{"id":13641,"date":"2026-02-27T10:21:23","date_gmt":"2026-02-27T15:21:23","guid":{"rendered":"https:\/\/wecb.live\/?p=13641"},"modified":"2026-03-09T11:25:46","modified_gmt":"2026-03-09T15:25:46","slug":"staff-pix-2-27-magical","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/staff-pix-2-27-magical\/","title":{"rendered":"Staff Pix 2\/27: Magical"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\"><strong>\u201cSpellbound\u201d by Siouxsie and the Banshees<\/strong><\/h2>\n\n\n\n<p>\u201cSpellbound\u201d (1981) is the perfect example of Siouxsie and the Banshees\u2019 magnetizing goth sound. Released as the first single from the band\u2019s fourth studio album, <em>Juju<\/em>, \u201cSpellbound\u201d brews up Siouxsie Sioux\u2019s hypnotic vocals, bewitching guitar riffs, and a heavy bassline to send you floating in mid-air. From her geometrical makeup to her voice wavering between deep, dark corners and fully fledged pleas, the magic of Siouxsie Sioux comes from her demand for attention. The song opens with her declaration of our helplessness: \u201cFrom the cradle bars \/ Comes a beckoning voice \/ It sends you spinning \/ You have no choice.\u201d Her free-falling lyrics equate being in love with being spellbound\u2014in fact, that\u2019s exactly what the song is about. Sioux asks us to let ourselves fall with our eyes closed, to accept the rush of our hearts: \u201cFollowing the footsteps \/ Of a rag doll dance \/ We are entranced.\u201d Ultimately \u201cSpellbound\u201d is an ode to the enchantment of love and the magic that comes from being disarmed. <strong>&#8212; Heather Thorn<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Spellbound\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/5Ng6UbryNd3eds2zQk9MUf?si=69d8c800e2fb4bfc&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cBelfast\u201d by Orbital<\/strong><\/h2>\n\n\n\n<p>Something holy is preserved in this track: some current of that ancient Dionysian ecstasy where the boundaries of self dissolve\u2014whether because of the drugs coursing through your veins or the liquid sound has made of your muscles\u2014and you are nothing more than a vessel for chaotic, primordial energy, wiggling around other bodies whose hopes and heartbeats you can hear in the very fibers of your warm, moist flesh. A relic of early UK rave culture, \u201cBelfast\u201d is named after the capital of Northern Ireland, but is in actuality a plasma vortex\u2014one swirling portal of emotion that exists outside of space-time. The beats are so full, the chords so prismatic, the operatic sample so divine that notions of God, world peace, Agape, invincibility all become for a moment tangible. If they are delusions of grandeur or radical imagination, only a sober mind might judge. By the last minute, the sound has become viscous, sticking to itself like the shirt plastered to your back, not wanting to ever leave this moment of union. Not wanting the spell to ever break. <strong>&#8212; Christian Jones<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Belfast\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/2CH4mc6qWAI3ejAdqpON9B?si=72e72965501d4908&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cMagic I Want U\u201d by Jane Remover<\/strong><\/h2>\n\n\n\n<p><em>Can you feel that?<\/em> \u201cMagic I Want U\u201d by Jane Remover, released on September 4th, 2024 along with its b-side \u201cHow to Teleport,\u201d felt like the obvious choice for this week\u2019s staff pix theme. The song combines fuzzy guitar, layered synths, and drum breaks to create a seamless blend of pop, emo, and r&amp;b with heavy electronic, hyperpop, and digicore influence. Airhorn and alarm sounds appear frequently throughout the track as well, proving that Remover hasn\u2019t forgotten their background as an internet rap artist. Though her control of DAW is magical enough, the song\u2019s lyrics aren\u2019t about literal magic, but rather the magic of having a crush. Ultimately, Remover turns that explosive feeling of infatuation into a hyper-digital maximalist work of art.\u00a0<strong>&#8212; Emeline Chopin<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Magic I Want U\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/2xWS42KhsTSszdWI7hLOhM?si=19859dd8df05426d&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cIn The Flowers\u201d by Animal Collective<\/strong><\/h2>\n\n\n\n<p>There were many contenders taken into serious consideration before writing this blurb which is of the utmost importance to me, a self-proclaimed lover of all music characterized as magical and otherwise. This long list of my favorite ethereal, synth-based songs was almost entirely composed of Animal Collective \/ Panda Bear \/ Avery Tare. With serious consideration and contemplation, I came to the conclusion that \u201cIn The Flowers\u201d is the most magical song of all time. From the very start, with layered samples of guitar reverb, it feels like you\u2019re being sucked through a portal, transported into a new world where the land\u2019s heartbeat croaks \u201cI\u2019m a dancer.\u201d The track revolves around this dancer, the narrator and the subject of his imagination. A cloak of mystique envelops the figure who is physically and emotionally transcendent, the dancer has and always will be a form of transcendence, a mode of resistance, and a feeling of otherness. The enchanting layered reverb only heightens this, every chord, every raindrop collecting at the base of the song until it all suddenly bursts. A wash of live drums, synths upon synths, and a simple repeated piano melody creates an enormous, cathartic release of song. It\u2019s arguably the best beat drop of all time, at least in my realm of music knowledge. And nothing beats the immense sense of calm, the abrupt silence that accompanies the subsiding pleas and chants of \u201cTo hold you in time.\u201d <strong>&#8212; Sophie Parrish<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: In The Flowers\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/3uqDfaiaOk3ZdxZUOqqQa9?si=90eba7ea84124baf&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cTell me I never knew that\u201d by caroline, Caroline Polachek&nbsp;<\/strong><\/h2>\n\n\n\n<p>Anything Caroline Polachek gets her hands on tends to result in something slightly otherworldly. In early 2025 she teamed up with London\u2019s own caroline. The 8-piece is known for their progressive approach to indie and folk music, making them and Polachek a heavenly combination. The song centers around a glistening guitar riff and Polachek\u2019s unique vocal style, with all of caroline\u2019s unusual folk-y elements of violins, horns, ambient production, all wrapped up with warm bass complimenting the entire track. The song shines through its mixing and mastering, as it guides each small component to find and lose each other. It makes it feel as if the song was being sung by the trees and its birds. <strong>&#8212; Mario Sierra<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Tell me I never knew that\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/2Kd9o6XhbcMLQcqkyoAg3f?si=1b3a8954fa934aaa&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cGetting Away With It\u201d by Electronic&nbsp;<\/strong><\/h2>\n\n\n\n<p>I like when music breathes. You can feel the inhale of strings in this early 90s ballad, its strong and almost tips the listener with the message of the song. But don\u2019t be surprised when you hear its exhale. When <em>New Order<\/em>\u2019s Bernard Sumner, <em>The Smith<\/em>\u2019s Johnny Marr, and Neil Tennant of The <em>Pet Shop Boys <\/em>get together to make a song, there is some sort of physical reaction that occurs upon each listen. Maybe not one of pure magic, but the kind that feels wrong to be able to do. It&#8217;s a spell particularly special for those who need a reminder, whatever it may be.&nbsp;<strong>&#8212; Salem Ross<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Getting Away with It\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/0YZ7Q5i99vt9OEF8AEEaBV?si=1dcfaa4af6a6491c&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cUp Up\u201d by Elusin<\/strong><\/h2>\n\n\n\n<p>\u201cUp Up\u201d from Elusin\u2019s 2022 album Synfuels creates a dreamlike atmosphere through lush ambient production and airy, gentle vocals. The album incorporates both witch house and shoegaze elements, with hazy layering, heavy reverb, and dark, slow-moving synths. Compared to other songs on the album, the drums stand out more on this track, adding a stronger tempo that makes it feel hypnotic in a sense. The album really stands out because its soft electronic production makes it feel surreal and almost otherworldly. It feels like drifting on the surface of cold water when no one else is around to see. The lyrics are also filled with direct references to guns\u2014\u201c100 rounds recoil like a choir\u201d\u2014blending violence with something strangely poetic. Her voice is so airy and whispery, to the point where you can barely make out the words, that the imagery doesn\u2019t feel aggressive and almost obscures the subject matter. The layered sounds give the track a sense of fullness, yet it still feels light and weightless. <strong>&#8212; Shruthi Krishnakumar<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Up Up\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/0qROSCQDsC8a2RaFLsXXrN?si=039015019dfa4e63&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cBirth of the Flower (Seagreen)\u201d by Candy Claws\u00a0<\/strong><\/h2>\n\n\n\n<p>Perfectly described by its title, \u201cBirth of the Flower (Seagreen)\u201d, is straight out of a fairy-themed musical jewelry box\u2014but its magic lies within a more scientific kind of wonder. An arrangement of strings opens the track into a scene of paradisiacal beauty; the beauty of a world presented by dream-pop duo Candy Claws in their third studio album, <em>Ceres &amp; Calypso in the Deep Time<\/em>, a concept album that narrates the journey of a seal beast and her human companion through the Mesozoic Era. In terms of sound, the track has all the tranquility of a classical lullaby combined with the whimsicality of an underwater Super Mario Bros level. Contextually, the song paints a picture of the once-existing Sundance Sea, peppered with massive sea creatures, insects, and some of the first ever flowers. Among twinkling orchestral instrumentals, vocalist Karen Hover hushedly sings, \u201cSuddenly the sight \/ Of color everywhere \/ A flower whispers in your ear.\u201d The melody unfurls like the soft new petals of the flowers, leaving you lost in time to that delicate moment when the world began to bloom. <strong>&#8212; Julia Schramm<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Birth of the Flower (Seagreen)\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/0MjmarACqIH451S26Wfpuw?si=98db8987bb154a8c&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cThe Other Side\u201d by Dismemberment Plan<\/strong><\/h2>\n\n\n\n<p>There are plenty of Dismemberment Plan songs which I would describe as \u2018magical,\u2019 and I imagine some fans will see this review as a missed opportunity to cover \u201cI Love a Magician\u201d instead, as it literally has the word magic in it and also just happens to be another one of my favorites from the band. However, as much as I love that song, \u201cThe Other Side\u201d has to be one of the most hypnotic, otherworldly rock songs I\u2019ve ever heard, so much so that it unlocked a surreal childhood memory for me which I\u2019m still not sure whether or not it was a dream. I was in some dimly lit gymnasium, probably seven or eight years old zoning out at a patch of light on the wall. The light on the wall fascinated me because I couldn\u2019t for the life of me figure out where it was coming from, there were no windows that I could see and no other lights that could\u2019ve produced it. As I focused on the patch of light I noticed it wasn\u2019t just a light, but a projection of clouds, and I could see they were slowly moving. It was like there was a window there showing me the sky, only there was no window, just a square of moving clouds projected onto the wall. When I first listened to \u201cThe Other Side,\u201d this dream\/memory popped into my head instantly, the song capturing the very distinct, ethereal and celestial feeling that I had directly associated with the dream. The fact that the song\u2019s cover art is a dreamy retro photograph of clouds in the sky could explain why my mind made this correlation, but I assert that as soon as I heard the rapid introductory drums leading into the echoing, dreamlike guitar harmony, it felt as though I was listening to a dream rocket ship blasting off and taking me on a journey through some surreal inner dimension. I understand this isn\u2019t typically how one would review a song, and that describing the feeling of listening to it rather than the instrumentation or lyrics may seem like a cop out, but I genuinely think I would be doing a disservice to this song if I didn\u2019t speak to how genuinely magical listening to it feels to me. I can\u2019t say any other song has been able to unlock a childhood dream\/memory and made me feel what I felt in that possibly real or imagined experience. That\u2019s why I\u2019d rather not pick apart the musical structure for this particular song, as I think it\u2019s such a personal, introspective experience that needs to be heard with the listener not knowing what to expect. Maybe it will make you daydream too. <strong>&#8212; Diego Gonzalez<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: The Other Side\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/3ZddVOd5OblSmVexms6C7I?si=7e292ad5ad2b4b2d&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cHoly Diver\u201d by Dio<\/strong><\/h2>\n\n\n\n<p>I\u2019ve played enough Dungeons &amp; Dragons to confidently say that I know ball when it comes to heavy metal. Black Sabbath, Iron Maiden, the hundreds of bands from the \u201880s named after places in Middle Earth\u2026 if we\u2019re talking magic, none of them can touch the soaring vocals, killer riffs and borderline-nonsense lyrics of Dio. \u201cHoly Diver\u201d was released as the first single and title track from Dio\u2019s debut album, and also Ronnie James Dio\u2019s first output since his departure from Black Sabbath. As was the case on Sabbath\u2019s Heaven and Hell, the real highlight of \u201cHoly Diver\u201d\u2014both the album and the single\u2014is Ronnie\u2019s commanding, almost operatic style of vocal performance, the influence of which can be felt on just about every heavy metal record that came after. As for the lyrics, Ronnie claims that they tell the story of a Christ-like messiah on a far away planet sacrificing himself to save his extraterrestrial brethren\u2014so basically the plot of Dune. In short, if you need music to play in the background while you cast evil spells, commune with the devil, or write a D&amp;D campaign, Dio has got you covered. <strong>&#8212; Mimi Newman<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Holy Diver\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/57fqmDaokbxZ3TaB0jp39q?si=1555f04827d64718&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">&#8220;<strong>Magic&#8221; By Ben Folds Five<\/strong><\/h2>\n\n\n\n<p>This whole album is magic. Sometimes haunting, sometimes raucous. Legend has it the entire eleven track oeuvre was once a single extended megatrack cut up only once it was time for publication. Each time I listen I seek that common thread, the musical motif that ties together the work, and each time it eludes me. &#8220;Magic\u201d itself is ginger, bare. The piano which dominates Ben Folds Five\u2019s sound is here stripped down, raw and twinkling, accompanied by a simple rolling bassline and steady tambourine. The lyrics speak of a reverent yearning, the simple chorus: saw you last night, danced by the light of the moon. stars in your eyes, free from the life that you knew. Delivered breathy and slow, almost like a lullaby, pushing a lost love out into the night sky. It makes me feel happy, in a strange way. The beautiful catharsis that comes with finally letting you love go, with knowing they\u2019re happy somewhere and perhaps that\u2019s all that matters. An onset of timpani cuts through the subdued yearning. A song so tragic still finds a way to feel triumphant when down to the bitter end. <em>Unauthorized Biography of Reinhold Messner <\/em>is seriously one of the best albums I know, and \u201cMagic\u201d is only the beginning. I\u2019m begging any reader to give it a shot. You won\u2019t be disappointed. <strong>&#8212; Declan Ireland<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Magic\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/0HjXCMRGkFPBLkh0QTOh2h?si=684c8bc3ddb84005&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cSpellbound\u201d by Siouxsie and the Banshees \u201cSpellbound\u201d (1981) is the perfect example of Siouxsie and the Banshees\u2019 magnetizing goth sound. Released as the first single from the band\u2019s fourth studio album, Juju, \u201cSpellbound\u201d brews up Siouxsie Sioux\u2019s hypnotic vocals, bewitching guitar riffs, and a heavy bassline to send you floating in mid-air. From her geometrical&#8230;<\/p>\n","protected":false},"author":3669,"featured_media":14084,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[19,1],"tags":[38],"class_list":["post-13641","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-staff-pix","category-uncategorized","tag-staff-pix"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Staff Pix 2\/27: Magical - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Pix 2\/27: Magical - wecb\" \/>\n<meta property=\"og:description\" content=\"\u201cSpellbound\u201d by Siouxsie and the Banshees \u201cSpellbound\u201d (1981) is the perfect example of Siouxsie and the Banshees\u2019 magnetizing goth sound. 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