Khruangbin

Published Oct 6, 2020, 9:00 AM

Khruangbin will tell you they did everything wrong. Gave their band a Thai name, play mostly instrumental music, two members wear wigs, they record in barn ... and yet, they've had a charmed existence since they released their first record almost exactly five years ago. They've crushed the festival circuit, opened up for Wu Tang and found themselves on Obama's summer playlist. Justin Richmond chatted with them about their new album, Mordechai, coming off the road for lockdown right before they were supposed to do a run of shows with Tame Impala and how they're quintessentially Houston.

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Pushkin. Just a quick note here. You can listen to all of the music mentioned in this episode on our playlist, which you can find a link to in the show notes for licensing reasons. Each time a song is referenced in this episode, you'll hear this sound effect all right. Enjoy the episode. At first glance, the psych rock band Krungbin may seem hard to pin down. There are three piece multiracial band from Houston, Texas. Two of their members always appear in dark black wigs, and the pronunciation of their band name has sent a lot of people straight to Google. Krungben's music, on the other hand, is easy to understand. It's undeniable. That's so we won't forget from Krungbin's fourth album, Mordecai. The band is up of Laura Lee on bass, Mark Spear on guitar, and Donald DJ Johnson on drums. Since Foreman in twenty fifteen, Krungbin I've taken off on the festival circuit worldwide, which makes sense for a band whose name in Tai means flying engine. In my conversation with Krungbin, you'll hear how their funking, fused surf rock sound is inspired in part by multicultural diffusion. They also talk about how disappointed they were when their spring tour with Tam and Paula was canceled, but also how Shelteron in Place has given them a much needed break from the road. This is broken record liner notes for the digital Age. I'm justin Richmondson. Here's my conversation with Laura Lee, Mark Spear, and DJ of Krungben Krungbin. I feel like I just learned how this is pronounced. I've been listening to you guys since twenty fifteen, and I think I just now as Actually I was worried I was pronounced it wrong this entire time right now, but I think I finally got it. I mean, at the time though, it was a very simple way of naming the band, because I was I had a bootleg Rosetta stone for tie, and it's like the first in the first five words you learn. And it was fun to say, and we needed a band name stat and we didn't think we would be where we are now, So call it whatever you want. No one's going to care, right, I mean, I've been in countless bands. It's like, dude, I'm not going to make it, you know, No big deal. Just call it what you want, play what you want. Although I do feel like we did have the foresight that we didn't want the website to be taken and since it's a you know, anglicized way of spelling that thie word, depending on who's writing it, it it might look completely different because the only way to actually write it is to write it in tie. So what we're writing is the you know, an anglicized version of that of that word. It feels like, you guys, in a way go back to like an old school band, you know, where you would just get in a room and because there's not necessarily until the new record lyrics, you would just I think the listener would think a lot of jamming was happening to hash out the songs. That was another thing that kind of informed the you know, the start of the band and what we were going to do is like I didn't want to have a bunch of drum machines and sequencers and backing tracks and laptops on stage or have to depend on that when we were like perform these tunes. It's like we use the technology to compose and to write you know, the whole like cut and paste and basically sampling ourselves and flipping things like that around. But when it comes down to it, we play it. If we can't play it with three people, then it's not that's not happening. You know. There's some percussion parts and keyboard parts that happened on the records, but it's like that stuff isn't really you know, crucial. It's like just ear candy. So if we go play these songs live and there's no keyboard part, it's fine. You know, we don't need to hire or play to a backing track in order to make this work. You know, we can do it with three people, but you gotta give yourself some kind of limitation otherwise it's kind of overwhelming, you know, the amount of ideas that you can do, So limit what you do, and it kind of informs what you do, right, like what you don't do informs what you do absolutely, absolutely, And I think emotionally, it's like the band really started those few years when we met every Tuesday night for dinner, and our bond was certainly solidified during that time, so the three of us were a unit, and you know, to add another component in there throws off the whole situation. Yeah, that's stuff. Plus, I mean, how do you arrange you know, how do you arrange us on stage with four people? You know, we got ded in the middle. You know, I'm on the left, Lordly it's on the right. That's a nice power triangle, you know. But then you add a fourth person. Where are you gonna put that person? If it was the lead singer of obviously they would be in the front. But we don't have a lead singer. So where do you put that fourth person? Do you put them behind me? Put them behind lor Lee? You know. Now it's just unbalanced. So if you were going to add anybody, you have to add two. So you have five on stage. You still have that power, you know, that cemetry happening. That's very it's this is very important. You know, I pay attention to stuff. It doesn't look right if how early did the did the stagecraft like come in the wigs and the and the and the outfits and just sort of the presence on stage day one, first show. We've always we've always worn the stuff. We've always tried to have, you know, a look or a vibe on stage, you know, since day one that first show was like to me, compare it to like a bride getting ready because everything was so important to me, you know, the hair and the shoes and the outfit. I probably spent you know, my cash for weeks on that show because it could have been my only show. But yeah, the wigs were important. And nobody knew who we were in Houston. Mark had been in so many bands in Houston. Every would have everyone would have known who he was up there, and nobody knew who he was. We were like aliens. Yeah we want We wanted to come fresh, you know. I didn't want to have anybody like, oh, this coast before, you know, just leave that out the door, no expectation for what they're about to see. And DJ, while it had been super prevalent in the Houston like hip hop scene, hadn't really played the like indie band hipster kind of situation. So we were all relatively unknown in that scene. Remember, while we were trying to like be kind of rocky, you know, we would starting to like kind of like adapt some of our tunes would be like louder and like more rock, you know, because the bands we were playing with were like loud, you know, and we were quiet, like you know, that's part of what makes the KB recording sounding like to do is because we're playing so quietly, but that doesn't really translate well when you're playing in like a dingy you know, kind of like punk club with like loud bands. So we played in the room now, we did then and we still do. I feel like a lots made of like kind of the world influence with you guys. Were you guys listening to a bunch of world music and thinking we want to also bring in some of these vibs. It was it just guys listening to everything and things are just creeping in, whether it's a Latin sound or tie. I could say this, I said, I've met Mark in two thousand and four. Mark has always listened to music that wasn't in English. I didn't understand it back then. I grew up listening to music that was in my own language. I can understand the words, you know, and every now and then there was an instrumental cut. But he had this, you know, entire library on his computer or you know, in his iTunes that was just stuff that's not in English. I remember, like maybe early on he played some tie funk tune and it felt like James Brown I'm a huge James Brown guy, like that sixties funk sound, and it was it sounded like that, but you had just a tie vocalist, you know, singing over the top of it. I'm like, wow, this is cool. And I really started to connect how you know, things from other parts of the world connected with the music that was happening, you know, in the US at the same time, and you know how it was kind of you know, there was this cross talk. Yeah, Mark is a huge, huge influence, and you know what Krumban is known to be like a world you know, music inspired Ben. I mean, I would say it started like from his music taste. Yeah, we also liked we liked this like conversation that was happening between like the East and the West, and that that time music was influenced by, you know, by James Brown, by the Shadows, by the Beatles, and then they play their version of it. And if we're then inspired by their take, the Eastern take on Western music, then you know there's this cool meta kind of saying that's happening. It's a game of telephone man. Love that stuff. Cultural diffusion. Absolutely, that's what I love about you guys. If you listen to a lot of music from around the world. Like if you listen to African music, you'll find a Cuban song that sounds just like a like a West African song, and then you'll find out that also Fayla Coody was listening to Cuban music. And then so there's always this meta thing happening with all kinds of genres that you don't really think about because you just think about it as being like the blues, but then there's you know, like an African version of blues or like a tie version of blues, and you guys have one hundred percent and just saying like we're going to be in conversation with all of that at once, you know, yeah, I want to want to make that conversation, Like I mean, lourally, what's that style you were like obsessed with for a second of balleros? Still there's like it's just these one of those like Latin rhythms that just gets everywhere. It was like it's basically the reggaetne of its day, you know. Right, so you get like Mexican belerros, which are probably influenced in a way by Spanish music, and then it makes its way into like South America and the Caribbean, and there's definitely Belros in Africa, and there's absolutely Bealerros and a scene for Balro in Vietnam, like in Southeast Asia, probably from records brought in from service people back in you know, the fifties and sixties. But I was I was gonna try to make a playlist or a mix just of the song Subortam, because there's like one million covers of it. So I was going to try to do a mix just in that song standard yeah um, which is my grandma's favorite song, so I'm sure that has something to do with the way I interpret it. But then found this whole Vietnamese pocket of the song, wrote Mark, thinking that I was going to blow his mind. But obviously, Mark, you already knew He's already he's already plugged in. But dude, like we hear that stuff like every time we go to a fun restaurant on tour, what do you hear totally even though we might not make that connection at that moment, we're like, this is well, this sound was like the sounds like the Shadows, with like a kind of a sweet, like Latin kind of beat, going on, you know, and that's kind of what it is. Yeah. You know, there's this like kind of twanging guitar, there's like a midi keyboard, there's just like person singing and it's got that ballero rhythm underneath it, you know, and it's it's so cool. Cool. That's that's that diffusion. Man. We we sort of resented the fact that we got called tai funk because we're not tai and we're definitely not tai funk. And the bands that we were listening to that we're Tai funk, they weren't called American funk, you know when they came out. It was called shadow music because of the shadows. And that's a much cooler way of like, I don't know, i'd be I love to be a shadow band. Yeah, that's the coolest. And like when you go back and listen to that first record, I mean, yeah, there's there's some tunes that are obviously influenced by all the time music we were listening too, because we were definitely listening to a lot of it. But I don't know if I would call Mister White a Tai funk song to me. I think we just wanted to we always try to put a song on the record that sounds like roy Airs, because we love roy Airs, you know, Little Joe and Mary specifically, I'm trying to sound like like Franco, Like I want to sound like one of those awesome really just really pretty guitar you know, African like Western and Central African stuff, Like I love that business man balls and pins. That's just like classic psyche rock, you know. So it's like, I reject the notion of calling us a taie punk band. I don't think that's fair to us or to tie funk artists. There's little there's more to us than what's going on with that. Like I want to play everything, you know, I want to figure out a way to put it into what we do. We're listening to Mister White, the roy Ayre's inspired track from Krungbin's debut album, The Universe Smiles upon You. We'll be back with the band after a break. Before we jump back into my interview with Krungbin, let's hear a bit of the song first Class from their latest release. Mordecai speaking of the Royer's vibe, the first track on this new album, first Class kind of captured that feeling to me a lot that's absolutely intentional, man, Like, yeah, I was like, I want to I want to put it. It's so intentional, Like I wanted to play big Roy Ayre's chords, you know, on guitar. That was the that was the whole thing. There's a production thing about Roy Ayer's too, and I don't I'm not savvy enough to understand it. But there's a certain sound to his recordings too that I feel like certain like space involved or something that you guys have figured out, and I feel like it's kind of pretty present and at least in this new one. So when we do when we do vocals, we all sing together at the same time, you know. And I really liked that about roy air stuff. It sounds like he's got everybody in the band kind of sing it at the same time, not unlike you know, Santana from back in the sixties and seventies work the whole band singing the same time in unison, Like no one's trying to do any crazy harmonies, and it's just like this is the melody, We're all going to sing it together. War does that too. I was like, I want to do that so that when we sing together. It sounds big and full, but none of us want to be lead singers, you know, and if we got a lead singer, well then it would pretty much be about the lead singer, not about the band, and we just wanted to be about the music. So that's why we started doing it that way. And to me, psychoacoustically, if you hear a bunch of people singing a melody, you're gonna want to also sing this melody with this bunch of people. It's like, hey, let's all sing this together. And that was that's absolutely intentional. Is that kind of like that way of bringing everyone into it. I hadn't considered that, but you know, one hundred percent right. It makes it one automatically, just some more communal vibe, like like we're you know, like you guys are one unit one and it makes it like the sing long. So it also makes like the person listening feel like they're involved, like you want to automatically jump in yea, even if it's just doo doo doo na na whatever. Right, What made you guys on the new record decide to throw more? I mean there's been some vocals on previous records, but there's definitely more on this one. Was there the thought that it might be fun to stretch out and do some more of that or did just happened naturally while writing? Yeah, it happened naturally. I think it's a natural progression. I mean when I think there was a big deal made out out of it when we did a lot of the press stuff this time around, as if we never had vocals on one of our records before, which we have since Album one. But yeah, it just it just so happened as it was a path that we went down. Normally, we record everything in the barn, and once that part of the procedure is done, we go back into the studio and you see what you have. And sometimes you go back and songs sound complete and they're finished and they don't need anything outside of some you know, light vocals for texture or you know, percussion, or we're bringing you know, one of our friends to come and play on something. But this time around, things needed vocals, and thankfully Laura Lee had some you know, some stuff scribbled down and some ideas to pull from, and I personally think it came together beautifully. Laura was the scribbled stuff, was that with a thought for using it for a song or was it just no, just purely word vomit journal style, you know writing. But I did feel a burst of energy right before we went into the studio, um when I wrote all this stuff and felt like I had lived a life of adventures and stories and they were worth writing down. So I did. So I tried and it worked. No. I I mean, I think you know, Mark sort of hinted at it earlier. But one of the things with this record was that we went into the studio with time booked and you know, paying our engineer and time studio stuff. But it was in between touring, heavy touring, and we didn't have any time prior to going into the barn to write, so we literally went in with nothing and it was hard. It's hard to just switch off tour and switch into writing mode, you know. I know, like I've been starting to write this week and I have to give myself minimum four hours because it's going to take potentially two hours just to get in the zone, so you know, minimum four hours. And this was like two weeks record an album with nothing written. And if Steve Arn engineer always says you finished an album because you run out of time, or you run out of money, and you know, we ran out and we made an album, but we spent the majority of our time on the record in post, and so the words and the lyrics were something we could do in post, whereas the bass, guitar and drums we record in the barn. And that's part of Krungbin ethos. So we had to stick to those rules and we gave ourselves so the things we could add, you know, one of them was words, and that's part of how that development happened on this particular round. But we love it and you know, like DJ DJ is mentioning that it's been such a point of chat during the interviews we've had, and it's so hilarious when you think about it. It's like you're talking about lyrics most of the time they're in songs. It's like it's like the big the big deal is that Crungbin foot words on a song. I don't know, It's it's just funny that like the big Krungbin reveal is like, you know, time, if you had more time, I loved the time You and me too? Man, such a cool disco vibe on that or you know, like kind of like boogie vibe on it. Oh thank you. That comes I think from us, you know, being on the road for so along and like we would take, you know, whatever break we could. And one of our favorite spots to go to m is a festival and crow we should called Love International, and it's basically it's just like a DJ fest, you know. But the kind of music that's being played, at least at the you know, party is that we would be going to is like very kind of disco post disco boogie, extended break, kind of like John Morales Larry Levan kind of vibe. And it was like, oh, dude, man, I really want to I'm sitting here like at Barbarella at like five am in the morning, Man, I would like, I really would love to have a song and the next record like has like an extended disco break. That'd be awesome, you know. And that's so that's that's what we did. I really wanted to have that going on. And at some point during the recording of the vocals of that, we're like, dude, why don't we just like put that's life in as many different languages as we can during this like breakdown, And so we started calling up all of our friends from all over the world and like try to get you know, how how can we how can we say this in the right way? Yeah, we knew that there must be an equivalent of the expression that's life in most languages. You know, we knew, stay Levy. We figured if we knew that's life and say Levey, that there must be more. And you know, we put out text messages, you know, called everyone we knew that spoke different languages, were like, is there that's life? Sure enough? You know, yes? And it looks are really cool and it's super percussive, like you were saying, Lord, like I mean everything. I love that it's short, short sentences. It's not like there's not like Clausets hanging on from one meter to the next. It's just super a tight song and really cool. Yeah, I mean that the lyric writing for that song was very much like an exercise and when in doubt, subtract. Yeah, So the lyrics got simpler and simpler as you know, time went on. I think the lyrics of that song up ended up being prophetic. I mean, as soon as we went into quarantine, like I was, you know, going back listen listening to the lyrics and I'm like, this is exactly what everyone's doing right now. Everyone has all this time, and everyone's timing like children time and you know, just live in life. That's time you and I from Krungbin's new album. We'll be back with DJ Laura and Mark after this break. Here's the rest of my conversation with Krungben. You guys have really made a name for yourselves as like a crazy good live band, and I can attest you guys are really a great live I mean, everyone is in this space at the moment, but I think it might be nice for people to hear from a band like you guys who do tour so consistently, what it is like not being a the tour right now. You know. Um, for us, it came at a good time, honestly, because we've been hitting it hard, really really hard for the last four years, and we just finished the record and we were due to go right back out on the road in April. We were supporting Taman Polla on his run in Australia and New Zealand. So yeah, that was like the first thing that got canceled when everything happened. I think the thing that I missed most is outside of connecting with you know, people and our fans, is just hanging out with my friends on the road. That's the thing that you you really realize you missed the most because we spent the last four years just hanging out together. I missed that. Yeah. I never thought i'd long for a backstage sofa. I do you know some wassas and avocados, Yeah, some cocoa water. I have that here. But it's different. Yeah, something different about drinking at tequila soda that's been sitting on top of the ampast like something real nostalgic about that. I feel like I'm trying to just be where I am and not yearned too much, because it can be a slippery slope when you get into that headspace. But I think it's helpful that we're not on the road whilst everyone is not on the road. You know, if if other people were touring and we were sitting at home, I don't think it would last very long as much as I you know, specifically, but everyone I think needed a break from the road. Festivals were happening right now, you know, it would be rough, yeah, right, But yeah, I've gone back recently and watched some Crungben live performances, and it's like, wow, that's a lot. It's a lot to feel on a regular basis that we're not feeling, you know. And it's great because we're feeling other things. But what a rush? You know? Were you getting the feeling watching the video? Oh yeah, I mean big, I'm an emotional mess most of the time, but that was it was pretty intense watching it. And it's awesome. It's like, look what we did, you know? So cool? Yeah, we made something and we crafted it and I'm so proud of it. So awesome, awesome project, awesome everything. Um, it's given me so much life and even for right now it just being the record and it just being shows that happened before. It's it's a beautiful thing to watch. Does it Does it feel weird or bad or any particular way to have just released a record and not be able to sort of go play it for people or promote it in the traditional sort of way by going to play And this is awesome. I love being able to chill at my house with Miguel and you know, like make Italian food every night and do yoga in the morning and go on hikes and not have to like sound check and then go to a hotel for like a cat nap and then go back and then you know, I love touring, man, don't get me wrong, it's awesome. But dude, this is tight and we don't have to support the record right now. We actually give you know, the audience time to like digest it, so when we do come out, they actually know the music. Like that's way better. Yeah, this is awesome. Yeah, I mean it was something I definitely said a lot was you know what the last record we put out, Well, we were kind of already on tour, but then we put it out, and you're supposed to quote unquote play songs from the new record, but nobody knows them yet, and you know, some of them, like Maria Tombien, it's just it's a banger, so it's gonna be fun even if you don't know it. But other songs you kind of need to let simmer for a while before you play them, so it will be fun coming back whenever that is. But also I kind of needed more time to practice singing and playing those basslines at the same time, So thank you time. Did you were you considering when you're laying the tracks down, you're thinking, well, we might add words over this, or I don't know, maybe you decided that in post or whatnot. Were you considering what basslines you were playing so that you could think, like can I can I pull this off a lot? You know, because it's that's a lot. It's a lot. To Mark's smiling at me on zoom because every time this happens in the studio, I'm like, you know what it's for the record. Let's worry about the records outing good and when it's time to play live and we'll figure it out. And he's like, it's gonna be hard for you. You know, it's gonna be hard. We should think about this, and and me too, And I'm trying to make my job easy, Like why do you think I got rid of all those pedals and all those like laptop stuff. It's like, no, keep it simple, easy if there makes some music. But you know, when you're in the studio, it's about the integrity of the record. And I knew that even if it was hard, it's just practice. Like it is just practice, and you can make it happen. It might be painful and long, but with enough practice you can tap your head and rub your stomach at varying speeds at the same time. It's true, are you getting it under your fingers more? Now? You know? I've I've I took break from playing period when Quarantine hit because I honestly I assumed life would go back more quickly than it has. But I was kind of like, this might be the first and only time in a long time that I do not have to play, and I'm just gonna take a break and cook and you know, do some other things. But I started playing again, and I definitely haven't been playing Crumbin songs in a way. It just doesn't feel like the right time yet. I don't know. I don't know how to explain it. It's definitely like emotionally related, but it's like, I know, I don't know when I'm going to be playing those songs professionally and with my band, and so there's something a little bit like bitter sweet about playing them on my own right now. So I kind of feel like if I just play that, at least I will have some things in my fingers and when it's time to really grind and rehearse, then it'll be that time. And you guys are Lord, you kind of hinted at it earlier that you're writing stuff now, you guys trying to write stuff just for fun? Or are you guys actually trying to write something to write something well, per like reflection of you know, this album and how you know there's always room for improvement even if you make something you're super proud of. But the one place we didn't have time on the record was pre production, and right now we kind of have nothing. But time for pre production doesn't necessarily mean we will be as productive as we are without it. But since we have this time in theory, it would be nice to begin to write some stuff so that when we go into the studio next time, we actually have songs. Earlier, we were talking about how it's kind of not fair for you guys to call yourselves a tie funk group or something which you don't do. You guys, ever, worry about any sort of cultural appropriation, criticism, or just feeling like you're dipping too far into this thing or pulling too much from this particular thing, and that it's going to come across as insensitive. But we're not trying to be anything. We're not. It's like we are who we are, we are from Houston, and we're representing what we know. I think a lot of it goes back to the thing I always used to hear like coming up in church is that God looks at the heart. God knows your heart. And I think the thing that people can hear even when you hear a Krungben song or a Crungban record, you can hear the heart of the people that are playing the music through the music. And I think the people that really support us, people that know us. You know, the people that love Krungben, they love the music, but you can't love the music without loving, you know, the heart of what it's coming from and the place that it's coming from. So I mean, the people that know us, they know our intentions and they know we don't have any ill intentions or we're trying to be something that we're not. You know, we've been saying it, and it doesn't really matter how many times you say it. We've said it a ton of times. But I mean that stuff still comes up every now and then. But the one thing that we used to get all the time is like, how did you guys meet? Because no one could really understand how three people that don't look like each other could end up in the same band making music together. And the one thing we'd always tell them is, like, you know, this happens all the time in Houston. Houston is you know, it's a multicultural city. We all have friends from other cultures and other races you know here, and it's a common it's a common thing. You know, things blend anyone. It's never been in Houston and you know, maybe you've been in La. It's just so much. It really got the feel of LA when I was in Houston, where it's just like there's so much going on here culturally, you know, it's so diverse and almost less segregated than LA. It feels like in a way just from you know, I havn't been there a few times, Like it feels like everyone's just sort of on top of each other a bit more bro we all hang out. We hang out here like everybody hangs out with everybody here. Yeah, that's how we get down. I love my band, I love Mark and DJ. Feel very very lucky to have found them in my life and for them to have agreed to be in my band. It's ultimately this music is meant to bring people together, not to you know, pull people apart. It's not meant to be divisive. You guys were, So there's kind of this dual sort of thing happened in your band, where you're sort of equal parts ambitious and sort of equal parts sort of let things happen as they happen. There's no part of you guys that feels a little insecure right now, not being able to tour, not being able to maybe do just in terms of keeping any momentum going, or I feel like we're not supposed to be here anyway. So we if it all ended today and the momentum all died, we had a great time. I mean like we're the band that did everything wrong. Literally, I mean, we picked a name that no one could pronounce, we recorded in a barn, didn't use a click track, one of them doesn't yeah, we don't have words, one of the member doesn't wear a wig. It's like we did it all wrong and somehow, you know, people heard what we were doing and they gravitated to it, and we're extremely grateful for it. And I'm of the mindset that everything happens for a reason and there's always a plan, and you just have to follow it and walk in it. And I think that's the biggest lesson that everyone learned in twenty twenty so far. Halfway through it, you know, you all realize that we're not in control. Cool. Well, thanks for doing this, guys, I really appreciate it. Thank you, Thanks for having us. Thank you so much. Thanks to Lord Mark and DJ from Crumbin for getting together to talk shop with me. Hopefully they'll be back together on stage soon. You can hear all of our favorite Krongmen songs on a playlist at Broken Record podcast dot com, and be sure to subscribe to our YouTube channel at YouTube dot com slash broken Record Podcast. There you can find extended cuts of our past episodes and also new ones. Broken Record is produced with help from Leah Rose, Jason Gambrell, Martin Gonzalez, Eric Sandler, and is executive produced by Mia La Belle. A theme musics by Kenny Beats. Broken Record is production of Pushkin Industries and if you like Broken Record, please remember to share, rate, and review our show on your podcast app. I'm justin Richmond, Peace,

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