THE PARASITES OF THE WESTERN WORLD
Politico B/W Zytol Automation

IND 095 7"

De Stijl's excavation of The Parasites Of The Western World turns up the lead single for their second album in the form of an exact reissue. Originally released circa 1980-81, 'Politico' opened the B-side to Substrata with a rippin' New Wave roller full of glam stomp, proggy arrangement and punky attitude. The synth-fuelled instrumental B-side was exclusive to the single, and as tradition dictates, far more interesting, featuring Terry Censky and Patrick Burke in an ebullient symphony of synths, drums and guitar.

Boomkat

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STARE CASE
Lose Today

IND 096 LP

Lose Today wields the ethereal meditative power leftover from The Velvet Underground’s Sweet Sister Ray epic bootleg. The result: a melodious somnolent grievance that leaves the listener to feast on a curiously endless and internal banquet. Young snarls and writhes in irritated spiraling pronouncements that trail off in regretful, pained fashion, producing the same eventual something-isn’t-right that The Velvet Underground secured, but set aside to allow the Michigan basement bluesmen to borrow. Also, here is Young’s virgin performance on bass, a venture that proves suiting as his sparse yet stable meanderings are the backbone to a jam lost in the arcane. At times the bass lines seem to be counting off the seconds until an eventual meltdown. Meanwhile, Olson wanders off on woodwinds, seemingly tangled in wavelengths, letting his own sounds guide him through a brassy chilling darkness. He follows scales—Indian scales, blues scales—though the subtlety of Olson’s discipline fosters to an expansive intimacy, a nuance so massive his quips on flute and saxophone are the secret architects of Lose Today’s meditation. Olson takes the spiraling mania inspired by the likes of The VU’s Sweet Sister Ray lose-all jam and lets it blossom into a soundtrack for a secret think tank whose sole purpose is to maintain a shadowed fire.

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C S YEH
SONGS 2002
IND 094 CASSETTE

Double A sided cassette reissue of a severely limited one-sided LP, and what might be C Spencer Yeh's most trying, challenging and rewarding foray into a world previously unknown to him, and us : his world of song. Songs 2002 contain what are perhaps subtle homages to early Eno and primo era Bowie vis a vis the studio treatments of the raw sounds with which we're more familiar in his previous work. Yeh's songs work within two generalized veins : ala Eno's early attempts to communicate liquidly within a 'rigid' language and structure as pop / rock, and ala Keiji Haino's sense of mythos and personal pulse. Recorded over 10 yrs ago, ultimately, these songs can stand aside the most difficult of outsider aesthetics. There is nothing really new here, aside from what is essentially editing and narration. Might just be me, but i think he's found Love, both in what inspires him, and a new found expression.

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PATRICK BURKE
A Black Balloon
PATR 9455 LP

This is the last batch of the final installment in the vinyl era of the Parasites of the Western World. Sealed copies of the original pressing of Patrick Burke's second solo outing and tho this distances itself from the rockist Parasites moves and continues on a arc that Silence and Timing might indicate, this is very much worth yr grip. Rare in any realm, and not many to go around. Last Chance !

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PATRICK BURKE
Silence and Timing
PATR 555 LP

Sealed copies of the original pressing of this fantastic and very obscure private press oddity is a solo outing from a member of the cult post punk unit Parasites Of The Western World. Silence And Timing may refrain from some of the balls out avant rock maneuvers heard on Parasites of the Western World's recently reissued album on De Stijl, but it's a knockout in its own less overt way; Burke's idiomatic boundary blur in this instance being between dreamy psych and melancholic post punk, with passing overtones of both Brian Sands and Gignoux's The Broadway Boys, though this has got a darker overall cast than either of those.

~ Mutant Sounds

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CIRCUIT DES YEUX
Portrait

IND 093 LP

Portrait is Haley Fohr’s third LP and a massive step in her growth as a musician and artist. While pursuing a degree in recording and ethnomusicology she has become proficient in the studio. The result—radically unexpected qualities of cohesion and hi fidelity posit Portrait’s narratives in a space that we’ve yet to experience. This sort of playing the game in the way that the game is usually played, I think is usually called a sell-out. And had her intent faltered to the slightest degree that conclusion might be apropos. But it’s merely an effort to strip the canvas bare and get face to face with things. And it’s Haley’s intent that continues to be championed, as it has endured the acts of recording and performing and yet still stands strong and pristine. the rare qualities of strength and character can only be attributed to a rare artist. The modest, clarion sparkle of Portrait would not have been expected, or even achievable, considering the arc of Symphone and Sirenum, and it stands as a cornerstone and a monument, a testament to the daily practice of channeling her 21 yr old, roiling emotions into sound recordings.

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HERTTA LUSSU ÄSSÄ
S/T

IND 089 LP

Gnomic no-fi plunk, wheeze, rattle and moan courtesy of an unfortunately monikered (well...at least to English language readers anyway...it probably means something just lovely in Finnish...) supergroup comprised of Jonna Karanka aka Kuupuu, Laura Naukkarinen aka Lau Nau and Merja Kokkonen aka Islaja that draws from the seemingly eternal well of stoned detuned mischief that feeds the viaducts of the Finnish underground. The sheer density of acts positing variants on this same post-Amon Duul/Siloah-like freakout stylee there gives rise to questions of bandwagon hopping, but that’s a discussion for another time. For the here and now, this first release of theirs is a choice manifestation of heavy-lidded third-mind acoustic weirdity that’s as ungainly as it is mystically/chemically blasted.

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WET HAIR
In Vogue Spirit

IND 090 LP

With their recent split with Naked on the Vague acting as a dip into pop's waters; Wet Hair's follow up, In Vogue Spirit is practically a jump into the pool. The band's most accessible batch of tunes to date boil with Krautrock rhythms, buzzing synths, and a new focus on vocals that has previously been mostly absent in the band's back catalog. It's not all motion and melody here though, the band still retains their experimental spirit, giving the record plenty of teeth to sink into any of those rising hooks. Along with contemporaries Lumerians and Moon Duo; In Vogue Spirit stands to gain a pretty solid footing in 2011's nod to the German progressive underground. The video for "Echo Lady" conveys the band's psychedelic aesthetic with shifting shots of glare and kaleidoscopic nature walks.

~Andy French
Raven Sings The Blues

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JERUSALEM AND THE STARBASKETS
DOST
IND 091 LP

Jeremy Freeze is a Memphis born songwriter who has spent the last few years in Columbia, Missouri playing and recording with Kim Sherman as Jerusalem and the Starbaskets. Before yr preconceived notions of Missouri make things cloudy, consider the Black Artist Group, Screamin' Mee Mees, Drunks with Guns, Gene Clark and a whole lot of other shit that you don't know about get in the way. Lest there be other confusion, my friend Oliver, this 65 year old dude from Kashmir, told me DOST means "brother man". So basically, DOST is "friend" but a more familiar way of the word. Just so happens that it's the phonetic same as "dosed". One crystalline thing herein is the Jams. Freeze has reached that point where he's saying more by saying less and that's a level that many songwriters never reach. After a few yrs of playing gigs with Times New Viking, Wooden Wand and a short list of more or less limited releases, DOST is the bands first readily available release and we're going to do our best to get it everywhere.

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C S YEH
In the Blink of an Eye B/W Condo Stress

IND 087 7"

C S Yeh was born in Taipei, Taiwan, repped Cincinnati for many many years and is now based in Brooklyn, New York. Musically, Yeh is monolithically active both as a solo artist and improviser as well as with Burning Star Core. He has made seemingly hundreds of recordings, and we've yet to find one rotten egg in the basket. Yeh has collaborated with an insanely varied list of people. If we were to actually drop these names, you'd be impressed / confused. But you have NOT heard the result of him writing songs, and for whatever reason the realization that he can do it and do it well is a shocker. So, aside from a 2002 EP documented by WHAT THE ...?, this is yr first glimpse into the brightness of this aspect of his ever evolving talents.

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HYPE WILLIAMS
Find Out What Happens When People Stop Being Polite, And Start Gettin Reel

IND 088 LP

Anyway, the reason I’m called Hype Williams–aside from the fact it makes everyone actually pay attention to my emails for the first time in my life–is that I’m big into taking commercial hip-hop from the 90s and deconstructing it by feeding it through some default Fruity Loops patches. It’s a recent-past nostalgia thing? Like what Burial did with UK garage, except that silly mug spent literally hours on the stuff! Me? I do all mine on my DS while I’m waiting to sign on (the dole). Think of it as sorta like in 2007, when teenagers used to run around telling each other they “only listened to 90s R&B” for weird kudos points. Anyway, the business plan I drafted in Powerpoint posits the following: Those teenagers have grown up. They are at the early-20s anxiety pinch-point, slap-bang in the demand-saddle. They need aural comfort food, a recent past to idealize. They are, in other words, nostalgic for 2007, when they used to go around telling each other they were nostalgic for 90s R&B. Ergo, Hype Williams is their collective attempt to relive 1998 via 2007. Weird, or what? Anyway, projected net income: $4 million.

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PHANTOM PAYN DAYS
Phantom Payn Daze
IND 079 LP

While in the widely neglected 39 Clocks, he made records that never sold and played gigs that few ever saw, Juergen Gleue has arguably been the most important exponent of electrified German sound since the late 1970s. Phantom Payn Daze was made in the mid to late 90s and has never been released. It's his final LP and is overflowing with all the elements that romanticized, loner / stoner music claims, an encoded expression of highly private feelings, an ambiguous, emotional quotient, and a dark, murkily melodic vibe. It's a record that first and foremost lives and breathes with an endless stream of great songs. But perhaps it's most curious component is it's amazingly prescient sound, a precursor to so many of today's lo fi acts, all wrapped up in their San Francisco hair.

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CHARLIE NOTHING
Outside/Inside
IND 042 LP

Charlie Nothing was the fractured-psyche pseudonym of author, father, horsekeeper, organic farmer, beekeeper, philosopher and clown Charles Martin Simon, inventor of the dingulator (guitar sculptures made out of the metal from American cars). Charlie's only visible offering to the record buying public was really anything but. Due to its rarity, The Psychedelic Saxophone of Charlie Nothing, issued by Takoma Records in 1967, has been a source of consternation for in-the-know types for years. Outside/Inside, the second and only other Charlie Nothing LP, originally issued by Everitt Enterprises, thematically follows with two sidelong flute-based instrumentals. Nowhere on wax will you find a more palpable preserved air of a real-time dropout scene than with these sides of Nothing. It is a wonder that these records circulated at all outside the vacuum in which they were created. Nothingness, a California existentiality looping back on itself, preserved and disseminated as evidence. There are indeed very few records like these. Fully authorized / fully legit."

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MESSAGES
After Before
IND 076 LP

The baby believes the womb is the Universe. At birth there is a glimmer of light and a shifting of space. I was there, but now i am Here. Then there are still but 2 things : Me and the Universe. And then what happens is Other People. From a note sounded in 1960 and held for a long time, a continuum of Sound has been sluiced along a diagonal of personal ecstasy, and some have come to call it a Drone. Surrounding the Drone is a genre, and within, wheat and chaff often comingle all too comfortably. But with tones as thick and texturally luxuriant with spiritual resonance as their long, glorious hair, Messages are the two worthy gurus currently contributing to the echo. Messages evoke the womb. And when the womb smiles, it whispers Messages, and then there is the first glimmer of Light ..

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THE PARASITES OF THE WESTERN WORLD
S/T
IND 072 LP

The Parasites of the Western World are a band from Portland OR who released their recorded debut in 1978. It's a fascinating spin, a galactic ramble across the otherworldly themes of alienation and paranoia, seemingly inspired by LSD and Philip Dick. Primarily the creation of Patrick Burke and Terry Censky, the Parasites were limitless with invention and completely DIY. This is a record that was recorded in an apartment, by a crew thoughtful enough to curtail it's loud excursions for the daylight hours. Its rockist moves are surprisingly informed by the typical institutions of this era : Pink Floyd, the Beatles and Hawkwind and it's many electronic flourishes are an above ground sound that would presage the likes of Vertical Slit, F/I and Vertigo. The Parasites remain to be light years ahead of a time that has yet to come. 

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SPERM
Shh !
IND 039 LP

Major public service reissue of this revered and much whispered about experimental oddity that came out of Helsinki in 1970. A major rarity - I've personally only ever seen one copy - it was released on the fascinating / obscure O Records imprint. Sperm - inevitably - appeared on the Nurse With Wound list and it's certainly one of the most perfectly distilled Euro freak/out oddities to occupy such a position. Primarily a cover for the solo experiments of Pekka Airaksinen's, the LP has a deep, lost, mind-expanding feel to it, with luxurious, eerie loops and minimal tape constructs illuminated by distant chorales of guitar feedback and the kind of huge, reverberant use of folk-tinged free saxophones that touches on John Tchicai's experiments in spatial dynamics with his Cadentia Nova Danica. It's a classic oddball side, combing avant garde rigor with a hyper-focused psychedelic minimalism and a nice hands-on atmosphere. There are aspects of Yoshi Wada, Nurse With Wound and - particularly - Joakim Skogsberg's amazing 1971 side Jola Rota. If oddball non-academic experimental obscurities from the fringes of consensus reality are your 'thing' (and I guess why else do you hang at VT?) then this one is sure to 'do' it. Highly recommended.

~ David Keenan
Volcanic Tongue 

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CIRCUIT DES YEUX
Ode to Fidelity

IND 085 7"

Ode to Fidelity is the new three-song 45 from Indiana’s Haley Fohr, a torch singer soloist who goes under the name Circuit des Yeux. She’s put out two full length LPs on De Stijl already, though this newest set of pieces strikes a chord that’s a bit more direct (less willfully experimental, perhaps), and as a result, it’s quite compelling. The A-side, “Barrel Down,” is the most fully realized cut, muffled processional strums providing a framework for a vocal impulse that moves through several iterations, from Magik Markers’ Elisa Ambrogio/Myra Lee-era Cat Power into a ghostly operatic siren song, multi-tracked and swirling into the red before being overtaken by six-string scree. The flip features a riff from the minimalist gutter, a la Thalia Zedek fronting The Static, in the opening “Self Satisfaction,” followed by the shambled instrumental trance of “March with the Rich.” These days, oddball sides either seem to slip through the cracks or get too much hype, making one yearn for the days of, quite simply, a good lo-fi single, which Ode to Fidelity certainly is.

~Clifford Allen
Ni Kantu

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CIRCUIT DES YEUX
Sirenum

IND 070 LP

Here's the second full-length from Haley Fohr, a woman in her late teens/early 20s from Lafayette, Indiana d/b/a Circuit Des Yeux. It's a stunning and utterly singular record, glued together (or thoroughly unglued) with bent electronics, delayed vocals, drifting percussion, piano, and acoustic guitar, under the guise of low fidelity but clearly working to pry the generation gap apart even further, at least to the extent of people expecting songs vs. those who don't care, so long as the emotions presented are truthful and heartfelt. It's a confusing, soul-baring stare-down against repression and isolationist activities, the proverbial knife in the hand with the following action yet to be determined. Shocking in both its presentation and delivery, hers is an otherworldly tumble through fallen-angelic vocalese, obscured beyond comprehension, across murky, decaying soundscapes in which ideas grow wild and of their own accord, and die on the vine. There seems to be no limit to her imagination, or to her abilities to convey wholly original sonic ideas that drift in and out of conventional understandings of what music is supposed to do. Comparisons could be bridged to Grouper, Inca Ore, early Magik Markers, Danielle Dax or certain Pink Reason recordings, but even those could be considered a stretch. Sirenum will dazzle some listeners and infuriate many more, but in no way is it possible to feel nothing once it crosses your ears. Most of all, it's a challenge, and that's something that very few of her contemporaries in lo-fi and underground music are able to engage. You'll remember this one long after the year has passed.

~Doug Mosurock
Other Music

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THE FUCKING FLYING A-HEADS
"Swiss Cheese Back" B/W "Watching TV"

IND 083 7"

The Fuckin' Flyin' A-Heads were a band from Hawaii most commonly construed as "punk", tho they might provide one of the more exciting links between a more typified conception of "punk", and that of "noise". If the A side of this hybrid genre is the final aggregate regimented elements of deconstructed hard core that Harry Pussy by way of Magic Band displayed, the flip is the excess of Experience inspired freedom and recklessly abandons anything that even vaguely resemble "form". Perhaps the most radically mixed recording, ever (to the extent that you might wonder if they just fucked up, or were working with a broken machine). A completely astounding spin ..

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39 CLOCKS
ZONED

IND 066 CD

We find extensive use of trashy guitars in the vein of Pussy Galore, some wailing harmonicas, and hilarious but acidic lyrics conveying a nihilistic interpretation of recent world history (probably that whole being from Germany thing...) The songs represented from 1982 seem to indicate the boys' most fertile drug period, as the mostly 7+ minute songs bring to mind shambolic '60s punks the Godz, meaning a heavy emphasis on noise and atonality which may or may not be as intellectual as some people make it out to be, but kills nonetheless.

Aquarius Records

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CHARLIE NOTHING
Charlie Nothing and Dingulator

IND 084 Cassette

Charlie Nothing & Dingulator was one of the seemingly myriad 80s Charlie Nothing cassettes and it's inclusion was, in part, intended within a 2CD anthology that we'd planned but the amount of material is too great and the moments therein are too grand to even dream of an edit. Although this is fairly late in Mr Nothing's oeuvre, we can't think of a more fully realized statement regarding the scope of his playing recycled automotive steel guitars and the performing of his Big Dingulator Song Sweet (or Suite, as it were, a concept of his that implied all songs were but one song) than a reissue of this 1985 manifesto-like piece. What you are about to hear, is Dingulation ..

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MARK TUCKER
In the Sack

IND 061 CD

Amongst connoisseurs of revelatory/off the map private press sides, the recordings of Mark Tucker have long provided a functional model of the genre at its most beautifully fucked. Tucker’s second album, 1983’s In The Sack, was an apocalyptic/dystopian concept album that centred on the American postal system and that sounded something like a cross between a teenage Van Dyke Parks and a slightly less disobedient Half Japanese. But his debut album, Batstew, released on his own Tetrapod Spools label in 1975, is widely regarded as his masterpiece. Highest possible recommendation.

~ David Keenan
Volcanic Tongue

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JU SUK REET MEATE
Solo 78 / 79 AKA Do Unseen Hands Make You Dumb ?

IND 057 CD

This style of loop and layer is mostly impressive in hindsight. This guy was doing it in the late '70s; today’s cassette loop and 4-track stoners aren’t reinventing jack. Solo 78 / 79 makes this style actually seem like a purposeful style as opposed to a hard drive garbage disposal. Meate’s also keeping it a lot cleaner than today's lo-fidelity experimenters; too much material these days comes in a standard dress code of murk and hiss. His interest in a sound world where not everything ends up in a mighty white noise freak-out is a message worth reissuing. While some of the sample material may sit a little on the dated side now, this was raw in '78-'79. Along with the rest of the Smegma collective's work, this record is yet another root of today's noise/free/drone sound, and proof that much of this crowd are merely freewheeling down well-worn paths.

~ Scott McKeating
Dusted

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JAKOB OLAUSSON
Moonlight Farm

IND 055 CD

Jakob is the new thing, one of the only people making folk-inspired music right now that I not only can get into, but am totally jealous of. The first time I heard his record I was thinking, "Well, no reason for me to make music anymore. This kid hit it." I'm over it now, which is good, so I can just kick back and listen and be amazed. Thick and multi-tracked vocals layered on dissonant reverb-laced melodies. Damn.

~ Ben Chasny
San Francisco USA

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CONSTANT PAIN
Shadow of a Lonely Man B/W Demon Lover

IND 012 7"

Constant Pain were a band from the south isle of New Zealand and we got the sense they were fucking nuts. The tapes they sent were great, and they wanted their debut to be a double LP. We said, "how bout a single?". This was pressed in '96, maybe '97? I can't recall anything much abt the band but the blk on blk artwork features a skull on one side, a target with bullet holes on the back. They may or may not have ripped their name from a pussy galore song, who knows. Totally cool, scuzz covered single, long unavailable but a box was found while cleaning the basement so here you go ..

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MICHAEL YONKERS
Microminiature Love

IND 029 LP

Praise be that lifetime Minnesota resident, Michael “Lee” Yonkers, wasn’t so despondent that his Fall ’68 recorded album, Microminiature Love, wasn’t released as planned, as he could have easily thrown the tapes into the Mississippi River in a fit of frustration and watched them sink into the murk, or float Huck Finn like to a destination beyond the rim of any possible context, understanding or comprehension. Nope, when his deal with local label Candy Floss (which released the famed ’68 underground rock LP, Trip Thru Hell, by C.A. Quintet) and a subsequent and even more tenuous arrangement with NYC’s Sire label fell through, the Yonkster sat on the tapes until he started getting inquiring phone calls nearly 30 years later, first from original session engineer Steve Longman for permission for inclusion on a 2LP compilation of Dove Studio recordings, Free Flight, and then, fueled by exposure to that document, Minnesotan musicologist, Clint Simonson.

~ Karl Ikola
Anopheles Records

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MICHAEL AND THE MUMBLES
Grimwood

IND 057 CD

A blend of fully-formed songs and sketches committed to posterity with what we can assume was not bleeding-edge recording technology, Grimwood is, to put it mildly, a rather disconcerting listen. Yonkers’ vocal delivery veers from stern to tremulous, while his unashamedly trippy lyrics often test the patience (not least on Lonely Fog). But those were different days, of course, and the desperation conveyed in The Day Is Through, seemingly recorded in front of a particularly busy beehive and featuring a repeated refrain of “I am lonely… very lonely”, seems real enough. Tripping Through the Rose Gardens also has an undeniable power.

~ David Davies
Record Collector

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MICHAEL AND THE MUMBLES
S/T

IND 074 LP

Michael and the Mumbles. Sure, this group’s moniker features the Christian name of a designated leader, followed by the article “and” and a random plural noun that’s alliterative with the first name – meaning, you can guess where this music’s loyalties lie. It’s pure Nuggets-style ’60s garage rock. But what’s paricularly important about Michael and the Mumbles is that the Michael in question is the eccentric and legendary Michael Motherfuckin’ Yonkers. Before Michael Yonkers Band reinvented how psych music was recorded and enjoyed, Yonkers played it a little more straightforward with the Mumbles.

The Decibel Tolls

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