Sunday, 26 April 2015

ALBUM REVIEW! Neutral Milk Hotel: In the Aeroplane Over the Sea

GUESS WHO'S BACK IN TOWN!? Alternative aficionado, Ryan Sweeney, returns from hiatus to bring you the first of two reviews based on his Record Store Day purchases. So sit back and enjoy as he brings to you his opinions on an all time classic "In the Aeroplane Over the Sea" by Neutral Milk Hotel.

Every once in a while an album comes along that sets the bar, that changes musical perspectives and has a certain life to it that no other album does. Before this I only ever credited 3 albums as being able to do this: Tommy (The Who), Siamese Dream (The Smashing Pumpkins) and The Velvet Underground and Nico (The Velvet Underground) but now I feel a 4th needs to be added this list. In short "In the Aeroplane Over the Sea" is a masterpiece. This is indie/low-fi/alternative pop done perfectly. I have been listening to this album for 2 days solid and I am yet to be dissapointed, I cannot recommend this album enough it is well and truly an epic and contender for album of the '90s.

Formed in Louisiana in the late 1980's by vocalist and lyricist Jeff Magnum, Neutral Milk Hotel's career would be short, releasing only 2 LPs and 2 EPs between 1994 and 1999. Influenced by Americana folk music, low-fi bands such as Pavement and turn of the century carnival imagery, Neutral Milk Hotel's first EP "Everything Is" and debut album "On Avery Island" while a little dull and amateur at times, feel very much like the embryonic stage of a band that had the potential to do something very special. They achieved this with the release of "In the Aeroplane Over the Sea" which, despite lacking much commercial success on release, would become a favorite of critics and later go on to sell over 300,000 copies. After this the band would only record one more EP "Ferris Wheel on Fire" before calling it a day in 1999. In 2013 the group reunited to go on tour but have not expressed the desire to record new material (at the time of writing.)

This album is quite difficult to review because of its blending of styles, grand scope and abstract lyrical themes, so where better to start than the beginning? The opening track "The King of Carrot Flowers pt.1"  is a folksy acoustic guitar/melody driven piece that really sets the ground work for the rest of album and gets it off to a running start. The lyrics, as they are through the rest of the album, are beautifully abstract making the listener question what they just heard. However, they never feel bloated or pretentious, they paint vivid pictures in your mind and drag you into the world Magnum has created. Another key aspect that crops up throughout the album is the use of odd and carnival-esque instruments; in this case an accordian plays a subtle drone in the background. Conversely, "The King of Carrot Flowers pt.2&3" shows the other head of the coin, opening with Magnum tearing his vocals (the nasal style that is used throughout) as he declares "I love you Jesus Christ, Jesus Christ I love you" before bursting with low-fi energy as it becomes almost a punk track in its fuzzy aggressive delivery, before dropping into part 3's wild instrumental that will leave even the most experienced alt fan reeling.

From there the album keeps on upping its game, whether that manifests in the lyrical themes, musical absurdity or the emotiveness of the music. The album carries on from strength to strength with songs such as the title track, the irresistibly catchy "Two Headed Boy" or the powerful "Communists Daughter". These show off not only versatility but also the attention to detail and the desire to take risks. Now let's talk about the albums biggest strength, its songwriting. I'm not going to sit here and pretend that these guys are the most technical band ever, they simply aren't. The chords are not too difficult and the structure can be simple enough to get the head around sometimes. However this album would not be what it is without its songwriting. Simply put, the songwriting is beautiful. It somehow manages to be broad without being pretentious, abstract but also linear, it manages to make allusions to Anne Frank without sounding preachy (yeah this isn't a happy album) and create Wonderland-esque worlds while still being rooted in grim reality. This all culminates in my favorite track "Oh Comely", a song that lingers with you long after it finishes as it is so much more than the surface shows. Though this lingering sense of darkness is all over, even during the untitled instrumental (track 10), there is always something that feels uneasy about this album and I love every minute I spend with it, it's magnificent.

In conclusion this album is worth everyone's time. In my opinion, this album is a masterpiece. It's just one great song after another, it appeals to so many different styles, all of which I love and I cannot urge you enough to give this album a listen. It really is an eye opener and I just can't get enough of it. If you would excuse me I have to go and listen to this album a few more times!


R.Sweeney (@TheCautiousCrip)

Review: A Forest Of Stars-Beware Of The Sword You Cannot See

Here at Musical Chairs, we love discovering music that lives on our doorstep. Equally as much, we love delivering it to you! Here we have just that, A Forest of Stars, Leeds' very own Victorian time travellers give us their latest prog loaded masterpiece. Gary Lee dips his toes into this one and lets you all know how this one goes.

At first glance, Beware The Sword You Cannot See could seem a little impenetrable and certainly intimidating. The consumer is first greeted with a 'high art' style album cover, no band name, or album title to be seen, the song titles are long and evocative, yet dipped in poetry. The 14 track album comes in at just shy of 1 hour 20 minutes and the first 5 songs do not run under 6 minutes in length. Finally, add into that the rich and textured sonic structure of these songs that contain a vast amount of weighty musical elements, which I will discuss eventually. Make no mistake, A Forest Of Stars are a black metal band. But this is a rich experience, they are evocative, they are thoughtful, they are nilishtic and yet somehow romantic. Or most certainly poetic. This is not your run of the mill shot of 'hail Satanica', this is something much denser. This is your fine aged cask spirit to your supermarket bevvy.

Yet, for all the splendour and wonder that might bring, it brings with it a great deal of complexities, a puzzling twist of layers just waiting to be unravelled and it can be quite difficult to know how to approach such a thing, or even where to begin. AFOS are another band to be featured here that are from Leeds and is a conduit for the creative muse of many (seven) musicians, who all have different visions, influences and styles. It is amazing that they have collectively managed to tame the beast of creativity and find its home in their wonderfully crafted music and Victorian concepts.

The album opens with the fantastic Drawing Down The Rain, which begins in a folky/shoegaze fashion that reminds me a little of Yes. Starry-eyed chords pull you in as the tension builds in the background. These chords are then matched by the guitar riffs and the whole thing begins to take on epic feel as the violins kick in. The intro in itself is a good introduction to AFOS, grand and splendourous, a tightly crafted affair and there is something very 'northern' about the sound, be it mountains or dales, it evokes images of grand sweeping vistas.

Eventually the tension is cut by a crushing distorted riff and the screeching vocals rip through the opening lyrics of the album. "I can hear them ranting/ Like a choir of angels, those cunts." The emotion wrapped in the delivery of those rather vicious words is disarming. Yet, the words themselves deliver the vocalist, Mister Kurse, to his descent into his entranced vocal performance which has a maddening urgency to them as he speaks the lyrics "Ragged faces turned up to the rain/ Staring down; drawing down the rain/ Staring down; drawing down the rain/ Drawing down the rain/ Drawing down..."  The spoken word delivery of these lines reminds me of Aaron Stainthrope of My Dying Bride fame. However, the hauntingly sung backup vocals that are contributed by the violin player and backup female vocalist, Katheryne, Queen of the Ghosts, are a particular highlight as they seem to point towards the songs' questioning of the human condition; toiling for a higher power without question or cause. I, of course use the term higher power loosely here, meaning both a divine being, or someone of authority. I particularly adore the notion of heaven being an empty threat. The song runs the gamut of emotion as it draws to a close on the beautifully played violin strings.

Hive Mindless is another emotional bludgeoning of a dizzying array of musical styles. However, it's jazzier interludes remind me of modern era Opeth, or indeed Genesis. Although, at around the 4:45 mark, the breakdown throws a left turn into that musical formula by throwing a riff into the breakdown that sounds like something from a brooding 90's psychedelia with a swirling grunge sound that would not be amiss in an Alice In Chains track, until the song is brought to its relentless crushing end.

A Blaze Of Hammers is perhaps the most directly aggressive offering on the album. It's opening barrage of bile-filled words, "Fuck you and the worms you rode in on", do a lot to set the tone of this particular ode to nihilism. Mister Kurse is quick to deliver his fantastically poetic spoken vocals again as he asks; "If all is soil of creation/ And all our every particle/ All intermingled is but a happy dust storm/waiting to disappear up a willing god's nose - then where should the faithful stand?/ I suppose it's irrelevant to a grain of sand."

The album then moves on to what I might have to consider my favourite song from the album, Virtus Sola Invicta, it was certainly the first to really get my attention lyrically. However, the lovely people at Prophecy (AFOS's label) have posted this wonderfully helpful lyric video, so I will just let that do the talking here.

The song itself rests heavily on a seductive and slightly unhinged performance from Mister Kurse and the amazingly poetic lyrics. Musically, while still being very much a black metal song, it feels a little more proggy. Again, comparisions can be made to early Genesis and the poetic storytelling style they held, I also guess it would be wrong to not mention My Dying Bride again, who have also often dabbled in the poetic.

The dissonance of Proboscis Master Versus The Powdered Seraphs cannot be escaped. There are some amazing uses of feedback on the guitars, while the snare is bold and big evoking the 80's snare. In my opinion the guitar work, which is moody and bluesy, once again has that 90's feel to it. All the while Kruse spits poetically vicious lyrics over the top and a haunting chorus of voices builds. This track is probably quite unlike any on the album, certainly unlike any of the ones heard so far, although the black metal stylings and motifs do make an appearance towards the end as we are once again seen out by violins that lift this song up to new emotional heights.

The next 6 songs work together to create the progressive opus of this album; Pawn On The Universal Chess Board . The first of which, Mindslide, is a haunting, ambient affair with vocals provided by the siren that is Katheryne. The song has a spectral feel, perhaps invoking a little of Floyd or once again that blackgaze/shoegaze vibe. The second part, Have You Got A Light, Boy?, takes the harmonic chorus of the first part and teams it with the powerful guitar tone that this album is filled with. Finally, Kurse returns to the vocal position as he spits "Are you a little lost, robot?/ To terminate? Stay resident?" This song then begins to build towards the third part, Perdurabo.

Perdurabo, which comes from the latin "perdūrō" meaning "to endure", was also the name Aleister Crowley took upon joining "The Golden Dawn." The song eludes to both meanings with the lyrics "I will endure. All Father" and "Can you see through the fast approaching dawn?" Thematically, it continues the story of a being or a collection of beings that seem to rally against the machinations of a higher power and try to find their own way.  Musically, there are creepings of the band moving away from the lofty and 'hard to corner' sounds of prog and back to metal.

The heavy blues bassline and stuttering drums in the intro to part 4, An Automation Adrift, once again gives this song a 90's vibe. Although lyrically, it's probably one the most arresting songs on the album. Kurse's performance is exhausting in its quivering poetic insanity. "Birthed across nowhere to ride the moon through phases/ Fazed in phases rolling nervous / lunar tick/ patchwork cut and paste parchments to feed faith's guttering furnace. /A cracked clock face nervously ticking away the night." I love the interesting plays on words in this song "lunar tick/lunatic" being a personal favourite. As the song draws to a close it erupts delightfully into full folk mode, making me think of once again of bands like Yes and,on the darker side of things, My Dying Bride.

Part 5, Lowly Worm, has the name of a grindcore song and sounds like one too. This track is unapologetically heavy and would make Napalm Death proud. However, part 6's Let There Be No Light, is back to the haunting ambiance and poetic storytelling. The music once again has a vast eerie quality to it and it is beautiful! I cannot help but think of Trespass by Genesis whenever I hear Pawn parts 1-6, a beautifully crafted prog story all in all!

The closing tracks continue the haunting, goth rock infused psychedelia that this album offers alongside its black metal plate. Gestation is a wonderful violin piece whereas Cataflaque Caravan Quandary is another dramatic melancholic poem set to a misty prog wonder, bringing to mind Floyd once again. The same could be said of the final track, Plastic Patriarch Lynch Squad (Enduring December) which is another gigantic prog track with Katheryne once again providing those killer vocals. album, I'll be honest, is a front runner for album of the year right now. It's just so huge. Having never heard AFOS before, I went into this expecting an interesting black metal album, but I'm not sure calling this a black metal album does this album justice. Yes, I will concede there are touches and flairs of black metal, but it is not these moments that lift this album above others. It is the proggressive elements and the dark psychedelia. As I have mentioned all the way through, this music harks back to the titans of early English prog; the genre bending of Yes, the folky elements of Tull, the storytelling of Genesis and the ambiance/psychedelia of Floyd, nevermind the melancholy of more modern names, such as Electric Wizard or My Dying Bride. It's like this album cherry picked of all the cool things about English music, blended them all together and created something that is as joyous as it is big.

Article By: Gary Lee (@thewheelbear)

Purchase Beware The Sword You Cannot See here:

Prophecy Records

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Thursday, 16 April 2015

Dawn Of A New Day - Video

The Four Owls are back! Swooping into Musical Chairs with news of a new music video, our own hip hop crusader, Chris Brown, hits us with the details!

Here's The Four Owls with their new video for Dawn Of A New Day from their most recent album, Natural Order. Big Owl, Bird T, Deformed Wing and Rusty Take-Off are the aliases of four of the most individually successful artists on the UK hip hop scene, together they're better known as The Four Owls. 

This track is simply a straight up banger, it's just a flawless mix of energetic lyrical flow and feel good vibes. This video is a fantastic representation of that energetic atmosphere the Owls create at their shows. The Owls are currently at the half way point on their 25 date UK and European Tour.

It's been a great year for the Owls this year and it's been great to see them back in flight but as you can see they've got many more shows to rock before they go back into hibernation, so catch them while you can!  If this snippet ain't enough and left you wanting more click here and check out my latest review of the album in full.

"Things are changing the dawn of a new day, Four Owls, front of the crusade you don't like it? Fuck what you say!" 

Article by: Chris Brown

Purchase Natural Order Here:
High Focus Store
High Focus Store Limited Edition 
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Coverage:Kaotoxin Kollektor Series-Ausstellung

Our friends at Kaotoxin Records have recently announced the first of what will become a series of exclusive high end physical content, available to buy direct from them and in limited numbers. Our metal master Gary Lee gives us the skinny!

French indie metal label, Kaotoxin, have proudly released their first 'Kollektor Series' release in the form of Ausstellung, a two song split release featuring The Lumberjack Feedback and We All Die (Laughing). Both could arguably be considered two of the labels most genre bending, eclectic and unique artists. However, before we discuss the artists, let's discuss the release in general.

The idea behind the 'Kollektor Series' is to create limited releasing by teaming up with people in other creative fields and offering these releases to the public for those collectors who have a desire to collect interesting physical releases. I believe Kaotoxin havevhit the nail on the proverbial head here. The release was created in conjunction with French photographer/artist Mathieu Drouet, who created an exhibition wherein musical artists were asked to create music to accompany the 12 pictures Drouet had chosen for his exhibition. The songs were intended to be an audio rendering of the story and emotion captured within the picture. 12 individual artists were chosen, one supplying a song to accompany one of the 12 chosen pictures and thus these two songs and Ausstellung were born.

The first track from this release is by The Lumberjack Feedback, an instrumental five-piece consisting of 2 drummers, a bassist and a guitarist whose motto is "low and heavy!" This is also their first major release on the label, having released their EP Hand of Glory (2013) and the digital EP Noise In The Church (2014). Below is A Whisper To The Thunder taken from Hand Of Glory, the video also saw contributions from aforementioned artist M. Drouet.

The track they contributed for the exhibition (and has found release on Ausstellung) I, Mere Mortal is a rolling wave of crushing emotional darkness with just the type of relentless drumming you would expect from a drummer pairing. The riffs are large enough to combat the low end assault and the distortion and feedback becomes a nihilistic melody, the absence of notes creating the most wondrous of sounds. You can judge the song for yourself here if you like what you have heard then you will be pleased to know that the band are releasing their first full length album later this year.

The second band that features on the release, We All Die (Laughing), are a two piece band, featuring former 6:33 vocalist (from 2013's The Stench From The Swelling) Arno Stobi and multi instrumentalist Déhà. The contribution made by the duo can be heard here and is a dark jazz variation of their song Thoughtscanning, which was originally released in 2013 on the album of the same name. This gentle and brooding track features dark and foreboding melodies, which is a perfect counterpoint to the crushing doom that came before it. For those interested, you can find the original track, in its 30 minute  entirety below.


Overall, this release is certainly an intriguing one, both on a musical and a physical scale. The chance to own a release that is limited to only 100 copies is enticing, whereas the music is complex and thoughtful. The release also comes in a digital form for those that don't have the space, or are only interested in the musical aspect of this release. Personally, I think this is a great start to the exclusive line of Kaotoxin releases.

Article By: Gary Lee (@thewheelbear)

Purchase Ausstellung here:
Physical release 
Digital release 

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Tuesday, 14 April 2015

Review: Shawn James and The Shapeshifters-The Gospel According to Shawn James and The Shapeshifters

Swamp rock is back in town here at Musical Chairs. We sent our very own primordial ooze Gary Lee off on the trail to discover the source: The Gospel According To Shawn James And The Shapeshifters.

Shawn James and The Shapeshifters are back on Musical Chairs. Last time we covered them, they were in the middle of a kickstarter journey to fund their album. Now they have their album and I shall be your guide through it. If you are unfamiliar with The Shapeshifters, then perhaps you should know that they hail from Fayetteville, Arkansas and are self-styled swamp rockers, bringing a blend of enthusiastic and infectious southern-country energy to hard rock and metal riffs, grooves and swings.

The album itself is on the shorter side of things, standing at just under 40 minutes long. Opening with the high energy, infectious and catchy No Gods, which is a fantastic song that pulls you into the style of the band well, while also (hopefully) leaving you wanting to explore this début album further. The album then closes with Sandbox, a slow and methodical plod through the musical country swamp that The Shapeshifters call home, a perfect compliment to the opener. This track allows (perhaps even encourages) you to think and reflect on journeys undertaken, both by yourself and by the album.

Like Father Like Son shows off vocalist Shawn James' powerful gospel like voice, a voice fused with the grunge 'yaarl' of vocalists like Chris Cornell and Eddie Vedder. Lyrically the song muses on a personal subject of childhood and fatherly relationships, opening with the lines "my father taught me lots of valuable things/like how to drink and not get caught/or how to loose your family and friends/addictions a horrible lot." Still though, despite the lyrical content, there is that patterned energy and vigour as the song gallops through riffs and jaunts.

Lost shows the mournful side of the Shapeshifters, sounding much more like a thoughtful gospel song than the usual jig inducing swamp rock. While Shawn James' vocals are in full gospel/blues effect and slightly cleaner than they were in the previous tracks, this song is a good prelude to Sandbox. Wild Man is the lead single from this release and holy moly does this song make you get your clap on! Gospel energy, country grooves, rock riffs and the return of the grungy vocals. This song has it all and may well be an instant classic, if not a track with a large shelf life.

Strange Days goes back to the full rock effect, while Lake Of Fire shifts back to gospel vibes and a heavy dose of banjo. The inclusion of violin on this track being a wonderful touch that takes the song to new and interesting places, this is another song to listen out for and once again shows the slightly more down tempo side explored in the albums closer. Meanwhile, Just Because tracks through with purposeful tension and menace befitting a song with the lyrics "just because you want peace/doesn't mean you'll get it before you die." This is perhaps one of the heavier tracks from the album and it is wonderfully fitting.

I do however, wish that this wasn't followed by Back Down because thematically there isn't much to choose between the two of them and with Just Because being a better delivery of it, I feel Back Down loses something and becomes less memorable for it. I cannot help finding this a little saddening considering the passion and care that went into the making of this album.

Lilith is a surprising track starting with a ballad style vibe before bursting into heavy riffs and drums. Eventually Shawn James summons up all his defiant anger as he growls "no you won't get the best of me!" An amazingly metal and beautifully emotional way to see out his vocal performance duties for the track, before going on to wistful Sandbox, which although I have covered above, I will add is perhaps another track to stick in your playlists!

Overall, I find this to be a fine album that offers a varied approach to the way the band make their music. The energy is infectious and it would likely go down a storm at parties, BBQ's or other social gatherings. I would suggest you try this even if you dislike country music, because this is a rather refreshing take on the genre. Although, you'd be hard pressed to find something to like if your aversion to banjo is much like that of a violent allergic reaction, but then if that is the case, you are in the wrong part of town sonny!

Article By: Gary Lee (@thewheelbear)

Purchase the album here


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Monday, 6 April 2015

Review: We are Harlot-We Are Harlot

Good day you rambunctious and rebellious lot! Gary Lee is back to deliver to you another taste of Musical Chairs action. This time on the platter we have We Are Harlot, with their début album, handily entitled We Are Harlot, so that way you won't forget! How about we see how it all shakes out?

Since leaving metalcore band Asking Alexandria, Yorkshire's own Danny Worsnop has been concentrating on his new band, which of course is We Are Harlot. The foundations of the band reportedly began in LA where Worsnop met guitarist Jeff George, who had previously worked with Sebastian Bach. From there bonds and friendships were formed with the two deciding to form a band along with inviting Bruno Agra, formally of Revolution Resistance. The three then began to record demos before advertising for a full time bassist and recruiting Brian Weaver.

Worsnop has gone on record to state that the band simply wants to make music that they have fun creating, although considering the U turn in creative direction from his AA days, it seems plausible that Worsnop also wanted to explore other avenues as a vocalist. We Are Harlot certainly delivers on that. Waving goodbye to metalcore, We Are Harlot runs in the direction of high energy, high octane 70's rock, calling back to the days of Aerosmith and even AC/DC. However, on occasion there is a Southern US flavour to the jams and the vocal styling.

Dancing On Nails, kicks off the album with its testostrone fuelled riffs and heavy grooves. It is here that Danny's vocals feel charged with a Southern US rock twang, as he belts out robust and 'in charge' vocals. Lyrically, this song pretty much does what every song from the 70's time frame did; it talks semi-generically about someone in a sexually suggestive way "You've something/Worth exploring/I must be crazy/you got me feeling like I'm dancing on nails." Being the hooking lyrical work of this song, I will give it due credit. While it may not be a groundbreaking approach to rock, it is delivered in a catchy fashion, while the song is groove driven and infectious enough to deliver a certain amount of tantalising energy.

The album rolls through DLT, a song that takes the usual classic rock content and delivers it through some punchy, punk riffs that once again do not mess around in the "high energy" stakes. I admit that this track wasn't one that stood out on the first listen, but may well be a grower. Someday is the first of the obligatory rock ballads that all these bands/albums have to indulge in, although it is becoming so cliche sometimes I would rather that they didn't.

Denial is another single from the album and builds wonderfully on what was offered by Dancing On Nails. This time however, Danny reaches more towards his high end of his vocal range although he does call back on his metalcore scream, which is a refreshing take on the vocal performance for this genre. The big blues riffs are in full effect. The 'makes me wanna dance' groove is back and any sign of solo or extended guitar work is fantastically done. I feel this is the song where the guys really begin to strut their stuff and I can imagine it being a real crowd pleaser live.

Easier to Leave calls back to the Southern US influences, with a country music/country rock sound while One More Night brings back the energy in a non stop affair, stomping drums, ballsy, blues riffs are wild and free in this aggressive AC/DC inspired track that calls for the party to never end. I expect this to be another crowd/party pleaser. Never Turn Back takes that same energy and gives it the punk treatment again with punchy riffs, relentless drumming and a gritty vocal style, that occasionally breaks into a growl.

The final single release from the album The One feels like a fusion of 70's rock and 70's disco. There is a very definite funk/disco influence on the sound of this track, while lyrically it calls on the work of 70's rock. Danny's vocals here bring to mind that Aerosmith comparison. While this single offers plenty to its listeners and the disco type sound is interesting, I feel like it is missing the groove and stomp of the previous two singles.

Love For The Night brings back the Southern swagger and heralds the closing of the album. Flying Too Close To The Sun is a surprising track, with perhaps the rawest sound on the album and the screamiest (that's a word now) vocals, all played out with an AC/DC type vibe. I must say I really appreciate these moments, not just the screaming, but the times when the band has the guts to take the old influences and sounds into new places. Sadly, it is exactly the opposite reason that I roll my eyes at I Tried. A rock ballad, to end a classic rock album, how quaint!

Overall, this is an exciting offering from We Are Harlot. There is a nice mix of sounds and influences to keep you listening and as I mentioned, they don't seem afraid to take the genre to interesting places. However, I do wonder about the shelf life of both the album and the band. There have been plenty of classic rock styled bands that have come along with a great start and stagnated a little, or simply got lost in the shuffle of releases. Worth checking out though and it'll be interesting to see how these guys build on this successful first release.

Article by: Gary Lee (@thewheelbear)

Purchase We Are Harlot here:

Roadrunner Records

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