Archive | October, 2017

November 2017 – upcoming London folk gigs – alleged folk/electro-folk clash with Rivers Of England, Boe Huntress and The 150 Friends Club at Collage Nights; a world-swirl with Firefay, The Scorpios and Bread And Circus (both 8th November)

31 Oct

I’m late to the party as regards Wood Green’s regular Collage Nights (which play in the same lively vegan restaurant that also houses the Society of Imaginary Friends soirees and some of outer London’s most vigorous jazz sessions). Just as I discover it, the current every-second-Wednesday-of-the-month season is rolling to a close; but a couple more gigs will see out the autumn. Though November’s gig is billed as a clash (or at least a head-on nuzzle) between straight folk and electrofolk, I’m not sure that it’s as simple as that.

Collage Nights, 8th November 2017
Collage Nights presents:
Electrofolk meets Folk: Rivers Of England + Boe Huntress + The 150 Friends Club
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Wednesday 8th November 2017, 7.00pm
– information here and here

In the “straight folk” corner, Bristolian quintet Rivers Of England (fronted by songwriter Rob Spalding) are a fine example of how latterday Anglo folk attempts to hone and counterbalance its nostalgic tendencies, keeping a foot in tradition while steering away from twee fustiness and trying to stir in a contemporary consciousness. Much of their sound has a clear ’70s electric folk lineage (the Fairports or the Albion Band, the stirring in of jazz and blues elements a la John Martyn) but there’s also a conscious effort to get away from that wipe-down synthetic sound that’s plagued many such acts as they hit the studio or deal with increasingly digitised technology.

While there’s plenty in their music to link them to folk roots, their current album ‘Astrophysics Saved My Life’ displays the band’s eclectic instrumental flexibility and takes pains to explore the broadened scope of the present-day educated rural/urban person attempting to make sense of life across a much broader conceptual canvas, with “themes ranging from the inner self to the outer cosmos – the emotional to the scientific… a nautical theme present with a blend of rivers and the sea, alongside the more common personal themes of failed relationships, mental illness, memories of family holidays, childhood bicycle adventures, jobs woes, loneliness and universal love.”



 
If Boe Huntress really is occupying the electro-folk corner, it’ll be yet another alteration in a career built on transformations. Once known as Rebecca Maze (under which name she came to attention via a set of songs critiquing the misogyny around Gamergate), she changed her name circa 2013 in order to dive deeper into her troubadour impulses, mystical femininism and social protest.

Her first album as Boe saw her exploring her own fluid identity via journeys into deep mythology and archetypes from wild women to transformative green dragons to self-examining witches. Inspired (among others) by Woody Guthrie and Bob Dylan, Bikini Kill and Eve Ensler, Victor Jara, Fela Kuti and The Clash, her follow-up EP (2015’s ‘And I Became A Student Of Love’) saw her moving into more clearly defined spiritual protest songs, turning her evolving feminist voice outwards towards the world to advocate awareness while still keeping a toehold in mythology (as in the Inuit-inspired fable of Untangling The Bones, in which compassion overcomes fear). I’ve no idea whether there’s been a billing goof and whether Boe really has set aside the acoustic guitar and solo voice in favour of keyboards, loops or whatnot; but if she has it will be in keeping with her spirit of adventure and motion.

 
As special guests, there’s collapsable party guys The 150 Friends Club (led by “money-crazed, delusional, imbecile” David Goo, who describes the band as his “evil twin sister”). Based around the theory that “society is best managed at a hundred and fifty people”, they’re a band built for small, intimate, cheerful gigs. The music’s a messy-haired lo-fi folk-pop-rock with attention deficit disorder, which sometimes throws on a skuzzy electric overcoat and reels around the room pulling reggae, rap, post-rock and various other stylistic swerves out of its manky pockets.

David, meanwhile, plays it all up to the hilt – sometimes a chirpier, skiffling Lou Reed continually pricking any romantic balloons in sight, sometimes a Tom Petty who shucked the dedication and dived headfirst into cabaret, sometimes a skinny London echo of David Lee Roth cribbing and cherishing his old-time R&B. Apparently, this performance is some kind of comeback. I’m not sure that they’d care about having something to prove, but expect them to warm things right up.




 
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On the same night, over in east London, there’s the option of “a musical journey that will take you across the world in just over three hours”

Firefay + The Scorpios + Bread And Circus, 8th November 2017Firefay + The Scorpios + Bread and Circus
Cafe 1001, 91 Brick Lane, Shoreditch, London, E1 6QL, England
Wednesday 8th November 2017, 7.00pm
– information here, here and here

Formed from “storytelling, wyrd folk, Middle Eastern flavours, things that can only be defined as otherworldly, and still a bit of France somewhere in there… urban baroque, world folk noir, jazz and chanson music… whisky and sailors’ songs” as well as influences from John Dowland and Gabriel Fauré to kletzmer and the Canterbury Scene, Firefay blend keyboards, guitars, ouds, violins, brass and cello underneath Carole Bulewski’s trilingual vocals in a polycultural blend of colourings.

Compared to Art Bears, Françoise Hardy and Broadcast as much as to the Fairports and Pentangle (see the rave review of their 2015 album ‘The King Is Dead’ over at the ‘Active Listener‘ blog), they’ve also recorded with Mellow Candle’s Alison O’Donnell and have spent the last five years becoming one of the London folk world’s most joyous rising secrets. They’re planning “a full set of entirely reworked old songs, some from the ‘The King Must Die’ and some older even, some that took years to complete, and some brand new ones from the album we are currently recording”.



 
Firefay themselves are playing in the middle of the bill. Their cellist Fraser Parry will be opening the show with his own project Bread And Circus, a “musical vanity project (of) songs about anxiety, enjoying oneself, the passage of time and solipsism” with added piano, accordion, brass, and allsorts (depending on which other musicians he can plug in on the night).




 
Closing the show, Firefay’s sibling band The Scorpios will be playing a set of their own material: a Sudanese-based world funk in which “Arabic rhythms and guitar chops (and a kind of swooning cyclical ecstasy) with a raw Eastern funk feel (and) heavy bass, synths, horns and percussions drive through traditional Sudanese forms to create a sound owing to both Detroit and Khartoum.” Expect plenty of crossover, both in terms of musical traditions and in terms of how many members of Firefay also show up in this band.


 

November/December 2017 – upcoming London classical gigs – City of London Sinfonia’s ‘Modern Mystics’ series (9th & 22nd November, 2nd December)

30 Oct

From early November to early December, City of London Sinfonia are putting on a “trilogy” of concerts exploring “how music and sound can link us to spiritual experiences”, featuring various contemporary classical pieces; many of which are drawn from the fields of Eastern European holy minimalism, or from musical strands involving contemporary takes on spiritual or environmental matters. At least two of the concerts feature added meditational or projected-image aspects; which might sound gimmicky, but it can’t be denied that this particular music lends itself to psychedelic or synaesthesic experiences.

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Modern Mystics: 'The Fruit of Silence', 9th November 2017

Modern Mystics: ‘The Fruit of Silence’
Southwark Cathedral, London Bridge, Southwark, London, SE1 9DA, England
Thursday 9th November 2017, 7.30pm
– information here and here

In the first concert, the Sinfonia are joined by violinist/evening director Alexandra Wood, conductor Michael Collins and the Epiphoni Consort, promising “music that draws you in with its purity, clarity and tranquillity… the music of Pärt, Vasks and Tabakova evoke the transcendental, with chant-like washes of colour and spellbinding soundscapes.” The concert also features projected visuals by Jack James Projections.

Programme:

Pēteris Vasks – The Fruit Of Silence
Arvo Pärt – Seven Magnificat Antiphons
Arvo Pärt – Summa
Arvo Pärt – Fratres
Arvo Pärt – Magnificat
Dobrinka Tabakova – Organum Light
Arvo Pärt – Tabula Rasa

This concert also features a brief pre-concert “mindful meditation” event in the cathedral’s retrochoir at 7.00pm, guided by CLS violinist and alternative healer Ann Morphee, with a plan to “explore the deeply contemplative second movement of Part’s ‘Tabula Rasa’, and enhance our self-awareness and openness ahead of the performance by employing mindfulness techniques… the art of focusing on the present moment. It is a fundamental strategy for dealing with stress, helping us to relax and be uninfluenced by habitual behaviour that we experience in our day-to-day activities”. No previous experience is required, but there are only fifty places available (for event ticketholders only).

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Modern Mystics: 'The Book of Hours', 22nd November 2017

Modern Mystics: ‘The Book of Hours’
Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England
Wednesday 22nd November 2017, 7.30pm
– information here, here and here

The second concert, conducted by Jessica Cottis, features “new music which evokes the sounds of ancient worlds… Music is timeless – it links the modern-day to forgotten eras, stretches seconds into minutes and makes hours dissolve in a moment. Combining live orchestra, recordings and lighting, the second concert in City of London Sinfonia’s Modern Mystics Sonic Trilogy conjures up the past through music, light and amplification.” Again, Jack James provides the projections and visuals.

Programme:

Howard Skempton – Only the Sound Remains
Jonathan Harvey – Mythic Figures
Guillaume de Machaut/Richard Causton – Kyrie/Sanctus from ‘Messe de Nostre Dame’
Julian Anderson – Book of Hours

Again, there’s a strongly ecclesiastical aspect to this one, with the Anderson piece being a modern reexamination of ancient Christian monk rituals, the Harvey originating from an IRCAM taped work with Tibetan temple bell, and the Causton being a reworking of part of a de Machuat mass (with its two instrumental groups separated as far from each other as the venue will allow). While not directly religious in its roots, the Skempton is a musical evaluation of cultural and temporal loss centred around the decay and demolition of an old mill, and the gap left by its absence.

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Modern Mystics: 'The Protecting Veil', 2nd December 2017

Modern Mystics: ‘The Protecting Veil’
St John’s Smith Square, Smith Square, Westminster, London, SW1P 3HA, England
Saturday 2nd December 2017, 7.30pm
– information here, here and here

Alexandra Wood returns as orchestra leader and event director for the third and final concert (which is also part of the Southbank Centre’s ‘Belief and Beyond Belief‘ series). This will be a presentation of John Tavener‘s ‘The Protecting Veil’ with cellist Matthew Barley sharing the load as both featured soloist and presenter. The event’s described as “an ecstatic vision of devotion revealed by cello and orchestra… ‘The Protecting Veil’ is music which blurs the line between humanity and divinity – a glimpse into otherworldliness through the Eastern Orthodox rituals celebrated around Mary, Mother of God. We invite you on a journey to the centre of the music through living programme notes – and get close enough to touch as we transform St John’s Smith Square with intimate seating.”

Programme:

John Tavener/Matthew Barley – Living programme notes on ‘The Protecting Veil’
John Tavener – The Protecting Veil
 

November 2017 – experimental gigs in England – Christine Ott on tour in Salford, Leeds and London (5th-8th November)

29 Oct


 
French experimental keyboard player Christine Ott – a sometime collaborator with Radiohead, Yann Tiersen and Tindersticks – is about to visit England as part of an ongoing European tour.

There are only three dates on this part of the tour, but they reveal a constantly shifting focus as Christine moves between different projects and presentations. In Salford, she’s part of a Gizeh Records-sponsored triple bill shared with two Manchester area experimental acts. In Leeds, she’s performing a live, self-penned soundtrack to a classic 1930s silent film blending romantic drama and docufiction, while in London, she’s got an evening split between a solo set and a performance of her duo project Snowdrops, in which she and fellow keyboard player Mathieu Gabry blend assorted keyboards and soundscapes. All will feature Christine’s work on piano and on the ondes Martenot, an antique années folles proto-synthesizer from the 1920s using vacuum tubes, slide controls, early filters and a selection of varied speaker devices to create eerie swooping cadences and strangely-coloured sonic outputs.

Dates:

  • The Eagle Inn, 18-19 Collier Street, Salford, M3 7DW, England, Sunday 5th November 2017, 7.30pm (with A-Sun-Amissa & ARC Soundtracks) – information here and here
  • Leeds International Film Festival @ Victoria Hall, Victoria Square, Leeds, West Yorkshire, LS1 3.., England, Monday 6th November 2017, 8.15pm (TABU live)information
  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Wednesday 8th November 2017, 8.00pm (solo performance + Snowdrops performance) – information here and here

More on the film project:

F.W. Murnau’s last silent film classic, the poetic and moving ‘Tabu‘, is the story of an impossible love on Bora-Bora island, between Matahi, a young pearl diver, and Reri, a young woman promised to the gods. Christine Ott’s soundtrack alternates modern classical piano pieces with avant-garde tracks on the mysterious and mesmerising ondes Martenot.”


 
More on Snowdrops:

“Alert launchers. A rogue wave. A burning forest… Musical landscapes in chiaroscuro, from melodies to “sculptures sonores”… Christine’s work in the Snowdrops duet goes beyond certain lines outlined in ‘Only Silence Remains’. An eminently powerful and spontaneous music, but also open and natural. A mixed universe of jazz, neo-classical, cinematographic and improvised music, which could vaguely sketch in the features of Sigur Rós, Steve Reich and Claude Debussy.”


 
More on Christine’s support acts in Salford:

“The audio/visual project of K. Craig and David Armes, ARC Soundtracks combines a dense, multi-layered sound-world with ritualistic visuals to create an immersive, hypnotic work. New album ‘DERELICTION//MIRROR’ takes us into a bleak auditory realm of post-industrial structures and traces the role of the body within these liminal spaces. Strained harmonics and industrial, discordance mesh with veiled rhythms and spoken-word narrative to create a heavy, static energy to both sound and visuals.


 
“An instrumental music collective founded and led by Richard Knox (The Rustle of the Stars, Shield Patterns, Glissando), A-Sun Amissa has featured an array of members and collaborators since it’s formation in 2011. To date they have released two albums on Richard’s own Gizeh Records label. The group produce a dense, drone-like atmosphere, accompanying evocative, melodic string and woodwind sections, intertwining guitars and field recordings. The live show features sections of the recorded output combined with improvisation to unlock new movements and progressions in the music. The subtle, considered textures and the hypnotic interaction between players and instruments provide an intense live performance.”


 

November 2017 – upcoming London classical/experimental gigs – pieces by Javier Álvarez, Jonathan Harvey, Trevor Wishart and Lauren Marshall at Kammer Klang (8th November); Kim Macari, Raymond McDonald and Club Inegales look into the art of the graphic score (10th November)

28 Oct

For the launch of their new season, Kammer Klang team up with the London Sinfonietta for a set of chamber pieces performed by Sinfonietta solo instrumentalists or as playback items, all of which dovetail into the Sinfonietta’s 50th anniversary celebrations.

Kammer Klang, 8th November 2017

Kammer Klang & London Sinfonietta present:
Kammer Klang: Tim Gill + Alistair Mackie (playing Javier Álvarez/Jonathan Harvey/Lauren Marshall) + Trevor Wishart
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Wednesday 8th November 2017, 7.30pm
– information here, here and here

Cellist Tim Gill and trumpeter Alistair Mackie (assisted by sound design setups from Sound Intermedia) will be applying their talents to electro-acoustic pieces. One, by the late Jonathan Harvey, sees a solo trumpet transformed into a garrulous ensemble. Another, by the Mexican-Korean-influenced Javier Álvarez is a fabulously dramatic ritual, teeming and menacing, for string sounds and and-bowed-gong ritual inspired by a pairing of two short silent films from the 1920s (a Man Ray image sequence, preceded by horribly compelling footage of a feeding snake). There’ll also be a stereo diffusion playback of Trevor Wishart’s software-driven studio piece ‘Globalalia’, a rapid-fire collage of vocal samples which he describes as “a universal dance of human speech as revealed in twenty tales from everywhere, spoken in tongues”.




 
In addition, Tim will be performing the evening’s usual ‘Fresh Klang’ item – in this case, a cello-and-electronics piece by Lauren Marshall, principal composer with the National Youth Orchestra of Great Britain. Online examples of Lauren’s work are still quite rare, but I’ve included a couple of her Soundcloud clips in the roundup below: ‘Hi-Seas’, her violin/string ensemble/electronics mediation on disassociative loneliness, and her luxuriant expanded-orchestra fantasia ‘Suspended Between Earth And Air’ (hailed in ‘Seen And Heard‘, after its premiere back in January, as “a miracle of inspiration (with) stupendous impact”). Both display the work of a young composer with a remarkable flair for slow reveal and the implementation of artful drones with a dreamy Romantic melodicism. Her assured talents translate down well from full Wagnerian orchestras to smaller ensembles, so the same should hold true of this new duet between cellist and software.

 

Programme:

Fresh Klang: Lauren Marshall – Chang’e flies to the moon (for cello and electronics) – performed by Tim Gill
Jonathan Harvey – Other Presences (for trumpet & electronics) – performed by Alistair Mackie with Sound Intermedia electronics
Jonathan Harvey – Ricercare una Melodia (for trumpet & electronics) – performed by Alistair Mackie with Sound Intermedia electronics
Javier Álvarez – Le repas du serpent & Retour à la raison (for cello & electronics) – performed by Tim Gill with Sound Intermedia electronics)
Trevor Wishart – Globalalia (stereo diffusion)

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For those of you interested in the workings and applications of the graphic score, there’s an event a couple of days after Kammer Klang which delves into the world of this intriguing avant-garde tool, as part of the Royal Academy’s Jasper Johns exhibition

‘Visualising Music: The Art of the Graphic Score’ - 10th November 2017

Club Inégales & EFG London Jazz Festival presents:
‘Visualising Music: The Art of the Graphic Score’
The Reynolds Room @ Burlington House, Royal Academy of Arts, Piccadilly, Mayfair, London, W1J 0BD, England
Friday 10th November 2017, 6.30pm
– information here and here

“In response to the dynamic that brought Jasper Johns and John Cage together in the 60s, musicians from Club Inégales combine with trumpeter/composer Kim Macari (leader of Family Band, founder of the Apollo Jazz Network and the Orpheus Project) and saxophonist/composer Raymond MacDonald (Professor of Music Psychology and Improvisation at Edinburgh University, co-founder of the Glasgow Improvisers Orchestra, and veteran of over sixty album releases), for a performance and discussion exploring the world of graphic scores, improvisation and structure.

“A ground-breaking composer and associate of Jasper Johns, John Cage was a keen graphic score composer, using visual symbols beyond traditional music notation to guide musicians in the performance of his work. Since then, composers and artists have played with pictures to create extraordinary visual scores to redefine the possibilities within composition, merging art and sound.

“In this exclusive event, Kim Macari will then be joined by founder of Club Inégales Peter Wiegold and Professor Raymond MacDonald, chair of Music Psychology and Improvisation at The University of Edinburgh, to explore the art of the graphic score.”
 

November 2017 – a couple of London get-togethers – another Society of Imaginary Friends Soiree (3rd November) and the return of Staggerlee Wonders to IKLECTIK (17th November)

26 Oct

Society of Imaginary Friends Soiree, 3rd November 2017

Society Of Imaginary Friends present:
“Day After the Day of the Dead”: I Am Her + Magdalena Grabher + John Glyn + Richard Bolton + Martin Wakefield + Lord Buckley Of Hackney + Cian Binchy + DJ Miracle Rhythm
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 3rd November 2017, 7.00pm
information

Celebrating both the success of their latest music video Beautiful Boy (down as a potential winner at the Birmingham International Film Festival) and the life and times of recently departed cohort Sheila (“a lovely, lively woman”), art-pop band-cum-eclectic curators Society Of Imaginary Friends are throwing another soiree party in Wood Green.

Alongside the regulars – the Society themselves, poet-raconteurs Cian Binchy and Martin Wakefield, plus singer/songwriter/“punk goddess” I Am Her – this one sports Austrian “electronically enhanced genius of chanteuse” Magdalena Grabher. There’s also what’s described as “improvised mayhem from two smoking barrels” courtesy of a pair of current music healers with delightfully chequered pasts (saxophonist John Glyn of Republic and the ’80s socialist big band The Happy End; guitarist Richard Bolton from all manner of London jazzings up to and including fencing with spass-guitar berserker Billy Jenkins, now mostly fixing auras with therapeutic fusion band Symbiosis). The DJ set will be provided by DJ Miracle Rhythm (via a “left-field life enhancing corduroy collection of surreal sounds from the undergrowth” and as ever there’ll be vegan food a go-go.

For more on the Society (and I Am Her) have a look back at previous soiree postings; for the Glyn/Bolton improvs you’ll just have to show up and wonder; but meanwhile, here’s Magdalena…


 

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Mid-month, IKLECTIK sees another visit from the Staggerlee Wonders project, who swung by last last December (and have made it to Cafe Oto at least once in the interim)…

Staggerlee Wonders, 17th November 2017

I K L E C T I K presents
Staggerlee Wonders
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Friday 17th November 2017, 8.00pm
information

As I mentioned last time, the project’s title is taken “from James Baldwin’s blazingly scornful, almost conversational poem – itself named for the black outlaw/hoodlum who flits and thunders through a set of conflicting American tales and songs, taking on the roles of murderer, proud badass, pimp and more.” Staggerlee Wonders itself is a freewheeling band with a changing cast, mingling free jazz with black radical words from the jazz renaissance (not just by Baldwin, but by the likes of Langston Hughes and Amiri Baraka)

Last year’s concert featured contributions from various remarkable polygenre musicians (including vibraphonist Corey Mwamba, dazzling bass player John Edwards and singer/movement performer Elaine Michener). This year there are three returnees – geologically slowhanded pianist Robert Mitchell (Epiphany3, Panacea), singer and storyteller Debbie Sanders and drummer extraordinaire Mark Sanders. John Edwards’ place on bass is taken by the similarly cosmopolitan Neil Charles (of BlackTop, Zed-U and Tomorrow’s Warriors, among others), Cleveland Watkiss adds his outstanding repertoire of vocalisations and loopings, and the latest Staggerlee wildcarding is provided by Emi Watanabe on a variety of Japanese traditional flutes.
 
 

November 2017 – opera news – Shadwell Opera revive Peter Maxwell Davies’ ‘The Lighthouse’ (3rd, 4th, 11th & 12th November)

25 Oct

Quickie opera preview…

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'The Lighthouse', 3rd/4th/11th/12th November 2017

Shadwell Opera presents:
Peter Maxwell Davies: ‘The Lighthouse’
Showroom Studios @ Hackney Showroom, Hackney Downs Studios, Amhurst Terrace, Shacklewell, London, E8 2BT, England
Friday 3rd, Saturday 4th, Saturday 11th, Sunday 12th November 2017, 7.30pm (except 12th November @ 2.30pm)
– information here and here

“Raw, mysterious, disturbing, Shadwell Opera bring a haunting new production of Peter Maxwell Davies’ true operatic ghost story to Hackney Showroom in November. It explores the strange and inexplicable disappearance of three keepers from a remote Scottish lighthouse, through a mixture of courtroom testimony and fantastical flashbacks. Shadwell Opera’s critically acclaimed team will craft a multi-sensory experience that plays with the idea of theatrical immersion and suspension of disbelief. This production will make you think again about the awesome loneliness of the sea, about the fragility of the isolated male psyche, and the disturbing psychological reality of ghosts. This is an opera like no other.

“Taking the composer’s original performance suggestion of placing the horn player in the audience as a starting point, this production will further integrate Shadwell Opera’s outstanding ensemble of young soloists into the drama, continuing dialogue between pit and stage that has been at the centre of their recent work.”

 
The three-person cast is Paul Curievici (as Officer 1/Sandy), Owain Browne (as Officer 2/Blazes) and Pauls Putnins (as Officer 3/Arthur)
 

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