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CAR-84 – V/A: Dancing After 1AM

Dancing After 1AM

CD, Call And Response, 2012

This is part of a series of posts talking about music I’ve released through my own Call And Response label. I explain in a bit more detail here.

As 2012 rolled around, I started thinking it was time to do a new compilation. It had been four years since my last one, the Post Flag Wire covers album, and obviously I’d discovered a load more bands since then and picked up new audiences along with them, so it was time to lay down another marker about where Call And Response was. I settled on the title Dancing After 1AM in response to Japan’s absurd anti-dancing laws that saw a bunch of club owners arrested in 2011 and 2012, and completely devastated the club scene in Osaka. In Tokyo we weren’t affected, but on tour in Kyushu you could see the poisonous effect it had had on the club scene there. I added the subtitle “Japanese electric music in the year 2012” as a way of instantly dating it, and then wrote some text in Japanese for the sidecap/obi strip reading “Compilation albums are a waste of time because they’re already out of date as soon as they’re released”. I did a little illustration of a dancing policewoman with a hippy flower in her hair and N’toko contributed by designing the sleeve around my drawing. I kept it to Japanese bands, which meant the design was his only contribution, but I tried to get all the other bands from the label involved. Praha Depart were very much doing their own thing by this point though, and when I mentioned it to them, they gave the impression that it would be difficult to get any new recordings done. Zibanchinka agreed to do something and then promptly imploded, but vocalist Iguz was keen to keep things moving with her new band Futtachi, who contributed a thundering psychedelic monster of a track in Kaiko no Oto. (One other band I really wanted to get on the album was the brilliant blues/Krautrock band Buddy Girl and Mechanic, but they were absorbed in the recording of their own album, which they released finally in early 2013 and was one of the best albums of the year, so they obviously used the time well.) Neither Mir nor Hyacca had released anything for a long time, so getting them involved was essential for more than just their role as the heart and soul of the label. They both needed a kick up the arse to get on and do something. Mir had lost their drummer somewhere between their recording of Wire’s Mannequin for 2008’s Post Flag and 2010 when some electronic recordings they’d done as a duo emerged. It was from these sessions that the version of their perennial closing number Dance (which naturally closed out the album too) came from. I chose that over their excellent 2010 version of the song TV partly because of its appropriateness to the compilation’s title, and partly because Mir’s TV is a song I’ve over the years become very superstitious about. it’s a beautiful song and the 2010 version of it is brilliant, but there’s a sadness at its heart that starts sucking you into itself the more you think about it, and the closing refrain of “Sayonara, sayonara” feels way too much like tempting fate. In Hyacca’s case, the bassist, Seiji Harajiri, was by this time managing the coolest and best venue in Fukuoka, Yakuin Utero, and so he and his band used Utero and its PA engineer to record a new song, Uneko. Uneko was exactly the kind of thing I was looking for from them, both catchy and musically intelligent — the exact right balance of smart and dumb that only they can really pull off in this particular way. The video we later made for it where I filmed them with a cheap pocket camera just goofing around and getting drunk in a karaoke box was actually one of the spare ideas for Zibanchinka that their indefinite hiatus had left us with, and Hyacca attacked it with gusto. Looking to the label’s future, Hysteric Picnic went on to record an EP/mini album for Call And Response, while hopefully Jebiotto and Slow-Marico will follow in one form or another.Hyacca: Uneko There were a lot of other bands on DA1AM who were in similar positions, having been out of the recording game for a while and happy for the opportunity (and the deadline) that the compilation gave them. Extruders had just recorded a wonderful live album at a Buddhist temple, and were looking to go into the studio to record an album proper soon (the result, Colors, was another of 2013’s best) and so they came up with Collapsing New Buildings (translate it into German and see what you get) with its constant electric buzz running through the whole song in the background, causing me and the friend who was helping make the master copy to spend a while debating whether it was intentional or not (it was). The Mornings’ debut had been my album of the year back in 2011, and they were just starting to put together material for the follow-up (Christ alone knows what’s going on with that — I heard a full album’s worth of rough mixes last summer but no final version has yet emerged) so Fu-ji was what got them back into gear. Puffyshoes contributed the short and sweet girl-group garage rocket Oh My God, went on to have a busy 2013 and released a great cassette album before exploding in a shower of unfulfilled potential, while Otori recorded the brilliant Hanten (which is their best song and I’m incredibly smug that I got it), Anisakis did the XTC-esque Popcorn Bata ni Kuroi Kage, She Talks Silence gave the album the eerie Long Ways, and New House did the sampledelic Natural Blessings (the last song to arrive, just a couple of days before the album went off to press, and which much to my shame I misprinted as “Nature Blessings” on the jacket — and which also ensured I’d be an insufferable grammar nazi come time to print the Hysteric Picnic CD jacket the following year).She Talks Silence: Long Ways The main problem was in knowing exactly what was going to be on the album, and as with the New House track, right up until the final day or so it wasn’t completely fixed. It wasn’t just a problem for printing the track listing, but also for the CD itself. Bands like Futtachi and macmanaman delivered songs that ran to over seven minutes, and at one point there was real danger of it becoming a double album (I went as far as making an alternative track list where I worked out how the tracks would divide over two discs just in case). There were also moments where tensions ran a bit high. New House didn’t make a fuss over the mistake on the jacket, but one of the other bands (no, I’m not naming names: they did a very good song and it didn’t turn into any kind of feud) was very particular about every aspect of how they wished to be presented with tempers flaring on both sides. The problem of projects like this where everyone (myself included) is working pro bono is that you never have the cushion of money to fall back on, so everything comes down to self satisfaction, and often in a related sense to pride. In a small society like the indie/underground scene, however, the axiom of “don’t piss people off” is a solid general rule. It’s a contradiction of rock’n’roll and punk: both bands and labels are in it in the first place because they’re in some way dissatisfied or disaffected, but within the circle you find yourself, you often have to keep under control the same impulses that led you there in the first place. In addition to Hyacca, fellow Fukuoka crazies macmanaman (the best band named after a twinkle-toed former Liverpool winger in the whole world) recorded a live version of their song Michael, which I retitled Michael in Utero partly because it was recorded at a venue called Utero and partly because the combination of a Michael Jackson reference and a Nirvana reference amused me. Along with Tokyo postpunk trio Tacobonds’ superb Ane with its deft boy-girl vocal call and response (by now you must know how I dig that sort of thing) and slowly building dynamic tension, that made three superb recordings at Utero by the same engineer. You want to do good recordings cheap? Get yourself your own live venue and get the staff to do it.Tacobonds: Ane Still in Kyushu, Kobayashi Dorori and cynicalsmileisyourfavorite from Kumamoto are also on there. The former contributed an oddball nursery rhyme about whales called Shepherd, while the latter contributed the baffling Carnival. I’m still not sure what I think of Carnival now. It has so much going on, with the insistent dance beat, the post-hardcore shrieking, and you’ve got to admire the balls of the way the one guy just throws everything he’s got into his bit of the vocal melody with zero regard for whether he even gets close to the right notes. But at the same time, cynicalsmileisyourfavorite are one of those bands that are all about what happens in the moment. Carnival is usually a chaotic babble of freshly improvised nonsense, but for the recording they tried to work something out and make a proper song of it, and so while the results are, well, they’re something, they’ don’t quite sound like the band when they’re just left to be themselves. Jebiotto are a very similar kind of band in that regard, but their track, Deacon Punk, with its mad cat meows, dirty synths and semi-inebriated sounding vocals, treads that path more assuredly. But like I said, with cynicalsmile you can’t not admire the sheer weight of passion they hurl at it and for some reason I always come out of hearing Carnival with a smile on my face. I’m just not sure why.The Mornings: Fu-ji One of the biggest motivating factors for me while putting DA1AM together was the existence of Nagoya label Knew Noise’s wonderful Ripple compilation of local Nagoya bands. Throughout the production process I was listening to Ripple and my gradually forming compilation and comparing them. I would just not be beaten by this collection from one mere city (and not even Tokyo!) Pop-Office contributed to both Ripple and DA1AM, and it’s interesting that both they and Extruders off this CD went on to make albums for Knew Noise. In any case, both albums to me seem to come from a similar kind of taste, and I’ve been keen to make more connections in Nagoya ever since. On the current rate, Call And Response’s next proper compilation is due towards the end of 2015, which will be just in time for the label’s ten year anniversary. In the meantime, there were new Mir and Hysteric Picnic releases to think of.

Dancing After 1AM is available now from Call And Response’s online shop.

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A Valentine’s gift from Call And Response Records

Every couple of years or so, my label Call And Response Records likes to put together a compilation project for Valentine’s Day, usually themed around cover versions of one band or another. The idea is always to do something lo-fi and throw together all sorts of things, regardless of genre or recording quality and to release it only in a limited fashion, either as a CD/R or download. Bands are encouraged to spend as little time on it as possible and just to mess around and have fun, although this is usually a pretty futile thing to ask given the neurotic perfectionism of most musicians we know. In any case, the result is always going to be more or less lo-fi.

I’m not sure where the idea of asking every band to cover Black Sabbath’s Paranoid came from, but I’m pretty sure it was partly inspired by the compilation A Houseguest’s Wish, in which 19 bands took turns covering Wire’s Outdoor Miner (and indeed Wire’s own album The Drill, where the band did numerous covers of their own song). The decision to pick Paranoid as a song came out of an ongoing obsession with Black Sabbath that the Quit Your Band! zine’s editorial team developed (and which culminated in our decision to rate albums using a system called the “Sabbath Scale”). It’s a good choice of song I think because it’s so utterly, utterly stupid and simple that it leaves huge amounts of room for interpretation by expanding, elaborating, or honing it in various ways. A similarly well known song like War Pigs or Iron Man would have imposed itself a bit too much on the artist and been less flexible in its scope for interpretation.

I also think the idea of a whole load of different bands covering the same song is artistically incredibly interesting in its own right, with the similarity of the underlying song forcing you to be conscious of what the musicians are doing to it in terms of structure, arrangement and performance. Over the course of an album, the repetitiveness of the same theme, each time in a different iteration, has a curiously trancelike quality to it as well. Rather like the documentary film The Aristocrats (also perhaps an influence), where dozens of comedians tell the same filthy joke in all manner of different ways, each adding their own twist on the familiar theme, I think seeing the same song played by a lot of bands gives an interesting insight into the creative process.

In any case, the response to this project overwhelmed me. I recruited bands pretty indiscriminately over a period of several months, assuming that for such a low-key project, it wouldn’t be particularly high priority for most of them. As time went by, I realised that interest in the project was way greater than I’d anticipated, and I started happily telling people that there could be as many as 15 different artists taking part. The 21st track arrived in my inbox at 8:30 this morning and the finished album runs to almost one and a half hours.

The tracks cover as wide a range of genres as my taste allows. It features mostly Japanese or Japan-based artists, although a couple of tracks hail from overseas. The core of the album was recruited from among the underground music oddballs who hang out at Call And Response’s monthly Fashion Crisis event at Koenji One, and it’s the inclusive, eclectic, but passionately knowledgeable atmosphere of Fashion Crisis that I think defines the overall feeling of the album. Some bands took their tracks very seriously, and the album contains moments of quite staggering beauty, while others followed my initial advice and took it as an opportunity to have fun, creating some moments of laugh-out-loud silliness in the process. Every track approaches the song in an interesting way, and there’s also I think a joyousness that runs though it that’s partly from the inherent qualities of Sabbath’s original song and partly from the sheer scale and expression of human creativity that’s on display.「チョコくれるのはいいが・・・、何を企んでるんだぁぁ!?!?」

DOWNLOAD 「チョコくれるのはいいが・・・、何を企んでるんだぁぁ!?!?」 FREE HERE (114mb so might take a long time — sorry!)

(Alternate link here)

The album title is 「チョコくれるのはいいが・・・、何を企んでるんだぁぁ!?!?」which basically means, “Thanks for the chocolate… What’s your agenda!?!?” (I’m just going to refer to it as “Choco Kureru…” from now on) and here’s a rundown of the track list:

1. Fidel Villeneuve
Originally from Wolverhampton, Fidel is near enough a hometown brother of Sabbath themselves, although with a rather different musical background on Atari Teenage Riot’s Digital Hardcore label and in London powerpop band Applicants. Nonetheless, the same hot Bovril runs through both Fidel and Ozzy’s veins, and his sample-based approach gives early warning of the excesses to come.

2. ロア/Loa
I had to get these guys on the album. There’s so much Sabbath in what they do anyway that it would have been criminal not to have them involved, and their high-octane approach to the track plays it more or less straight, but with the emphasis on speed and shot through with a prog rocky virtuosity.

3. 経立/Futtachi
This psychedelic band from Kagoshima on the southern island of Kyushu are the latest band from Iguz Soseki of post-hardcore garage-punk band Zibanchinka and their approach sounds like early Captain Beefheart, or maybe Faust covering I Want Candy. Apparently their aim was to do “Sabbath in the jungle”.

4. Human Wife
Usually feedback-heavy riff merchants, Human Wife’s take on the track slows it down and draws out the emotional core of the song, turning it into this really quite affecting junkie’s confessional.

5. Client/Server:Q
With music where drone and sonic texture are more important than melody and songcraft, the cover naturally takes on a more abstract flavour. you see this a few times on Choco Kureru…, but this is the first, building up a wall of noise and feedback that ebbs and flows throughout the track.

6. Abikyokan
Abikyokan are a genre unto themselves, although “avant-pop” serves them well enough most of the time. Here, Paranoid acts as a distraction to them from their current obsession with the influence of early Christianity on the Roman Empire, and they swing at it with all their synthpop electro-funk bats at once. They’re also one of a few bands on here to break down the original song’s structure and reconstruct it around just the bits that they like.

7. うるせぇよ/Uruseeyo
This Tokyo post-punk band exemplify something that’s actually true of a lot of the bands on Choco Kureru… in that they’re a band who usually play in a genre of which guitar solos aren’t really an integral part, but at the same time, the solo in Paranoid plays such an integral role in the minimal structure of the song, that something has to go there. They dive eagerly into the challenge and pull off a spiky, dance-punk solo with aplomb.

8. Han Han Art, featuring Fukusuke (Owarythm/Nature Danger Gang)
Former Mornings bassist Shingo “Rally” Nakagawa has been on a Z Records tip for a long time now and with his new band Han Han Art brings his love of no wave/disco in spades. The decision to recruit guest sax player Fukusuke came from listening to too much Pigbag, and this was probably unintentional, but I keep hearing the intro to Duran Duran’s Girls on Film in the guitar intro. Also on guitar, this track has another excellent example of a postpunk solo.

9. Under
This mysterious artist does another abstract, instrumental, drone-based take on the song, but uses more ambient tones rather than noise. A good example of the extent to which sonic texture alone can influence the mood of a track, and the result is beautiful.

10. Artless Note
Clearly recorded on an MP3 recorder or something while messing around in the studio, this track sounds like it’s an edit culled from a much longer improvisation session with the band playing around with a couple of key themes from the song. There are moments where it sounds impossibly messy, and then they do something suddenly out of thin air that reminds you that this is a talented, musically intelligent band. This is actually one of the most interesting tracks on the album, because the studio improvisation setting has seen them jettison the entire structure of the song, all the lyrics, and just focus on the famous, catchy elements, which they return to every time the intervening bits of musical deconstruction seem to lose their way. In that way, it’s similar to The Muppets’ famous rendition of Mahna Mahna and really quite funny in a music nerdy kind of way.

11. Umez
When this arrived in my inbox the night before the album was supposed to be released, I was busy working on sequencing the track list and working out how to balance all the different genres and styles, working out what gaps there were that needed to be filled. When I listened to it, a bell rang in my head and I thought, “Drum’n’bass! That’s what I was missing!” So thanks, Umez.

12. スロウマリコ/Slow-Marico
Lo-fi indie duo Slow-Marico are heavily influenced by The Jesus & Mary Chain and that shows through in this rough-edged and noisy cover, although the way they play it over a cheap drum machine gives it something of The Vaselines’ indie charm rather than the rock swagger of the JAMC.

13. Trinitron (featuring Gloomy and Ryotaro Aoki)
This is one of the ones I worked on, so fair warning about that. I have this idea that as music is more and more easily globally accessible, it also emphasises our mutual incomprehensibility, and Trinitron sometimes play games with this. Trinitron’s members are a mix of British, Japanese and Slovenians, and we speak at least four languages between us, often switching between them mid-song or overdubbing them so as to bury the meaning. In this case we decided to do the whole song in a language that none of us understand either, so we had a friend translate the lyrics into Italian and had the girls read them out without preparation, just as they imagined they might be pronounced. So apologies to any Italian readers (which basically means Mark and Zio as far as I know) but it’s not a calculated insult to your language: it’s art! With the music, we were aiming for a sort of Flying Saucer Attack-style Kraut/shoegaze vibe, with Tokyo synthpop chanteuse Gloomy providing the cute “ba-ba-ba”s in tribute to Stereolab and Ryotaro Aoki on cataclysmic thunderstorm guitars in tribute to the gods of Valhalla.

14. Carl Freire
Carl’s background is in the 80s and 90s US alternative and punk scene, and his downbeat, minimal cover has echoes of that, particularly in the Velvetsy repetition and combination of punk and psychedelic elements.

15. Kaki
Kaki is the alter ego of Zana from Trinitron, so this downtempo electronic track is her second track on Choco Kureru…, providing a more sophisticated and musically and conceptually pure take on the original than the mishmash of approaches that Trinitron usually ends up being.

16. Loser & Ribbons
Indiepop/new wave duo Loser & Ribbons’ track has echoes of Shibuya-kei, particularly early Capsule, in its arrangement, with the introductory synth pattern reminding me of the music that plays when you get the invincibility star in Mario and giving it a technopop, video game music vibe. One of the interesting things about their approach is that they place much more emphasis on the “Can you help me / Occupy my brain?” line that only appears once in the original, rewriting the melody slightly and repeating it over and over until it becomes a proper chorus rather than the interlude it is in Sabbath’s version.

17. Oa (featuring Hatsune Miku)
Ryotaro Aoki makes his second appearance on the album with this piece of bubblegum hardcore, clearly influenced a lot by Melt Banana and featuring the vocals of Vocaloid voice synthesiser character Hatsune Miku. As with the Trinitron track, this one plays games with language. The latest version of Hatsune Miku, which this is, can sing in English, but this track uses the Japanese version anyway, phonetically approximating the sounds of the English words, but unable to do so completely because of the different, stricter rhythm of Japanese, meaning that some parts of the song descend into incomprehensible babble.

18. Jahiliyyah
The longest track by far on Choco Kureru…, and one of the most brutal and hard-hitting. Jahiliyyah are basically a noise group, but the drum machine and synth pulse that they incorporate into this track give it a lot of industrial and EBM too, taking a page right out of the Throbbing Gristle playbook. The results are fearsome and brilliant.

19. 人魂/Hitodama
Dave from Jahiliyyah making his second appearance with another noise track, although where Jahiliyyah are more about melding numerous layers into a single, rich wall of sound, Hitodama allows the layers to breathe, to exist as discrete elements in a salad bowl of sound, dropping in and out as necessary and leading to a track that is more ambient overall.

20. Voided By Geysers
Confession: this is another of my bands. VBG are a tribute band to US lo-fi rockers Guided By Voices (hence the name) and it amused us that our only recorded output would be a cover of a different band entirely. The take included here was the second time we’d ever played the song and so there are a lot of rough edges to the performance, but we felt it was the take that had the most heart. The idea here was to have just one straight garage rock take on Paranoid right near the end of the album as a reminder of the original after the excesses that have gone before, although when the Loa track came in doing a similar thing with greater technical virtuosity, that complicated the plan. I’m still proud of this track and it gets across something simple and stupid in the original in a way other tracks on this album don’t, but if I was making this as an album for professional release, I’d have used the Loa track here instead of VBG. However, I was working on a strict principle of “include everything that’s in my inbox come the morning of the 14th”, so Loa and VBG act as kinda-sorta bookends to the album instead. Ryotaro Aoki appears yet again on this track as the bassist, while Carl Freire makes his second appearance, on guitar. Tokyo indie bandspotters might be interested to know that drums are by Sean from Henrytennis.

21. Tiny Tide
Basically the solo project of prolific Italian indiepop singer-songwriter Mark Zonda, Tiny Tide’s simple, slowed down version of the song is classy where most tracks on Choco Kureru… fought for the extremes, as well as genuinely touching and quite beautiful. It was the first track I received in Autumn 2013, just after I’d first conceived of the idea, and even before I knew what else was going to be included it was always going to be the closing track. Mark also wrote the Italian lyrics that Trinitron so wilfully butchered earlier, so sorry to him for that.

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Strange Boutique (February 2013)

My latest column is up on The Japan Times’ web site now. It deals with the influence of shoegaze in general, and My Bloody Valentine in particular, on the Japanese indie music scene. Given that MBV have their first new album out in forever and have recently been on tour here, it’s perhaps understandable that people have been going mental for them lately. My Facebook feed for a week was full almost entirely of different photos of the same “Tonite: My Bloody Valentine” display board outside Studio Coast that all my friends were posting with tedious regularity, and there were several club events, a shoegaze festival and a tribute album all out at the same time.Supercar: Karma

There were a few little remarks I dropped in there knowing that people would get annoyed by them. It’s my little gift to idol fans that after aggravating them so much the other week, I thought I’d do the same to indie fans. Some people have already told me off for calling Chapterhouse, Ride, Lush and Slowdive “copycats”, but I hope most people will accept that as legitimate editorial hyperbole (I’m a huge fan of Lush and I’m sure Chapterhouse will one day merit an article all of their own where someone can do them proper justice, but that article isn’t this one and that writer won’t be me). I wondered if anyone would upbraid me for mentioning Stereolab and Flying Saucer Attack as well, since they’re not strictly shoegaze (if you cleave to a definition of shoegaze that means basically “exactly copying MBV”). Stereolab were definitely part of The Scene That Celebrates Itself though, and the guitar on the 18-minute album version of Jenny Ondioline is as shoegaze as anything ever made, while FSA’s whole first album is non-more-shoegaze. But yes, I stand by my assertion that FSA were better than MBV. If you disagree with me, your ears are wrong.

I mentioned Narasaki’s work with Momoiro Clover Z too, and to be honest there’s nothing really shoegaze about any of that. All it really means is that he’s a guy with a shoegaze background working with idols. In Lost Child, he uses synths and vocals in a vaguely shoegazing way, but where he employs guitars, it’s always metal. You need to listen to Coaltar of the Deepers to see where the two cross over really.

Shoegaze in Japan is interesting though. In the indie scene, it tends to be more of the lo-fi, 80s proto-shoegaze variety, and I think The Jesus and Mary Chain and well as MBV’s early, jangly stuff are probably bigger influences. You can hear that really strongly in stuff like Slow-Marico and Teen RunningsThere are also bands who probably take their influence more from the more vaguely defined neo-shoegaze coming out of the USA and to a lesser extent the UK in the past few years, which I feel is more where Jesse Ruins are.

In the alt-rock scene, which is where the really hardcore effects pedal geeks reside, the likes of Dinosaur Jr. are probably just as influential, and then there’s also the secondary influence of all the Japanese bands around the late 90s/early 2000s who were the first to really articulate the influence of shoegaze in the first place. Supercar were by far the most significant. Nagoya’s Pop-Office acknowledge the influence of Supercar as an important one for them. When I was in Fukuoka at the end of January, my boys Hyacca covered the track Lucky off the album Three Out Change and everyone over the age of thirty went mental. Hyacca themselves have some pretty heavily shoegazey tracks (guitarist Goshima is largely responsible) like Olympic, Skyline, Angel Fish, and Sashitai, although usually mixed in with something else, and that tends to be the way with most alternative bands. They love MBV pretty much uniformly, but few of them seem that tied down or restricted by the influence.Hyacca: Sashitai

The other thing that they tend not to have so much of is the sheer noise. Noise music in Japan tends to come from electronic, no wave or psychedelic traditions. The idea of an indie noise band is pretty unique here, so any band with MBV’s tunes would probably not really bring the noise, and any band with the noise would probably be a bit more prog rock and soundscapey with the songs. Cruyff in the Bedroom, the guitarist of whom I spoke to briefly for the article, are one of the best (that I’ve heard, at least) of the current crop of bands who can legitimately be called full-on shoegaze, although there are a lot of pretty good ones. My favourite are probably the Stereolab-esque, synth-laden Hour Musik, but some other key names are Lemon’s Chair, who organised the Yellow Loveless tribute album, Luminous Orange, who were perhaps the first Japanese shoegazers back in the 90s, Plastic Girl in Closet are another important one, and the list goes on.

 

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