "Her" over the dark months ahead. The rest of the album ain't bad either. 'TIP' I believe they say...

      Kode9 & The Spaceape

      Memories Of The Future - Yellow Vinyl Edition

        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        First ever vinyl pressing of Kode9 & The Spaceape’s 2006 debut album, including previously unreleased extra track ‘Stalker (alt edit)’.

        Limited edition of 1000 copies exclusively for Record Store Day, pressed on translucent yellow vinyl, in gatefold sleeve.


        The fourth and final EP taken from Terror Danjah’s "Undeniable" CD opens with the amazing "Leave Me Alone" featuring Terror’s old vocal spar Bruza. This time it’s different though - instead of his usual cockney mateyness, Bruza’s reflecting on his bad mood. "All I Wanna Do" is the album’s densest track, featuring East End singer / songwriter Lauren Mason, who complements Terror’s moody music with a forlorn and angry vocal about a break-up, Terror editing her lines into strange rhythmic shapes which rub against the subtle trap-doors and fills of his accompaniment. "Time To Let Go" is light and breezy in comparison. With light Rhodes keys and a vocal from Terror himself , this is a house track in disguise, as the constant shifting patterns of the drums work against the flow of the melodic elements to produce something that is simultaneously recognisable as a both genre track and a Terror Danjah trademark tune. Number Four in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.



        The third EP taken from Terror Danjah’s "Undeniable" CD kicks off with one of the big surprises of the album, the inimitable genre-traversing "SOS", with a simple melodic riff played out over drum patterns that shift up in down in rhythm and tempo, grinding to a halt in the middle of the track before starting up again. "Sonar (Selassi Mix)" is a beatless mix of Terror’s classic grime riddim ‘Sonar’, where the originals rhythmic fx and melody pulse in and out of the mix creating strange smeared textures as sounds rub against each other. The album’s title track "Undeniable" features D Double E of Newham Generals, doing something you’d not expect of him – being romantic over Terror’s warm, colourful chords and melodies. Number Three in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.

        Burial returns with "Untrue", a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up, pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Where "Burial" first was humid, suffocating and unrelentingly sad, "Untrue" is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria. Forget central heating, the radioactivity of this album is all that you'll need to keep you warm this winter.

        London's Burial issues this belated overview of his career to date on Hyperdub, including the definitive "Spaceape" and other formative dubstep and grime highlights. It encompasses the myriad of styles which have followed and continue to manifest themselves after UK garages's implosion. Universally acclaimed as one of the best, most ground-breaking releases of 2006.

        FORMAT INFORMATION

        2xLP Info: Now pressed on 180g vinyl, updated to add the beatless atmospheric tracks that have always been integral parts of the complete CD versions, and also including unique codes for free download. Not re-issues, no new music, nothing remastered - just revised, improved and back in print.


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