The Saga Continues - Wu-Tang
Reviewed by: Shujan Marali
Released on October 13, 2017, by Entertainment One Music, the Clan is back in 2017 and have come out with a new album called The Saga Continues. The producers Allah Mathematics and RZA listened to Dr. Dre’s 2001 and Wu-Tang Clan’s Enter the Wu-Tang Clan - (36 Chambers) to get the old school “Wu-Tang” beats for this new project. In comparison, this album doesn’t do it justice.
This album is a weird limbo of the Clan wanting to sound like they did in the 90s, but not being able to. Wu-Tang developed their name in the 90s by coming out with albums like Enter the Wu-Tang Clan - (36 Chambers) and Wu-Tang Forever. This album is a representation of the Wu-Tang Clan if they were a new and upcoming rap collective in the 2010s. The Clan hasn’t been this dismantled since their 2014 album A Better Tomorrow. Reports came out that year that the Clan has been on a pay scale and Raekwon, one of the members, went “on strike” as he put it. Wu-Tang has been doing shady things. They released a two million dollar album and sold it to Martin Shkreli, a pharmaceutical mogul who raised prices on life-saving HIV/AIDs related drugs. The relationships that Wu-Tang used to have are now getting worse, and soon enough the rap collective will be dismantled.
Wu-Tang hasn’t been the same since Ol’ Dirty B******d died. The album was just the producer and rapper, Mathematics and RZA, playing around with an old 90s east coast hip-hop beat with some members of the Clan rapping over it. In all honesty, it sounded like a reunion tour for band members past their prime. It was awkward and uncoordinated and sounded like the Clan family was ruined. With relations going south for the rap collective this seems about right for whatever they will put out in the possible future. I think they won’t ever be as good as their golden years with Ol’ Dirty B******d.
The tracks I enjoyed the most were “If Time Is Money (Fly Navigation)” and “Frozen” both are Method Man based tracks. Also, “Why Why Why” is another great track that is focused around RZA. These finally feel like Wu-Tang but not at the same time. There was no story/intro to each song, which was used beautifully on Enter the Wu-Tang Clan - (36 Chambers) and it feels like the Clan won't ever be at the height of early years. This once-great rap collective has now become a pile of dust trying to be relevant again by ruining their image with albums that sound terrible and not allowing original members to be a part of titles with “Wu-Tang Clan” on it. I give this album a 3/10 star rating for its attempt at sounding like an old-school Wu-Tang record but not living up to its standards.
Concrete and Gold - Foo Fighters
Reviewed by: Collin McCarthy
In 1994, the Seattle grunge band Nirvana split up due to the loss of frontman Kurt Cobain. Shortly after that, Nirvana’s drummer Dave Grohl started his band, Foo Fighters. He even put down the sticks and became the band's lead singer and rhythm guitar player. The group reached massive success throughout the years with numerous hit songs. Now they are back with a new set of tunes. Their record Concrete and Gold, released on September 15, 2017, has been drawing a lot of attention to this well-known band.
The album consists of eleven songs, each with a different style. I felt that a lot of time went into writing each song, for they were all packed with depth and a variety of rhythms. My favorite track was “Run” which is featured at the beginning of the album. I enjoyed that song because it represented the high level of energy that I feel is a trademark of this band. I also really enjoyed the track “The Sky is a Neighborhood.” It was incredibly catchy, and after I completed the album, it was the only tune that was stuck in my head.
Dave Grohl's vocals were some of the best that I have heard from him. The band sounded great, with some instrumental sections that were on par or even better to their previous albums. In my opinion, some of the lyrics were a little weak, but they made it work.
This album is what I would have expected from the Foo Fighters. It is not anything groundbreaking, but it is pretty darn good. It’s not going to be considered one of the greatest rock albums of all time, but that’s not what the Foo Fighters are going for. They just want to keep rock alive. In this day and age, it is not too often when there is a new rock album out, and the Foo Fighters are one of the only bands that are still trying to create new music. I was extremely excited when I saw this album released, and when I listened, I was far from disappointed.
If you enjoy listening to rock music, then you will know just how exciting it is when the new music gets released, this is one of those occasions. I insist you give this record a listen because it is tough not to enjoy it. I gave this album a solid eight out of ten stars because it was well made, and I enjoyed listening to it. I don’t feel it deserves a perfect score because it wasn’t the most excellent album I have heard. It was good, but there are plenty I would put in front of it. With that being said, it is still a fantastic new album to give a try. I hope Concrete and Gold is as good to you as it was for me.
Concert Review - Red Hot Chili Peppers
Reviewed by: Sam Hay
Over the summer The Red Hot Chili Peppers had two concerts in Chicago at the United Center. Their most recent album The Getaway was released on June 17, 2016. When they came to Chicago, it was almost impossible for my family and me not to go. When we walked into the United Center, the opening band, Deerhoof, was playing. Personally, I wasn’t a fan of this group. Their experimental pop sound just wasn’t what I was expecting.
They opened the show with an Intro Jam of them all showing off their talents. One of the visual aspects of the concert was the hundreds of lights hanging from the ceiling. They moved to the beat of the songs and changed colors. This was the only visual aspect of the concert, but I think it made the show unique because I’d never seen anything like it. When the first song came on—“Around the World”—everyone went crazy. I think this song was a great choice for one of the first few songs because they are on a world tour, and the song is called “Around the
world”, with an upbeat vibe and lyrics that every Chili Peppers fan knows.
Although this tour was based around The Getaway album, they only played three songs off that album. “Dark Necessities,” “Go Robot,” and “The Getaway.” I think adding these three songs was a great choice. “Dark Necessities” was played first of these three, and I think it was an excellent way to get people excited for the new album.
Overall, The Red Hot Chili Peppers mixed their new album into their setlist well, but I would have expected more of The Getaway to be incorporated. I wanted them to play more songs from this album, but I’m also very impressed with their setlist and the way it flowed. Towards the end of the concert, they started closing up with some of their old sons and my personal favorite, “By The Way,” which is a song from 2011, from the album By The Way. This changed the whole atmosphere of the United Center. The transition from the slow intro that everyone can immediately recognize. It automatically goes into The Red Hot Chilli Peppers using all of their talents on the drums and guitar. I thought this was an amazing song to end the concert with. They ended with an encore of two songs, “Goodbye Angels” and “Give it Away.” I didn’t stay for these two songs since I was with my family.
In the end, The Getaway World Tour was a massive success for The Red Hot Chili Peppers. It represented them well. I would highly recommend seeing them in concert.
Let's Play Two! - Pearl Jam
Reviewed by: Daniel Fogarty
Seattle based grunge rock band Pearl Jam released an album for their rockumentary Pearl Jam Live at Wrigley Field: Let’s Play Two. The album is comprised of their live concert series from Wrigley in 2016. Although no new songs have been released, it is refreshing to see a new compilation of tracks, especially in a live format.
The live format of this album truly brings more personality to the tracks than they could ever get in a studio produced album. The band talking to the audience is left in the compilation, adding a personal connection to fans who went to the concert series. Although the tracks are touched up in post production, the raw energy from a live band can still be felt and that is one aspect of the compilation that I think gives the tracks a leg up over the studio albums.
My favorite track on the compilation is “Better Man,” a song released four years after the band's birth. The track adds an alternative voice to a rather grunge rock album, which is refreshing because many of their songs blend together. To put this album in simple words, it reminds me of a sandwich that I would make for myself. Its pretty good, but there is nothing special to it, just what you would expect from your sandwich.
In the end, Let’s Play Two consists of some of the most popular Pearl Jam songs, and I enjoy listening to the album. The set list starts off with the band’s 1998 track “Low Light” and continues strong with classics with its conclusion in “I’ve got a feeling.” Although the compilation doesn't strike me as amazing, I have no gripes about it, and that is why I am giving Pearl Jam’s Let’s Play Two a 7/10.
Murder of the Universe - King Gizzard and the Lizard Wizard
Reviewed by: Peter Kamajian
When I think garage rock, I think King Gizzard and the Lizard Wizard. The 7-man psychedelic rock goliath have already released 3 albums this year, and they’ve promised their fans two more full-length LPs before the year is out. When you think of a band recording 5 albums in a year, the obvious conclusion is that the music is going to suffer the classic quantity-over-quality affliction- however, all of King Gizzard’s releases so far have been uniquely masterful in their own way, with the subsequent releases never depreciating in quality. The breakneck stylings of Gizz are especially present in their second release of 2017: the prog-rock and heavy-metal influenced concept album masterpiece known as Murder of the Universe.
Widely regarded as not only their best work this year but as one of the best releases in
their discography so far, Murder of the Universe is an explosive epic of melody intertwined with spoken-word narration that depicts epic battles between good and evil, the temptation of man to unleash his inner monster, and a cyborg who literally floods the entire universe with vomit. Even by Gizz’ standards, that’s a pretty wide range of topics to cover in the span of forty-six minutes.
The album is a non-stop, fast-paced, explosive journey combining prog rock, metal, and
spoken-word elements to deliver an exhilarating (and sometimes legitimately scary) composition of epic proportions. The first third of the album in particular sounds and behaves in a similar manner to their 2016 classic Nonagon Infinity, and the song "Lord of Lightning" in the second act even directly references the album in its lyrics, leading fans to believe that Nonagon could be a “prequel” to Murder of the Universe.
The first third of the album, the Altered Beast saga, is influenced by the 1988 video
game of the same name and tells the story of a man who is sent on a quest to save the
daughter of a ruling, god-like figure, but has to defeat a two-headed bear (the Altered Beast) in order to progress. However, the beast has other plans, and bites the hero of the story, morphing him into a feral monster himself. Consumed by a lust for blood and devoid of feeling, the beast eventually destroys itself just to feel something. The loss of humanity is a recurring theme throughout the album, and adds a message to the otherwise outlandish themes it carries.
Again, this album is very similar to Nonagon Infinity in sound, with the same fast-paced
repetition and distorted melodies ever-present throughout Gizz’s discography. The biggest difference is Leah Senior’s narration, which adds a bone-chilling authenticity to the dark fantasy of the song.
The second chapter, Lord of Lightning Versus the Balrog, presents a battle of light and
darkness through the tale of two epic deities. Narrated by an amorphous speaker known as the Reticent Raconteur (Leah Senior), the story depicts an all-powerful deity known as the Lord of Lightning, who we are introduced to as marching through the world leaving indiscriminate destruction in his wake. At the end of the song, he unleashes a torrent of magical lightning onto one very unfortunate hostage, and the resulting burst of power morphs the corpse into a murderous beast known as the Balrog. The Balrog pays no mind to its creator, however; rather, it spreads as much destruction as it possibly can as far and wide as possible.
Realising that his creation might end up causing more destruction than even he could
manage, the Lord of Lightning wages war against the Balrog, resulting in a throaty battle tune that’s reminiscent of old viking fight songs, authentic drums and all. After the Balrog is defeated, the Lord of Lightning loses his interest in destruction and simply leaves. The “moral” of the story,if any, seems to be that mankind will eventually create something so awful that even we will lose our appetite for destruction after it blows over (possibly an atomic bomb-level invention or an absurdly terrible war).
This is the probably the most sweepingly epic part of the album. The songs of this
section are a little more drawn out, and with the exception of Balrog, they’re less repetitive than the first part of the album. It also carries strong overtones of war; an obvious choice given the story of the album.
The last and arguably weirdest section of the album takes us into a world in which
humans have turned themselves into machines (again, there’s the “loss of humanity” theme) and one cyborg named Han-Tyumi (an anagram for humanity) wishes he could feel something he’s never felt before. To do this, he creates a machine capable of doing the two things a cyborg cannot do: vomit and die. Naturally, his creation isn’t too happy with its existence, which results in Han-Tyumi’s merging himself with it. I’ll spare you the details, but the disgusting (and infinitely growing) result of the fusion is what gives the album its name: Murder of the Universe.
Musically, this section is very heavy-metal and it actually made me feel genuinely scared
and disgusted when coupled with the lyrics of the song. The narration in this section is also performed by a robotic text-to-speech device to emulate the voice of a cyborg, which yields a cold and unfeeling edge to the sound. Of course, you can’t really ask for a good wholesome ending to an album whose title explicitly alludes to the destruction of the universe, but the sheer darkness of this final part leaves the listener on a bleak and desolate note. If you’re listening to the album for a fast, brutal, fantasy adventure, you might want to skip Han-Tyumi’s section.
Overall, the album gets a near-perfect 9.5/10 from me because it greatly surpassed my
expectations as well as the bar set by King Gizzard’s earlier 2017 release, Flying Microtonal
Banana. Its breakneck speed and mixed influences from various genres, paired with the
spoken-word storytelling and human lessons taught through superhuman stories, creates a truly one-of-a-king sonic experience. Any fans of prog rock and concept albums would be ill-advised not to give this album a listen, and with this only being one of five releases set for the band this year, it raises the question: how are they going to top this?
GEMINI - Macklemore
Reviewed by: Sam Hay
Macklemore has created a solo album without his well known partner, Ryan Lewis. Gemini is Macklemore’s first solo album since 2006. The Heist being one of Macklemore and Lewis’ more popular albums. Lewis and Macklemore collaborated on this album with strong political messages, discussing many of the problems the world faces. The strong message was accompanied by some more light hearted songs such as “Thrift Shop”. The Heist was released in 2012. Which lead to another album in 2016, after a 4 year gap. This Unruly Mess I’ve Made is the next album from the duo. Another album with a message. Macklemore and Lewis are just trying to fit into the society today. Macklemore made Gemini a more easy going album doing what he wanted with his music.
Macklemore was more focused on himself when writing Gemini, writing songs the way he wanted and making the message more about his success from his previous albums. Containing 16 tracks, with artists featured on all of them except one “Ten Million”. It’s important that there’s one song featuring just Macklemore. The song talks about money, fame, and how hard his hard work gave him success. It represents the milion hits he received on the song “Thrift Shop.”
The album opens strong with “Ain’t Gonna Die Tonight” (feat. Eric Nally). An upbeat, positive song to set the mood for the album. Followed by one of Macklemore’s singles “Glorious” (feat. Skylar Gray). Released on June 15, 2017, four months before the whole Gemini album was released. A song about success and how hard work pays off. The music video for “Glorious” features Macklemore’s grandmother. The artist went down to California to visit his grandmother for her 100th birthday. They drove around over a couple of days to film the music video. The video is very lighthearted and shows Macklemore’s character. All of the tracks on this album have a different sound, probably thanks to all the people featured on the album.
Macklemore always tries to have his albums give a message. And although Gemini is more of a personal album he can still influence his listeners. Promoting the idea of self care and positive self image can have it benefits too. In an interview with NPR music he speaks on how the process of creating this carefree album was different this is more critical albums. “I enjoyed the process more I didn’t feel like I needed to apologize for s***...I felt free and made the art I wanted to make”. By making the music he wanted to, Macklemore came across less struggles when making his music more carefree.
The album has so many different sounds that I was always interested. Around track seven of the album the songs begin to sound similar. “Levitate” (feat. Otieno Terry), “Firebreather” (feat. Reignwolf), and “How to Play the Flute” (feat, King Drano) all have a similar sound to me and I just generally don’t like these three songs, but after these three the album picks back up.
This album reminded me what a talented rapper Macklemore is. I give this album a 8/10 because of the catchy beat of each song really hooks you, then when you listen closer you realize the message each song gives.
Adam Granduciel - A Deeper Understanding
Reviewed by: Becca Zlotowicz
There’s an epic meaning behind the sound of Adam Granduciel’s new album A Deeper Understanding. It’s inexplicably grasping to the listener’s ear. The band, The War On Drugs, is known for producing music emulating sounds and instruments used in the 70’s. The War on Drugs has generated a sound that sets them apart for other bands today, incorporating layering and other 70-esc sounds. Granduciel has previously stated, in an interview with UPROXX Digital Media Company, that the beauty of their music lies in the fine tuning that they do. He explained that he doesn’t “really have the intentions of trying to get the live band in a room. I don’t really think that’s a very special thing that happens in the studio. We [they] haven’t done that before”. There’s truly something special about the art they make.
The thing Granduciel loves the most is spending months and months mixing and layering instruments till perfection is made. Though this method isn’t extremely common, it adds so much magic when they perform it together live. During the first track, “Up all Night”, you immediately start to hear the huge amount of layering used within the album. The sound is overwhelming and it's hard to articulate everything going on. The first track resembles a black hole that sucks you in. While listening you feel out of control and it’s quite an experience.
I’d give this album a 9 out of 10 due to the fluidity of the songs and the beautiful layering that contributes to the amazing sound of each song. The War on Drugs deserves to be a well known prosperous band. Their new album A Deeper Understanding is incredible and I’m excited to see what the band do in the future.
American Dream - LCD Soundsystem
Reviewed by: Joey Pauletto
On April 2nd, 2011, James Murphy and the rest of LCD Soundsystem forever etched themselves into indie music history. Their legendary “farewell” show at Madison Square Garden may have been one of the most awe-inspiring, tear-provoking, dance-inducing concerts in recent memory, prompting the creation of live album issues and cult documentaries. Their reign as leaders of the weird hipster disco rock movement that they so perfectly orchestrated couldn’t have come to a more perfect end; since their self titled debut album, it had seemed like their whole career led up to that one, spectacular moment. LCD Soundsystem was over. The band’s devoted fans reluctantly accepted that fact, and fed the band’s seemingly mythical standing that allowed them to remain more than relevant throughout the last six years.
This retirement was short lived. On Christmas day 2015, the band released their somber holiday opus “Christmas Will Break Your Heart,” along with plans to tour the country while beginning to work on a follow up album to 2010’s incredible “This Is Happening.” This created a conflict of interest: fans were obviously excited for new music from such an important musical and cultural force, but also felt that their return was premature, undermining the significance of their glorified end. Some even began accusing frontman James Murphy for devising this plan to increase album sales. As a result, a great amount of pressure was put on the band. This album had to be awesome in order to maintain their reputation. Fortunately, it was much more than awesome. With “american dream,” LCD Soundsystem added to their concisely masterful discography with another sure fire classic that at times stays true to their roots, while also breaking into new territory.
It is evident that, as a band, LCD is still in their prime, even as James Murphy approaches his fifties at a seemingly expedited rate. On “tonite,” they prove that they still know how to get people moving on the dancefloor, with a pulsing house beat accompanying ardent lyrics about aging and fame. “other voices” is a satisfying disco concoction with moaning synth lines courtesy of instrumentalist Al Doyle, verbal anecdotes that’ll make any true fan squeal (“tell’em Nancy!”), and yes, a whole lot of cowbells. “american dream” is also a sonic leap for a band that already had a distinct sound. Songs like “oh baby” and “i used to” play at a smoldering pace, building slowly but surely to a climactic fervor, reminiscent of their 2007 hit “New York I Love You, But You’re Bringing Me Down,” while “black screen” ambitiously embraces an ambience never before heard in their previous work, bringing the record to a soft landing.
In terms of passion, the album has plenty. Thanks primarily to James Murphy’s lyrical cynicism and nostalgia, LCD created song sequences with each album that could lead you from dancing in the mirror to silently trying to hold back tears, and back again, and “american dream” is no exception. On the album’s dreamy title track, Murphy expresses feelings of homesickness, guilt, and emotional fatigue that comes along with success, creating an impassioned album highlight. “call the police” surges along through a concentrated build up, it’s capstone being almost as satisfying as fan favorite “All My Friends.” On “tonite,” Murphy sounds as vulnerable as ever, criticizing and crying for help in a rapidly changing social arena in which “embarrassing pictures have now all been deleted by versions of self that we thought were the best ones.” However, not all of the album’s moments are as profound, especially with lyrical dud “emotional haircut,” which finds the band trying it’s hardest to recreate the youthful energy of their early music, and to a general extent failing, while still being characteristically fun.
What especially makes this album special is the momentous “how do you sleep?” Entrapping the listener in a melancholy dance fever, the song swelters under a pile of heavy synthesizers, a rattling disco drum line, and Murphy’s howling vocals. This incandescent climax may be the most important moment in the band’s history, marking the revival of a band who seemed to be lost within their own narrative. It is a true musical victory; a flawless embodiment of the message the band wants to endorse along with their recreation. It is different yet familiar, confusing yet expected. Nonetheless, it surely is breathtaking.
Whether or not LCD Soundsystem will ever return has yet to be determined, but no matter what they do, “american dream” will still stand as their most significant statement, even if in some places it falls short to it’s predecessors. This is the new LCD Soundsystem, and they are back, whether you like it or not.
Renee Aavik and Liz Steel
We were able to sit down with the pop duo, Overcoats. The two members of the group, Hana Elion and JJ Mitchell, gave WGBK an inside look into the background of how they overcame struggles in the past and how they make music together now.
What was it like creating your first song together?
Adam: well the first song we ever wrote was little memory. It's really special to us because it ended up being on our first album. It made it from the ep onto the album. It's what brought us together when we were in college when we started making music together.
JJ: I think we were just shocked by what we were able to do together
Hana: it was a eureka moment
JJ: I think we had each written our own little ditty songs in the past and never tried co-writing something from start to finish together, so it took a lot of patience but it also was flowing naturally, and I think that surprised us
What makes your style of music unique?
Hana: there's an interesting blend of different influences in us and if we hadn't listened to certain bands growing up the music would sound different, so everybody has their bands or music that was important to them growing up and JJ, and I's happened to be the same.
JJ: we are just discovering that now not having known. Coldplay.
H: Dixie Chicks
both: Amy Winehouse
JJ: Billy Joel
H: Stevie Nix. Some things affected the way we think about songwriting and the way we make music. It all came together to produce something that was something that was made from a combination of those influences. Our lyrics are unique because they come from a place of friendship and empathy. We try to write about our lives and each other's lives, and it's a very personal and healing experience for us.
What was your biggest challenge as a group and how did you overcome it?
JJ: I feel like our biggest challenge was persevering before pieces took shape. We had graduated college, we had been making music for 6 to 8 months, and things weren't falling into place the way that we had hoped. The people we were working with back then were not living up to our expectations, and we just felt lost. It was at that point that we could have decided "ok well we gave it a shot let's go do something else or give up" and we didn’t. I think it was at that moment when it felt like the only people that believed in our music were the two of us.
H: I remember we used to talk about having to suspend disbelief. We had to know that we need to keep working at it even though we weren't seeing results yet. It was an investment.
What is your favorite thing to do in your free time?
H: we are both foodies. Particularly on tour when we aren't at the venue we are usually eating *laughs*
JJ: Adam is our resident Yelp expert, and we trust all of his decisions, and he usually finds us the best spots in any city we are in
Saturation II - Brockhampton
Reviewed by: Logan Steenburgen
In the early to mid-2000s, the music industry had been dotted by the popularity of boy bands such as One Direction and 5 Seconds of Summer that were regularly competing with the ebb and flow of pop music charts. What had started in the 1960s with groups such as The Jackson 5 and New Kids On The Block, had been primarily based on fanfare and public opinions, governed by record labels and PR teams. But now, with the popularity of pop music dissolving, and the rise of rap, BROCKHAMPTON has found the perfect balance. Branding themselves as an ‘all-American-boy band,' they have been able to capitalize on the craze of rap, without becoming a sellout. The unique makeup of the group provides them with their ethos; comprised of gay and straight, white and black members, the group truly is all American, and their music all relatable. SATURATION II is the group’s sophomore album, and part of the SATURATION trilogy, with the release of the third (allegedly) on its way, and should be out before the end of the year, putting the group in an incredible position discography wise.
While SATURATION showed the immaturity of the group, it was not a bad album. The album is more timid and weak, both beat wise and lyrically, and the group was not able to sufficiently emphasize their abilities. SATURATION II, however, is a new beast. The album starts with “GUMMY”, a fast-paced song that drags you into the punch. Kevin Abstract begins the song with a rip on himself, using critics who attempt to discredit his experiences as satire. The best verse on the song is perhaps that of Dom Mclennon, another primary member of the group. I found the verse to be very playful and fun, which is what probably makes the song so appealing to listen to.
However, “TOKYO” was not at all what was expected. The 7th song on the album, the layering of voices provides an intricacy that the group was not able to demonstrate on SATURATION, or All-American Trash. As just a small example of the evolution of BROCKHAMPTON, “TOKYO” is quite possibly the best song off the album, the one that puts it above the rest. While the other two were heavily rap based (and not to say that SATURATION II is not) songs like this and “SUNNY” give more feeling to the album, especially to contrast the heavier songs. “JUNKY” is one example. Abstract begins the song with a heavy verse, again calling upon critics, but time in an angry manner. He spits “why are you the only ------ rapping about being gay/ cause not enough ------- rapping be gay.” There is a certain rawness to this and many other tracks on the album that hit home. As stated before, the group is all relatable, appealing to a broad spectrum of people.
This album holds nothing back; it's a story of loss and redemption, truth and lies. SATURATION II is the album that rap needs in what seems like the time of sex and drugs. Realness cannot be competed with, by even the biggest names. BROCKHAMPTON, for sure, has a lot to look forward to.
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