Hailing from central Texas, Nick Wallisch has been a musician in the Austin area for over twenty-five years. He recently released Awakening. Wallisch mentions: “The album is ‘rock’ generally, but I try to stretch into as many forms of it as possible, from pop to prog to Latin to funk to jazz to reggae to hard rock. People have compared my voice to Peter Gabriel, Colin Hay, and John Hiatt. My two personal musical heroes are Frank Zappa and Stevie Wonder, so I bring a lot of influences from them as well.” I picked up on the Zappa influence right away as there are lots of transitions that feel sort of surprising.
“Awakening” is up first and I thought this was going to be an ambient song. It at least starts off that way with improvisational jazz in there as well. The song becomes rhythmic and there are absolute blasts of notes running up a scale. I would say the technical prowess was very impressive. Suffice it to say this is song with changes I was not expecting that got my attention. “Nothing” contains vocals and is more Pink Floyd inspired to my ears. There’s a good amount of atmosphere and big reverbs which support these lead guitar parts. “Migration Time” is more or less prog rock with some of that Steve Wonder influence. It works well together. “Waltz of the Sailor” is a warm ballad. I actually thought he sounded a little like Cat Stevens on this song. I was picking up on Black Sabbath vibes on “Oblivious” while “Always” had a ’70s funk flavor. “Otherwhere” is a solid prog song as well. “Kicking and Screaming” is a sweet warm ballad that sounded like something I might hear at a Las Vegas show. One of the highlights was “Grasshopper Terms” which mixed elements of Bossa nova and prog. It felt like a different style from the other songs but I enjoyed it quite a bit. Wallisch's experience shows itself all over this album. The parts are creative but also undeniably very technical. I think fans of the aforementioned bands will appreciate this.
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Theyrgy was formed in February of 2018 by John Doyle (I Decline,13 Flowers), John E. Bomher (Yakuza, Iklatus), Michael Fabiano and Tony Hooper. The label Dead Sage released the band's debut EP Exit Strategies last year, as well as their follow up Interrupteur, which is reviewed here. The songs that make up the band’s latest effort were recorded before and during the Covid-19 pandemic. Unable to collaborate in the same space, the band put the finishing touches while working remotely. Unlike their debut, these songs did not form out of improvisation, but came forth through skeletal sketches individual members pitched to the band’s project. In the center of it all, Justin K. Broadrick (Godflesh, Jesu) lent his immense talents to remix and reimagine the Exit Strategies track “Hiding Your Face in The Wall” into a hair-raising spiritual awakening gone wrong. Interrupteur was mastered by Howie Weinberg, engineered and mixed by John Bomher at Berwyn Recording and produced by the band. Theyrgy's songs build upon a sonic mash of post-punk, industrial, dark wave and shoegaze.
“Unimportant Truth” slowly builds within the first minute and then a driving rhythm section comes in with heavy, catchy bass lines. Mixed in at a slower tempo are all sorts of electronica bells and whistles, fuzz guitar chords, dry drumbeats and magical sounding keys. Then the band takes another fantastic turn after the four-minute mark with a different arrangement and a wall of echoey sound. This is a great opener that’ll get you pumped! Next up is “No End in Sight. This one starts off a bit darker and mysterious. The group throws in more synths in a classic kind of way, along with electronic drums, too. About mid-way they crank up the vocals, guitars, keys – everything! I liked this one for its edgier style, surprise and horror flick spirit. It had me on edge! “Your Teeth Are My Currency” is about as creepy a song title as I can imagine. Not sure if this song was about some crazed dentist (sorry for anyone who has an upcoming dental extraction) – but anyway, this is the band’s shortest song. And it features a very interesting rhythm arrangement, heavy synth action and just a bit of a lighter edge. In other words, a more somber feel. There’s a melodic bass melody here, albeit dark. Parts of it reminded me of The Cure – not the pop song stuff, I’m talking along the lines of “A Thousand Years.” What stuck out to me the most was the contrast between the lighter guitar parts and the distorted heavier part. “Hiding Your Face in the Wall” (psychic telepathic attack remix featuring Justin K. Broadrick) has one of the of the most unique beginnings to a song that I’ve heard in the industrial rock/dark wave genres. I’d really like to know how they got that distorted bell sound. I thought this number was the band’s most dynamic, most layered and most creative from this album. Some of the guitar parts had an awesome, soundscape spirt – like The Edge meets ambient darkness. In the latter half, the group goes way deep into a disturbing industrial sound. I think my favorite on the album was “Spiral Collider.” The song gives the listener a different side to the band. There’s a more conventional piano/keys and drums sound and a mellower feeling overall. The chorus and dark ballad quality of this tune made me think of Alice Cooper. The last track is “Lean Mean God” and I loved the opener synths here. In fact, I pretty much loved everything about this one – the ethereal sound of the keys, the classic dark guitar chords, the punchy sound of the snare and the chorus-like layered vocals. If industrial, post-punk and dark wave darkness is your thing – do yourself a favor and check out the latest from Chicago’s own Theyrgy.
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The Big Store is a power pop/punk rock n’ roll trio hailing from beautiful Long Beach, California that has just released their self-titled debut The Big Store. I don’t know if they named themselves after the lesser but still hilarious Marx Brothers movie, but that reference works for me!
The band members are Baron Norris (guitar/vocals), Chris Barfield (bass) and Hiroshi Yamasaki (drums). The band came together over a shared interest in the bands The Only Ones, The Libertines, The Gun Club and especially The Heartbreakers. For me there’s a definite Heartbreakers angle, but in a general sense Norris sings like Lou Reed and bassist Chris Barfield has a sharp, Rickenbacker bass sound like Chris Squire or McCartney. The songs are quick and full of punk and ’90s energy, and the album is over way before you expect or want it to be. They note that their songs reference “…the everyday frustrations of work, living paycheck to paycheck, the banality of today's interest in reality TV and web celebrities. There are also healthy doses of film noir and vintage crime references.” For recording, the performances were captured mostly live over two days with vocals and overdubs added in the next two weeks at Suplex Audio in downtown Los Angeles with producer Manny Nieto. The producer “…wanted to capture the group live as a unit with a vintage grit and avoid the modern polish that can date an album.” Baron’s guitars were played through his own home-built pedals and tube amps, with an original Echoplex EP-3 also on hand. The band notes that the mics at Suplex are truly vintage, the same types used to record Bowie and The Rolling Stones. For me it sounds nice and crunchy, though it feels designed more for speakers than headphones. A vinyl release is planned, which should sound even better. “Got Enough Rope” starts us off with fast punk energy but with plenty of melodic fuzz guitar runs that expand the group’s basic sound. As noted, guitarist and singer Norris has a deadpan Lou Reed delivery which fits the music perfectly, while Norris’ bass and Yamasaki’s drums effortlessly nail down the rhythm. “Anything At All” almost seems like a new middle section to the previous song, as it matches that song’s energy and mix almost perfectly. Very funny punk-nihilist lyrics: “I don't care about anything at al/ I don't care how it went with John or Paul / I don't want to hear your thoughts on the New York Dolls.” Norris doubles his hardcore guitar licks flawlessly. “My Rainy Day” has a great bouncy main riff for a song about saving for “a rainy day” when you could be hit by a train at any moment. “Saving for the future, the future got away!” I like how Norris uses his “lead guitar” moments not for flashy soloing, but to build interesting cross-melodies and harmonies. “The Drag” kicks in at drag-racing tempo with a thick, compressed mix of guitars that still leaves plenty of room for Barfield’s busy bass. “Better Than What?” changes things up slightly with a cool jungle beat but with an even more prominent bass track. I’m by no means a Heartbreakers expert, but “The Darkest Night” seems to show their influence with a borderline pop-rock feel and almost melodic vocals! Once again the sheets of electric guitars seem to burst from the speakers like a sparking electric blanket. “Occupational Burnout” carries on the same consistent sound as most of the other songs but with a sweet, jangly guitar refrain. “Gas Food Lodging” feels like The Beatles “Rain” and the theme from “Friends” were slowed down and mixed through a fuzz box. Great idea to change the tempo at this point. “Make It All Go Away” closes the album with more high energy Heartbreaker musical echoes, featuring lyrics that could have been penned by Walter White. All in all, a kick-ass collection of songs that does anything but wear out its welcome!
Although Hollywood forces the image of bus riders as a dejected lot — heads against windows, returning to an urban hovel or unknown city against driving rain — I suppose it was fortuitous that Brenden McAuley and Brianna Kane lived on the same route. Because Hollywood obviously didn’t realize that some of these people also tinkered about with HP laptops and Alesis drum kits in unassuming basements. And that’s a good thing, if the end result is as rewarding as Saturnine Sighs’ self-titled debut Saturnine Sighs.
Taking their cues from indie rock, synthpop and new wave, not only did this Canadian duo adopt the ultimate DIY aesthetic, but they turned out a well-produced album. So, it shouldn’t really matter whether the likeness of Kane or Angelina Jolie grace the cover. When Pro Tools has your back, determined musicians can shine, even if one’s mixing facilities are, apparently, “filled with stuffed animals and junk.” Saturnine Sighs front loads some of its best offerings, beginning with the one-two punch of “Alright” and “Swoon.” The former regales us with a new order-type riff that conjures the less electronic, but similarly remarkable, golden period of Sumner et al. It is alternatingly crisp and scratchy – at times urgent – and complements some impressive harmonization. As the track cedes to “Swoon,” ethereal notes color a beautifully hewn duet; one that boasts added dimension with McAuley’s vocals. Never forced, they respect their place as an equal amid the instrumentation. And maybe that’s the key, even as the album floats its way through some slower, and less memorable, numbers. Everything blends fluidly. It’s the sonic equivalent of playing nice in the sandbox. “Sugar High,” tips its hat to the poetic sirens of ’90s college rock; among them Juliana Hatfield and Tanya Donelly, while melodically emulating The Strokes. Alas, one of the strongest tracks, “Someone Else” is buried toward the end. More electronic than its predecessors, it never feels sterile. On the contrary, the song is memorably composed (or, in this case, programmed), to the point where it would’ve been exciting to see the group push harder in this direction; especially given their digital ethos. “Blacklight,” the album’s closer, is a bit of a jagged fit. It could just as easily have been a tacked-on single from elsewhere, so different is the style. Then again, it is a fun nugget of disco-cum-fuzz guitar that shines brightest during periods of quicker tempo. If only it didn't overstay its welcome at over nine minutes. Because, let’s be honest, not everyone can write “Jungleland,” even if the subject matter at hand, a murder hit on oneself, is bizarrely interesting, if not just plain bizarre, in the greater context of the record. Ultimately, Saturnine Sighs serve up the indie equivalent of a fluffernutter sandwich in eight bites. And there’s no shame in that when the filling is fresh. This is, after all, a classic wisp of Williamsburg hipsterism, courtesy of London, Ontario. Give it a listen on your bus ride home. Or wherever you prefer music.
Seakin is Montreal-based duo Natalie Talbot and Steve Vocelle. They met the old-fashioned way: through classified ads! The pair found that the mix of Talbot’s songs and vocals with Vocelle’s guitars worked well, so they committed three of them to tape, releasing them as their debut EP Messenger. For the album, the sound is rounded out with the help of Simon Dolan (bass) and Guillaume Lebel (drums).
The three songs have a similar recipe: reverb and wah-pedal-drenched guitars over mobile bass lines locked in with the drums. Talbot’s spoken-sung vocals--buried a little in the mix--are intriguing and a little sultry. This gives Messenger a backbone of ‘60s-garage-band feel, but there’s a decidedly more-polished feel to the production, especially through Talbot’s well-conceived, layered backing vocals. Each of the three tracks takes on a different feel, while keeping this homogenous sound. The title track is country in flavor with Lebel laying down a classic country beat while Dolan’s pulsing bass riff keeps things grooving. The track wouldn’t sound out of place on, say, a Highwaymen record. “Wake” takes on a triplet-feel minor blues with Talbot’s vocals just oozing over the top. “In the Woods” noses out the other two for the top-track nomination. It’s an upbeat, early-‘80s feel, driven by thin guitar tones; it also offers the most-interesting chord progression. There’s still plenty of reverb-ed, wah-wah guitar worked in and a little punk attitude with its tempo and lyrics. For me, the only thing missing was a bit more vocal melody. While Talbot’s spoken-sung vocals sound lovely (especially against the terrific backing tracks), a lean more towards singing would help the tracks shine even further. And then that’s it. Seakin is with us for ten minutes and they’re gone. That is a particular beauty of the independent EP: a group can meet, put a few songs together, then get them up and out to the public in short order. I’m glad that Talbot and Vocelle pushed this out, and look forward to the next stages of their creative partnership.
Zach Gollach is an artist from Royal Oak, MI who recently released Spinning My Wheels. The artist mentions: “The EP is a mix of three newer songs and three older songs written over the years. A lot of self discovery, examining self defeating behaviors.”
The album consists of raw home recordings revolving around guitar and vocals. “Digging a Hole to Put the Dirt In” is the first song and Gollach strums minor and major chords while singing over it. The only overdubs I could pick up were the vocals. The vocals are solid with the lyrics feeling like the focus of the song. “Laughing As We Cringe” is similar, revolving around chords and singing. Lyrically, the song contains philosophical undertones. “Ray” is a heartfelt song with some of the best vocal work. The feeling here is warm and melancholy.“Spinning My Wheels” and “Give and Take” also had their moments but “Part 1” felt like a standout and I thought the vocal harmony was the high point of the album The songs are simple from a technical perspective and there just isn’t much happening musically with these songs. That being said, the songs were well delivered and written. As an engineer myself I would say there are a number of things that could be improved. I think some close mic-ing and a little compression would have helped create some intimacy with the songs. The songs consisted of specific tones and textures which painted a certain type of style for the artist. At the very least I would say this is a solid foundation where he can branch out and maybe add some instruments and musicians to the mix. This is a solid start and I look forward to hearing more of his work.
experiment as they tried to write and play music that would be any good. I think Mitch, Marcus, Nico and Reed managed to successfully do so, creating a great melodic indie rock flavor on their debut album A Celebration Of. There is a rudimentary feel to their raw sound. As the band members get their bearings, you see them diving into a great indie rock sound that is a sonic blast to the ears.
A Celebration Of lifts off with “Foul Ball,” where the shimmering guitars sound melodic as they come in with little to no hesitation. The music is played at a lower volume that I soon learn it is done on purpose. Though I would have liked the music to be louder, as I continued to listen, this sound soon grew on me. I thought this was a really great introduction to the band’s sound. The slow rumbling of the bass starts off “Blue Jean New Dreams.” Right after, a more immediate sound comes across. Sung in a low-key timber, the reverberations of this track are far out. I thought this song had a contagious energy that listeners will be able to get into right away. I was reminded of Elvis from the get-go. Starting off with a more simmering groove, the guitars come across with full melodic force on “Loaded Lips.” With a driven vibe, the band recalls a more technical sound the likes of Minus the Bear and Pinback. More of the band’s indie rock energy comes through on “Gone, Forgotten, And Pissed On For Good Measure.” The melodic guitars shimmer to the forefront. The subdued vocals were also another highlight. The simmering moods on “Iguanathon” sounded a lot like a ballad number. The band slows down here. The falsetto vocals really made “Keep It Lonesome.” As the track runs through, out erupts hugely melodic guitars. Though played at a low volume, the music was packed with flavors and feeling. Off to a jauntier rhythm, the band changes things up for this uptick in groove on “At Least We Tried.” The dramatic drums, guitar riffs and energetic vocals reminded me of Mumford & Sons and punk acts like Green Day. I think the band displays great energy here. More acoustic renderings are realized on “Honey. Interwoven into the acoustic sounds are the electric guitar. The sounds are very gravitating.The sparseness of the song and the breathy vocals reminded me of The XX. Next, the band moves on to a sunnier approach with their warm sound on “The Rapture and Thereafter.” The vocals that are shouted out loudly have a moving energy. The jaunty tune and rhythms pointed to a very dance-worthy vibe which makes a good closer. A home-recording, there is no doubt about it that this album will be veering towards the more lo-fi spectrum. This lo-fi-ness doesn’t seem to hinder the band’s sound, in fact, it seems to point to their live sound. And if the band does get the chance to perform live during the pandemic, you can look forward to experiencing first-hand the reverb-drenched guitars and the amount of fuzz that is utilized just like another instrument on the record. A Celebration Of dances around this live sound and even more so is a celebration of the DIY effort, as the album was recorded and mixed in their basement and mastered in their car in the Waffle House parking lot. Like I said previously, what I noticed throughout the recording was that the album was recorded at a very low volume. When I read their press release, I found out that this was done on purpose. They decided to use a quiet mix to make them stand apart from their louder pop contemporaries. As any statement goes, this really does seem to place them in a different category, as instead of embracing noise and chaos, they chose a more subdued route to launch their music off of. I think the band manages to pull this off. This is a good introduction to the band’s vibe and I look forward to seeing where they go from here.
Lauren King is a 23-year-old singer/songwriter based in Smithfield, Rhode Island. She began playing guitar at age nine, then was educated in the music program at Stonehill College. Aside from busily recording and playing live gigs, her music has been featured in the films “Where Were You?” and “I’ll Be Home for Christmas.” Her new album is called The Wolf Is Back, and was partially inspired by time King spent hiking alone during the early days of the pandemic: “it’s about being brave enough to get lost and the self-exploration that comes from that wandering.”
King states that music has always been her way of communicating with others and helping those in need. Her songs are “odes to love lost and found, nostalgia for childhood and musings on the future.” Her creative process is to approach the album as a long film, where the plot line continues through the songs. Some of her influences include First Aid Kit, Lumineers, Passenger and Fleetwood Mac. Aside from singing and playing Taylor acoustic guitar, King was joined by producer Jay Capaldi on various instruments including bass and drums. Other guests include Chris Trapper, Gurf Morlix, Dan Hochhalter and Sasha Ostrovsky. Recording took place at Let’s Rock Studios in Coventry, Rhode Island using Logic Pro X with mixing by Tony Ricci at Triad Studios in Warren, Rhode Island. Mastering was performed online by Abbey Road Studios. “Boston Song” starts off as a sweet, folky acoustic tune with a descending picking scheme and piano that somewhat recalls Michelle Branch. When King sings, it’s clear why she’s been successful thus far: she has a fetching, strong yet inherently vulnerable delivery that had me sold by the second verse. During the chorus she adds her own lovely harmonies, and the late addition of banjo, strings and drum kit kicks the song into even higher gear. “Isn’t It Nice?” leads with fiddle and thumping drums as King sings with multiple overdubs. This song appears to be the lead single as King created a really nice video shot in an Irish pub and at the edge of the ocean. The question of the song might be tongue in cheek, as King runs down her current state of romantic loss, leaving us with: “Isn’t it nice to be innocent and alone?” This song does have a bit of traditional Irish influence, which may be why the video takes place in a pub. “Sweet Louise” is said to have been written for one of King’s dogs, but she also sees it as an ode to “any female friend you need when you go through a breakup.” Whomever it was actually written for, King takes the opportunity to unload her travails onto the understanding presence of her friend. “At least you’re here with me, Sweet Louise / because I’m strong enough to say I’m not okay / Sweet Louise, Baby are you going to come over? / Because I’m tired and I’m sober.” Similar to McCartney’s “Martha My Dear” but even more touching. “Romeo” is one of the more heavily produced and commercial tunes with mariachi-style horns, digital and real drums, and all sorts of keyboard ornamentation. A really good song with maybe just a bit much going on. “AngelSong” surrounds King’s vocals and Taylor acoustic with a clean, chunky pop rock arrangement with prominent rhythm guitar and electric keyboards. The background singers add a nice touch of color here as well. The title song “The Wolf is Back” is a country tune with really nice pedal steel throughout, and is featured in another excellent video with King playing and dancing in the woods, and perhaps interacting with her younger self as a benign wolf looks on. “If there’s a full moon tonight, let it bring me back to my sweet childhood / Your wolf is back in the woods.” King says “Wild Woman” (which is thematically well-placed right after the title track) is about a strong woman who is also in love, wondering how she can stay true to her identity while still giving herself to another person. This song features particularly striking harmonies and beautifully evocative strings. “How on earth does he see me? / Why isn’t he scared? / So what if I can’t change? / What if I don’t know how to love you in the right way? / I’ll take a deep breath and I’ll howl anyway.” “World I’ve Got” ends the collection with a fast paced country tune with a one-two beat, fiddle and impressive steel guitar licks. This is a genre where KIng’s voice feels right at home, and the breaks toward the end verge on Irish traditional. A perfect high-energy closer. Based on this collection, King clearly has talent to burn, and her songs deserve to be played and enjoyed throughout our land and beyond.
Calling for Eden is an alternative rock band based in the DFW metroplex in Texas. Casey King (lead singer/acoustic/electric guitar), Zach Braidwood (bass guitar, backing vocals) and Meredith “Chuck” Mallory IV (saxophone/trombone) got their start in 2013 playing at the Curtain Club in Deep Ellum. Since then, they have played in every major city in Texas, into Louisiana, all the way up into Kentucky and Tennessee! The band is driven to release a diverse range of music, drawing inspiration from everything from the ‘80s, ‘90s and beyond. The Message is Clear is their latest album release, a 12-track collection that sees the band diving deep into their alternative rock sound with inclusions like the sax and trombone that gives this recording a more flavorful and pulsating finish.
The Message is Clear gets going with “Together Alone,” where some sax offers a sensual vibe to this soaring rock ballad. Once King’s vocals come in, you really get a sense of the emotional power behind his singing. As retro-styled keys and a drumming beat arrives, the dynamic music just continues to grow in momentum. A very jazzy vibe enters as the trombone comes in on “Back To The Beat.” The jaunty rhythms will get you moving in no time. The band ups the ante with this energized track. Covering rock, funk and jazz, the band blends a whole lot of genres to take this song to the next level. Slowing down to a soft groove, there was a slow burning sense to “Beautiful Lady.” A drumming beat and trombone sound off here. On the chorus, the sounds grow more powerful. I greatly enjoyed the quiet power of this song Driven guitars start off “Everybody Everyone.” As percussion and energized trombones erupts with a revved, lively feel, the gritty vocals from King add to the propulsion of this track. The band really puts themselves out there with this energized song. Starting off with the acoustic guitar, next the trombone sends out a reeling vibe on “Floreeda.” This track had a great rock n’ roll flavor to it. The brass section of this song really adds a layer to the music. A rap-like sequence gives this song a colorful feel. The intricate notes from the bass line and guitars give “Nothing At All” a very math rock vibe. Soon this track opens up for a more sprawling ‘80s arena rock style. The vocals are big and boisterous. On “Learn To Love Again,” some strings add a lush vibe to the start of this track. Gradually, the acoustic guitar makes its way here and back up King’s vocal abilities. A lot of emotions are behind this song as the music and vocals weave together for a cathartic release. On “Easy To Neglect,” right off from the start, a big band energy enters this track. The vibes recall a Latin twist. I enjoyed the big sound coming from the brass section. What sounds like the banjo also adds to the sounds. The vocals come in, highlighting a very emotive approach. This felt like another larger-than-life rock ballad. Right off the bat, King’s vocals and the music comes right in on “What A Life.” The music is full-throttle and in-your-face. The orchestral inclusions on this record really made this album. And this song is no different. The blast of energy coming from this track is really something else. The band closes this album with a revved finale. As you listen to this album, you get the sense that the band’s sound is very eclectic and that they are able to cover a wide range of music from prog to alternative and funk rock – there is definitely something for everyone here. What I couldn’t get away from was the great energy that the band always seems to have a whole lot of. As the band continues down this musical trek, I expect to see more of their musings realized in future releases.
Keith Curtis is a Minneapolis based singer/songwriter releasing his first three-song EP album Happiness is Hard. The artist apparently started writing songs about ten years ago. It began with a passion to learn the guitar and cover other Americana, indie folk and acoustic rock artists. That experience helped build a foundation in his guitar and harmonica style.
The first song is called “Taking Off and Landing” which is a warm song filled with some beautiful guitar playing. This was the highlight to my ears. There might be a mandolin in there as well but the cascading notes from these acoustic instruments sounded serene and inviting. The vocals are well done. It felt warm and heartfelt. There’s a female vocalist who provides vocal harmonies on certain lyrics which was another nice part of the song. “Calculate” is much more of a slow burn. There’s some laptop guitar on this song and it melds perfectly with the tone of the song. It’s melancholy and touching. The vocals sound exceptional on this song. There’s also some additional piano flourishes which add a nice touch to the song. “Real Good Love” picks up on more of a country vibe with a little more attitude. I can’t say this is a favorite in the batch but it still had its moments. The vocal performances are still very good and the mild sense of danger worked. Curtis isn’t reinventing the wheel here but there are a couple of good songs on this release. The talent is there in multiple domains and I think this a solid start with hopefully a lot more to come.
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