Choose Your Own Adventure

Saturday, April 30

Attend the Opening of "Sex * Time * Decay * Shasti" at Big Orbit Tonight

Saturday, April 30, 7:30pm, Big Orbit Gallery, 30d Essex St--Shasti O'Leary Soudant MFA Thesis Exhibition. Sculpture, photographs, performance. Opening reception 7:30, one-time performance at 9pm.


Thank you,
The Management

Read "Yip Yip Stripped: Orlando Costumed Duo Gets Real"

By Justin Strout for Orlando Weekly:
It's Tuesday evening in the Florida Hospital Orlando cafeteria. It's not the peaceful lakeside café strategically positioned to greet visitors coming in from the Kubrickian tunnel that connects the hospital to its parking garage, the one with baguettes and a spiral staircase and the promise of hope.

This cafe-teria is further down a ways and offers booths, fluorescents and ice cream by the pound. And silence, occasionally interrupted by the excited chatter of two unspeakably geeky suburban kids from Longwood lacking friends enough to start a proper band with actual instruments. There's Brian Esser, an artsy type with a jagged deadpan wit, jacked up on behavioral meds and prone to playing high-wire on the parking garage roof or hosting banana-eating contests that end, progressively and alarmingly sooner and sooner, with him vomiting blood. With him is his high-school lifeline, Jason Temple, angular, confidently withdrawn and still buzzing from hours spent with Esser at Rocky's Replay arcade, which they drove many miles out of their way to get to. This is their home base, complete with cheap burritos and empty late-night hours. It's where they wrote their first album within a month.

Only that was 10 years ago, almost exactly. Today, the cafeteria has smoothie machines, and you get there via the Walt Disney Hall of Inspiration. The table that Esser and Temple made music on is lorded over by an imposing antique clock and surrounded by TVs, all blaring Gwyneth Paltrow singing Adele. Esser, at least, doesn't mind.

"This is kind of weird," he says, interrupting a thought to take a long look around his old haunt's new trappings. "I like the TVs. It was so quiet in here before, I'd be really terrified to talk. But now there's TVs in people's faces. It was creepy quiet. It's like I've forgotten that we used to do this. Now it feels so far away."
Read the rest here. Yip Yip played Soundlab on 11/12/06 with Mon Petite Chou Chou and Power Pill Fist. On 10/04/07, they returned with Yip Yip, Z Mann Zilla and the World's Largest Trio & DJ MJB Corp.

Friday, April 29

Experience Digital Buddha: Jin Hi Kim at Hallwalls Tonight

Friday, April 29, 8pm, $15-20--DIGITAL BUDDHA: JIN HI KIM, Asbury Hall, 341 Delaware Ave.
Hallwalls is pleased to present master musician and composer Jin Hi Kim in a rare Buffalo appearance performing her extraordinary solo multimedia work Digital Buddha and more live in Asbury Hall. Jin Hi Kim is an internationally acclaimed innovative komungo virtuoso and a 2010 Guggenheim Fellow in Composition. Kim is currently the Music Alive Composer-in-Residence with the New Haven Symphony Orchestra (2009-2011).
Read more here.

Check Out the Communist Party Tonight at Soundlab

Tonight, April 29, 11pm, $5--the COMMUNIST PARTY! feat. DJ DSTAR, Mario Bee w/Mareo Speedwagon, Flava Braun & Sir Richard Rector.

Check Out the "Ineffably Urban" Symposium On/In Buffalo Saturday at Hallwalls

Saturday, April 30, 9:00 a.m. - 5:00 p.m., FREE--
UB Arts Management Program, UB Humanities Institute, & Hallwalls present INEFFABLY URBAN SYMPOSIUM. Ineffably Urban is a one-day event on Buffalo, its conflicting identities and diverse creative representations, as cases of the urban image today. What is the status of the urban, of the image, of its expressions and discourses in diverse disciplines?

ineffable |inˈefəbəl| adjective
too great or extreme to be expressed or described in words • not to be uttered

This city often defines itself in terms of past glory or else its current struggles; its dysfunctional political culture, troubling social segregation, or its strong and persistent grass-roots base in the fields of culture, education and social justice. These disjoined identities find expression in common narratives of Buffalo, from Mark Goldman’s City on the Edge to Lauren Belfer’s City of Light. Likewise, strategies of fragmentation and of reconstruction – literal and mental – crop up, as they do in other post-industrial cities, in fields ranging from architecture to art and the humanities and social sciences. Between capitulation, nostalgia, demise and reconstruction, the urban image is left decidedly unutterable, undecided, ineffable: both sublime and unspeakable.

This symposium finds inspiration in this situation for a vigorous discussion of the urban image itself between critical discourses today. Beyond a local or regional discourse, Ineffably Urban aims at addressing questions one step removed from the actual city: how can we talk about the city’s “unspokens”? How can we render a picture of Buffalo without destroying that image immediately as we articulate observations and strategies explicitly? What is the “imaginaire” between the faded glory of Buffalo and its contemporary reality?

More specifically, the event aims at contextualizing findings within the broader context of other “formerly urban” cities in the rust belt and elsewhere, by investigating the theoretical narratives, the semiotics of texts and images (writing, photographs, films, video) and the driving social, political, and cultural forces around Buffalo and its urban image.

Much more information on the event, including program and participants, is available at its website.

Read "Alan Licht On The Emergence Of Experimental DJ Culture" (2009)

Previously unpublished essay by Alan Licht for The Wire Issue #300 (Feb 09):
Ah, 1982: the year that Christian Marclay, who would soon be known for bringing turntables to the world of free improvisation, using fast cuts, layering and loops for a live translation of tape music, first performed with his decks at the Kitchen; the year that Brian Eno released On Land, his second ambient album - largely ignored back then, its deep bass sound and glacial movement would become a major influence on the Ambient club movement a decade later; and lastly, as Steve Barrow says in Simon Reynolds’s Generation Ecstasy, “By 1982, dub had run its course in Jamaica, it had become a formula.” Reynolds himself then notes, “But this was just the moment at which dub techniques were being used by New York electro-funk and disco producers in remixes, and vocal-free B-side instrumental versions.”

These unrelated occurrences in The Wire’s year zero all helped set in motion the idea of DJ culture, which reached its pinnacle in the mid- to late 90s. The DJ, not the guitarist, was the instrumental pop hero of the decade. In the disco era, DJs like Larry Levan and Nicky Siano attracted a cult following for their weekly all-night flights, crafting an endless groove from different extended-mix 12” singles, but never took center stage. Only the late Arthur Russell seems to have made the connection at the time between these marathon disco DJ sets and the rhythmic trance element of the minimalist Riley/Reich/Glass axis. Russell was a cellist, not a DJ, but a consideration of his output of disco singles, classical compositions, and pop songs and instrumentals invites comparison to the connect-the-dots aesthetic of a good DJ, and his activities are in some ways a harbinger of the rapport between the avant and electronica worlds to come not long after his death in 1992.
Read the rest here. DJ Olive played the old Soundlab as part of a DJ trio organized by Christian Marclay (who could not make it), that also included Marina Rosenfeld and Toshio Kajiwara. DJ Spooky played Soundlab twice, on 04/05/02 with DJ Marcos/DJ Del Mar and Christ Sinister/God Morgen; and on 04/20/05 as part of a benefit for the Critical Art Ensemble which also included Polmo Popo (DJ set), Mark Kloud and Cort Lippe/Jonathan Golove. On 04/14/05, Animal Collective visited Soundlab with Ariel Pink.

Thursday, April 28

Catch the Kuala Lumpur Experimental Film & Video Festival Presented by Siew-wai Kok This Saturday at Squeaky Wheel

Saturday, April 30, 7pm, $5-$7, Squeaky Wheel, 712 Main St:
Siew-wai Kok, co-director of the 1st Kuala Lumpur Experimental Film & Video Festival  (KLEX), returns to Buffalo to present selections from KLEX alongside some of her newest explorations merging cinema and sound. KLEX new international film festival developed as an innovative platform to introduce both historical and contemporary experimental cinema to the Malaysian audience, nurture the experimental film and video makers in the region, and develop experimental cinema communities in Malaysia. KLEX currently serves as a venue for discourse on critical issues related to the edge of cinema art and will encourage the interaction and exchange between experimental filmmakers and video artists in Asia, especially in South East Asia. For the 2010 program, KLEX invited guest curators from Indonesia, Taiwan and the Philippines to curate a screening program of works from their countries. The festival received over 180 works from Malaysia, Thailand, Indonesia, Singapore, Japan, China, Canada, USA and Europe. This will be the first time the program will be screened in the United States. Siew-wai will also present a series of her own works after the KLEX screening and an artist/curator talk regarding of her involvement with organizing artists in Malaysia at various capacities.
Seiw-wai has participated in several Big Orbit Gallery/Soundlab events, including: on 06/28/01 she was featured as part of the Parenthesis series at Rust Belt Books along with Knox Harrington; on 03/22/03 she performed at the Out of Nowhere CD (which featured her soundwork) Release Party, featuring live performances by Cort Lippe/Jonathan Golove, Andrew Deutsch/Peer Bode, JT Rinker/Leah Muir, Pamela Susan Hawkins/Dean Thornton/Sei-Wai Kok; and on 05/14/05 Soundlab hosted Siew-wai Kok: Breathe, which featured guest artists and performers: Vincenzo Mistretta, Jax Deluca, Patrick Cain, Paul Kozlowski and Koji Tambata

Wednesday, April 27

Read "Charles Gayle: Freedom Cry" (1994)

By Howard Mandel for The Wire Issue #121 (Mar 94):
On the streets and in the subways of New York, the spirit of black free jazz lives on in the music of a few true believers – musicians like Charles Gayle; homeless, neglected but still burning with the passion to be free. By Howard Mandel.

“Let’s do the interview at your place,” suggests Charles Gayle, reigning king of New York City’s black free jazz players. “Because the heat at my place is not really happening.” The January weather has been severe in NYC and Gayle, aged 54 but still tall, lean and muscular, lives as he has for four years in an unrenovated East Village squat.

It seems that free jazz in New York is nearly homeless, certainly at the culture’s farthest fringe. Though physically vigorous, the nominally non-commercial, sometimes politically engaged, sometimes rhetorically self-righteous, sometimes fatally self-absorbed music that erupted from Albert Ayler, John Coltrane, Ornette Coleman, Cecil Taylor, Sun Ra and their many associates three decades ago has just a few devotees who earn about as much money and respect as street people. Nonetheless, tenor saxophonists such as Gayle, David S Ware and Zane Massey, pianist Matt Shipp, bassist William Parker, drummer William Hooker, and a score or two of others persevere.

Free jazz is shunned and/or scorned by music mags, record labels, the latest wave of so-called mainstream players, influential critics, academics and presenting institutions. It is characteristically loud, dissonant, anarchic and confrontational, though free jazz players claim, as they always have, spiritual catharsis if not transcendence as their aim. The style’s superficial chaos, its apparent lack of differentiation, resembles, more than anything, the helter-skelter interactions of urban life. Well, what grows in the City takes on protective colouration. Most New Yorkers probably see and hear no more in free jazz than they do in weeds.
Read the rest about the great Buffalo-bred saxophonist here.

Friday, April 22

Attend Sugar City's 2-Part 2-Year Anniversary Celebration

Tonight, Friday April 22, 7pm & 10:30pm--SUGAR CITY'S 2 YEAR 2 PIECE FEST. Part 1, 7-10:30pm, 523 Main St Buffalo, NY UVB-76 | MARTIN & LAWRENCE | PACING |A HOTEL NOURISHING | EROTIC ECONOMIES | Part 2: CHRONOLOGICAL DANCE PARTY 10:00-2am, Soundlab. $8 donation pre-sale, $10 donation at the door for both parts OR $5 donation for just Part 2. Two-Toned attire encouraged.
Last year’s party was really something special wasn’t it? We wanted this year to do justice but also be a little unexpected. In the Sugar City spirit of doing it together and celebrating our grassroots community we have planned a really amazing night combining several local avant-garde artists, phenomenal out of town guests and entrance into a brand new space on the “forgotten block” of Main St! Conveniently located near Mohawk Place for our buds going to the Crappy Dracula show! 
PART 1  
Two-Piece Fest (all duos!)
523 Main St downtown near Mohawk St by WNY Book Arts Center. Doors at 7 start at 7:30 End at 10:30.
Performances include: | Martin & Lawrence | Ric Royer and Lexie Mountain are flying in on a golden aeroplane straight from the glittering East Coast. We are psyched to bring these two comedic characters together as our MC's for the night. 
| UVB-76 | Mario Fanone and Sherri Miller melt your mind with experimental electronic music and added performance. What tricks will they have up their sleeves this time? 
| A Hotel Nourishing |Sonny Baker and Cameron Rogers play their first show in awhile. We are so pumped for these two to lay down some tough beats and harsh licks! 
| PACING | Matt and Moezes bring the drudge, bring the harsh noise, and may bring down the walls with their sonic vibrations. 
| Erotic Economies | Liz Flyntz and Anna Scime produced a beautiful free art journal that catalogs an assortment of international artists and writers. On this night they will feature experimental films curated for the journal and get you excited about volume 2 being released soon!
THEN at 10:30 the 12/8 Path band will suit-up and everyone will gather to dance, blast, and march to the above ground subway and ride with the band to Soundlab for PART 2 of the party!
LIKE THIS: or this:
Soundlab 110 Pearl St Buffalo, NY
Chronological Dance Party. Doors at 10PM
Sequentially travel through music history as our pals play you some tunes from the 50’s thru the 90’s. See you on the dance floor. THERE WILL BE A MIXTAPE EXCHANGE IN EFFECT. Bring a mixtape or cd and swap it for someone else’s mixtape or cd. Free with your stamp from part 1 or just $5 if you wanna swing on by late.
Featuring: Frankie Rainbows (1950’s), Jill Apex Hunter (1960’s), Handsome Dan (1970’s), Blake Ellman (1980’s), Dan-O (1990’s)
PRESALE TICKETS @ sugar city, from sugar citizens, and both record theaters, spiral scratch, and at
The funds raised will go towards compensating our great out of town guests and supporting Sugar City’s future!

Thursday, April 21

Listen to New Handsome Furs - "What About Us"

By Brandon for Stereogum:
“What About Us” is the first public sample of Handsome Furs’ forthcoming Sound Kapital. As you likely noticed, Dan Boeckner and Alexei Perry are still using their promo photos to remind us they’re happily married (though here, oddly, they aren’t touching). Before you dive in, it’s also worth noting Sound is the first Handsome Furs album written entirely on keyboards.
Handsome Furs played Soundlab on 07/18/09 with The Cinnamon Band.

Wednesday, April 20

Watch Girl Talk Teach English

By Tom Breihan for Pitchfork: E
nglish, baby! is a website devoted to teaching the English language, sometimes via celebrity video interviews. The site's latest video interview features Gregg Gillis, otherwise known as Girl Talk, who helps explain the terms "out of the blue" and "sample." The videos are part lesson and part regular interview, and they're refreshingly devoid of "Yo, Teach!"-worthy self-conscious coolness. (Well, except for the high-fives at the end.) Watch two clips here, via English, baby!
Girl Talk first performed at the old Soundlab on 07/06/02 as part of Circuits of Steel tour featuring 7 artists from Pittsburgh's emerging electronic/experimental scene: Clockworm, Girl Talk, Manherringbone, Colongib, My Boyfriend the Pilot, Powder French, Xanoptiocon. He visited the new Soundlab on 4/13/07.

Tuesday, April 19

Read the FLUX String Quartet Discuss Performing Six Hour Feldman Piece

By Jim Ducibella for William & Mary college blog:
The FLUX String Quartet, William & Mary’s Artist-in-Residence for 2010-11, will close out its academic-year concerts by performing Morton Feldman’s six-hour-long test of endurance and style, the String Quartet #2.

The concert, free and open to the public, will take place on Thursday, April 21, at 5 p.m. at the Sadler Center Chesapeake Room A. The FLUX String Quartet will take no breaks during the concert; audience members, on the other hand, are encouraged to walk in and out of the theatre. While it is the seventh time the group has performed Number 2, it will be the first time in four years that the group will undertake the composition.
Read more here.

Monday, April 18

Download: Mountains' Bubbly "Thousand Square"

By Christopher Weingarten for the Village Voice's Sound of the City:
Meditative blisscrafters Mountains are Brooklyn's finest young purveyors of pillowy drifts, true masters of the airy drone. Over six fantastically fluffy years, Brendon Anderegg and Koen Holtkamp have explored different combinations of otherworldy hum and fluttery post-Fahey acoustic pluckage, but Air Museum (out May 10 via Thrill Jockey) launches the pair straight into the space-rock cosmos. Though the two claim Air Museum is simply bursting with acoustic instruments, their surely enviable pedal boards make everything ooze in liquid ecstasy like the gushiest, synthiest, most future-shocked, run-from-Big-Brother, robo-fucked Tangerine Dream records. One track even sounds like Vangelis' "Chariots Of Fire" score if it were remixed into a Growing-style charred blast.

"Thousand Square," in which the duo explores rhythm more than on past releases, has the sunny synthetic bubbles of krautrock cosmonauts like Harmonia, panning speakers, and getting into polyrhythmic chit-chat--all tethered to this planet by a field recording of people walking around inside a church in Jerusalem.

Q&A: Mountains' Koen Holtkamp on "Thousand Square"

What is "Thousand Square" about? What does the title mean?
It's meant to be fairly open-ended to let the listener come up with their own interpretations. A specific description of nothing in particular.

How was it created?
It's very much a studio production versus a live track. We set up a few shifting analog synth sequences that were slightly out of sync with one another and then both played guitar and electronics over that. Most of our recordings in the past have been pretty much live so this was a different approach for us. The whole piece was composed, recorded and edited in a day.

What equipment did you you use to make it?
I put together a small modular synth setup in the last year, which involves a lot of patching together different modules that communicate via control voltages. Given the hands-on approach of patching things together the line between hiccups and intention gets kinda blurred, which is part of what makes the process so enjoyable.

Do you have to be in a particular mindstate when you record? Does the studio have to look and feel a certain way?
Well there's always the ideal situation of being in the middle of nowhere but I think living in a place as hectic as NYC just being able to have a space where you can get away step back and focus on listening versus whatever else is going on in your life helps quite a bit. Low lighting, very little distraction and wine seem to work for us a well.

What's the most memorable show you've played in New York?
I sorta miss the Tonic days. There was a real sense of community around that place.

What's your favorite place to eat in New York?
I really enjoy cooking, so I'd say "home." But aside from that... New Malaysia Restaurant in Chinatown or the Indian diner under the 59th Street bridge in Queens.
Mountains played Soundlab with Skull Defekts on 1/27/10 and again on 4/2/11.

Sunday, April 17

Get Tickets to See Prof. Noam Chomsky Speak in Buffalo

Thursday, May 12 · 7:00pm - 10:00pm, Montante Center, Canisius College, Buffalo NY. Get your tickets here.

Friday, April 15

Get Your Post-Runway Dance On with Shock & Awe Tonight!

Saturday, April 16, 11pm--SHOCK & AWE feat. the fabulous Kisabella & J. Zenger. Arrive before midnight and enjoy a COMPLIMENTARY GLASS OF CHAMPAGNE ... S&A wants to glitter you all over!

Catch Floor with Doomriders Saturday at Soundlab (Early Show)

SATURDAY, APRIL 16, 7pm (show starts at 8pm sharp), $12/$14--FLOOR, DOOMRIDERS.

Thursday, April 14

Read "Elephant 6 Rocked Buffalo"

By Elizabeth Raphaelson for SUNY Potsdam's The Racquette:
The Elephant Six has been a name rattling around since early 2008 when it was announced that a collective of members from the bands Neutral Milk Hotel, of Montreal, Elf Power, The Olivia Tremor Control, The Music Tapes and several other bands would be going on an expansive tour across the nation. This collection of stray band members comprised of 14 musicians who worked together to put on the incredible three-hour show at the small venue "The Sound Lab" last Saturday, March 19, in Buffalo.  The show, filled with audience-participation games, fictional stories, and original songs (or the most original interpretation of songs) made the three hours seem more like a circus than a rock show.

The show consisted of the band members helping one another bring songs they had written in their formal bands to life with new twists. Filled with constant surprises (fitting, considering the name is in fact "The Holiday Surprise Tour") the members of the band displayed their musicianship by constantly trading their instruments, very rarely sticking to a single sound. Julian Koster, the musical saw player of Neutral Milk Hotel and The Music Tapes, was the only exception who, in addition to his talent displayed on drums, guitar, bass and banjo, had the monopoly over playing the musical saw. The band was able to mold themselves to whatever feel they wanted by simply switching singers or exchanging instruments.

Halfway through the show Julian Koster inched his way sheepishly to the microphone. He told a story about how in order for spring to come to Buffalo, five people would have to try to "puncture the moon" (a giant tissue paper ring a band member was holding in the audience) with the arm of the giant paper snowman that had appeared during the band's intermission. The fourth volunteer was able to "puncture the moon" and was awarded with the privilege to pick any song (outside their family of bands) for them to learn in the next five minutes. The band worked wonders in the five minutes by learning a Defiance, Ohio song and sounding as if they had practiced it for years.

The line-up of Elephant Six is truly something special. Sporting four electric guitars (one of them a twelve string), a bass, banjo, drums, keyboard, horns, musical saw, violin, tuba and clarinet, the band creates a wall of sound that perfectly blends to fuel the listener with adrenaline while sinking them into a hypnotic trance of contentment.  Elephant Six is a concert and an experience that puts the listener into the world of the band members vibrant imaginations and after three hours keeps everyone asking for more. You can check out Elephant 6 and their Holiday Surprise Tour on

Wednesday, April 13

See Future Rock & The Polish Ambassador at Soundlab Thursday

Thursday, April 14, 10pm, $12--FUTURE ROCK, THE POLISH AMBASSADOR w/ special guest DJ Bacon! Advance Tickets Here
Chicago’s own Future Rock have carved out a category largely their own, adding drifting elements of Krautrock and space rock to rhythmic textures that reference Motorik, funk and four-on-the-floor disco. Outside of hometown Chicago, they may be best known for high profile and excellent remixes of Daft Punk, Neon Indian, Black Moth Super Rainbow and DFA 1979. Back home they are justly celebrated for legendary performances such as their set at last summer’s Wicker Park Fest that turned the entire neighborhood into a vast and energized dance floor, forcing even the palest and most resolutely hard-to-impress hipsters to call up their inner dance masters. Live performances combine loops, samples and Mickey Kellerman’s keyboards with Darren Heitz’s drums plus Felix Moreno’s Larry Graham-style bass slapping to create an enormously powerful groove. Their light show is as good as their music, and their set have been known to inspire dance frenzies.
The Polish Ambassador is a beat machine from the future. Hailing simultaneously from the far reaches of other dimensional Universes and... Oakland, California, this dude drops his own unique blend of electro-funked, glitch-tweaked, wobble-freaked breakbeats that will have you dropping that bottom like it was 92.....3092, that is.
The Ambassador builds all of his live sets from a monstrous stash of original drums, bass, synth, and vox lines. "No Genre Left Behind," Sugalski jokes as he blends elements of funk, glitch, idm, hip hop, 80s music, jungle, and dub into a beat soup that will instigate healthy doses of booty shake and fist pump.
Claiming to be Poland's ambassador to the Universe, Sugalski has released 5 studio albums, all independently. Diplomatic Immunity in 2007, The Phantasmal Farm in 2008, I Found Him. Now I Must Kill Him in 2009, Mating Season (released under the Ample Mammal alias) and First Words in 2010. All 5 albums have obtained favorable press and achieved regular rotation on college, independent, and internet radio.
Synthesizers and a pure spirit are his primary weapons. Join his army and help Polish annihilate bad beats marring the earth with shame and disgrace.

Tuesday, April 12

Check Out Teenage Mutant GNAR Shred Bringing More Romp and Spazz than a Melmackian Mating Call Tonight at Soundlab

Tuesday, April 12, 9pm--WHITE FANG, GULL, MALLWALKERS:

On Tuesday April 12th Little Red Booking is excited to present:
*** WHITE FANG *** (Marriage Records) teenage mutant GNAR shred from Portland Oregon, bringing more romp and spazz than a Melmackian mating call. Official Website: Look:

*** GULL *** If you missed him the first time, this is your second chance. A member of bands Ultra Dolphins and Snack Truck, Nathaniel Rappole also performs as a one-man band known as Gull. He sings, he plays guitar, he plays drums: A multi-tasking monster to the max. Look:


*** MALLWALKERS *** (Buffalo's own!) Short songs reminding you of what you hate about post-, surf-, garage- and hardcore-punk. Previously described as 'Minutemen with horns'.

Show posters (designed by Anne Muntges of SUPER GIANT) will be avail for sale!

Doors at 8, First act on at 8:30. 7 bux and all the pocket lint you've got!
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