My First Time at Colors Lnd


Διονύσης, or Denny as we know him, is the newest addition to the MEOKO family. Only 21 years of age and recently moved to London from his hometown in Greece, Denny has a neverending passion for all things house and techno and his enthusiasm is highly infectious. Denny lives and breathes dance music and we love that! When we discovered some months back that Denny had NEVER actually been to a club in London, we concocted a plan to make his wildest dreams come true by sending him to some of the city's most-loved raving institutions and underground parties, whilst also asking him to document his adventures...

It's been quite a few months now since my last "first time" experience back in July in Ibiza. During the months that followed I didn't miss 'clubbing' here in London as I was going out almost every weekend with the MEOKO family. What I have missed however is the excitement I experience every time I sit down and type words for you to read. After consultation with MEOKO, we decided on my next new destination… Colors has been running for 8 months already, every event has a different theme, and from the whispers I’d heard, this was a party to get excited about! Last weekend, “White Heaven” was my first time…

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It was about this time when I searched on TFL how to get to the 'Bloc' venue aka Autumn Street Studios in Hackney Wick, where Colors 8th chapter - WHITE HEAVEN was kick starting at 23:00. I’d be there by midnight which is quite a travel if you live in West London as I do. Even if it's long sometimes, I always find the process of 'discovering' new locations and different venues fascinating! From my point of view the party starts from the moment you receive the postcode to the destination…

By midnight I’d found the alley that leads you to Autumn Street Studios and as I was walking I faced a security guy wearing a cowboy hat saying "good evening sir the party is this way". My first impression was obviously that his dude is awesome. I haven't met this kind of security so far in London. Most "security" tend to be quite weird and bossy; they give me quite a look when I tell them "Calm down dude, I'm here to party".  These guys though put me in the mood before I even entered the venue! Unfortunately I wouldn't say the same for the girl who was in front of me during the usual "check". Love, you really need to consider better places to smuggle your drugs rather than the first pocket of your bag! At the entrance I got "stamped" by the reception girl and I walked through the venue. The first thing I saw after the cloakroom was a nice couch area which was separated by walls creating 4 rooms and the bar on the left. I put my ear piece ear plugs in and after I bought myself a refreshing beverage from the bar, I entered the gig space. I looked around and loved the decorations, apparently this effort goes into every party! White balloons on the ceiling, trees coloured white with nicely dimmed lights and an amazing Colors logo at the back of the decks which looked like little clouds. Welcome to White Heaven, you're in the sky now ready to fly!Colors 083


I received my first slap in the face, so to speak, when finding out that Tomas Rene, is Dyed Soundorom's younger brother. As one of the Colors residents he was warming things up nicely with a range of deep low frequencies and delicious crisp kicks and clean hats. Building an atmosphere is the top task for all warm up dj’s, and Thomas didn’t disappoint, providing groove in combination with unexpected trippy sounds and vocals that built up in a very smooth and enjoyable way…

It didn't take long until I got the second slap a few minutes later when I met Guilhem Monin and Stephane Ghenacia, the Colors promoters. I suspected that Stephane might be related with Dan Ghenacia as soon as I saw his last name and I was proven correct. Stephane is Dan's younger brother. It almost seemed like Apollonia in their youth, if Guilhem was Shonky's brother it would be mad! I caught up with the lads and after having a nice conversation with both promoters about Colors I started to have a better picture of what this project is all about. Guilhem is very familiar with the scene in London having been here for 7 years already, performing as a regular at Kubicle and Lo*Kee. Stephane didn't have to say much as he let the music speak for itself later on. Guilhem was on "promoter" duties for this one (Guilhem and Stephane swap duties every event) so I didn't have the chance to listen to him performing. Having listened to his MEOKO mix however, I knew he could play :) 

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I felt like going for a smoke so I headed out of the venue. It was cold as fuck but there was no other option. In the smoking area I met Valentine, a French girl who gave me a pretty good view of why most Colors fans are so 'into' their parties and why they've been so supportive. For her, everything began on Facebook and then spread word of mouth from friend to friend.. Everyone I met personally knew at least one of the promoters – everybody was related through friendship in one way or another…this is the basis for the very best parties. Another French girl I met, Savina, had been in the country only a week and she travelled all the way from Portsmouth just for the party. How cool is that?  


As I returned back to the venue the dynamic of the crowd was now bright and clear in my eyes. It was getting really busy I started noticing the crazy outfits! Sailors, bunnies, angels with wings, girls with white lights and feathers on their heads and bodies were the outfits that stood out. Most of the people were dressed in white and that was proof of the dedication of the crowd. By the time I reached the DJ booth Rob Mello, an old school jockey from the London house scene was now at the decks, Rob was headlining the event and he had the crowd exposed to some great dance moves with his tunes. When he dropped "Discoteca" from Exchpopture people went mad! Everyone was sharing the same excitement, smiley faces and friendly people all over the place!  (link for track rob was playing) {youtube}{/youtube}


Enjoying the music and watching the dance floor get busier and busier I bumped into the third and final Colors Lnd promoter; Adrienn. To my surprise Adrienn wasn't French as I was expecting, instead she was coming from Hungary. They all met through firendships formed over music and quality nights out like this one…and naturally Colours Lnd was formed and grew from there. That is the magic connection that music can create. This specific night, Adrienn explained was a really special one for the team as it was the first time they took on a venue that size. Whatever happened as the night went on seemed like a live experiment to her she explained. Before she returned to her duties she gave me some information about their next Colors party on New Years Day. The excitement was clear, not only from her but also the crowd who kept asking "You're coming at New Years day right?", "I'll see you there”. Apparently the venue will be incredible and their 9th Chapter has been given a theme of “SILVER MOON”. Everything is sounding extremely promising for a New Years to remember…

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By this time Stephane was at the decks and the party was at it's peak. I made it to the front where people seemed totally into the music dancing in a harmonic way following the beats as they flew. Stephane's music selection was developing in quite a wide variety; House and Disco tracks were turning into acid jams and deep house masterpieces. You couldn't really say what the next track would sound like as Stephane's mixing techniques were manipulated in such a delicate way. For the following one and a half hours the crowd didn't seem like leaving the gig space and Stephane was pounding the room in an energetic and passionate way. You could totally feel the party mood everyone was experiencing. Even at the couch area people were dancing, drinking and having fun. Most of them were waiting for the after party to begin which was meters away from Autumn Street…


Although the music eventually stopped it seemed like the night had just begun. It certainly didn't feel like I was there for 6 hours; time went by so fast! People now were leaving the venue and they were heading to the after party, this time a smaller group of individuals. They were the ones who contributed the most for this night to happen. Even though I wanted to follow unfortunately it was time for me to say goodbye to the guys and make it on my way home. Nice breakfast on the tube and some endless sleep until the next day…

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If you haven't been to a Colors party yet you should definitely go and check it out! Join a bunch of amazingly creative people expressing their love for music through colours! Many thanks to Adrienn, Guilhem & Stephane for the hospitality, it was a night to remember and a project which I will visit again and again from now on! Last but not least huge respect and big bravo to all 3 as they managed to donat £250 to the DEC Philippines Typhoon Appeal after the "White Heaven" party! Music really does bring people together. Until the next time, here’s to an amazing Christmas and New Year!

Yours truly, 


MEOKO Photography by Maxine DL

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Motek: Unpretentious, Inclusive and Friendly

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Motek clap

In current times of economic austerity and amidst a notoriously competitive and over-saturated market, a promoter could be forgiven for sticking to the tried and tested in order to pull in a crowd. Motek however, are of a different sort, and since their humble beginnings in the back of Café 1001 have not been afraid to risk failure in sticking to their own beliefs and principles of what a good party entails, namely creating a friendly house-party vibe and being free to showcase a range of different genres and artists, both established and up and coming.


Previous events in their relatively short but successful history have featured some of the most progressive and forward thinking names in electronic music- Max Cooper, Mark Henning and Slam to name but a few. Motek however, is also about providing a platform for deserving up and coming talent to be heard. In this respect, last Saturday’s event at The Sidings warehouse is a perfect case in point, with no less than 9 acts featured including some of the hottest names of the moment, many of whom have been making waves with releases on heavyweight labels such as Life & Death, Bpitch Control, Kompakt, Cocoon and Get Physical which have been played out all summer by more established contemporaries such as Tale of Us and Âme.



Appearing early, Motek resident Silky confirmed his deserved growing reputation with an emphatic, assured set, and was followed by the more melodic and acid inspired sound of Eric Volta. Over in room 2, The/Das, who produce the kind of electronic-pop that could only come from out of Berlin, captivated the audience with an emotive live performance with Fabian’s vocals particularly worthy of praise. The standout performance of the night came next in the form of Venezuelan duo and Crosstown Rebels Fur Coat, who for 2 hours had the crowd mesmerized with enchanting, deep and sensual grooves; leaving the other main draw of the night, Mind Against, perfectly set up to follow with their dark and stellar cinematic productions until close. Barber closed out room 1 in some style with a blistering, uniquely original set marrying many different influences and working the audience into a stomping frenzy, and was definitely a highlight of the night and one to look out for in the future.


The real star of the night however, is the crowd that Motek seems to draw at each of their events and the vibe they bring with them. The atmosphere at a Motek party is unpretentious, inclusive and friendly; people come to have a good time and to meet others rather than just to get high and dance in a corner with whomever you came with. This in itself is a massive credit to the efforts and personalities of the Motek crew and is hugely refreshing in a scene where promoters are too often guilty of following the same big warehouse + Funktion 1 party formula with no further thought for creating a connection with their public. Motek have built up a loyal and dedicated following and with it, the promoter has gone from strength to strength, this being their biggest event yet. An impressive achievement largely built upon some good old-fashioned values of fun, friends and family that many promoters in the London circuit seem to have forgotten in their quest for success (and profit). We eagerly await the next instalment!

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Words by Barry Daly- follow me on Twitter: @_bazmatazz

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Injecting some Flare into Sound Systems

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Flare Audio is a relatively new speaker manufacturer, but they're already making a fair amount of noise thanks to the innovative advances in audio technology they've managed to make in just two years. Not only have they picked up Plasa's 2013 Innovation Award, but they look set to give Funktion-One and the rest of the leading sound system manufacturers a run for their money. Head of the company Davies Roberts has immersed himself in the world of sound in an attempt to crack the secret of supplying pure, untainted audio to the masses and he think he's cracked it. By all accounts, Flare Audio's speakers do a very impressive job – even Andy C was blown away after a recent gig at the Brixton Academy. Here MEOKO speak with Davies about Flare, how he developed its technology and its repercussions for audio at all levels...

So how did you get involved with making speakers in the first place?

I got into it pretty late on in my life, around 2005 – I was a fireman for 13 years but had always been involved in electronics. I had a mobile disco when I was very young and was always a lover of music. My wife Naomi (who's also a director at Flare) started working for the council doing events. I went along to an event and thought, 'I can do this', so I borrowed some speakers, soldered some cables together and did this gig, for a live band. Without any prior knowledge or experience of live sound, I engineered the gig and fell in love with sound and the delivery of pro audio. Over the next few months I started Purple Audio in 2007, which was a rental company, I quickly established that company as a reputable, high quality sound provider.

Over the following nine or ten months I became aware that I wasn't happy with the sound quality that we were providing at Purple. I was noticing huge distortion and everyone was saying it was either not loud enough, or too loud, it was hurting their ears... all these different complaints about sound quality. So, in 2009, I formed Flare Audio – originally as a small manufacturer for our own equipment, again that took off quite significantly.

Nice one, and where did you go from there?

Well my first speaker designs took a different approach, we weren't tuning speakers like you would tune instruments. I wasn't getting a cabinet and I wasn't making it resonate. What I was doing was making the drivers become pistons and we started to realise, 'Hey there's still some wood in there shaking around, there's still some resonance', so we tried to really pinpoint where the problem was. Sound is very simple; if you think about your ears, they're just a flap of skin that moves backwards and forwards at different speeds to give us different frequencies. It's a compression and expansion of particles, it's that simple – so why are speakers not producing accurate sound? That was the challenge.

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How did you go about tackling this challenge?

Around last June I realised how to solve the problems. There were two issues surrounding the speakers, 1) The cabinet resonating. You have a square box and a driver inside vibrating like mad inside, if the sides of it flex the internal volume changes – no matter how small the change, if the volume changes it affects the driver. Because a driver is like putting a bit of clingfilm over a box. To illustrate this, the way to understand it is: If I you compare a guitar string to the side wall of a loudspeaker, if I want to stop it resonating we don't want to put our finger on the thread because that will change the frequency, it's still going to resonate. We don't want to use a thicker string because a thicker string will lower the frequency but still resonate. If we're going to stop a guitar string moving we have to put some weight on it and stop it moving, and that's what Space Technology does. It applies compression to the speakers, to the front and back plate – you tighten up the bolts and it stops the structure from oscillating independently, it becomes one unified structure. That's the first problem solved...

And the second problem?

Once you've stopped the box resonating, the other issue is pressure. Through our research we've created what we call 'Vortex Technology': lots of lots of small vortices, which kill the sound energy but allow the pressure to evacuate the box – so it's like completely silencing the port inside a loudspeaker. Those two technologies together mean we have a structure that doesn't resonate and no pressure inside the box.

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How long did it take you to get your head round all of this and put it into practice?

It's a long, hard process – from June last year up to now it's been all about getting the patterns formed. The way we've done it, as a pro audio company, is to consider the needs and wants of the artists, the engineers, the big events and taken our ideas of what a speaker needs to be and made a prototype. We've got a lab here, so we built a speaker knowing what the frequency range needed to be and so on. The interesting thing for us is, we're not just a professional audio speaker manufacturer, we're going into the studio market, domestic and home and we're going to be taking the technology right down to micro level because it can be applied to any sound producing or receiving device. It's going to take calm and control over the coming years – we've unlocked the secrets to clear sound, so we're going to now apply them to each market. Speaker boxes have been stuck in their ways for the last 40 years, and it's because they've been treated as instruments and not scientific devices.

The real turning point came when I realised that what was in ever loudspeaker was 'wadding', you know the fibreglass they put in speakers? That was the first realisation of where the key issues were coming because that adds significant amounts of friction. When the driver moves back and forth it's got to move all the air around that wadding and that's the bit we don't have in our speakers. Because we've isolated the resonance and there's nothing else inside our speakers but wood and metal, it's bare inside and that was the key.

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And you've been roadtesting the speakers at events haven't you? Tell me about that... ?

We did two nights at the Brixton Academy, we did Andy C's Ram night. At that gig we had a Q18 along the frontal space, two hangs of X5A, which is a small amount for a two tier building. We had the new SB21s for surrounding and the X3C also for surrounding. That was the first time we'd used the technology at a large event and we were getting unprecendented levels inside – the clarity and volume was quite insane. The most impressive thing was, you could walk out of the main room and go by the production entrance and you couldn't hear a thing. That's one of the benefits of this technology is, if you create pure sound you can control pure sound – it's the distortion that's causing all the problems with noise control.

Earlier this year I went to IMS in Ibiza and I watched Jean Michel Jarre's interview there – he made a great point which was, as the technology to create music has evolved and improved, the means by which it's delivered has actually devolved. We now listen to low quality MP3s through laptop speakers, rather than having a plush home stereo system – I guess your technology could help in reversing this.

That hits the nail right on the head really. MP3s are a bad thing – but you can understand why they came along, at the time they were introduced, we didn't have the storage capacity on our computers. We need to wean people off them, WAVs are now completely storable, you can fit a lot of information on your computer now. The thing is, people have got to be made to hear the difference. At home, as the world kicks along things have got to be made cheaper and lighter and that has been a really bad thing for speaker technology in the home – you've got everything made in plastic, with cheap drivers, you can't even tell the difference between an MP3 and a WAV. We've got a new speaker that we're working on at the moment that's a flat panel you can put on your wall – the next step is to make a speaker that is very low profile, which we're also working on.

Do you hope that Flare will be used in not only for concerts and clubs, but in cinemas and places that need big sound?

Yeah, our idea is to have one unified platform where artists could go into the studio and make their track, come out of there into their car, or their home or even into a field at a festival and it sounds exactly the same. That's the mission of the company. Obviously the consumer market is very different from pro audio, you need to make things very cheaply and on a mass production level. We're taking one step at a time, but we're aiming to become a significant player in a short amount of time.

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Tell me more about the company, as I know you work a lot with local businesses?

Yes, everything is made in Britain. We use specialist local firms to make all our parts, about a year ago I scouted the real talent in this country for making aluminium and wood and contacted them with regard to using their materials. Having something that's made really well is equally as important to us as the clarity of our sound, you don't just want to make a great speaker but it falls apart within a few months. We don't have to outsource to China or anywhere else, the speakers are simple and fast to make so they can be assembled here. We can train people up to do it here in Britain.

Since Funktion-One, Martin Audio and Void are among the most common audio manufacturers that are used in a club environment, I wanted to know how Flare differs from those and improve on the sound in a club?

We differ significantly. As I said, in the past speakers have been used like musical instruments – so they've been hand-tuned and electronically corrected. I won't mention brand names, but the designs have been used for years. Both of those approaches are what we call 'damage control', they're getting the speaker and trying to make it resonate nicely – which, to us, is fundamentally wrong. A loudspeaker should be producing sound without any resonance. It's like if you have a really sharp and defined sound, you wouldn't place it in a box, you wouldn't slap a reverb over the top of it. You've got a box with a port, the sound's bouncing around inside that box – it might come out deeper, or really rich, but you actually listen to the information in that tone it's all false enhancement, it's all tuning that really shouldn't have happened. With our speakers, because the drivers just react to what they're given it means that when you take any frequency, all the way down to 20/30hz, you're only going to get that out when it's in the track.

When you put our systems in a club environment, like the Knife Party gig at Brixton Academy last week, it goes incredibly clean. The resonance is the space then becomes beautiful. We've put it into churches, we've put into tunnels, we've put into spaces that are regarded pretty badly from an acoustic point of view (like Brixton) – because there's no resonance to start with, the room, the reverb of the room, adds to the sound. Whereas, before it was losing little bits of detail that were just about left in certain frequencies and making it hard to engineer. From a clubbing point of view, you're going to get really clean sound going into the space that has a beautiful natural resonance. That's why we want to get Flare into the Royal Albert Hall or awkward spaces, because you're going to have the acoustics coming into play in a positive way.

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Tell me more about the reduction in noise pollution?

If you're producing linear tracks and frequencies, most tracks are generally flat and, of course, they have peaks where the transients come in. But if you're producing sound in a uniform, linear way and you shut a door then you can hear all the sound drop out because you're not hearing the 'thump, thump, thump' of 80hz, which is all distortion and all pressure coming out and travelling through walls. The key is, if you're prouducing everything evenly, you should hear it all drop down at the same level – the key is getting it linear.

Another aspect is the hearing. At Knife Party, where it was incredibly loud, no ear-ringing at all – myself and most of the engineers went all night without any ear plugs as well. You ears felt tired, but there was no audible damage to hearing. Distortion is one of the main factors in hearing damage, I certainly found if I'd had ringing after a gig it would be from a system that's been distorted, even at low levels.

I also wanted to highlight something else – you always know when you've got a flat linear system, or accurate system when you can play everything on it from classical to dubstep, rock to opera, and everything is a reference. That's what I always used to do when I was testing systems, if they could play one thing and not another, then they weren't that great! So that's the important thing with our technology, you don't need another system, you could play rock one night and dubstep the next. It's very versatile.

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That's great! Just to finish up, where can people go over the coming months to experience the Flare system?

There's a place in London called Ace Bros, who've got the full range of professional kit and they'll be doing State London's party on January 18th. That will be one of the first outings for the X3A, which is our aluminium product – they're working with Pablo Godofredo to deliver a really unique experience in London. That will be one of the first club nights to utilise our technology. We have a full compliment of events happening at the Brighton Centre soon, too.

So there you have it, Flare Audio purports to be an innovation in sound and is set to revolutionise clubs, concerts and even cinema and home sound when it eventually starts to roll out. Check out yourself and let us know what you think of it...


By Marcus Barnes

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Pacha, Ibiza invites Next Wave / 1.11.13




Ibiza 2013 might have ground to a halt near on a month ago now, but for Pacha the party never ends. On Friday, November 1st, the iconic nightspot welcomes Next Wave to the club, a partnership that many may at first consider a little incongruous. While the party's bold, minimal aesthetic struggled to fully take off at Privilege's Vista Club this summer, there can be no denying that they were responsible for some of the more intriguing, forward-thinking lineups on offer this season. Making sure they saw out the season in style, they invited the likes of Ricardo Villalobos and RPR Sound System to oversee a closing party to remember.

                                                                                                                 Dani Casarano MEOKO Mix

Occupying Pacha for the first time, Next Wave has invited Dani Casarano and Cadenza staple Valentino Kanzyani to headline, with resident Angel Linde on warm-up duty. Taking place on All Soul's Day—a bank holiday in Ibiza—and with all the other superclubs shut for winter, you can be sure the venue will be populated by an enthusiastic, local crowd. And you never know in Ibiza: should the party go down a storm, this could be the start of a very interesting relationship.

Doors open at 11.30 on Friday, 1st November, and close at 6 AM.


Full lineup/

Valentino Kanzyani
Dani Casarano
Angel Linde

 For more information about Next Wave - Click Here 

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DEETRON ' Music Over Matter" Review


It’s been some time coming – and much too many heads’ expectations, it’s certainly been worth the wait. Swiss genius Deetron – never one to fully stretch himself through a barrage of releases – returns to the album format for Music Over Matter, effortlessly blending house and techno aesthetics but at the same time voyaging towards a more populist sound. The bare bones of a typical Deetron production are there in abundance – switching tempos, driving rhythms, intricate layering – but melded with pop undertones and a rich coating of melodic, hook-laden sensibilities.

One of the most notable traits of Music Over Matter is it's punch packing, all-star cast of featured guests. Opening the album is London house producer Cooly G on hazy vocals and Ripperton on 'Thinking', a tapestry of broken beats and awkward bass before launching in to the disco-house tomes of Crave featuring NYC’s Hercules and Love Affair. Bass inflected tech roller Love Song brings 'Seth Troxler' into the mix. Ben Westbeech breaks from his Breach alias to return to his soul drenched r’n’b roots on 'Rhythm', adding extra commercial dimension without dominating the track, , whilst the irrepressible Fritz Kalkbrenner brings his soulful tones to an Orchestral moment of reflection on  'Bright City Lights'.

But feat not - when Deetron steps out solo (without the cushion of collaboration), it's head down business as usual, 'Count on Me' continues along Deetron's more familiar tech-house path before descending into an 8 bit bassline jack. 'Can't Love You More' takes the vocal element and uses it as a rhythmic instrument rather than a focal point, fusing it with thumping kicks, smooth fluid temp amd open-chord guitar strums.


If the album title leans at the promise to place substance over style and to place the focus on the music squarely back in the frame, then Deetron has delivered as promised. Cascading through a range of sounds and styles – but still containing that smooth yet rough, rolling yet introverted and dance-floor focused yet heartfelt, Deetron shows once again he's not afraid to take a risk, and to use his special, unique talent in territories beyond his comfort zone. To say this album is accomplished would be something of an understatement, and in the on going battle of Musical substance vs  stylistic matter, Music most certainly prevails.

By Joe Gamp 


Listen / Buy DEETRO 'Music Over Matter"

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