Kali Uchis – “Sincerely,” review

Alexandria, Virginia singer/songwriter Kali Uchis making her Capitol Records debut with her 5th studio LP. My introduction to her was my senior year of high school when Tyler, The Creator set to make his theatrical debut in the upcoming A24 Films sports adventure comedy-drama Marty Supreme with Timothée Chalamet this Christmas produced “Call Me” on her first EP Por Vida & isola†ion went on to become a stellar debut album. She even has a couple Latin pop projects under her belt with the Interscope Records-backed Sin Miedo (del Amor y Otros Demonios) ∞ & her final Geffen Records offering Orquídeas, picking up where her Geffen debut Red Moon in Venus left off by basing Sincerely, on a life-altering event.

“Heaven’s a Home” from a songwriting standpoint brings everything full circle from when Hardstone Records founder & Cactus Jack Records signee Don Toliver got her pregnant with their son & her mom being diagnosed with lung cancer tragically passing away recently over delicate instrumentation whereas “Sugar! Honey! Love!” takes the psychedelic soul route singing about doing time for a crime she didn’t even commit. “Lose My Cool,” delivers a 2-parter addressing an individual who makes her lose her temper around them while “It’s Just Us” warmly assures that Don & her were meant to be in love.

The concept of love to a gun on “For: You” feels a lot like “A Boy is a Gun” off IGOR going for a synth-heavy sound leading into the self-produced “Silk Lingere,” finds her trying to figure how this person she knew falling for someone who turned out to be more complicated & flawed than expected . “Territorial” sings never being the type to want someone else’s man regardless of how reckless she may come off prior to Fall Apart,” wanting to know if Donny Womack would still love her with things get difficult & being in an eternal honeymoon with one another.

“All I Can Say” finds herself refusing to apologize for the kind of person she is because of everything belonging to her while “Daggers!” sings about hating the way this woman in her life is being treated by her man wishing that she could see herself the way at Kali sees her. “Angels All Around Me…” unravels a religious side to herself praying that the family she & Don Toliver have started stay peacefully protected while “Breeze” hooks up some choir vocals singing about the familiar emotions of fear & worrying hold absolutely no worth in our lives from what she’s learned.

The lead single “Sunshine & Rain” was one that brought together neo-soul, contemporary R&B psychedelic soul & bedroom pop staying devoted to Don through life’s ups & downs expressing her belief in karma & divine guidance while questioning society losing it’s way with me attributing that to this past election 6 months ago & “I.L.Y.S.M.I.H. (I Love You So Much It Hurts)” ends with a soft rock, pop soul, adult contemporary, brill building & psychedelic soul dedication to her son conceived only hours after she brought him into this world.

“Cry About It!” featuring Ravyn Lenae starts the deluxe run with a poppy, bilingual smooth soul single with a hint of brill building to it mocking Don’s ex-girlfriend while “Whispers of the Wind…” asks if he loves her with all of his heart. “Pretty Promises,” featuring Mariah the Scientist produced by benny blanco & Cashmere Cat finds the 2 pleading their partners to not break any promises to them & after “Cherry on Top” sings about finding a relationship where they can be their true selves, the final bonus track “All of the Good” finishes with 1 last tribute to her mom.

Kali’s official Capitol debut marks as her strongest since her debut 7 years ago facing the complexities of life head on trying to find joy in life despite the world falling apart in front of us, appreciating every moment & not taking life for granted expanding beyond contemporary R&B in favor of pop soul, smooth soul, neo-soul, psychedelic soul, bedroom pop, adult contemporary & brill building. Becoming a mother has easily resulted in her most existentially honest body of work & am curious as to the way her next Latin pop album goes.

Score: 4.5/5

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No Windows – “The Great Traitor” review

No Windows are an indie rock duo from Edinburgh, Scotland, United Kingdom consisting of guitarist, bassist & drummer Morgan Morris alongside lead single Verity Slangen. Releasing their first 2 EPs No Windows & Fish Boy independently, they would land a deal with Fat Possum Records to take themselves to the next level on Point Nemo last spring & are back a little over a whole year later to do it again by putting out their 4th EP.

“Brown Bear” is this acoustic intro singing about feeling a lot clearer now than she did in the past whereas “Return” was a great indie rock lead acknowledging not hiding how they feel very well & their uncleanliness with the water being unclear as it already is. “Tricky” keeps it stripped back lyrically exploring the concepts of love & infatuation while “Sugarcoat” sings about being fucked from the start. “Old Chain Pier” is an indie rock ballad finding oneself at a stage in life no longer looking back in disgust & “Easter Island” acoustically wraps up the EP feeling worst in the mornings.

The Great Traitor expands No Windows’ sonic territory even further by leaving the more familiar indie traits behind in favour of lush, psychedelic arrangements that take their cues from 70s chamber pop & Jon Brion. Produced with Ali Chant, the recording process took them out of Morgan’s DIY bedroom set-up & into a studio where they had access to a breadth of instruments that allowed for more exploration across the EP’s 6 tracks marking a transitional period for the duo both as a band & as individuals.

Score: 3.5/5

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PinkPantheress – “Fancy That” review

PinkPantheress is a 24 year old singer/songwriter & producer from Bath, Somerset, England, United Kingdom catching the eye of Elektra Records for her first couple EPs To Hell with It including at least 3 remixes I like more than the original versions & Take Me Home to high acclaim. Warner Records later brought her over to establish herself as a dominant force in modern alt-pop & contemporary R&B on her full-length debut Heaven Knows, teasing a sophomore effort with her 3rd EP.

“Illegal” begins the EP sampling “Dark & Long”by Underworld to delve into a relationship that she’s trying to keep on the low with the fear of being caught in mind by the public eye whereas the original version “Girl Like Me” excluding the KAYTRANADA remix samples “Romeo” by Basement Jaxx & Kele Le Roc during the hook talking about not being a fan of the way things are moving.“Tonight” goes for a dance-pop, bassline, speed garage & contemporary R&B direction flipping “Do You Know What I’m Seeing?” by Panic! At the Disco expressing a mature side to herself while “Stars” is pretty much a homage to “Starz in Their Eyes” by Just Jack.

After an intermission, “Noises” explains the feeling of uneasiness while being home alone making good use of a Nardo Wick sample as somebody who’s not a big fan of his own music just before “Nice to Know You” samples “Spiral” by William Orbit, Kenna & the Sugababes singing about being a mess. “Stateside” explores her growth as an artist with it’s use of breakbeat, dance-pop, nu skool breaks, breakstep, UK street soul & big beat explaining her dating life pretty much being only long distance relationships & “Romeo” sampling “Good Luck” by Basement Jaxx finishes likening her & her partner to Romeo & Juliet

Representing everything kitsch & UK-centric, PinkPantheress continues to break ground as one of the biggest popstars of this decade taking on board with what appealed to her during the recording process of Fancy That using dance-pop, UK garage, 2-step, contemporary R&B, alt-pop, breakbeat, nu skool breaks, breakstep, UK street soul, bassline & speed garage to make it feel like a statement is being made with the 9 track EP clocking at 20 & a half minutes.

Score: 4.5/5

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Weiland – “You Can’t Climb the Mountain in N.Y.” review

This is the 3rd EP from Tampa, Florida rapper, singer/songwriter, producer & audio engineer Weiland. Coming up almost a decade ago off his debut EP Insomnia, his first couple mixtapes Packrunner & Grimey Life resulted in Victor Victor Worldwide signing him for the synthpop inspired Vices to high acclaim. 3 long years later, he’s back with You Can’t Climb the Mountain in N.Y. ahead of him & Victor Victor alumni Summrs’ upcoming collab EP.

“Let You Go” featuring Summrs gives us a taste of what’s to come from the previously mentioned collaborative EP talking about being friend-zoned whereas “The Girl’s Not Mine” blends synthpop & dance-pop together to back off on rumors of a chick claiming he’s their boyfriend. “Promise” works in more synthesizers assuring that things won’t ever be the same going forward & the title track ends with Part Time relying heavier with the synths instrumentally asking if there’s anyone out there.

It’s already been a little over 3 years since Vices helped usher in an exciting new era of synthpop along with The Weeknd’s new trilogy of albums that already rivals his original mixtape trilogy & breaks free from Universal Music Group expanding on the sounds of his last album that marked a stylistic departure from his previous material & showcasing more coldwave influences to a lesser extent even if I prefer Hurry Up Tomorrow a bit more.

Score: 4.5/5

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billy woods – “GOLLIWOG” review

Washington, D.C.’s very own billy woods making his Rhymesayers Entertainment debut with his 13th studio LP. Whether you know him for teaming up with Elucid as the duo Armand Hammer or his own solo output like History Will Absolve Me & Dour Candy, there’s no denying that he’s been steadily holding it down for the abstract hip hop scene for a minute. 3 years following the Preservation-produced Aethiopes from top to bottom, Rhymesayers has brought him on board for GOLLIWOG.

“Jumpscare” produced by Steel Tipped Dove strips the drums to start us off likening himself to a rag doll playing dead whereas “Star87” turns up the psychedelic vibes thanks to Conductor Williams talking about his phone ringing off the hook tryna find the bodies he hid. “Misery” heavily bases itself around the 1990 film of the same name conceptually with Kenny Segal reuniting behind the boards for him just before “BLK XMAS” featuring Brusier Wolf might hurt R.A.P. Ferreira’s feelings since Sadhugold was involved due to the ongoing beef.

Meanwhile on “Waterproof Mascara”, we have Preservation & Billy throwing it back to the Aethiopes days leading into “Counterclockwise” linking up with one of my top 10 producers of all-time The Alchemist for my favorite song here airing out a serpent moving in the opposite direction of him. “Corinthians” featuring Despot brings the pair together to spit streams of consciousness over an El-P beat, but then “Pitchforks & Halos” finds himself where all the time has gone & idiots thinking he was simply rhyming at the last second.

“All These Worlds Are Yours” by Armand Hammer turns up the abstract lyrics over a DJ Haram instrumental while “Maquiladoras” featuring al.divino gets the 2nd half of Golliwog going talking about time always being on their side. “A Doll Fulla Pins” featuring Yolanda Watson likening herself to a doll with a bunch of pins in it while “Golgotha” keeps Messiah Musik in the fold reflecting on a woman he once loved now coming to terms that it was only a fling looking back at it.

Ant from Atmosphere brings a piano-heavy flare to “Cold Sweat” poking fun at the Pistons picking Darko Miličić over Carmelo Anthony, Chris Bosh & Dwyane Wade until the conscious lyricism continues during “BLK ZMBY” explaining it’s because of him being very experienced in there being not that many things he doesn’t know from what he understands. “Make No Mistake” hides everything in the rhymes hence why everything needs to be dark when he’s on stage while “Born Alone” breaks down feeling lonely throughout life

The last 2 songs on billy’s official Rhymesayers debut Golliwog are both performed by Armand Hammer using “Lead Paint Test” featuring Cavalier using their childhood homes as a representation of a space haunted by the past & “Dislocated” finishes up the album with both members without any other guest talking about trying to not be found or simply going off the radar completely.

Aethiopes for a few years now has quickly become my favorite billy woods album & his official debut under Rhymesayers Entertainment has already surpassed it similarly to Elucid’s own Fat Possum Records debut Revelator last fall. His conceptually abstract, political/conscious & horror-inspired lyrics are taken from the doll Florence Kate Upton had created centuries earlier & the creatively experimental production points signs towards secondary influences of jazz rap, drumless & sound collage.

Score: 4.5/5

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Alla Xul Elu – “Gods of Evil Rise” review

It’s finally here! The 6th studio LP from Ohio horrorcore trio Alla Xul Elu. Consisting of Billy Obeyas well as Joey Black & Lee Carver, they broke out a decade ago as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 sophomore EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. The Magic Xul Bus was a dope prelude to a body of work that’s been a long time & Mike E. Clark has finally teamed up with them to watch the Gods of Evil Rise.

After the intro, the first song “Paint the Town Red” is this rap rock intro talking about leaving 36 muhfuckas dead in their city whereas the 2nd & final single “Horns Over Halos” references 2-time WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin and NXT commentator, 2-time WWE Hall of Famer, 6-time WWE world champion, 4-time WWE United States Champion, 14-time WWE tag team champion, 2-time WWE Hardcore Champion, RoW Tag Team Champion & TNA World Tag Team Champion Booker T.

“The Cleansing” infernally talks about the sky being cracked in half with absolutely nothing we can do about it whatsoever prior to the lead single “‘Till We Meat” wickedly gets in their storytelling bag discussing the names of the people they’ve killed looking at the Tinder app. “Light Up My Life” describes the feeling of being trapped in one’s own skin as a prisoner & hiding in another’s playing the songs they liked while “Let It Burn” calls out the hypocrisies of the churches.

As for “Suicide Drive”, we have Xul menacingly talking about commuting vehicular suicide since the death mobile needs a ride & they can be caught at a high speed just before “God Damaged” turns up the rap rock influences suggesting this being unavoidable & enjoy it sitting back. “Make Believe” talks about the possibility of the trio never making it to heaven & I can relate to that theme personally when I’m at my lowest, but then “Spill Your Guts” feels more like a skit.

“Herd the Horde” fuses g-funk, horrorcore & boom bap together asking what you’re praying for & to sign your life away while “The Saints” talks about the only guideline in the shadow of death being all life remaining forbidden along with raising the murder rates. “From the Heart” makes a dedication to the lost & lonely ones assuring they’re not alone whatsoever surviving amongst their better judgments & “Wave Goodbye” serves as this humorous skit used as an outro.

Being in the works for several years at this point & many thought it wouldn’t ever see the day, it lived up to my expectations reaching the bar The Almighty had set 7 years ago with another generational horrorcore classic & their final MNE release to focus on continually building LLE as it’s own thing. Mike E. Clark’s production top to bottom is still as creative when working with Psychopathic Records founders Insane Clown Posse & Top Dog Records founder Kid Rock’s, bringing Xul’s well-crafted horrorcore lyrics to life soundtracking it.

Score: 4.5/5

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Lefty Gunplay – “Can’t Get Right” review

This is the 5th studio LP from Baldwin Park’s hottest artist currently Lefty Gunplay entirely produced by Compton, California emcee/producer Jason Martin formerly known as Problem. One of whom has been putting it down for the west coast for nearly 2 decades & the other has been blowing up since last summer later appearing on Kendrick Lamar’s 6th album GNX already 6 months ago. After putting out a few singles, Jason & Lefty are teaming up on Can’t Get Right.

“Lord Forgive Me” produced by Scott Storch & Jason fuses west coast trap & gospel music asking why these éses ain’t out yet here without no gun homaging the iconic Boogie Down Productions song “9mm Go Bang” during the hook whereas the title track produced by Mike & Keys and Sndtrak lets everyone know exactly how he got his stage name. “Scary Movie” takes a bit of a nervous vibe talking about the streets making him realizing. Shit out here ain’t as scary as he thought he would be just before “Gangsters Get Scared” featuring Cactus Jack Records’ newest signee Wallie the Sensei & YS talks bout even the realest of G’s taking on fear.

Meanwhile on “Heavens Above (My Angel)”, we have Lefty talking about being pussywhipped to the point where he’ll start listening good & he God sending him angels from above the pearly gates of Heaven to watch him & “Hotel Party” lives up to its name from its horn-heavy beat to the celebratory lyricism partying in his hotel room. “Menace” featuring The Game finds the 2 talking about they way both of them having become to being threats to the societies that raise them while “Cracks in the Ceilings” talks about sitting in the country jail counting the amount of cracks that’re present on the roof.

After the “Tales from the Schu” interlude, “123456” featuring RJmrLA turns the traffic music influences all way the up so both of them can talk about the hustle being hereditary while “1 Day at a Time” featuring Ty$ talks about every single one of us tryna figuring it out taking it day-by-day. “Grey Goose” featuring Kiing Khash & Osbe Chill unites the trio over a Terrace Martin beat trying to become billionaires while “Me, My Gun & You” featuring Storm DeBarge talks about it only those 3 things in the end. After the “It’s Time”  interlude, the closer “Through the Fire” ends with a soulful flare claiming the rap game revolves around redemption.

My introduction to Lefty was his feature on Coyote’s breakout sophomore effort last summer L.Aliens & roughly 10 months later, Jason taps in with him to fully produce what could very well be the strongest body of work in his discography yet. The production is a lot stronger than what Lefty has put out previously & aside from a few guests not sticking the landing in terms of their performances, you can very much tell that he was locked in laser-focused by the way his pen has been sharpened.

Score: 4/5

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Brandon Woody – “For the Love of It All” review

Brandon Woody is a 26 year old trumpeter from Baltimore, Maryland who picked up the instrument for the very first time when he was only 7. Once he graduated from high school over a decade later, he would go on to study under the mentorship of Ambrose Akinmusire & recently signed to the greatest jazz label of all time Blue Note Records this past fall. Almost 6 months to the day, he’s finally ready to make a wider introduction to the world as a composer with his full-length debut studio album.

“Never Gonna Run Away” begins with a jazzy gospel intro clocking in at almost 7 minutes thematically paying tribute to the concept of faith & after “Beyond the Reach of Our Eyes” embraces a more unconventional structuring after being inspired by feeling the movement an unseen energy, “Wisdom; Terrace on St. Paul St.” reflects on hitting rock bottom when dropping out of college.

The composition “Perseverance” starts the 2nd half of For the Love of It All with what could possibly be the finest example of Brandon’s synergetic chemistry with pianist Troy Lon & after “We, Ota Benga” remembers the Mbuti man who was featured in an exhibit at the 1904 Louisiana Purchase Exposition, the closer “Real Love” officially sends off the LP with 1 last post-bop jam inspired by trumpeter & pianist’s bond.

Wrapping the collective intensity of early ’70s post-bop into pieces that feel both driving & remarkably smooth, Brandon Woody’s debut positions himself as both an innovator & a griot balancing technical mastery with a reverence for his roots. Surging with love as an elemental force channeled through sound, it’s his insistent statement that survival is it’s own form of artistry powered by the knowledge of love in all its dimensions binding us across generations.

Score: 4/5

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Knowledge the Pirate – “The Round Table” review

This is the 6th studio LP from New York emcee Knowledge the Pirate. Discovered by Will Smith’s former bodyguard Charlie Mack, he would sign to Interscope Records for a brief amount of time before leaving the game temporarily & re-emerging in the 2010s as a close Roc Marciano affiliate. His full-length debut Flintlock eventually saw the light of day in the summer of 2018, which was followed up with the sophomore effort Black Cesar as well as the debut EP Family Jewels & his 3rd album Hidden Treasures. My favorite in his discography would be the Big Ghost Ltd.-produced Wolves Don’t Eat With Shepherds & having Marci producing The Round Table raised the stacks exponentially coming off of 5lbs of Pressure.

“Eating Etiquette” was a great drumless single to start the rollout giving the ultimate fine dining experience whereas “Golden Rules” works in a boom bap instrumental with a prominent vocal sample talking about trying to keep his team together. “Takes a 10” has a significantly funkier vibe telling us what it was like for him in the grittiest parts of the City of Dreams leading into “The Outfit” stripping the drums again to talk about keeping the flame on the stove.

As for “Magic & Kareem”, we have Knowledge comparing him & Marc to Los Angeles Lakers icons Magic Johnson & Kareem Abdul-Jabbar respectively continuing the pitched sampling just before “Addicted to Danger” maintains a drumless flare altogether so he can talk about his devotion to peril. “Ride wit a P” slickly describes himself as a pimp stealing everyone’s girl in his car while the chipmunk soul infused “Food for Thought” talks about playing.

“Forks & Knives” hooks up a dope gospel flip making way for him & his crew sitting at The Round Table chopping up birds protecting & serving when it comes to the paper, but then the soulful “Gut Feeling” advises that you can’t love every bitch you fuck. “1 on Me” has this quirky synthesizer behind him taking over all the open spots on the block while “Young Thugs” cautions not to talk with your mouth full around him.

The song “Servitude” pushes towards the last several minutes of Knowledge’s best friend work on almost 3 years getting back on the chipmunk soul tip going federal with the love if it’s a crime hittin’ us with a significantly calmer flow & “Receipts” ends album with a crooning sample mixed with some strings talking about the fact that nobody wants smoke with him or the rest of the illustrious pimpire.

Many hardcore Roc Marciano fans, including myself have been waiting a very long time for this day to come and now that it’s finally here it’s very much safe to say The Round Table joins Wolves Don’t Eat with Shepherds as some of Knowledge the Pirate’s strongest material in addition to one of my LPs of the year. Marci’s production here is prominently drumless with the exception of boom bap & chipmunk soul being secondary influences outstandingly soundtracking Knowledge’s mafioso lyrics.

Score: 4.5/5

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André 3000 – “7 Piano Sketches” review

Brand new surprise 3rd EP from Atlanta, Georgia emcee, singer/songwriter, producer, actor & the Prince of hip hop André 3000. Coming up as 1/2 of the greatest hip hop duo of all-time OutKast with Big Boi whom he met at Lenox Square Mall when they were both 16, they were also a part of the Dungeon Family collective & released some of my favorite music EVER! This includes ATLiens, Aquemini, Stankonia & Speakerboxxx / The Love Below. The 2nd disc of which was basically the closest thing we got to a solo album from 3 Stacks up to this point. However after what would eventually be their final album Idlewild serving as a soundtrack to the movie of the same name, they would focus on their solo careers. Francis the Savannah Chitlin’ Pimp mostly notably putting out 3 full-length LPs of his own as well as an eponymous EP as Big Grams & an eponymous debut album as Big Sleepover too. André 3000 however stuck to doing features & pursuing an acting career, putting out an avant-garde jazz EP on Mother’s Day 2018 called Look Ma No Hands & signing to Epic Records for the new age ambient-driven solo debut New Blue Sun to critical acclaim. Moving Day was a fine collection of 2 outtakes from the New Blue Sun sessions & has laid out 7 Piano Sketches out of nowhere.

“Bluffing in the Snow” was a great intro to the EP showing off his keyboardist abilities for 3 minutes whereas “& Then One Day You’ll…” works in some more cumbersome tone to the notes he’s playing further assuming “die” to be the missing word in the title of the composition prior to the 34 second “When You’re a Ant & You Wake Up in an Awesome Mood About to Drive Your Son to School Only to Discover You Left the Lights on in the Car Last Night, So Your Battery is Drained” interlude.

The name “Hotel Lobby Pianos” goes for that exact vibe feeling like I’m walking into Circa Resort & Casino or any other high quality resort on the verge of checking in just before “Blueberry Mansions” turns it up on the luxuriousness for almost a couple minutes. “Off Rhythm Laughter” lives up to its name playing the piano overlapping a laughing sample that’s not on rhythm. “I Spend All Day Waiting for the Night” finishes by adding some drums in the fold for a climatic closer that I can hear at the end of a show or a movie.

Not too shocked to see people complaining about him doing anything except dropping a whole hip hop album but like I said when I reviewed New Blue Sun: André 3000 is literally one of those guys who can do just about anything & can find a way to pull it off. Instead of him using woodwinds like he did on that LP & the previous EP Moving Day, he’s playing the piano with hints of spoken word because of every track starting with the track number & title being said out loud for an easy listening experience.

Score: 3.5/5

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