Good Day Noir Family,
“Mr. Fly” opens with swagger. The rhythm feels instantly grounded in something vintage, evoking the dusty haze of the 1970s — a time when grooves carried grit and charm.

Mr. Fly is Bog Witch’s Single Out Now

The track moves with a self-assured strut, guided by a sly pulse that recalls the freedom of a van barreling down the highway toward Woodstock. It’s playful, moody, and soaked in character.

Bog Witch builds her universe with care. The production feels organic, yet every sound sits with precision. The guitar has a muted warmth, almost as if it’s wrapped in velvet, giving the music a hypnotic texture. Then the voice arrives — mature, mysterious, and expressive — drawing you closer with phrasing that feels lived-in. Something is known in her tone, as if she’s letting you in on a secret only half-meant to be shared.

The harmonies are another strength. The backing vocals glide gently through the mix, enriching the melody without overshadowing it. Their placement gives the song a feeling of depth, like a faded photograph slowly coming to life. Layer by layer, the instrumentation builds into something lush yet understated.

A subtle horn section appears, breathing movement into the arrangement. Those brass tones inject energy without breaking the spell, fusing beautifully with the acoustic-driven rhythm. The percussion, steady and slightly teasing, keeps the groove in motion — never rushed, always smooth. There’s a jazzy looseness to it, mixed with blues undertones and a touch of psychedelic charm.

What stands out most is the mood. “Mr. Fly” exists in a liminal space — part folk-rock, part cinematic daydream. The result feels timeless, as if Nancy Sinatra wandered into a late-night jam session where folk, blues, and jazz collide.

“Mr. Fly” doesn’t just play; it lingers. It’s smoky, confident, and full of character.

Mr. Fly is Bog Witch’s Single Out Now!

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Psychadelic!

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Mr. Fly is Bog Witch’s Single Out Now

Wendy DuMond is a singer-songwriter and producer whose music fuses storytelling, emotional honesty, and echoes of folk, Americana, and art-pop. Born in Montana and raised in Oklahoma, her songs reflect the open skies and quiet depths of the American heartland. Now based in the South, she continues to explore themes of identity, longing, and quiet rebellion through her solo work, her project Bogwitch, and as a member of the Americana band Blackfoot Daisy.

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Good Day Noir Family,
“Bird of Time” begins with a harmonic sequence that carries a nostalgic warmth and immediately draws you into Factheory’s world.

Bird of Time is Factheory’s Single Out Now

The opening guitar chords shimmer with the brightness of early R.E.M., yet the band quickly makes the atmosphere their own.

The arpeggio line feels intimate and expressive, almost as if each ringing note is tracing the outline of a memory that refuses to fade. Soon the rhythm settles into a steady pulse, giving the track a sense of forward movement without disrupting its reflective tone.

As the song unfolds, the chorus delivers an unexpected turn. Distorted guitars crash in with a sudden hard-rock surge, adding grit and tension. The melody becomes darker and slightly more dramatic, shifting the emotional center of the track. This contrast works extremely well because the band maintains full control of the transition, never letting the energy overwhelm the mood. Instead, the shift adds depth, showing just how flexible their writing can be.

Then the song returns to the verse with renewed purpose. The interplay between the guitars and the vocal line feels natural, demonstrating a group that understands how to balance clarity and intensity. Every section builds on the last, creating a dynamic arc that keeps the listener curious.

However, the most surprising moment arrives after the second chorus. A bridge appears that brushes against avant-garde territory, with hypnotic vocal layers floating over a driving groove. The atmosphere becomes dreamlike, even a bit unsettling, before the arrangement opens back into the final section. It’s bold, imaginative, and executed with confidence.

Factheory clearly enjoy challenging expectations, and “Bird of Time” proves it. The band blends nostalgia, experimentation, and emotional weight into a track that feels genuinely distinctive. It’s smart, melodic, and full of unexpected ideas—a strong example of modern alternative creativity.

Bird of Time (ft. Michel Sordinia) is Factheory’s Single Out Now!

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Adventurous!

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Bird of Time is Factheory’s Single Out Now

Factheory is a Belgian band (Brussels) build with the ashes of many more or less alternative groups of the 80s, 90s and 2000s (Dirty Time, Petit Futur, Amazing Games, Unsaid … among others) Factheory represents a successful compromise between a darkwave with unstoppable melodies and a postpunk rock with electro trends. Factheory is Dominique Nuydt (bass, synths, drums programming), Bruno Uyttersprot (vocals, guitar and main lyricist) and Stefan Weidemann (guitar). Discography, see on Bandcamp.

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Good Day Noir Family,
John Michael Hersey’s Democracy opens with its title track, a rock-driven piece carried by a confident guitar riff and a narrative urgency that immediately frames the album’s mission.

Democracy is John Michael Hersey’s Album Out Now

His vocal tone cuts through clearly, delivering lyrics that observe the turbulence of our era with wit and directness.

The style recalls classic American storytellers—artists like John Mellencamp or Elvis Costello—yet Hersey keeps the delivery modern and crisp, allowing the commentary to land without ever losing musical weight.

Soon after, “I’ll Never Let Go” shifts the palette. Built around a repeating melodic phrase, the song grows with a near-blues solo that stretches the atmosphere in a very satisfying way. It’s upbeat, warm, and surprisingly playful, showing how much Hersey enjoys bending his songwriting into new shapes. The rhythm carries a brightness that lifts the mood and keeps the listener leaning forward.

Then “Nowhere” introduces a more mysterious tone. The arpeggio in the opening feels slightly unstable, and that tension sets the stage for one of the album’s most intriguing melodies. Hersey leans into mild dissonance here, revealing a refined and adventurous approach that brings to mind Peter Gabriel’s willingness to explore edges. The track feels daring without losing emotional coherence.

“Another Drinking Song” leans into swagger. It’s bluesy, humorous, and full of character, moving with a relaxed Americana swing. Hersey’s storytelling gifts shine here; the song entertains while still feeling musically rich.

“The Boy with a Bomb” follows with a retro guitar line that could have stepped straight out of the ’70s. The verse experiments with unusual shapes, yet the chorus opens into a more harmonious space, making it incredibly memorable. It’s the type of track that makes you want to sing along without even noticing.

The closing track, “Connected,” brings the album full circle. Its rhythm carries a subtle bounce that borders on danceable, and there are flashes of Elton John–style phrasing tucked into the arrangement. The song feels alive, slightly unpredictable, and full of personality—much like the album as a whole.

With Democracy, John Michael Hersey delivers a collection rich in intelligence, craft, and emotional depth. It’s an album shaped by vision, curiosity, and a willingness to explore.

Democracy is John Michael Hersey’s Album Out Now!

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Insightful!

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Democracy is John Michael Hersey’s Album Out Now

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Good Day Noir Family,
“Glass Wings” feels like stepping into a dream stitched from shadows, ritual, and cinematic tension.

Glass Wings is Muse to Sirens’ Single Out Now

 The duo Muse to Sirens lean fully into their avant-garde instincts here, crafting a track that moves like a whispered spell drifting through an abandoned cathedral at night.

The opening crash of the cymbal—slightly dissonant, slightly unsettling—acts almost like a warning. Something supernatural is about to take shape.

Then Vanity Ladner’s voice arrives, gliding through the mix with a tone as hypnotic as an enchantress guiding you toward a fire lit somewhere in the distant woods. Her delivery has a mystical pull, a mixture of old folklore and modern experimentalism. She doesn’t simply sing the melody; she embodies it, turning each phrase into something ritualistic. The song’s melodic line drifts slowly, almost serpent-like, and creates an atmosphere where time feels stretched and uncertain.

Meanwhile, the underlying keys keep swirling below like fog, crafting a backdrop that feels delicate and eerie. Their softly dissonant harmony brings a cinematic edge—something close to a soundtrack for wandering through a fog-soaked city where every streetlamp hides a secret. Muse to Sirens clearly enjoy building tension through minimalism, allowing each texture to linger before another element arrives.

Around the 2:50 mark, the track shifts dramatically. A distorted guitar enters with a steady, pulsing cadence, raising the stakes and transforming the piece from whispered ritual to full-bodied invocation. The tension thickens as the duo push the atmosphere toward a controlled frenzy, keeping the listener suspended between beauty and danger. They close the song with bright, high piano notes that fall like cold raindrops on asphalt—gentle yet haunting.

“Glass Wings” is a surreal trip, bold in structure and fearless in emotion. Muse to Sirens embrace experimentation with instinct, intention, and a clear sonic identity. It’s a gorgeous fever dream of a track and a journey I absolutely recommend.

Glass Wings is Muse to Sirens’ Single Out Now!

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Arcane!

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Glass Wings is Muse to Sirens’ Single Out Now

Muse to Sirens is a Pennsylvania-based duo weaving the haunting vocals of Vanity Ladner with the hypnotic rhythms of Ozymandias Ladner. Born in the underground bars of Shanghai, their sound fuses the golden age of Gothic music with the folklore and musical roots of the American Deep South—evoking the feeling of standing at a Mississippi crossroads, soul in hand. Since returning to the U.S., they’ve performed along the Gulf Coast and become a striking presence in Pennsylvania’s underground scene. Featured as the first U.S. act interviewed by the UK’s Viva! Podcast, Muse to Sirens were also 2023 and 2024 Nappie Award Finalists for Best Underground / Metal Band, marking their rise as one of the region’s most intriguing and genre-defying acts.

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Good Day Noir Family,
“Honey, Hi” introduces SIDE BANGS as a project with a deeply artistic identity, shaped by the vision of Stephanie Rodgers, who writes, sings, and plays guitar.

Honey, Hi is SIDE BANGS’ Single Out Now

The track feels like a quiet portal into a world that bends reality just enough to make it feel dreamlike. Its atmosphere is rich yet understated, and its emotional tone is crafted with a cinematic sense of detail.

The guitar carries a soft, muted tone, almost as if it lives behind a thin veil. This quality places the listener in a suspended zone, somewhere between the physical world and a metaphysical space that the band creates through minimalism and intuition. The chord movement feels natural, although it also hints at something slightly uncanny, which keeps the ear alert.

Then the vocal presence arrives. Rodgers’ tone is striking: airy, hypnotic, and slightly mysterious. She delivers the melody with the kind of grace that feels effortless, yet every phrase lands in a deliberate way. There is a siren-like quality to her voice — not in a dramatic sense, but in the way it pulls you closer without pushing for attention. The comparison to Annie Lennox comes to mind because of the clarity and emotional resonance in her tone, though Rodgers shapes it with her own identity.

The entire song unfolds like morning fog drifting across a quiet street, and the listener is guided through it with patience. Furthermore, the production avoids excess and allows space to breathe. Each element is placed with care, almost like minimalist theatre: nothing distracts from the core emotion. This restraint makes the song even more immersive.

As the track develops, its nostalgic aura intensifies. The melody carries a softness that lingers, and the instrumental palette deepens that sense of introspection. It is the kind of song that slowly enters your system and stays there, not because of dramatic peaks but because of its delicate honesty.

“Honey, Hi” feels like a whispered message delivered at exactly the right moment.

Honey, Hi is SIDE BANGS’ Single Out Now!

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Hypnotic!

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Honey, Hi is SIDE BANGS’ Single Out Now

Side Bangs, hailing from Brooklyn, NY, is making waves with their latest original single, “Honey, Hi.” Led by Stephanie Rodgers, who serves as the singer, guitarist, writer, and producer of the track, Side Bangs delivers a fresh sound that captivates audiences.

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Good Day Noir Family,
Wholes build their new album A Mass in the Water on a foundation of grit, tension, and unfiltered instinct. It’s a record that refuses predictability and instead leans into a very physical type of alternative aggression.

A Mass in the Water is Wholes’ Album Out Now

  The opener, “Holes,” hooks you with a rhythm that recalls the muscular drive of Queens of the Stone Age, though the textures lean closer to the industrial shadows of Nine Inch Nails.

The vocal delivery has a ritualistic edge, almost like a sermon delivered in a factory lit only by dim red bulbs. It’s a bold and visionary start, and it clearly signals that this band isn’t following any well-worn path.

Then “Urge To Do Better” enters with a tribal pulse, something earthy and primal. The spoken delivery in the verse feels deliberate, while the guitars lurk like wild horses waiting to break free. When the chorus arrives, the melodic lift is unexpected yet deeply satisfying. The groove has a dystopian quality, and the futuristic feeling amplifies the unease in a strangely addictive way.

“Lost In A Head” pushes things further. The unstable, distorted guitar and the sudden impact of the drums create a sense of chaos that feels almost cinematic. It carries the tension of a Lars von Trier sequence—grim, erratic, and hypnotic. The track moves with a violent energy that burrows deep.

The mood shifts but never softens in “Modern Day Drama.” A sinister bass line opens the door to a whisper-like vocal approach that subtly echoes the attitude of early Marilyn Manson. The dissonances add pressure, growing like a fog that refuses to lift. It’s one of the album’s most intense and memorable entries.

“Till We Don’t Meet Again” increases the tempo, offering a hypnotic momentum perfect for late-night drives where the road feels endless and the world feels quiet. Then the album closes with “What Is Worse Than Murder,” a minimalist, voice-and-guitar confession that slowly expands. More instruments enter after the second minute, lifting the track into a desperate, almost spiritual crescendo. It becomes a lament, a final cry in the dark.

A Mass in the Water is harsh, visionary, and beautifully unrestrained—an album that digs into the rawest corners of emotion.

A Mass in the Water is Wholes’ Album Out Now!

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Haunting!

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Written in the aftermath of Wolf Vanwymeersch’s father’s suicide, the album captures a descent into confusion, rage, and grief — but also the slow, stubborn search for connection. The name WHOLES itself was born from that tension: where holes signify wounds, wholes points to healing.

WHOLES — a collective featuring members of Elefant, Pink Room, Hypochristmutreefuzz and kolektiv, is quickly carving out a space where emotion meets dissonance, where grief and detachment collide in noise.

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Good Day Noir Family,
Omnesia’s “Days and Nights” feels like stepping through a thin membrane into a dream universe — one where memory, longing, and quiet mystery float in air that shimmers just slightly differently from ours.

Days and Nights is Omnesia’s Single Out Now

The track doesn’t hurry; it drifts with intention, inviting the listener to surrender to mood before melody, atmosphere before structure.

Yet it never feels abstract for the sake of obscurity. Instead, every sound and breath works toward a fragile, beautifully human emotional pulse.

The most striking element arrives immediately: the voice. It sits in a mesmerizing space that blurs gender, time, and identity — soft and resolute, light and earthy. There’s an otherworldly quality that pulls you closer. You don’t just hear lyrics; you feel them, as if whispered through a dream you’re not fully awake from. This vocal delivery alone positions Omnesia in a rare space, where indie introspection meets avant-garde curiosity without losing accessibility.

Instrumentally, the production is minimal yet strategically rich. Gentle textures, glistening synth touches, and patient guitar tones give the song a cinematic hush. Notes stretch into each other like starlight across water. The rhythm remains subtle, almost like a heart keeping time quietly in the background. Moreover, every layer feels organic, even when electronic elements appear. That blend creates something modern and timeless.

What truly elevates “Days and Nights” is its emotional core. There is nostalgia here, but not the sweet kind — more like a memory of something sacred that you can almost reach but never fully hold. The track carries ancestral echoes, as though it remembers old folk spirits and future-dream ghosts at once. That duality, between ancient and futuristic, makes the listening experience unusually immersive.

Yet the music never collapses into heaviness. Instead, it breathes. It expands gently. It lingers in the soul without demanding anything. And when it ends, silence suddenly feels deeper, as if the song left a small imprint on the room.

Omnesia achieves something rare: a track that feels experimental but emotionally grounded, ethereal but sincere. “Days and Nights” sits at the crossroads of indie elegance and avant-garde storytelling, proving that subtlety can be as powerful as thunder.

Days and Nights is Omnesia’s Single Out Now!

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Transcendent!

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Omnesia is androgynous vocalist medella kingston + eclectic guitarist/producer M2= auditory omakase, where future vintage rock, indie dance, electro-pop, nu wave +prog find common ground.

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Good Day Noir Family,
The Lunar Keys have always had a talent for crafting songs that feel alive, and “Pure As Your Protocol” is another strong entry in their growing catalog.

Pure As Your Protocol is The Lunar Keys’ Single Out Now

It blends emotion and energy with sleek indie-rock precision while still leaving space for atmosphere and melodic charm.

The track manages to hit hard without losing its spirit, and that balance makes it memorable.

An entrancing rhythm hooks you from the start—steady, magnetic, and full of motion. A shimmering synth pad hovers above the groove, giving the track a dreamy yet mysterious character. There’s an immediate feeling that something is building just beneath the surface, and the band wisely lets that anticipation grow rather than rushing into a full arrangement.

When the vocals enter, they do so with a restrained tone. There’s subtle tension in the delivery, as if the singer is guarding a thought that has not yet been spoken. That emotional ambiguity keeps the listener engaged. You sense the song is going somewhere, but you cannot predict its direction.

Eventually, the track expands and the energy rises. The rhythm section grips tighter, the guitars sharpen, and momentum builds toward the chorus. When it arrives, it breaks open like sunrise—big, emotional, and instantly singable. It is one of those rare choruses that feels both anthemic and intimate. The phrasing is simple, yet it sticks. It invites participation. It feels made for crowds, big stages, and moments of unity.

The guitar work stands out in the background—delayed, atmospheric chords that recall The Edge of U2. These guitars never steal the spotlight, but they expand the sonic field in subtle, powerful ways. The mix gains depth and emotion because of their presence. Then comes the bridge—a beautifully arranged moment where the band steps into a cinematic zone. The mood shifts into something dreamlike and reflective before launching into a final chorus that hits even harder.

Lyrically, the song strikes a balance between introspection and emotional release. Musically, it is tight, dynamic, and built with craft. The Lunar Keys sound confident here. Every decision feels intentional.

This is a song built to move people.

Pure As Your Protocol is The Lunar Keys’ Single Out Now!

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Driving!

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Pure As Your Protocol is The Lunar Keys’ Single Out Now

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Desert rock legends Yawning Man have a new set of Mojave stories for us: Pavement Ends.

History says that Yawning Man formed in the mid-1980s, although no official recorded artifacts emerged until 2005 (although stories of demos have circulated freely). Their music crosses many boundaries and is sometimes referred to as experimental rock, while fans most often summarize it as desert rock. The band is Gary Arce (guitar), Mario Lalli (bass), and Bill Stinson (drums).

For having such a goofy title, the opening song, “Burrito Power,” starts with ominous riffs and dark melodies. It seems to be saying, don’t go into this part of the desert. It is an mysterious instrumental delight. “Gestapo Pop” is serious in a different way; describing and cautioning more than warning. The guitar stands out more brightly here, and the manner is quite deliberate. “Bomba Negra” is melancholy, and emphasizes the heavy end.

Just as the first three songs offer very different notions, so does the second triplet. “Dust Suppression” is almost punchy compared to its fellows, and it feels like dawn to me. “Pavement Ends” made psychedelic impressions on my brain in every second of its ten minutes. The final sequence, “Bad Time to be Alive,” encourages you to think about what the world is like now. The seed is planted by the title, of course, but even if you hadn’t read it, the music would inspire self-reflection. This is an amazing record, and it will surely be hovering around the top end of year’s best lists far and wide. Highly recommended.

Pavement Ends appears from Heavy Psych Sounds Records on Friday, November 14^th. You can get your very own at the links below.

Links.

Bandcamp, https://heavypsychsoundsrecords.bandcamp.com/album/yawning-man-paviment-ends

Facebook, https://www.facebook.com/yawningmanofficial/

Heavy Psych Sounds Records, https://www.heavypsychsounds.com/

© Wayne Edwards

Good Day Noir Family,
CMD.EXE’s love.language.model unfolds like a coded transmission arriving from a parallel future, one where emotion and circuitry coexist in the same heartbeat.

CMD.EXE is love.language.model’s Album Out Now

The album begins with its title track, which builds through a reverberant arpeggio that immediately shapes an atmosphere suspended between sci-fi tension and nocturnal meditation.

The progression grows steadily, and the synthetic textures form a world that feels intimate and futuristic.

Soon after, “Ghost Stories from the Ashes of a Family” expands the album’s vision with a more cinematic tone. Pads drift in the background, while a distant arpeggio introduces a guitar line that slices through the haze. When the drums lock in, the track gains weight, and the vocal delivery arrives with authority. It feels like the emotional anchor of a dystopian narrative, and this contrast between softness and intensity becomes one of the album’s strengths.

“World Gone Mad” shifts toward a rock-leaning direction. Even so, the broad pads continue to spread across the mix, supporting the melodic phrasing and giving the track a wider space to breathe. The pacing balances aggression and melancholy, while the arrangement adds new layers that deepen the album’s sonic identity.

With “Lost at Sea,” CMD.EXE steers into more classic rock territory. A strong guitar riff opens the track and leads into long, atmospheric chords that lift the energy. The verse retreats into a quieter zone, though the pre-chorus erupts with sharp guitar work and a sudden, powerful cry from the vocal. It is one of the record’s most dynamic moments.

“Love Is a Weapon” adds a driving pulse, presenting a darker tone that recalls hints of U2’s more shadowed era, yet remains firmly rooted in modern rock. Meanwhile, “Terminal 3” maintains that momentum with a chorus that surges forward and energizes the entire listening experience.

The album closes with “Newsflash (a message from the future)”, framed as a broadcast intercepted from another timeline. It ties together the album’s concept: an artistic experiment that merges human creativity with the possibilities of artificial intelligence, producing music that feels like a story delivered across dimensions.

CMD.EXE is love.language.model’s Album Out Now!

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Futuristic!

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CMD.EXE is love.language.model’s Album Out Now

CMD.EXE is a hybrid creative project that exists at the crossroads of human expression and machine intelligence. Conceived as a collaboration between musicians, songwriters, and advanced digital systems, it explores the emotional space where analog instinct meets synthetic consciousness.

Rather than treating technology as a tool, CMD.EXE embraces it as a creative partner — using AI-assisted composition, digital sound modeling, and human intuition to build a unique artistic identity. The project’s work reflects a cinematic blend of electronic textures, dark atmospheres, and conceptual storytelling, channeling themes of memory, identity, and the evolving relationship between people and machines.

Standing firmly between innovation and emotion, CMD.EXE demonstrates how technology can amplify human creativity. It is not about machines imitating humanity, but about humans expanding their artistic possibilities through the machine.

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