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SPEEDY WUNDERGROUND

Honeyglaze

Honeyglaze

    Honeyglaze are the South London based, Haiku loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis, and Yuri Shibuichi on drums.

    Born out of lead songwriter Sokolow’s un-desire to be a solo-act, the group met officially at their first ever rehearsal- just three days ahead of what was to become a near-residency, at their favoured ‘The Windmill’, Brixton. Forming a mere eighteen-months ahead of a subsequent eighteen-months of mandatory solitude, a parallel that’s both aligned and universally un-timely, Honeyglaze, at first appearance, are a group who play with chance, time, and synergetic fate, in mannerisms few others are able to do.

    Pricking the ears of seminal producer Dan Carey and his team of merry taste-makers: Speedy Wunderground (Tiña, Squid, Black Country New Road), the Speedy Wunderground / Honeyglaze partnership would manifest into a dynamic that, despite not having met prior, quite simply, just worked.

    Much like the eponymously debuted statements of contemporary folk-singer Bedouine’s ‘Bedouine’, ‘Crosby, Stills and Nash’, or, dare we suggest Madonna’s ‘Madonna’, Honeyglaze the album presents to the world an audibly picturesque documentation of soul-searching, in all its figment’s of reality; a proclamation of cultivated intent which in turn creates a subliminal safe-space between relatability and self-projection, and creative-comradery paired with introspective artistry.

    A self-described “opposite to a concept album” that sonically encapsulates the who, what, where and how of their individual circumstances coming together as one, Honeyglaze is a meticulously transformative feat of which, in their own eyes, is a “quite accurate” sonic encapsulation of who the trio believe to be.

    This is storytelling at its most soulful, and Honeyglaze presents human-instinct in a manner that accepts all of the insecurities that come from their present adolescence, whilst acknowledging the formative maturity that’s earned when we allow ourselves to embrace the unknown, of our futures ahead.

    “If someone is going to find you special – then you want to show what’s most special about yourself” notes Curtis. “Then you can do what you want from there.”

    Mixing the personal with romanticised ideals in ways that are simultaneously heart-wrenching, and humorous to a dead-pan effect, there is no one trajectory for Honeyglaze who’s greatest ability, is finding ways to present what’s written in-between the lines, in moments of beautifully well-versed clarity.

    In their own words: “Hi we are Honeyglaze, and there’s no time to explain.”


    TRACK LISTING

    Side A
    Start
    Shadows
    Creative Jealousy
    I Am Not Your Cushion
    Female Lead
    Burglar

    Side B
    Half Past
    Deep Murky Water
    Young Looking
    Souvenir
    Childish Things

    Lewsberg

    Six Hills

      The 39th release in Speedy Wunderground’s singles series is from Rotterdam indie-rock stalwarts Lewsberg – consisting of Arie van Vliet (guitar & vocals), Michiel Klein (guitar), Shalita Dietrich (bass guitar & vocals) and Marrit Meinema (drums).

      ‘They’re probably the band that over the years we’ve wanted to work with the most’ says label co-runner Pierre Hall. ‘Me and Dan (Carey) were completely obsessed with that first album (Lewsberg, 2019). For me they were like the nearest thing to a modern-day Velvet Underground I’d ever heard/seen – and we watched them a couple of times on that tour and were just blown away. Especially by the guitarist. They had that feel of a band that was just yours, a secret – that only a few people knew about – which is why I suppose we didn’t really pursue them at first. They seemed kinda perfect. Plus we were probably scared they’d say no’.

      Eventually fortunes did cross and the label decided to reach out at the start of 2020. After a few gushing emails and a clear common DIY aesthetic – the band agreed to partake, but then COVID hit – meaning –due to the band’s location, recording couldn’t commence until almost two years later. For a label that prides itself on being ‘speedy’ it wasn’t ideal. ‘It was so annoying’ continues Hall, ‘but not the end of the world in the grand scheme of things. Plus we felt like we had this this little golden egg in the bag – waiting to hatch.’

      And hatch it has. Following on from the bands softer (but no less effecting) recent gem of a mini-album ‘In Your Hands’ – ‘Six Hills’ harks back to classic first-album Lewsberg – conveying all the attributes that made the label fall in love with them in the first place. Motorik drums, simple immediately-catchy guitar riffs, understated production with otherworldy guitar solos – hitting all the right reference point – Velvets, Television, Jonathan Richman – wrapped up in something that is completely their own. Coupled of course with those detached, deadpan, but engaging vocals, Arie (van Vliet) sharing duties on this occasion with the band’s bass player Shalita (Dietrich).

      Of the track – the band philosophise in their own sardonic wit – ‘When you keep fighting over things that are really important to you, you could decide to stop arguing with people, and try killing them with kindness instead. You might find out this works. Then, accidentally, you might also find out that you don’t even have to kill. You might just as well just be kind. But it’s a thin line. Sometimes, it can even be kind to kill someone.’

      Lyrical prowess and a devastating turn with a couplet are a power the band have in spades – even clearer here with lines such as ‘you meant to enter like a lion / but then you walked in like a lamb.’ The visceral imagery of the bands writing paired with the let-loose, ragged, it-could-all-fall-apart-at-any-minute-but-it-doesn’t nature of the music makes for a completely compelling listen – and a stone-cold addition to the label’s already stellar canon of singles.

      Sometimes the old cliches are best: Good things come to those who wait.

      Deep Tan

      Tamu's Yiffing Refuge

        The 38th release in Speedy Wunderground’s singles series is from East London’s deep tan who consist of Wafah (vox/guitar), Celeste (bass) and Lucy (drums).

        Part of the city’s thriving post-punk scene, deep tan make music that draws on the traditions of postpunk and new wave but with a distinctly modern take on the genres. Their stripped-back, minimal sound is a vehicle for songs that engage with contemporary themes, from deepfake revenge pornography to quarantine drinking sessions.

        Shedding the atmospherics of earlier releases in favour of a darker, more driving sound, this evolution is developed further on their most recent EP, ‘creeping speedwells’, which expanded the band’s range to include psych textures and German experimental elements.

        On the provocatively titled ‘tamu’s yiffing refuge’ the band explain ‘it’s a story of furry lust. A furries convention has hit town and at an afterparty at a nearby hotel (hosted by tamu himself) there are scenes of unbridled hedonism unmatched since the days of Freddie Mercury’s legendary parties at New Orleans’ Fairmont Hotel. The track was recorded to tape at Dan Carey’s South London studio with some very welcome additions, including percussive elements, custom-built drum fortress and a mind-bending swarmatron.’
        For the uninformed minority – furries are a community of people who dress up in animal costumes as a hobby who meet up IRL and online as their ‘fursonas’. All clear so far.

        The resulting track is probably one of Speedy’s most stripped back affairs so far but no less compelling. Taut, seductive and enthralling – it channels legendary indie heroes like The Slits, Young Marble Giants and The Raincoats with influences from contemporaries and peers like Jessica Winter and Dry Cleaning to create something that is undeniably their own.

        And you can’t say fur-rer than that.


        Stephen Fretwell

        Busy Guy

          After an absence of 13 years Stephen Fretwell has announced news of his long-awaited third album, Busy Guy, released via Speedy Wunderground. Described by Fretwell as “a song cycle of sorts,” the album examines the seasons of a life, exploring fatherhood, grief and rebirth, with Fretwell’s trademark eloquence and wit.

          Busy Guy was produced by Fretwell’s close friend and Speedy Wunderground label boss, Dan Carey. They recorded the whole thing one hot July afternoon in just two hours. “I was so fired up, I just rattled off the songs,” Fretwell says. “I assumed it was the run-through, but Dan said he thought we’d got it.” The next day, Carey assembled “a palate of sound” involving keyboards and an electric guitar. “Dan said, ‘I’m just going to react to the songs over the next few hours’, and that’s the finished record, besides some cello.” The album title was also Carey’s idea. Fretwell explains: “Years ago, Dan asked why I always carried a copy of The Guardian, a notebook and a pen when all I did was go to the pub. I said: if you go to the pub at 11am with a newspaper, a notebook and pen, you look like a busy guy rather than a pisshead. It became a joke between us. The joke too is that I didn’t do any music for years.”

          The album was recorded at Dean Street Studios in Soho, not far from where Fretwell now lives, and London looms large on the record, in titles like ‘Oval’ and ‘Embankment’: stops on the Tube, and urban images shimmer as Fretwell captures a city full of pride and secrets. He wrote most of the lyrics for Busy Guy sitting in the British Library, “taking the songs to pieces and reassembling them, refining the words, thinking about the stories.”

          And what stories. From the album’s opener, ‘The Goshawk and the Gull’, a wintery lament shot through with foreboding, the album moves through characters and scenes, from shorelines to collapsing buildings, looping in its callbacks with panache. Fretwell is a seasoned craftsman, and this is an album that sneaks up on you; that hunts you in the listen. The themes of the record are heavyweight – the breakdown of a relationship, lost love, lost family, guilt, yearning – but there is boldness in the delivery that provides uplift to the emotional heft. Several of the songs have colours for their titles: ‘Orange’, ‘Green’, ‘Pink’, ‘Copper’. They hit like a series of fever dreams.

          There are moments of visceral delight, of ripeness and fullness in nature – blood, milk and honey, peaches and almonds – all set against the backdrop of the slow-burn of long-term love. Fretwell is a true poet with his imagery – taking us on a tour of the universe as he tries to conflate the experience of loss and love on a major scale, yet never wanting to assume grandeur, always dancing that fine line between statement and question. He takes us right up into the cosmos, to “moon craters” and “crazed constellations” (‘Green’), to religion’s saints and angels, and right back slap-down down to earth again – in the grotesque detail of horseflies twitching in last night’s wine glasses, and the fridge-cold lagers the narrator of ‘Pink’ has brought for the beach: a peace offering, but also an opt-out.

          Summer features heavily on the record, but also not-summer, a desire for summer, and, ultimately, a resignation to time passing, to the approach of spring. ‘Almond’ features Spanish guitar flares – hints of heat, of holidays past. The coast also plays a big part, no doubt due to it being the setting for much of Fretwell’s recent life in Brighton, and seabirds as well as sea animals duck and dive through the lyrics, offering levity in the album’s darker moments. There are wry takes on urban life, on white privilege, on satisfied songbirds, and never quite settling into middle-class family life.

          These relaxed tones, combined with the bright energy of ‘Copper’ break into the harder beats of ‘Almond’, where “the sun tries, but it can’t get through” and summer starts to lose all its shine and expression itself seems under threat. “A love song is croaking,” he sings. ‘Almond’ tells the story of a relationship, from meet-cute to heartbreak, packed in a bittersweet little nutshell. “‘Almond’ dips in and out of a relationship I had over 20 years, from fumbling around in a doorway to having a child,” says Fretwell. Words weave and tangle in the album’s latter songs, a mind and life unravelling, a descent to the gut-punch moment, spelled out in the album’s final song, ‘Green’.

          But it’s not an ending so much as the beginning of the cycle all over again. While Busy Guy acknowledges tragedy, it is also punctuated with hope. The narrator of ‘Embankment’ might beg for his body to be dragged from the water, but his heart is still beating. Busy Guy is a record that dips into darkness but ultimately shines in its own light. A record that symbolises a waking up. A fresh start. A newness that bears the weight of the past but uses it to great effect.

          STAFF COMMENTS

          Barry says: There's a certain indescribable organic feel to the way 'Busy Guy' is produced, it's not that the instrumentation isn't beautifully recorded (it is) or that the sounds don't fit together perfectly (they absolutely do), but the gorgeous intimacy of the pieces and the unhurried stagger to every piece on show gives it the languid, swooning feel of a folk record with the melodic appeal of classic rock. Stunning.

          TRACK LISTING

          1. The Goshawk And The Gull
          2. Remember
          3. Embankment
          4. Oval
          5. The Long Water
          6. Orange
          7. Pink
          8. Copper
          9. Almond
          10. Green

          Stephen Fretwell

          Busy Guy + 'Solo Acoustic Show' Ticket Bundle

            Stephen Fretwell - Busy Guy: Solo Acoustic Show

            This event was unable to take place on the original date due to COVID restrictions but we are very happy to announce that the event has been rescheduled and will now take place on Saturday 24th July 2021.

            If you bought a ticket for the original date but are unable to make it to the rearranged show, then please email us (mail@piccadillyrecords.com) and we will arrange a refund.

            NB: NIGHT & DAY CAFE IS AN 18+ ONLY VENUE. ID WILL BE REQUIRED.

            WE WILL NOT BE ISSUING PHYSICAL TICKETS FOR THIS SHOW. PLEASE KEEP YOUR ORDER CONFIRMATION AS YOU WILL NEED THIS AND SOME FORM OF ID TO GAIN ENTRY TO THE SHOW.


            ##############################################################

            About the album:

            After an absence of 13 years Stephen Fretwell has announced news of his long-awaited third album, Busy Guy, released via Speedy Wunderground. Described by Fretwell as “a song cycle of sorts,” the album examines the seasons of a life, exploring fatherhood, grief and rebirth, with Fretwell’s trademark eloquence and wit.

            Busy Guy was produced by Fretwell’s close friend and Speedy Wunderground label boss, Dan Carey. They recorded the whole thing one hot July afternoon in just two hours. “I was so fired up, I just rattled off the songs,” Fretwell says. “I assumed it was the run-through, but Dan said he thought we’d got it.” The next day, Carey assembled “a palate of sound” involving keyboards and an electric guitar. “Dan said, ‘I’m just going to react to the songs over the next few hours’, and that’s the finished record, besides some cello.” The album title was also Carey’s idea. Fretwell explains: “Years ago, Dan asked why I always carried a copy of The Guardian, a notebook and a pen when all I did was go to the pub. I said: if you go to the pub at 11am with a newspaper, a notebook and pen, you look like a busy guy rather than a pisshead. It became a joke between us. The joke too is that I didn’t do any music for years.”

            The album was recorded at Dean Street Studios in Soho, not far from where Fretwell now lives, and London looms large on the record, in titles like ‘Oval’ and ‘Embankment’: stops on the Tube, and urban images shimmer as Fretwell captures a city full of pride and secrets. He wrote most of the lyrics for Busy Guy sitting in the British Library, “taking the songs to pieces and reassembling them, refining the words, thinking about the stories.”

            And what stories. From the album’s opener, ‘The Goshawk and the Gull’, a wintery lament shot through with foreboding, the album moves through characters and scenes, from shorelines to collapsing buildings, looping in its callbacks with panache. Fretwell is a seasoned craftsman, and this is an album that sneaks up on you; that hunts you in the listen. The themes of the record are heavyweight – the breakdown of a relationship, lost love, lost family, guilt, yearning – but there is boldness in the delivery that provides uplift to the emotional heft. Several of the songs have colours for their titles: ‘Orange’, ‘Green’, ‘Pink’, ‘Copper’. They hit like a series of fever dreams.

            There are moments of visceral delight, of ripeness and fullness in nature – blood, milk and honey, peaches and almonds – all set against the backdrop of the slow-burn of long-term love. Fretwell is a true poet with his imagery – taking us on a tour of the universe as he tries to conflate the experience of loss and love on a major scale, yet never wanting to assume grandeur, always dancing that fine line between statement and question. He takes us right up into the cosmos, to “moon craters” and “crazed constellations” (‘Green’), to religion’s saints and angels, and right back slap-down down to earth again – in the grotesque detail of horseflies twitching in last night’s wine glasses, and the fridge-cold lagers the narrator of ‘Pink’ has brought for the beach: a peace offering, but also an opt-out.

            Summer features heavily on the record, but also not-summer, a desire for summer, and, ultimately, a resignation to time passing, to the approach of spring. ‘Almond’ features Spanish guitar flares – hints of heat, of holidays past. The coast also plays a big part, no doubt due to it being the setting for much of Fretwell’s recent life in Brighton, and seabirds as well as sea animals duck and dive through the lyrics, offering levity in the album’s darker moments. There are wry takes on urban life, on white privilege, on satisfied songbirds, and never quite settling into middle-class family life.

            These relaxed tones, combined with the bright energy of ‘Copper’ break into the harder beats of ‘Almond’, where “the sun tries, but it can’t get through” and summer starts to lose all its shine and expression itself seems under threat. “A love song is croaking,” he sings. ‘Almond’ tells the story of a relationship, from meet-cute to heartbreak, packed in a bittersweet little nutshell. “‘Almond’ dips in and out of a relationship I had over 20 years, from fumbling around in a doorway to having a child,” says Fretwell. Words weave and tangle in the album’s latter songs, a mind and life unravelling, a descent to the gut-punch moment, spelled out in the album’s final song, ‘Green’.

            But it’s not an ending so much as the beginning of the cycle all over again. While Busy Guy acknowledges tragedy, it is also punctuated with hope. The narrator of ‘Embankment’ might beg for his body to be dragged from the water, but his heart is still beating. Busy Guy is a record that dips into darkness but ultimately shines in its own light. A record that symbolises a waking up. A fresh start. A newness that bears the weight of the past but uses it to great effect.

            TRACK LISTING

            1. The Goshawk And The Gull
            2. Remember
            3. Embankment
            4. Oval
            5. The Long Water
            6. Orange
            7. Pink
            8. Copper
            9. Almond
            10. Green

            The Lounge Society

            Silk For The Starving EP

              Pre-order this EP to be in with a chance of winning an exclusive signed test-pressing.

              With their first two singles under their belts – "Generation Game", the fastest selling 7" for the award-winning label, and "Burn The Heather" – plus a raft of Ones To Watch accolades for 2021, there is much anticipation for what lies next for the band.

              In early 2020, "Generation Game" announced the band as artists shaping powerful narratives around a fast-fragmenting society. With the lyric “what will the US do?” they served up a painfully prescient prediction of American unrest.

              Follow-up single "Burn The Heather" made a left-hand turn for the more punk-funk, sneering at culture wars and the damaging impact of a class divide.

              New single "Cain’s Heresy" shakes with the propulsion of a nimble rhythm section, full of bite and scorn, simultaneously swinging angrily at a negligent political class ("The death of four souls is less than a kick in the teeth, for them"), the threat of misinformation ("Poisonous ideals on the screen breed a vicious way of thinking, off the screen") and the noxious follow-the-leader march of celebrity culture ("They’re servants to fame"). The EP title “Silk For The Starving” in itself probes at a society that routinely neglects the needs of the have-nots.

              The Lounge Society sing about what they know then. Make no mistake, this is the sound of young England: articulate, enraged and energised. And – perhaps crucially - highly danceable too. It should give hope to anyone who has lost faith in the future, because here the future is in safe hands.



              TRACK LISTING

              Burn The Heather
              Television
              Cain’s Heresy
              Valley Bottom Fever

              Savage Gary

              Quarantine Sampler 2

              Despite current circumstances – Speedy Wunderground have had a busy year. The London-based label run by producer Dan Carey alongside Alexis Smith and Pierre Hall were recently coveted with the ‘Best Small Label’ Award by AIM (Association of Independent Music) after being nominated for the second year in a row. When COVID hit – bringing bands into the studio wasn’t an option and so the label started an ongoing project called ‘THE QUARANTINE SERIES’ in which Carey under his ‘Savage Gary’ techno/electronic alter ego collaborated with artists and friends, old and new over the internet and then uploaded them to the labels Soundcloud/socials with little or no fanfare – no PR-ing or radio pluggers, just letting them do their own thing, organically.

              First on the release is ‘Wait & See’ from rising Bajan artist RoRo. A hypnotic masterful flow which meanders seamlessly around Carey’s pulsating electronics. It’s bursting with attitude and originality. ‘I saw Dan Carey play with Kae Tempest on one of my first few times ever being out in London’ she says, ‘it was such an amazing show. I was extremely excited to then get the chance to work with him. I'd been trying to do so while in London, but it didn't quite work out that way. We did manage to make it happen remotely whilst I was back in Barbados though, and we knocked it out!’

              Second is ‘Cigarettes Pt. 2’ from the enigmatic Londoner youngblackmale AKA Rutare Savage: ‘It’s a poem, transformed into a song by the ever amazing Dan Carey. It touches (lightly) upon the topics of fear of the police, drug and alcohol abuse, family, and pulling oneself out of a nihilistic worldview driven by a newfound lust for life. This is me trying to reason with the void.’


              TRACK LISTING

              1. Savage Gary Feat. RoRo – Wait & See
              2. Savage Gary Feat. Youngblackmale – Cigarettes Pt. 2

              Tiña

              Positive Mental Health Music

                Pre-order the album to be in with a chance of winning a limited edition test pressing.

                Freud’s process of therapy was famously labelled the ‘Talking Cure’ - through the act of conversation participants received cathartic relief. Positive Mental Health Music (PMHM), the debut album from South East London band Tiña, stems from this idea. Lead singer/songwriter Josh Loftin explains that he used the songs to “work through a mental breakdown”, and that for him “writing is like solving a mystery”.

                The 11 track LP provides an honest and intimate portrait into this process of self-examination, covering themes of anxiety, depression, love, sex, isolation, fear and failure. Yet, PMHM is anything but a difficult listen: the tracks are catchy, lively - even danceable at times. Loftin’s cooing vocals, his lyrics poetic yet slightly self-mocking, sit atop a blend of psych-pop keys, drums and guitars, all guided by the shepherding hand of producer Dan Carey.

                After singles ‘I Feel Fine’ and ‘Dip’, Positive Mental Health Music is the first ever LP to be released on Carey’s Speedy Wunderground label.

                STAFF COMMENTS

                Barry says: Tiña perfectly stands between solemn bedroom rock and intricate art-pop, at once beautiful and effecting but without ever being a struggle to listen to. Personal, frank but beautiful and wonderfully done.

                TRACK LISTING

                1Buddha
                2 Rosalina
                3 I Feel Fine
                4 Rooster
                5 Closest Shave
                6 Growing In Age
                7 New Boi
                8 Golden Rope
                9 It's No Use
                10 Dip
                11 People

                Savage Gary

                Quarantine Sampler (Love Record Stores Edition)

                  Love Record Stores Edition available from 9am on Saturday June 20th.
                  Limited to one per person.



                  Boss

                  I'm Down With That

                    BOSS are Guro Gikling of All We Are, Theresa Wayman of Warpaint, Sarah Jones, who has previously drummed for Hot Chip and Yeasayer, and Speedy Wunderground head-honcho Dan Carey, who has recently been involved in the Sexwitch project with Natasha Khan and TOY.

                    In the time honoured spirit of the label, the single was produced in a day at Dan’s south London studio and is their first release, yet the inception of the band goes back to 2012 when Dan met Theresa at a festival in Slovakia (he would also later produce All We Are’s debut album).

                    “Being a Warpaint fan I found her backstage and told her I was the best psychedelic rock producer in the world,” remembers Dan.

                    “The exact words of her response were ’that’s the last fucking thing we need. See you later.’ “

                    Despite the inauspicious meeting, Dan would later be recruited to work on Theresa’s forthcoming solo album and having met Guro on tour, Theresa invited her to also work on the long-player.

                    Born out of these album sessions, the BOSS track came out of post recording jams and after recruiting drummer Sarah Jones, a 20 second snatch of an almost 15 hour jam was eventually worked into ‘I’m Down With That’.



                    TRACK LISTING

                    BOSS - I'm Down With That
                    BOSS - 'Mr Dan’s I’m Dub With That' Version

                    Various Artists

                    Speedy Wunderground: Year 1

                      The record label Speedy Wunderground is the idea of producer Dan Carey, who has previously produced records for Franz Ferdinand, Bat For Lashes, The Kills, Steve Mason, Willy Mason, Django Django and TOY, to name a few.

                      The idea of Speedy Wunderground was to create something immediate, harking back to the golden age of rock and roll - where records were written, recorded and put out in a short space of time. All Speedy records are recorded and produced by Dan in one day, followed by mixing for one day, released on 7” single in limited runs of 250 as soon as is humanly possible.

                      Each record is recorded in Dan’s south London studio - the core of each song is a live take recorded in the dark with smoke and lasers.

                      ‘Speedy Wunderground: Year 1’ is a collection of the first year’s singles along with the B-sides.


                      💫 Happy New Music Friday 💫 So much great music out today and we’ve got brand new banners up from @BurialUKhttps://t.co/TaMZ4deb8D
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                      Thu 27th - 6:00
                      12 years since the Blake's debut on R&S and we have limited, splattered vinyl editions dropping next week! James B… https://t.co/gedHUK2HXn
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                      PRESALE: @dinkededition 174 @tessnormaparks 'And Those Who Were Seen Dancing' • 180g ultra-clear with red, blue &… https://t.co/DQydNBPTy3
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                      The third and final @dinkededition announcement this week incoming today at 3PM. Don’t sleep on this one! ⏰… https://t.co/POd7JL87LO
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