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MUSIC FROM MEMORY

Debut album from Alex Ho out of Los Angeles.

In his foundational essay on Los Angeles, L.A. Glows, the essayist Lawrence Weschler speaks on the city's uncanny, immediately recognizable light; ‘The late-afternoon light of Los Angeles - golden pink off the bay through the smog and onto the palm fronds.’ Weschler traces the city's mysterious refracted light from the iconic paintings of David Hockney through the city's frequent portrayal on film and TV, noting its ability to put residents into a state of ‘egoless bliss.’

Similarly, Alex Ho's new album for Music From Memory, “Move Through It”, radiates with the unmistakable LA glow. While the Pasadena native's studio work is just now coming to light, Ho has long been a fixture in the Los Angeles dance music scene, throwing what are perhaps the city's most musically expansive warehouse events and carving out a singular voice as a DJ, as heard on his brilliant Moony Habits show for NTS. The eight-track record, however, lands in a more contemplative zone, better suited for a golden hour drive than a night out.

Though it's his first record, “Move Through It” is the accomplished work of a fully-formed artist, produced patiently between 2017 and 2020 with help from friends including Baba Stiltz, Phil Cho, Damon Palermo and John Jones. "Mark," the Koanic track conclusion side A, is an arpeggiated slow burn reminiscent of Pino Donaggio's brilliant score for Brian De Palma's 1984 film Body Double. Ho's stunning, pure falsetto soars above gentle melodies. "Miss Suzuki," the piece that originally caught the ear of MFM's Jamie Tiller and Tako, opens the record with a blue, cinematic sway. Ho's facility for poignant melodies - easily conveyed through saxophone, vibes, various keyboards and his own voice - shines on "College Crest Drive," as well as the title track. The lyrical "Move Through It" and the restrained and beautiful closing cut, "TYFC," are abetted by glimmering Kraut guitar figures courtesy of John Jones.

While Ho's rhythms and melodies paint a crystal-clear musical vision, the music's emotional centre is more elusive, indicative of a yearning feeling synonymous with the City Of Angels. Hitting these hazy and subtle notes, “Move Through It” falls within a canon of sun-addled records spanning from Herb Alpert's "Rotation" to Dam-Funk's “Private Life” trilogy as Garrett. An immersive and concise statement, Alex Ho's “Move Through It” is as warm and uncanny as the city that inspired it, a definitive LA album.


TRACK LISTING

Miss Suzuki
Idle Eighty
Move Through It
Mark
College Crest Walk
Neary
Diamond Plaza
Tyfc

Music From Memory are excited to present the latest chapter in their ongoing collaboration with seminal Spanish ambient musician Suso Saiz. 'Resonant Bodies’ is Suso’s seventh album project with the label and again raises the bar of his musical output, embracing a conceptual approach of which Suso himself says the following: “A body vibrates producing a sound that reaches another body and makes it vibrate and generate a new sound that makes another body vibrate that generates another sound... Imagine an infinite orchestra of bodies multiplying their sound vibrations creating the symphony of RESONANT BODIES. Resonance as a principle of COMMUNICATION; sound as a builder of ties and interrelations between men. RESONANT BODIES pieces are part of a whole and are both generators of it. Unlike other works, during the approximately two years it took me to finish RESONANT BODIES, the pieces were gradually completed and small sound particles were added caused by the vibrations generated by the previous layers until creating imperfect and synchronized sound objects. COMMUNICATION.”

TRACK LISTING

Inside The Egg
Tarde De Agosto 2019
Sweet Instability
Two Souls
El Espejo
Brushed Thoughts
Looking You In Silence
Floating Into The Avalanche
Abrazo 2020
Resonance Necklace
Vertidos & Songs
If I Close My Eyes
Purple Trains
When I Sleep
Changes And Reality
Watching Walk
Paseando El Encierro
Outskirts

Various Artists

Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992

    For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. "Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992" is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders. The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty. Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time.

    STAFF COMMENTS

    Patrick says: How do they keep on doing it? MFM deliver another vital release here, mining a rich and rare scene of Brazilian electronics to expand minds and move bodies in the most unconventional way. Proper froglicking tackle from back in the day!

    TRACK LISTING

    1. Piry Reis - O Sol Na Janela
    2. Nando Carneiro - G.R.E.S. Luxo Artezanal
    3. Cinema - Sem Toto
    4. Os Mulheres Negras - So Quero Um Xodo
    5. Fernando Falcao - Amanhecer Tabajra
    6. Anno Luz - Por Que
    7. Andrea Daltro - Kiua
    8. Os Mulheres Negras - Maoscolorida
    9. Bene Fonteles - O M M
    10. Carlinhos Santos - Giramundo
    11. Priscilla Ermel - Gestos De Equilibrio
    12. Carioca - Branca
    13. Marco Bosco - Sol Da Manha
    14. Maria Rita - Cantico Brasileiro No. 3 (Kamaiura)
    15. Marco Bosco - Madeira II
    16. Priscilla Ermel - Corpo Do Vento
    17. Luhli E Lucina - E Foi 

    Various Artists

    Outro Tempo II: Electronic And Contemporary Music From Brazil, 1984-1996

      As Amsterdam's chief musicologists, Music From Memory have spent the past six years guiding us through unheard ambient, Balearic, boogie and Afro-wave, opening our minds and tickling our pleasure centres with their rare delights. After a string of flawless reissues and a fresh LP from Gaussian Curve, MFM dropped their first compilation at the start of 2017, inviting expert digger John Gómez to take stock of the bizarre bedroom pop, Amazonian electronics and offbeat MPB born out of 80s Brazil. As close to perfection as it gets, the compilation flew off our Piccadilly shelves, dominated Mancunian turntables and put a lot of smiles on a lot of faces.

      Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second installment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In "Outro Tempo II" the avant garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music.

      "Outro Tempo II" is compiled again by John Gómez and features original artwork by Alice Quaresma.

      STAFF COMMENTS

      Patrick says: John Gómez goes back to Brazil for a second instalment of rare gems, leftfield pop and percussive tone poems. There's too many winners to mention here, but I've been after that May East track for about 3 years now, and it's worth the entry fee alone...

      TRACK LISTING

      A1. May East - Maraka
      A2. Dequinha E Zaba - Preposições
      A3. Oharaska - A Fábula
      A4. Fausto Fawcett - Shopping De Voodoos
      A5. R. H. Jackson - O Gato De Schrödinger
      B1. Edson Natale - Nina Maika
      B2. Akira S - Tokei
      B3. Low Key Hackers - Emotionless
      B4. Chance - Samba Do Morro
      B5. Jorge Degas & Marcelo Salazar - Ilha Grande
      C1. Priscilla Ermel - Americua
      C2. Voluntários Da Pátria - Marcha
      C3. Angel’s Breath - Velvet
      C4. Fausto Fawcett - Império Dos Sentidos
      C5. Chance - Intro-Amazônia
      D1. Tetê Espíndola - Quero-Quero
      D2. Nelson Angelo - Harmonía De Água
      D3. Jorge Mello - A Natureza Reza
      D4. Júlio Pimentel - Gersal
      D5. Tião Neto - Carrousel

      Various Artists

      Heisei No Oto - Japanese Left-Field Pop From The CD Age (1989-1996)

      Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

      The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

      Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

      Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

      The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

      This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

      Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

      TRACK LISTING

      A1. Jun Sato - Lorang
      A2. Fumihiro Murakami - Miko
      A3. Love, Peace & Trance - Yeelen
      A4. Tadahiko Yokogawa - Stop Me
      B1. Ichiko Hashimoto - L'ete
      B2. Yosui Inoue - Pi Po Pa
      B3. Eiki Nonaka - Phlanged Vortex
      B4. Kina Tomoko - Ink
      C1. Adi - Co-Cu-U
      C2. Xacara - Night In Aracaju
      C3. Poison Girl Friend - Nobody
      C4. Dream Dolphin - Take No Michi
      D1. Keisuke Sakurai - Harai
      D2. Hiroki Ishiguro - Unity
      D3. Dido (Shizuru Ohtaka & Michiaki Kato - Mermaid
      D4. Keisuke Kikuchi - Retro Electric

      Music From Memory are excited to introduce another new group for 2021, this time presenting the self-titled debut album from Loveshadow.

      Currently based in San Francisco, the duo of Anya and Izaak initially met whilst working in an Oakland cafe in 2016. The two Californians quickly bonded over a track by the ’80s disco band Aurra which was playing over the radio and almost immediately their separate journeys in music became interwoven. They soon began to write music and creating their own work would become a way for the pair to get closer to the sound they were searching for, as well as enabling them to discover the healing power of making and listening to music.

      ‘Loveshadow’ was recorded predominantly in the Bay Area between 2017-2020 as well as whilst traveling to NYC, Chicago and around Portland. Having released previously as the outfit ‘S Transporter’ alongside Detroit friend Ryan Spencer, Loveshadow is formed of Anya as singer and song writer alongside Izaak on synthesizers, bass and percussion. This eight track album is the duo’s first release; exploring emotive Pop and DIY Funk leanings it stands as a joyful homage to the music they bond over, as well as an ode to their own love and friendship.

      TRACK LISTING

      A1. 7
      A2. No Control
      A3. Passthru
      A4. Severance
      B1. More
      B2. Pleasure Idler
      B3. Tableaux Vivant
      B4. Wildflowers

      'Music For Theatre And Dance – Volume Two' is the second in a small series of EPs that will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

      That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

      Whether it's more ambient or atmospheric works or whether it's in the more rhythmic or percussive pieces, Music From Memory brings together another selection of tracks that aims to highlight this highly innovative direction in music.

      TRACK LISTING

      Craig Kupka - Electric Piano Vibraphone And Percussion
      Ray Lynch - Cooking Till Its Hot
      Scan Lines - Scan Lines Part I

      Music From Memory are happy to finally announce MFM045 - VA ‘Music For Theatre And Dance’ (EP).

      This will be the first in a small series of EPs which will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

      That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

      Whether it’s more ambient or atmospheric works or whether it’s in the more rhythmic or percussive pieces, Music From Memory brings together a selection of tracks which aim to highlight this highly innovative direction in music.

      TRACK LISTING

      A1. Gerard Stokkink - Yellow Turtles
      A2. Ivory Playground - Ivory Playground
      B1. Atlantis Transit Project - Bird Perspective
      B2. Ramuntcho Matta - Zoique III

      In the lead up to part two of the highly anticipated Outro Tempo compilation, MFM drops this teaser EP with the never before heard cassette madness of São Paulo’s Bruhahá Babélico and Individual Industry’s ethereal electro pop on the flip.

      Music From Memory embark on a series of Brazilian releases for this Spring that pick up where their 2017 Outro Tempo compilation left off. Circling around the musical projects that emerged out of the art world in Brazilian cities during the late 1980s and 1990s, “Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996” takes another dive into the depths of the Brazilian underworld, exploring the rhythms that lurk beneath the Ipanema sunset. It shines light on more illustrious unknowns and on the genre-defying music that maintained asymbiotic, yet uneasy, relationship with mainstream popular culture.

      STAFF COMMENTS

      Patrick says: Music From Memory herald the arrival of a second volume of Brazilian electronics with this limited 12" featuring demented cassette funk and weird wave pop from Bruhahá Babélico and Individual Industry. Already in the bags of our most future facing customers, this is gonna be a look for 2019 - don't get left behind.

      TRACK LISTING

      Bruhahá Babélico - Bruhahá II
      Individual Industry - Eyes

      After chilling us out with last year’s Suso Saiz retrospective, Music From Memory mark their 20th release in gleeful style with an album of new works by the Spanish electronic music pioneer. Recorded in Madrid between January and February 2016, this is Suso Saiz’s first release of new music in nearly 10 years. Titled "Rainworks" this double LP release was originally part of a commission from a Canary Islands water company. The first ideas for the compositions developed from a documentary that Suso had seen suggesting the possibility of water molecules having their own ‘memory’. As Suso himself explains, he became fascinated with the “possibility of an eternal being, changing its cyclical condition from solid to gaseous state, travelling through and between the Earth and the Sky, as a witness and keeper of the true history of Earth and Mankind”. Suso, his son Emil Saiz and pianist Raph Killhertz set out to explore this metaphysical process of cyclical movement through music in "Rainworks". Developing from the original commissioned tracks into a much more elaborate project, the album’s process became something of a mystical journey, drawing on aspects of minimalism and modernism. The music is also embedded in textured natural soundscapes and spoken word passages which were recorded and processed by Suso himself. Despite having the immediacy of an improvised piece, "Rainworks" was entirely composed by Suso. Though it appears at first inspection to be electronic album, if you dig a little deeper you'll find plenty of acoustic elements to the recording. A resonant piano (a grand piano re-amplified using its resonant box and harp to generate effects) as well as guitars (with simple effects) are played in Suso’s inimitable hypnotic way, slowly drawing the listener into a transportive state or lucid dream. 

      STAFF COMMENTS

      Patrick says: I loved the MFM collection of archival records from last year, so I was a right giddy kipper when I saw there was soon to be brand new material. As they say, class is permanent and Saiz' first release in ten years is every bit as good as his old compositions. Immersive, aquatic and in places experimental, "Rainworks" first challenges, then rewards. Check out the stunning "The Way Of Water" if you need a little beauty in your life!

      TRACK LISTING

      1. From Memory And The Sky
      2. The Way Of The Water
      3. The Hiding Place
      4. They Don't Love Each Other
      5. Nothing Ends
      6. A Rainy Afternoon 

      Denis Mpunga & Paul K

      Criola Remixed - Inc. Prins Emanuel/ Dazion / Androo / Tolouse Low Trax / Interstellar Funk Remixes

      Music From Memory continue to cook up the heaters here, beaming onto your deck with a remix disc inspired by that curious and crucial Afro-Belgian LP. The odd combination of electronic elements, rubberised grooves and the sunbaked flavours of the mother continent took us all by surprise when it dropped a couple of months back - bounding out the speaker like a long, lost twin of Zazou, Biyake & CY1 with just a little extra oddball rating. Now the dons of the 'dam invite a veritable who's who of contemporary production druids to work their body moving magic on a bunch of "Criola" originals. Swedish drum fiend Prins Emanuel kicks us off with a suitably percussive reinterpretation of "KWEI!!", cycling through chanted vocals and pinging synths over an irresistible blend of circular rhythm elements and breezy bass. Next up Holland's afro-cosmic wunderkind comes up to the plate with a "Turtle Maraca" remix of "Intermezzo B" perfect for a memorable night of chicken limbo and lysergic marinade. Picking up where he left off on "Rigola", Dazion stretches the OG into a proper cosmic roller, surrounding the psychedelic flute refrain with shamanic drums, hypnotic sequences and a deep and earthy kick drum. Second Circle's most recent recruit, Androo continues his fine run of early form with an astrally inclined kosmische mix dripping in otherworldly dub elements. The slow and sensual drum pattern holds it down from top to bottom, creating more than enough space for echo drenched guitars, delicate mallets and smooth synths to enjoy an ear pleasing threesome. Flipping the disc we're dropped into the dark and sticky domain Detlef calls home, coming face to face with a transportative Tolouse Low Trax mix of "Veronika". Slicing and dicing the emotive vocals and soft-goth guitars over a typically lopsided groove, the German makes us move...slowly. Mechanical, packed with soul and slow enough to lock your shoulders into a right good roll, it's another eyeball licking masterpiece from Dusseldorf. As we reach the B2 we take a break from the remixes in favour of an unreleased version of "Veronika 02" with about 4 tons of extra electronic bass banged under it - holy heft it's muscular. Finally, Dutch electro chief Interstellar Funk delivers a slow moving sci-fi rendition of "Intermezzo 2" which drifts through the deadzone dodging growling synth stabs and static space junk to the tripped out patter of a rippling rhythm track.

      STAFF COMMENTS

      Patrick says: MFM revisit the madcapped magic of "Criola" with a star studded remix package perfect for the more open minded dancefloors of the world. Dig in for Afro-cosmic strollers, deep space rollers, mechanical soul and subbed up dub. A perfect accompaniment to the original, with more than enough retweak to turn the dancefloor inside out.

      TRACK LISTING

      A1. KWE!! (Prins Emanuel Remix)
      A2. Intermezzo B (Dazion's Turtle Maraca Remix)
      A3. Funyaka (Androo's Romantic Dub )
      B1. Veronika (Tolouse Low Trax Remix)
      B2. Veronika V02
      B3. Intermezzo 2(Interstellar Funk Remix) 

      Becker / Stegman / Zeumer

      Ich Traume So Leise Von Dir

        Music From Memory cap off a pretty neat 2016 with a reissue of something unique, unusual and largely unheard outside of elite digging circles and the Wuppertal town hall. As key figures of the Wuppertal jazz scene, trumpetist Heinz Becker and painist Karl-Heinz Stegmann were well acquainted by 1987 when they met the actress Isabel Zeumer at an exhibition opening. Soon after this chance meeting, the trio were asked put together a programme on Else Lasker-Schüler. A unique figure in her time Jewish poet Lasker-Schüler embraced a bohemian lifestyle and became a leading exponent of Germany’s expressionism and avant-garde poetry movement before fleeing the country in 1937. Becker, Stegmann and Zeumer’s programme would combine readings of Lasker-Schüler’s works with experimental music and imagery. These performances were met with great enthusiasm at the time in Wuppertal and were even televised. Following on from the strong response to the music and performances, the trio were invited to release the material on local label ITM Records. Embracing Lasker’s avant-garde sentiments within their own musical compositions, Becker, Zeumer and Stegmann’s album "Ich Träume So Leise Von Dir" LP blends jazz and electronics to create a wholly unique sound. "Mein Tanzlied" opens this reissue with precision drum programming, thrusting sequences and fat fusion bass, packing the dancefloor before the spoken vocal, glassy keys and muted jazz trumpet erupts overhead. An undeniable NDW killer, this sounds like a Germanic, avant associate of James Mason's "Nightgruv", Enzo Avitabile's "Blackout" and Hugh Masekela's "Don't Go Lose It Baby", but much weirder than that sounds. Essential deep dancefloor bizniz. "Dir" takes a different approach to audio enlightenment, transporting us into a North Rhine film noir with swelling synth tones, muted jazz trumpet and sultry spoken vocals from Isabel Zeumer. If you got lost in Vangelis' Blade Runner score, then you should seriously check this unsettling vision of atmospheric ambience. B-side opener "Der Schnupfen" sees the trio layering Isabel's spoken vocal and Becker's trumpet over a bubbling boogie rhythm section, before Stegman fully freaks out on the synth in the second half. "Abends" closes the set in subdued fashion, gentle Rhodes motifs creating a watery calm while the sustained synth drones and moonlit trumpet wax and wane around the intimate vocal. Embracing and experimenting with elements of ambient and even new wave, the four tracks selected here, seem to take music and spoken word into an entirely unique musical realm. It's yet another gift from Music From Memory.


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