Brendan Schroer
MMA Special Collaborator · Prog/AG, Death, Alt
Registered more than 2 years ago · Last visit 1 day ago

Favorite Metal Artists

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1411 reviews/ratings
CRADLE OF FILTH - Dusk and Her Embrace Symphonic Black Metal
THE SMASHING PUMPKINS - Siamese Dream Heavy Alternative Rock | review permalink
OPETH - Still Life Progressive Metal
CORRUPTED - Paso Inferior Drone Metal
GOJIRA - The Link Death Metal
SYMPHONY X - The Divine Wings Of Tragedy Progressive Metal
METALLICA - Master of Puppets Thrash Metal
KREATOR - Pleasure to Kill Thrash Metal
DREAM THEATER - Images and Words Progressive Metal
ALICE IN CHAINS - Dirt Alternative Metal
QUEEN - A Night At The Opera Proto-Metal
QUEENSRŸCHE - Operation: Mindcrime Progressive Metal
KAMELOT - The Black Halo Power Metal
MEGADETH - Rust in Peace Thrash Metal
PRIMUS - Tales From the Punchbowl Funk Metal
RED HOT CHILI PEPPERS - Blood Sugar Sex Magik Non-Metal
FOO FIGHTERS - The Colour and the Shape Heavy Alternative Rock
L7 - Bricks Are Heavy Heavy Alternative Rock | review permalink
RUSH - Hemispheres Hard Rock
RUSH - Permanent Waves Hard Rock

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Progressive Metal 128 3.81
2 Non-Metal 114 3.50
3 Hard Rock 110 3.55
4 Thrash Metal 109 3.76
5 Heavy Metal 100 3.47
6 Death Metal 83 3.80
7 Heavy Alternative Rock 81 3.65
8 Alternative Metal 73 3.69
9 Power Metal 58 3.69
10 Technical Death Metal 44 3.88
11 Melodic Death Metal 43 3.62
12 Metal Related 39 3.92
13 Metalcore 39 2.95
14 Nu Metal 37 3.30
15 Deathcore 34 3.35
16 Proto-Metal 21 3.95
17 Hardcore Punk 19 3.84
18 Groove Metal 18 3.25
19 Technical Thrash Metal 18 4.28
20 Melodic Metalcore 17 3.62
21 Mathcore 17 3.94
22 Black Metal 16 4.06
23 US Power Metal 16 3.75
24 Avant-garde Metal 13 4.04
25 Funk Metal 12 4.04
26 Gothic Metal 12 3.71
27 Sludge Metal 12 4.17
28 Symphonic Black Metal 11 4.00
29 Rap Metal 10 3.75
30 Grindcore 10 3.35
31 Glam Metal 9 3.44
32 Symphonic Metal 9 3.67
33 Industrial Metal 8 4.06
34 Brutal Death Metal 8 3.88
35 Crossover Thrash 8 3.69
36 Drone Metal 7 4.29
37 NWoBHM 7 3.86
38 Speed Metal 5 4.10
39 Atmospheric Sludge Metal 5 4.40
40 Folk Metal 4 4.38
41 Cybergrind 4 4.13
42 Traditional Doom Metal 4 4.25
43 Atmospheric Black Metal 3 4.00
44 Melodic Black Metal 3 4.00
45 Heavy Psych 2 4.00
46 Goregrind 2 3.50
47 Death-Doom Metal 2 4.00
48 Stoner Metal 2 4.00
49 Stoner Rock 1 4.00
50 Viking Metal 1 4.00
51 Death 'n' Roll 1 3.50
52 Funeral Doom Metal 1 4.50
53 Crust Punk 1 4.00

Latest Albums Reviews

GOJIRA From Mars to Sirius

Album · 2005 · Death Metal
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"In some cultures, Mars symbolizes war and Sirius peace. I'm simplifying! It is a journey of a state of war, even if in France we are preserved, but it can be a war within us, in our flesh, in our mind, a war with ourselves" -Joe Duplantier, 2005

I think we need to take a moment to appreciate just how appropriate the cover art for From Mars to Sirius is to the music within. Gojira have never been ones to shy away from environmental themes, which they’d been exploring as early as 2001’s Terra Incognita. But the illustration of a whale travelling to a more peaceful world takes us right to the heart of their beliefs and ideals. As such, it also represents the first proper concept album for Gojira - one that relates the issues we face on a planetary scale to the greater concept of mortality. This relationship between internal conflict and external repercussions is what elevates From Mars to Sirius above the band’s previous outings; they already had the ingredients to make an era-defining album, yet they never could put them all together in such a stunning way until this record.

From Mars to Sirius is the product of several influences - Meshuggah, Pantera, Morbid Angel, Converge, and several others come to mind - but it doesn’t feel derivative in the slightest. It’s a testament to how well Gojira can use their own building blocks to their advantage, as the personality and charm of the record compliment the crushing riffs and harsh vocals perfectly. And when I say crushing, I do mean crushing. Despite most of the songs being in standard D tuning, they manage to crank out a thicker and weightier sound than most of the deathcore and djent bands playing in much lower tunings. This can largely be attributed to the presence of the underrated Jean-Michel Labadie, whose bass work provides a wonderfully heavy undertow to Joe Duplantier and Christian Andreu’s relentless guitar assaults. Combined with the technical and highly impressive drumming of Joe’s brother Mario, there’s always the sense that the band is just “locked in”, no matter how much the album threatens to go off the rails. The chemistry here is undeniable, and it’s pretty easy to guess why the group haven’t had a lineup change since their very first record.

But a lot of this can be said about the previous two records as well. What really puts From Mars to Sirius in a higher echelon is the incredible focus that went into the songwriting. It is true that a few parts can meander once in a while - the 66-minute runtime could have been trimmed by about five minutes or so - but when the band are firing on all cylinders, the result is both brutally heavy and utterly entrancing. “Ocean Planet” immediately sets the scene, as faint whale calls are met with a grinding sludge-oriented riff; doomy, yet captivating and even melodic. This song tells us a lot about the album we’re about to hear: pounding riffs combined with a heavy dose of atmosphere, near-pristine production values, and the band’s most ambitious lyrics to date. That’s not to say their technical abilities have waned in the slightest though, as heard in more turbulent cuts such as absolute barnburners “The Heaviest Matter in the Universe” and “Backbone” or the epic, progressive stylings of album centerpiece “Flying Whales.” The latter is especially noteworthy as it really puts every facet of the band’s sound on display. The beginning sees us traversing a beautiful soundscape filled with the aforementioned whale calls, before plunging us into some of the heaviest grooves on the entire album; finally, the last section of the track throws in all the weird time signatures and varied rhythms to seal the deal. The whole song is like a summary of the band’s career, and it’s no wonder that it’s their most famous tune to this day.

While we’re talking about songwriting, it’s crucial to talk about just how well the lyrics and concept compliment the music itself. Not only does From Mars to Sirius tackle the theme of moving to a more peaceful place, but it also concerns the resurrection of the world we currently live in. While the heavier songs obviously present the more turbulent and intense moments of this “interplanetary quest” as it’s been dubbed, there are also slower tracks that present a more contemplative side. “World to Come” is very true to its title, using doomy melodic riffs and beautiful lead guitar playing to illustrate what our planet might eventually become, depending on the way we treat it. “Global Warming” hits a lot of the same lyrical notes while presenting a more hopeful tone, as the repetition of the words “we will see our children growing” closes out the record as a whole. Add to that some nice (if a tad repetitive) guitar tapping from our Duplantier/Andreu duo, and it’s a nice way to resolve a lot of the tension and conflicts of the story. And quite a few of the songs, such as “In the Wilderness” and “From the Sky”, seem to paradoxically marry brutal music with contemplative lyrics effortlessly. The band’s ability to blend so many disparate elements without sounding sloppy is really impressive, especially considering the ambition of this project.

That’s really what makes From Mars to Sirius one of the benchmarks for modern metal. It’s such a varied experience, yet it never strays too far from its core appeal. The riffs are brutal, the themes are thought-provoking, the songwriting is progressive and ambitious, the atmosphere is thick, the playing is super tight… and somehow all of this converges into one incredible experience. If you enjoy modern extreme metal or progressive metal, you owe it to yourself to listen to From Mars to Sirius at least once. Then again, given Gojira’s rapidly-increasing stature in today’s metal scene, chances are that you've probably heard it already.


Album · 2021 · Mathcore
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Pupil Slicer. PUPIL SLICER. That’s the kind of band name that can repel prospective listeners in droves. Yet it’s not really a grotesque name per se. It’s not like you’re approaching a band called Spermswamp or Pungent Stench, in which case you already suspect you’re in for something outright disgusting. No, the name Pupil Slicer is a different kind of repellent... one that provokes reactions of genuine unease and discomfort. It’s there to jar you out of contentment and imbue a lingering feeling of anxiety, even when nothing seems to be happening around you. Needless to say, this UK trio could not have picked a better name to represent their music.

The group’s first full-length affair Mirrors sees them combining elements of mathcore, grindcore, and powerviolence as they unleash what could best be described as “controlled brutality”. Much like The Dillinger Escape Plan’s Calculating Infinity, the sections that initially come off as mindlessly chaotic are every bit as deliberate as any of the other moments; it’s all about the big picture. One must not take this album’s “mathcore” tag lightly, as its complexity is really the glue that holds it together. Take the opener “Martyrs” for example; amidst the unhinged vocals and ugly distortion, the dissonant guitar jabs and off-kilter drumming create a constant sense of unpredictability. As visceral as the music often is, it’s not visceral in a sloppy or haphazard way. Case in point: shorter cuts like “Stabbing Spiders” and “Vilified”, in which some of the record’s most abrasive and fast-paced moments are given the same intricacies and quirks as the longer tracks. The former lives up to its name, as each instrument delivers erratic and discordant staccato stabs in perfect unison; meanwhile, the latter is a striking marriage of straightforward hardcore punk passages and strange out-of-left-field tempo shifts. In the case of both songs, you never have an opportunity to breathe or relax until they finish.

As was mentioned, however, the playing is unbelievably tight and purposeful despite how uncompromising the music is. Frontwoman Kate Davies is definitely the star of the show, with her gut-wrenching screams and unorthodox guitar playing; however, drummer Josh Andrews and bassist/backing vocalist Luke Fabian provide a perfect rhythmic anchor while dishing out their own brand of manic energy. The trio’s chemistry is their strongest asset, and it’s heard in just about every track here. Just listen to how “Wounds Upon My Skin” shifts effortlessly from bludgeoning downtuned riffs to soft creepy ambiance in an instant. Just listen to how Andrews can switch from blastbeats to a menacing crawl at the drop of a hat in “Save the Dream, Kill Your Friends”, and yet the rest of the members don’t miss a beat. Of course the band still manage to add a healthy dose of dark and deranged atmosphere to the record, both in the more ominous passages and bleak lyrics. A few tracks even whip out some black metal influence, such as the tremolo/blastbeat middle section of “Collective Unconscious” or the climactic ending of “Mirrors Are More Fun Than Television”. Getting back to Davies, however, the lyrics she spews out are just as intense and harsh as the music itself. The first stanza of “Martyrs” immediately sets the tone for the rest of the album:

”Acting out your sick dream, experience through agony; you're set free. Tear apart prey you seek, subhuman void of empathy, entangled greed. A slow death now”

The lyrics of Mirrors explore themes of death, violence, (self-) loathing, anger, internal conflict, fear, and - interestingly enough - empowerment. In fact, I’d argue that the main theme of the album is that of empowerment and strength; it's just expressed in darker and less conventional ways than usual. This isn’t the vague and disingenuous “stand up and fight” stuff you hear in a lot of Rise Against anthems, but rather much more aggressive accounts of the cruelty and arrogance our narrator hates in the world. “Vilified” is probably the most specific example of this on the album, as the addressee has nothing better to do than cause “conflict when that feeling in you is starved” with “no regard, needless cruelty”. The lyrics in “Stabbing Spiders” are a twisted and ugly metaphor for staving off one’s false self, with lines such as “stabbing spiders that crawl on my skin, drilling through me within”. Then there’s “Husk,” which ends with an even more poignant message as it addresses the same subject of falsehood in more conclusive terms:

“No more living in fear. Persistent falsehoods - a disguise. You'll end up as nothing - you're faking. Lying to survive”

The only real issue with Mirrors is that it does tend to get pretty homogeneous at times. Despite the complexity of the math-y moments, there’s not much stylistic variation; if you’re not listening intently enough, Davies’ screams and the near-constant aggression can become one big blur after a while. But that also speaks to one of the major strengths of the record: it does demand to be listened to intently. While more variation here and there could have been welcome, the group’s commitment to create such a consistently enveloping, suffocating, and oppressive experience is commendable in its own right. Mirrors is a wonderfully dark and unsettling reflection of Pupil Slicer’s equally discomforting name, and it’ll be exciting to see how they expand on their unique style on future records.

MARE COGNITUM Solar Paroxysm

Album · 2021 · Atmospheric Black Metal
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I’ve long been fascinated with records that explore the sounds of space from an extreme metal point of view. There’s an inherent excitement to basking in an expansive atmosphere while being bombarded by aggressive guitar work and pummeling blastbeats, as bands like Blood Incantation and Mithras have definitely proven. No matter how intense the music gets, there’s something strangely soothing and dreamlike about it; it’s almost as if the music could threaten to become background noise if you’re not paying enough attention. But much like the aforementioned bands, Mare Cognitum - consisting only of California native Jacob Buczarski - brings just the right amount of musical variety and neat embellishments to (mostly) avoid the pitfall of overt repetition. The fact that Solar Paroxysm has no song under 10 minutes might seem like a doozy, but believe me: this album flies by very quickly.

Every song here is a mini-epic rife with the tropes you’d typically hear from a progressive/atmospheric black metal project: long tremolo-picked passages, layered wall-of-sound instrumentation for that “vast” soundscape, and of course the harsh shrieks to top it all off. There’s a remarkable sense of progression in these tracks despite the album’s often long-winded nature, largely due to the fact that most of them come from a similar beginning. The majority of the tracks kick off with a familiar tremolo/blastbeat-driven base, and while that does make the intros a tad predictable, it allows Buczarski to use them as a launching pad to fly off in whatever direction he sees fit. Opener “Antaresian” opts to settle into what I could consider a “funeral waltz” using increasingly progressive 3/4 and 6/8 chugs before climaxing with a beautifully melancholic solo; meanwhile, “Frozen Star Divinization” is a long showcase of mesmerizing tremolo guitar harmonies, almost as if they’re locked in a never-ending duel in the middle of a wintry tundra. “Luminous Accretion” is probably the most technical song on offer, constantly shifting tempos and riff patterns while giving the drums a serious workout; finally, “Ataraxia Tunnels” is probably the most traditionally black metal-oriented track here while maintaining the sense of atmosphere that defines the rest of the album.

“Terra Requiem”, however, doesn’t fit quite as nicely on a stylistic level… and that’s because it’s the best song on the record. Most of it is played at a snail’s pace and really gets at the heart of this record’s dark take on a cosmic sound. The tremolo harmonies and double bass drumming are still prevalent here, just used to color a more funereal and despair-filled picture. Everything comes together beautifully in the middle of the song, as the keyboards soar above the melodic guitar solo; it strikes a brilliant balance between awe and hopelessness that I haven’t heard in quite some time. Speaking of the “picture”, the lyrics of Solar Paroxysm are very appropriate to the music as well. It’s your typical vaguely space-y imagery, but there are some pretty cool stanzas I’ll single out. Check out these ones from “Luminous Accretion”:

“Corporeal fractures Essence separates Violent transposition Self-observed from above, lingering

Communicants, wretched spires Materialize, surround, engulf Great tongues through which Creations are spoken (and thus conceived)”

Or these ones from “Terra Requiem”:

“The last leaves have fallen The last vine has withered The ocean has boiled for so long Choking our breath with fetid steam

We claw for shelter from the heartless sun Which cracks our skin and dries our wells So great is the debt we have incurred So too will we wilt and fade into dust”

Again, pretty vague and hard to decipher, but the imagery itself really fits the sound of the album so I don’t mind in the slightest.

Whether or not you will enjoy Solar Paroxysm will probably depend on your tolerance for the familiar tropes Mare Cognitum often employs to flesh out his sound. It’s true that nothing on this album breaks much new ground for atmospheric black metal, but the quality lies in how it’s executed here. The songs, while often starting the same, eventually lead us to incredibly neat locales by the time they’re done because of Buczarski’s adventurousness with this well-worn genre. Solar Paroxysm is my first experience with Mare Cognitum, and it looks like I have one hell of a back catalogue ahead of me if this album’s any indication.

LANDMVRKS Lost In The Waves

Album · 2021 · Metalcore
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Amidst the stale grooves and cliched clean vocals of Lost in the Waves lies a constant phrase at the back of the mind: “Wait, where have I heard this before”? And you’d be correct for asking that question if you’re familiar with any sort of metalcore, as LANDMVRKS’ latest record is just a giant recycled hodgepodge of all the 21st century -core tropes you can imagine. The group’s music is far removed from the manic energy and engaging songwriting of the band’s debut album Hollow at this point, instead opting for generic riffs and overly polished clean singing. I’m not against a band trying to expand their sound and explore different styles, but there’s also a difference between genuinely trying to experiment and just being trendy; Lost in the Waves definitely falls in the latter category. Hell, that became clear the moment “Visage” started and frontman Florent Salfati began lifelessly rapping over the most sterile hip-hop beat imaginable. Then it became even more clear with the sugary “woah-oh-oh!” vocal harmonies that kicked off the following track “Tired of It All.” Simply put, this album has none of the edge you’d want from a metalcore record; and sadly, nothing that replaces the aggression is all that good either. “Say No Word” is one of the only songs that actually promises at what the project could have been, alternating between blastbeat-driven chugs and heavy grooves while having much better screaming and rapping than the other tracks. But again, it’s only a small glimmer of hope as the next track “Always” returns to the same vaguely poppy choruses and limp verses as before. It almost becomes tragic when you have a solid song that gets undercut by the band’s own songwriting choices, especially in the case of “Overrated.” The first 30 seconds are so intense and fist-pumping, only to be completely fucking ruined by a really grating attempt to sound anthemic in the chorus. This album really could do without all the “woah-oh” backing vocals.

It really is a tragedy, too, because there’s clearly a lot of talent here. The same band who released Hollow is still in this record; they’re just buried under so many bad songwriting decisions and glossy production values that it’s often hard to tell. But it’s worth noting that Salfati is a really talented and versatile vocalist, and his screams and gutturals are the clear highlight of Lost in the Waves. He absolutely tears it up in the aforementioned “Say No Word” switching from rapid-fire rapping to throat-shredding screams at the drop of a hat; meanwhile, his clean vocals are best-displayed on the somber closing ballad “Paralyzed,” which features some pretty stunning belting near the end. The musicians are also very proficient, which is a trait they definitely carried over from the previous two albums. I’ve never had any complaints about the technical skills of the members, no matter the quality of the group’s songwriting. So in the end, the real core issue of Lost in the Waves is that LANDMVRKS just seem lost. They can’t pick a direction, and it’s as if they saw what every big metalcore band is currently doing and decided to imitate all of them at the same time. As a result, they don’t have their own identity anymore and seem content just treading water... what a shame.


Live album · 1999 · Metal Related
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Rarely have I ever come across a record, noise rock or otherwise, quite as draining as Lightning Bolt's intense self-titled debut. Nowadays the group have a considerably large following in the American noise rock scene, garnering the same level of acclaim that peers such as Boredoms and (another famed "bass and drums" duo) Ruins have accumulated. But their genre-bending sound, as well as their association with the infamous former Rhode Island artist space Fort Thunder, made them one of the most intriguing bands to come out of the genre. Their blend of noise rock, punk, metal, and progressive rock still inspires many musicians today, as well as the fact that just two musicians (bassist Brian Gibson and drummer Brian Chippendale) can fill a room with more sound than Slipknot could with nine musicians. Of course, their gigs - which they perform on the floor instead of the stage - are also a big factor in their memorability.

But let's get back to that debut record. Not only is it incredibly energetic and loud like Lightning Bolt's other material, but it also happens to be their most unrefined album. It's truly hard to believe that only two people are creating so much ruckus, most of which is attributed to the high level of distortion from Brian Gibson's bass. While the original version of Lightning Bolt is only about 32 minutes, it's still not for the faint of heart; between the repetitive melodies and riffs, the hard-hitting punk and metal-inspired drumming, and Brian Chippendale's odd vocal filtering, it's not easy to experience in one sitting. This is apparent right from the get-go... while "Into the Valley" initially seems pretty reasonable as it begins with a clip of a live audience cheering, Gibson's incredibly noisy bass riffing soon bombards the eardrums in suitably abrasive fashion. Things soon become very repetitive and soon start wearing on the listener, but with a few more listens to the album, it all becomes much more clear.

The key to enjoying this album is very similar to how Orthrelm's album OV: finding the little nuances within such repetition. It's worth listening to each track just to hear the minor changes in each bass riff or drum pattern, however small the alterations are; THAT'S what's so rewarding. Some progressions are a little bit easier to digest, primarily in the shorter songs like the somewhat-catchy groove of "Murk Hike" or the quirky voice sampling of "Caught Deep in the Zone." But the longer songs like "Into the Valley" and the biggest highlight "Fleeing the Valley of Whirling Knives" end up being the strongest cuts due to just how hypnotic they are. The latter still manages to be one of Lightning Bolt's crowning achievements, starting as a low thrashy groove and eventually evolving into a highly melodic bass workout with impressive tapping from Gibson. The former is definitely more abrasive, but no less fascinating; the one bass guitar sounds like five guitars, and Chippendale's drumming almost sounds as though he's playing entirely in drum fills. "Mistake" is probably the weakest song here, as the painfully slow volume buildup leads to a slightly disappointing main riff, but at least it's still a fitting (and fittingly noisy) closer to this strange album.

Whether or not you'll enjoy Lightning Bolt's debut heavily depends on your tolerance for incredibly lo-fi and unpolished noise music. The repetition will certainly grate on some people, as will the incredible amount of distortion present throughout the experience. But to those who do appreciate it, it's a fascinating album that often reveals another layer of itself with every listen. The musicianship is great, the compositions are intense and mesmerizing in their execution, and the whole thing is just a dream come true for anyone who loves the more abrasive and uncompromising side of rock music.

Recommended Tracks: -------------------------------------------------- -Fleeing the Valley of Whirling Knives -Into the Valley -Murk Hike

Also, a word of warning: this might be one of the loudest albums production/mixing-wise. I'd recommend listening with headphones or speakers rather than earphones so you won't cause excessive damage to your hearing.

Latest Forum Topic Posts

  • Posted 2 months ago in My New Classical Composition!
    I posted this on ProgArchives as well, so I'll copy and paste what I typed there:So I've recently been writing a lot of my own music, including composing some pieces. I figure I've been reviewing long enough that I'd might as well incorporate my influences into some original music. Anyway, this is a piece I just wrote the other day; I'm starting to experiment more with different time signatures and extra instrumentation. Hope you enjoy! The play button is on the score itself when you click the link Necrotica2021-02-02 20:16:23
  • Posted 2 months ago in What TV shows are you watching right now?
    I'm fully caught up on Attack on Titan now... what an incredible show! I really hope they don't pull a Game of Thrones and ruin the ending though; they're so close to wrapping things up, at least if this last season is 16 episodes as we're led to believe 
  • Posted more than 2 years ago in The Beatles (Proto-Metal)
    The whole Sabbath vs. Priest debate based on blues roots reminds me a lot of the debate regarding the origins of death metal from thrash roots. I think the answer varies from person to person. I know many people consider Possessed's Seven Churches to be the first death metal record, but are those people comfortable with that answer when considering how much thrash is present on the album? I think it comes down to a difference of which artists connected the dots vs. which artists crystalized those innovative elements into a new concoction. If we're going with "connect the dots" albums, then Seven Churches is the first for me. If we're talking about "shedding the old elements" then Altars of Madness would probably be my ground zero.That goes back to the Sabbath/Priest debate. If you don't mind a little blues and hard rock still being involved in metal, Sabbath could be ground zero. But if you think the answer lies in who shed those old roots, then Sabbath would be proto-metal and Priest would be the first full-fledged metal band. Me personally, I go with Sabbath as the first one because I believe they took out enough of those old sounds to stand out as a new creation back in the day.


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