Neon Indian Falling in Love Again
| Era Extraña | ||||
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| Studio album by Neon Indian | ||||
| Released | September 7, 2011 (2011-09-07) | |||
| Recorded | 2010 – 2011 | |||
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| Genre |
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| Length | 42:27 | |||
| Label |
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| Producer | Alan Palomo | |||
| Neon Indian chronology | ||||
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| Singles from Era Extraña | ||||
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Era Extraña is the 2d studio anthology by American electronic music band Neon Indian. It was released on September 7, 2011, by Static Tongues and Mom + Pop Music. The recording took identify betwixt the winter of 2010 and 2011 during frontman Alan Palomo's visit to Finland. Containing influences and elements of psychedelic pop, shoegaze, and new moving ridge, the album has the same summery audio every bit the band'due south debut studio anthology, Psychic Chasms (2009), simply with a darker and more serious tone.
Era Extraña received by and large positive reviews from critics, a number of whom called it more than focused, tight, and cohesive than Psychic Chasms, while some praised the songcraft. Still, some mixed reviews noted that on this anthology, Neon Indian lost much of the amuse that was apparent on Psychic Chasms. The album peaked at number 74 on the The states Billboard 200, the band'due south start release to appear on the chart. The band toured N America from December 2011 to May 2012 to promote Era Extraña.
Background and production [edit]
The album was recorded from the winter of 2010 to 2011 at Kalevankatu 45 in Helsinki, Finland, when Palomo lived there for four weeks.[1] [two] Palomo primarily wrote the album using a Voyetra-eight, a Korg MS-20, and a modified Commodore 64, with the first weeks of production in Helsinki involving him learning this equipment. Palomo first saw the Voyetra-8 in the music video for New Gild's "The Perfect Osculation" (1985), saying that he was amazed by its appearance: "It'southward this bizarre, kaleidoscope interface with these knobs, and it'due south really physical to use, a strange kind of challenge."[3] Palomo'south songwriting on Era Extraña was more than influenced by his live performances than his previous projects, and he claimed that he had never expected to perform his songs live before. He said that "it was an influence; not so much something that limited me, but a feeling that lead to longer, more soundscape-driven songs. That was something that was undeniably in my mind: 'What would I want to be playing every nighttime for eight months?' And the album evolved from there."[3]
Unlike Neon Indian's debut studio album Psychic Chasms (2009), which involved creating "microloops" via building up one-bar samples into multiple confined that would make up a full song, Palomo said that in composing Era Extraña, he recorded a riff from a sound he made and tried to "keep that momentum up".[3] For Era Extraña, in order to develop ideas he was having while recording the record, information technology was necessary for him to take more control of the effects and instruments he was using for the album. Making the album helped him acquire how to create synth sounds and become a "gear geek", instead of relying on presets as he did with his previous works.[three] He said that "the more tedious aspects of production practise have the chapters to take the wind out of your sails, so you always take to navigate through that every bit quickly every bit you tin can earlier you start feeling burnt on the song, earlier you lot forget that initial spark that made y'all even want to write it in the first place".[three]
The title plays with the different meanings of the word "extraña": although information technology directly translates into "strange", information technology also means to "command the act of longing".[four]
Composition [edit]
Era Extraña is significantly influenced by psychedelic popular, shoegaze, and new wave.[5] [6] Clash reviewer Nick Levine described the anthology as a loud indietronica record and "chillwave that's not actually that, well, chilled", joking that its genre should be marked as "drillwave".[vii] The instrumentation is chaotic with unsteady synth arrangements, likewise as stray sounds of rocket-ship noises, telephone conversations, laser sounds, and visceral samples of video games, but the music nonetheless manages to be tight.[8] As Drowned in Audio reviewer Robert Cooke explained, the retro video game samples are used as "incidental racket, or miniature musical experiments", and Era Extraña also includes the "sparkling synths and wide-eyed wonder" of M83's more popular-sounding material that makes it sound like "a soundtrack for an Eighties teen flick about surfers from space" rather than merely "Nintendo-sponsored masturbation".[nine] Spin reviewer Nick Murray besides compared some of the songs to M83, while describing other tracks equally "one Martin Rushent assist away from being genuine synth-pop hits".[ten]
Era Extraña has the same "lazy summer feel" as Psychic Chasms, only with a more serious and slightly darker tone.[11] In a PopMatters review, Nathan Wisnicki said that Palomo's introversion is "certainly apparent", citing that even the anthology's most joyful melodies are "rigidly grafted to both rhythmic thrust and hooks more than anxious than comfy".[12] Pitchfork 's Larry Fitzmaurice said that the album is much more serious than Psychic Chasms, but "Palomo isn't ever as assured in rendering the darker material". He as well noted that while Era Extraña is not exactly a breakdown album, it does audio "romantic and lovesick" and uses sounds that emulate these feelings.[8] At the same fourth dimension, the album as well feels "expansive and alone, like someone staring at the night sky in solitude".[8] Era Extraña also contains the same unsteady synth riffs, filtered drums, and vocal hooks every bit Psychic Chasms, with the addition of crunchy, fuzzy guitars; thick analog synths; and a lot of reverb, as well equally much clearer production.[6]
Songs [edit]
Era Extraña is connected by three brief, wispy instrumental interludes:[13] "Heart: Assault", "Heart: Decay", and "Heart: Release".[14] "Attack" opens the album "similar a 200-human foot-tall Game Boy loading up", according to Cooke.[9] Information technology starts with the sound of 8-bit particles coming to a "celestial boil" in the first few seconds, followed up past "what the birth of the universe must have sounded like had the Big Bang occurred within the original Nintendo Entertainment System", according to Paste critic Wyndham Wyeth.[11] "Decay" starts the "information technology-has-to-get-worse-before-it-gets-better" phase of the post-breakup period that is explored on Era Extraña, while "Release" ends the album with relief, nevertheless likewise a fearful first step forwards from a breakup.[15] Heather Phares of AllMusic said that out of all of its songs, these three tracks, forth with "Futurity Sick", sound the most similar to Psychic Chasms.[13]
Fitzmaurice found "Polish Girl" to be similar to the vocal "Reunion" (2004) by Canadian band Stars, seeing a resemblance to its theme of someone trying to recover, and yearning for, immature love.[xvi] Palomo asks questions in the vocal that are likely to be unanswered, such equally "Do I still cross your mind?/ Your face still distorts the time".[16] Cooke noted the "dazzling syncopated pulse" to be similar to the coin audio consequence in games from the Mario series, while observing melodies that "splash and slide around sickly-sweetness flurries of arpeggios and a family unit-friendly feel-good shell".[9] Parry Ernsberger of Blurt said that the song includes what sounds like samples from the game Super Mario World (1991), and has the "euphoric energy" of Cut Copy's album Zonoscope (2011).[17] Beats Per Minute writer Aurora Mitchell said the song "sounds similar 80s disco distorted through an old reckoner",[eighteen] while Phares noted the song sounds more than similar Palomo's other project Vega than Neon Indian.[13] "The Blindside Kiss" includes elements of alternative rock, grunge, and garage stone.[18] [19] Club Fonograma author Blanca Méndez said that "The Bang Kiss" is about the "staying-calm-and-staring-at-ceilings early phase" of a breakup, which is "the ane in which you allow yourself to wallow in the pain because you deserve at least that much". Méndez noted the song's "tinny layers of audio" and Palomo's "blatant, almost frustrated vocals".[xv] The electro-shoegaze song "Hex Girlfriend"[xiii] addresses an ex-girlfriend,[xv] and includes video game synth timbres like to those on Psychic Chasms opener "(AM)".[19] Both "The Bang Kiss" and "Hex Girlfriend" are filled with "buzzsaw"-toned guitars, which BBC Music'south John Aizlewood compared to the Jesus and Mary Concatenation.[xiv]
The Depeche Mode-style[17] "cavernous Anglophile disco"[20] song "Fallout" is almost trying to forget a failed relationship, with Palomo request the subject to "please let me fall out of honey with yous".[15] Palomo sounds unreachable on this song, like "a lonely planet boy sending out distress signals from the saddest corner of the solar organization", said Rolling Stone critic Jon Dolan.[20] Wisnicki said there is "a haunting vagueness" to the deadening step, with the song'southward "subtle synth-disguised-as-choir tactics used to help the song break unexpectedly from slow Joy Division-esque pummel to a bridge that reaches into bliss...if but for a few seconds".[12] DIY 'south Dani Beck and Derek Robertson said that the track sounds like music for the opening credits of a late-night Arnold Schwarzenegger B-flick,[21] while Phares stated it could have been recorded by Love and Rockets or Baton Idol back in the 1980s.[13] Both "Fallout" and "Element of group vii" contain dramatic keyboard riffs inspired by the music of Duran Duran.[5] The title rails represents a outset post-breakup sign of promise.[fifteen] Dramatic, clattering drums are present on the rails,[5] and musicOMH reviewer Ben Hogwood compared its heavy, house beat to Ultravox'southward "Vienna" (1981).[22] Aizlewood noted that the song resembles "Out of Bear upon" (1984) by Hall & Oates.[14]
The three following songs, "Element of group vii (I Could Be a Shadow)", "Future Sick", and "Suns Irrupt", follow 3 different types of forgetting a breakup. Reminiscent of music released in the New Romanticism period,[23] "Halogen (I Could Be a Shadow)" was described by Méndez as "a spectacularly enveloping slice," with its somber instrumentation of "steady, comforting percussion, delicate, inviting synths, and vintage daughter group-evoking background vocals" resulting in "a gorgeous vessel for ecstatic release".[15] Fitzmaurice described "Element of group vii (I Could Be a Shadow)" as the "virtually-double" of "Kim and Jessie" past M83,[8] whereas Aizlewood compared the song to the works of the Thompson Twins,[14] while Phares said it sounds like music that would "play over the credits of a sci-fi teen sex comedy".[xiii] With its "seasick synths"[8] as well as "bits of arena stone guitar and girlish harmonies", the heavy,[12] playfully deplorable "Future Sick"[thirteen] manages to convey "the feeling of growing older in a world that's growing faster than y'all are".[eight] It depicts Palomo lamenting "mid-volume under his ain creation's drunken brainchild" virtually wanting to go back into the past, because thinking of the future is making him sick.[8] [15] At this bespeak, according to The Observer 's Killian Fox, some of the wooziness that Era Extraña takes from Psychic Chasms "veers into nausea".[24] Mitchell described the instrumentation of "Suns Irrupt" equally "hypnotic and firework fizzling synths with a woozy synth groundwork".[eighteen] Palomo repeatedly whisper-growls the line "Suns irrupt / I wake upwards I wake upwardly",[xviii] and Fitzmaurice compared its repetitiveness to "Someone Great" (2007) past LCD Soundsystem.[viii]
Release and promotion [edit]
Iii singles were released from Era Extraña: "Fallout", on July 27, 2011;[25] "Polish Girl", on August iii, 2011;[26] and "Hex Girlfriend", on May 28, 2012.[iv] The anthology was first released in Nippon on September 7, 2011.[27] The express edition package came with the Pal198X, a mini analog synthesizer created by Palomo and the company Bleep Labs. With three oscillators, including two triangle waves and a square low-frequency oscillator, it is a modified version of the company's synth kit Pico Paso, with the addition of swappable controls.[28] Era Extraña was the kickoff Neon Indian anthology to appear on the US Billboard 200, reaching position 74.[29] Information technology also charted on the aforementioned mag's Independent Albums,[30] Top Alternative Albums,[31] Trip the light fantastic/Electronic Albums[32] and Top Stone Albums.[33] Exterior the Usa, the album likewise charted on the Japanese Albums Oricon chart.[34] A 42-date North American tour for Era Extraña was announced on December 6, 2011. It premiered on December 31 at the Lights All Night festival in Dallas, Texas, and ended with a show at New York City'southward Terminal five on May 12, 2012.[35]
Reception [edit]
| Aggregate scores | |
|---|---|
| Source | Rating |
| AnyDecentMusic? | 7.2/10[36] |
| Metacritic | 76/100[37] |
| Review scores | |
| Source | Rating |
| AllMusic |   [13] |
| The A.V. Club | B−[23] |
| Clash | 8/10[vii] |
| NME | 8/10[38] |
| The Observer | [24] |
| Pitchfork | 7.9/10[8] |
| PopMatters | v/10[12] |
| Rolling Stone |  [20] |
| Spin | 7/10[10] |
| Tiny Mix Tapes | [39] |
Era Extraña was met with by and large positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 76, based on 27 reviews.[37] Based on their assessment of the critical consensus, information technology was given seven.2 out of 10 on AnyDecentMusic?.[36]
Some reviewers praised Era Extraña for beingness more focused, tight, and cohesive than Psychic Chasms.[eight] [eleven] [13] [xl] Phares said that while information technology does not have the same homespun charm every bit Psychic Chasms, the album proved that the project could be more than but a chillwave group.[13] Fitzmaurice called it "a delivery to tighter, wide-reaching songcraft and appeal", also praising the "kitchen-sink arrangements" for still sounding "taut and defined".[eight] Wyeth said that Palomo made a fluid album with Era Extraña, something intended but not properly achieved on the project's last studio anthology.[11]
Hogwood called the album a "fascinating heed, borne of a man who clearly has an extremely agile imagination". He praised the hooks, the witty and thoughtful lyrics, and the unpredictable harmonic structures, also noting that the album turns the building blocks of the tracks from the concluding album "into very appealing piddling morsels", aiding listeners with short attention spans.[22] In Outcome of Sound 's four-star review, Mohammad Choudhery wrote that, while Psychic Chasms was "a shy and fragmented drove of songs", a production of the chamber product era, Era Extraña is "a confident, all-inclusive album" that the public wouldn't be able to "fence into a single, silly-titled subgenre".[5] NME critic Anne T. Donahue labeled the album every bit "a lesson in how to execute electronic music properly".[38] In Mitchell's 79%-rated review, he chosen Era Extraña "electronic [music] in its purest form". He said that the flow of the anthology is not equally smooth as Psychic Chasms, simply that Palomo'due south influences are "in all the correct places and information technology seems that [he] is wearing them proudly on his sleeve".[xviii]
Aizlewood constitute Era Extraña to be an intriguing yet unusual record, but disliked the lack of "obvious emotion", calling the album overall "easy to adore but difficult to love".[xiv] Tiny Mix Tapes 's Guy Frowny called it "an agreeable listening experience with moments of catchiness and beauty throughout, and hints of an evolutionary path that exit future expectations open up-ended".[39] Dolan saw the anthology as an improvement on Psychic Chasms and said it dunks "dreamy early-MTV haircutband balladry in layers of psychedelic schmutz, nigh hiding fantabulous songs in the murk".[20] Olly Parker, a reviewer for Loud and Quiet, too noted an improvement and praised the album's songcraft and interesting sound, but said it fell in the "meh" category and "can't get beneath the surface".[41] Cooke opined that "it has a lot to offering around the edges, merely is difficult to truly connect with at its core", reasoning that the anthology is non the all-time example of cutting-edge modern-24-hour interval pop music, nor does information technology contribute anything new to electronic music.[9]
Some reviews were more mixed. The A.V. Gild critic Steven Hyden wrote that while Era Extraña sounds "fuller" than Psychic Chasms and "still has plenty of hooks to offer", Palomo "has to have both feet out of the bedroom to move his music forward". He too compared it to some other chillwave album that was released a few months before, Washed Out's Inside and Without, saying, "Where Within is an immaculately conceived graduation from [Ernest] Greene's early on lo-fi piece of work, Extraña is a pocket-size refinement that still feels chintzy in places."[23] Beck and Robertson also discussed Washed Out, also as Toro y Moi, dubbing the album an unfunny parody of chillwave and too criticizing it every bit "such a stiff homage to everything that's cool nigh retro-chic that you tin can't help merely scent a rat".[21] At PopMatters, Wisnicki wrote that Era Extraña does not take the same quality tunes and artful every bit Psychic Chasms, declaring that while each vocal on Psychic Chasms "felt like getting to open another slice of candy", Era Extraña "feels more similar opening one of those refrigerated boxed sandwiches from the grocery store".[12]
On year-stop lists, Era Extraña came in at number l on Under the Radar's list of their acme fourscore albums of 2011,[42] and number xvi on Stereogum 's list.[43]
Track listing [edit]
All tracks are written by Alan Palomo, except where noted.
| No. | Title | Length |
|---|---|---|
| 1. | "Heart: Assault" | 0:59 |
| two. | "Polish Girl" | iv:26 |
| 3. | "The Blindside Kiss" (writers: Palomo, Joshua McWhirter) | 3:35 |
| iv. | "Hex Girlfriend" | iii:18 |
| 5. | "Heart: Decay" | i:46 |
| half dozen. | "Fallout" | 3:34 |
| vii. | "Era Extraña" | 2:59 |
| 8. | "Halogen (I Could Be a Shadow)" | 4:37 |
| 9. | "Future Sick" | 4:49 |
| 10. | "Suns Irrupt" | 5:30 |
| 11. | "Heart: Release" | 2:07 |
| 12. | "Arcade Blues" | iv:47 |
| Total length: | 42:27 | |
| No. | Title | Length |
|---|---|---|
| thirteen. | "Eras Catastrophe Above The states" | four:48 |
| 14. | "(AM)" | 0:25 |
| 15. | "Deadbeat Summer" | 4:03 |
| xvi. | "Laughing Gas" | 1:43 |
| 17. | "Terminally Chill" | 3:34 |
| 18. | "(If I Knew, I'd Tell You)" | 0:48 |
| 19. | "6669 (I Don't Know If You Know)" | 3:21 |
| twenty. | "Should Have Taken Acid with You" | 2:21 |
| 21. | "Heed, Drips" | three:09 |
| 22. | "Psychic Chasms" | four:06 |
| 23. | "Local Joke" | 3:27 |
| 24. | "Ephemeral Avenue" | two:52 |
| 25. | "7000 (Reprise)" | 0:57 |
Personnel [edit]
Credits adapted from the liner notes of Era Extraña.[2]
- Alan Palomo – product, arrangements, performer
- Dave Fridmann – boosted production, mixing
- Claudius Mittendorfer – mixing (tracks one, 2, 7, 8)
- Joshua McWhirter – guitars (tracks 3, 5–vii, x)
- Adam Corbesmeyer – bass (track four)
- Jason Faries – percussion (rails six)
- Jezy Gray – guitar (track 6)
- Aaron Brown – album art
- Ben Chappell – album fine art
- Rob Carmichael – layout, design
Charts [edit]
Release history [edit]
References [edit]
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- ^ a b Era Extraña (liner notes). Neon Indian. Mom + Pop Music. 2011. MP033.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b c d east Carew, Anthony (September 7, 2011). "Interview: Alan Palomo of Neon Indian". Most.com. Archived from the original on January 12, 2012. Retrieved August xx, 2015.
- ^ a b "Neon Indian release new single 'Hex Girlfriend' May 28th". Excursion Sweet. Archived from the original on September 27, 2021. Retrieved September 27, 2021.
- ^ a b c d Choudhery, Mohammad (September 14, 2011). "Album Review: Neon Indian – Era Extraña". Consequence of Sound. Archived from the original on September 25, 2011. Retrieved August 22, 2015.
- ^ a b Fallon, Patric (September twenty, 2011). "Neon Indian Era Extraña". XLR8R. Archived from the original on September 21, 2015. Retrieved September 3, 2015.
- ^ a b Levine, Nick (September 28, 2011). "Neon Indian – Era Extrana". Clash. Archived from the original on October 11, 2014. Retrieved October 7, 2014.
- ^ a b c d eastward f k h i j chiliad Fitzmaurice, Larry (September 15, 2011). "Neon Indian: Era Extraña". Pitchfork. Archived from the original on November 23, 2011. Retrieved Nov xvi, 2011.
- ^ a b c d Cooke, Robert (October six, 2011). "Album Review: Neon Indian – Era Extraña". Drowned in Audio. Archived from the original on October 25, 2015. Retrieved August 22, 2015.
- ^ a b Murray, Nick (September 13, 2011). "Neon Indian, 'Era Extrana' (Mom + Pop)". Spin. Archived from the original on Nov 26, 2011. Retrieved November 16, 2011.
- ^ a b c d Wyeth, Wyndham (September 12, 2011). "Neon Indian: Era Extraña". Paste. Archived from the original on September 24, 2015. Retrieved August 22, 2015.
- ^ a b c d eastward Wisnicki, Nathan (October ii, 2011). "Neon Indian: Era Extraña". PopMatters. Archived from the original on October 12, 2014. Retrieved October 7, 2014.
- ^ a b c d e f g h i j Phares, Heather. "Era Extraña – Neon Indian". AllMusic. Archived from the original on December eleven, 2014. Retrieved October 7, 2014.
- ^ a b c d due east Aizlewood, John (September 20, 2011). "Review of Neon Indian – Era Extraña". BBC Music. Archived from the original on September 25, 2015. Retrieved August 22, 2015.
- ^ a b c d eastward f k Méndez, Blanca (September 26, 2011). "Neon Indian – Era Extraña". Club Fonograma. Archived from the original on November xvi, 2011. Retrieved March 19, 2012.
- ^ a b Fitzmaurice, Larry (September 13, 2011). "Neon Indian: 'Polish Girl'". Pitchfork. Archived from the original on September viii, 2015. Retrieved August 22, 2015.
- ^ a b Ernsberger, Parry. "Neon Indian – Era Extraña". Blurt. Archived from the original on Dec 27, 2016. Retrieved August 23, 2015.
- ^ a b c d eastward Mitchell, Aurora (September 14, 2011). "Album Review: Neon Indian – Era Extraña". Beats Per Infinitesimal. Archived from the original on March 5, 2016. Retrieved Baronial 22, 2015.
- ^ a b Woolfrey, Chris (October 12, 2011). "Neon Indian – Era Extraña". The 405. Archived from the original on March four, 2016. Retrieved September 3, 2015.
- ^ a b c d Dolan, Jon (September 13, 2011). "Neon Indian: Era Extraña". Rolling Stone. Archived from the original on Nov 26, 2011. Retrieved Nov 16, 2011.
- ^ a b Beck, Dani; Robertson, Derek (Oct 12, 2011). "Neon Indian – Era Extrana". DIY. Archived from the original on Baronial 16, 2016. Retrieved August 22, 2015.
- ^ a b Hogwood, Ben (October 10, 2011). "Neon Indian – Era Extraña". musicOMH. Archived from the original on March iv, 2016. Retrieved August 22, 2015.
- ^ a b c Hyden, Steven (September 13, 2011). "Neon Indian: Era Extraña". The A.V. Society. Archived from the original on October xi, 2014. Retrieved October vii, 2014.
- ^ a b Fox, Killian (October 9, 2011). "Neon Indian: Era Extraña – review". The Observer. Archived from the original on Oct 14, 2014. Retrieved October 7, 2014.
- ^ Bravo, Amber. "Neon Indian, 'Fallout' MP3". The Fader. Archived from the original on April 12, 2021. Retrieved September 27, 2021.
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- ^ a b c "Era Extrana : Neon Indian". HMV Japan. Archived from the original on Dec 13, 2014. Retrieved October 7, 2014.
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- ^ a b "Neon Indian Chart History (Billboard 200)". Billboard. Retrieved October 7, 2014.
- ^ a b "Neon Indian Chart History (Independent Albums)". Billboard. Retrieved October 7, 2014.
- ^ a b "Neon Indian Nautical chart History (Acme Alternative Albums)". Billboard. Retrieved October seven, 2014.
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- ^ a b "Neon Indian Chart History (Top Rock Albums)". Billboard. Retrieved October 7, 2014.
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Source: https://en.wikipedia.org/wiki/Era_Extra%C3%B1a
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