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Touch And Go: Anthology 02.78 - 06.81
Touch And Go: Anthology 02.78 - 06.81
Price: £10.93

2 of 2 people found the following review helpful
5.0 out of 5 stars A little bit of everything, 15 July 2014
A quick review about this the most recent Magazine compilation.

Magazine were and (judging by the new material and tour performance I caught in Bath a couple of years ago) are still great. They've had a bunch of compilations over the years, 1987's Rays and Hail and 2000's Where The Power Is are still available and are similar but decent single-disc run-throughs. Touch and Go however may be your best bet since it offers value for money, thirty tracks in all, plus its been remastered. Weirdly its been put together in rather a strange manner collecting all of the group's singles and all of the original b-sides (of which The Book and I Love You, You Big Dummy are very welcome). Which is fine if you've skipped purchasing the remasters of the studio albums, but makes for an odd listening experience and misses out a few of their brightest album tracks (You Never Knew Me, Motorcade, The Great Man's Secrets). Equally strange is the album's lack of liner-notes or photographs of any kind. Those sorts of touches would have elevated the compilation a bit. As it stands the music that is here is fantastic with each member turning in brilliant and distinctive performances. Everyone seems to shine, no member ever seems anonymous in the mix.

If you're coming in cold to Magazine pick up a cheap copy of Rays and Hail or Where The Power Is, otherwise get this unusual set that digs quite a bit deeper. (Plus anyone with any interest in post-punk should own Shot By Both Sides, Parade, The Lights Pours Out of Me, Back to Nature, Permafrost, A Song From Under the Floorboards, Because You're Frightened and About the Weather)


Get in
Get in
Price: £6.98

4.0 out of 5 stars 2012 Re-issue, 3 May 2014
This review is from: Get in (Audio CD)
This is a quick review of the 2012 re-issue of this album on Eastworld Recordings. This version includes seven bonus tracks: Rough Boys & Modern Girls, I Would Fix You (DJ Downfall Mix), Packed In, I Would Fix You (Mint Royale Mix), Hooray For Everything, Stay In The Sun (Fridge Mix) and Save Your Kisses For Me.

On first inspection Kenickie's second LP Get In screams jarring second album syndrome. If you're only familiar with the heady-rush of their power-pop-punk At The Club LP you're likely to be disappointed. Get In bears almost no common ground with the former LP, instead the majority of the songs are in a pop vein not unlike what their former mentors Saint Etienne and Bis were putting out at the time. Take the time to listen to the LP and you'll find that the album is far from a sophomore slump. The group's songwriting has taken a leap forward both in structure and lyrics. Lauren in particular shines on many of her songs (Psychic Defence, 60's Bitch and Lunch at Lassiters) and Marie du Santiago turns in the excellent 5AM.

For many including myself the group's final single Stay in the Sun did nothing to sell this album. Whereas I Would Fix You the other single is arguably their finest song, and at least the equal of Punka, Millionaire Sweeper and Come Out 2 Nite. The cancelled third single Magnatron was unlikely to do much for the group. The album's true problem is a lack of super-singles. While At The Club played like an album composed entirely of singles Get In resembles the debut's introspective flipside. Of course if all you want from Kenickie is a kind of amped-up Shangri-Las or a poppier take on Riot grrrl then you're best sticking with the debut.

For some reason Get In was reissued in 2012. The new version collects most of the b-sides, which for the dissenters may be enough to have them check the album out. Rough Boys & Modern Girls, Packed In, and Hooray For Everything are stripped back guitar driven b-sides that recall their previous work. If the group hadn't chosen to be so bold they would have included each on the album. The remixes sadly do little for the group, though the Mint Royale mix is fun, the real disappointment is the decision not to include Xenomania's (the Girls Aloud producers) remix of Stay in the Sun. Worse still the amusing hidden track from the album has been dropped completely.

I can totally understand why a lot of Kenickie fans dislike this album since its such a left-turn, but its worth looking past the difference and embracing the new direction. I've come back to the album a lot since 1998. With a few songs aside I think it holds up well. Here's hoping they'll do something together again one day.


Halfnelson (Sparks) / A Woofer In Tweeters Clothing
Halfnelson (Sparks) / A Woofer In Tweeters Clothing
Price: £12.10

3.0 out of 5 stars Speeded-Up Mixes, 18 April 2014
If like me you've already got these excellent early albums by the masterful Sparks in their first incarnation. You may be looking to see if the last few tracks on A Woofer In Tweeter's Clothing have been mastered at the correct slower speed. Unfortunately this problem has not been fixed. The sparks fans at allsparks (who know a lot more than I do) have confirmed that the error has not been fixed.

The last few tracks on Woofer were sped up when the two albums were originally released on a single CD. Unfortunately all subsequent reissues have retained the faster mixes. So while this new CD sensibly puts each album on its own CD the problem still persists.

Hope this helps.

And of course its 4 stars for music quality. How can any collection be complete without Wonder Girl, Fa La Fa Lee, High C, Fletcher Honorama, (No More) Mr. Nice Guys, Girl From Germany, Beaver O'Lindy, Moon Over Kentucky and Whippings And Apologies (even if the last one is speeded up too fast).


Lust
Lust
Price: £16.70

4.0 out of 5 stars Rother Goes Digital, 26 July 2012
This review is from: Lust (Audio CD)
Lust is Michael Rother's fifth solo release. It's probably not the best place to start for someone new to his music or even one who has only heard his work with Neu! or Harmonia. Instead, Lust marks phase two of Rother's career. It is the tipping point at which his use of guitar, live drums and analogue electronics give way to a clean crisp digital palette assembled of drum programming and digital synthesizers. Lust is probably the point of no return for fans of 70s krautrock, as it and Rother's subsequent albums push further in this 'modern' direction.

Rother later described that he became obsessed with the then revolutionary Fairlight Music Computer in the 1980s and Lust certainly attests to that! 'Palmengarten' starts things off in a cool ambient crawl and was probably sequenced as the opening track as it is the song that most resembles his previous work. Skip to track 2 'Primadonna' and Rother is in full swing with an uptempo song carrying an unabashedly positive keyboard melody. Rother doubles the melody with his guitar and tops the whole piece of with a superb bridge where his guitar comes to the fore. The title track follows later and follows a similar pattern only with numerous guitars playing around a rigid Fairlight framework. 'Lust' and 'Primadonna' are standouts but may seem a little too saccharine for first time listeners. The album ends with 'Pulsar', a droning and repetitive ambient piece that recalls the title track of his previous album Fernwärme.

The other two tracks are a little more difficult to love. 'Cascadia' is a beautiful song but for some reason Rother chose to mix it's lead keyboard line incredibly loud. While i'm sure it was intentional, the effect is quite jarring, particularly since the melody literally is a cascade of notes and diametrically opposed to Rother's typical minimalist approach. Things get weirder on 'Dynamotron' where Rother pushes the Fairlight its furthest countering an odd array of synthesized melody snippets with a mixture of clashing drum sounds to weave into a coherent yet discordant whole. On first hearing the song caught me totally off guard and I couldn't quite believe it was the work of the same musician!

In actual fact, Lust ends up emphasising Rother's admirable push for new ideas and his inexhaustible ability to write emotive and moving melodies. So. Yes it's still the same Michael Rother, and no it won't exactly appeal to a lot of people's tastes or ideas of 'experimental' music or whatever that's supposed to mean. Try it!


Neu! '86
Neu! '86
Price: £11.03

22 of 22 people found the following review helpful
4.0 out of 5 stars Always Different, Always the Same, 4 Sept. 2010
This review is from: Neu! '86 (Audio CD)
Neu! '86 is the long awaited fourth album by the brilliant and obscure (until about 2001) German group, Neu! It was recorded in the autumn and winter of 1985-86, hence its name. While it is very exciting to hear this music, it is actually the second release of the sessions. Without going deeply into the inter-group disagreements between Michael Rother and Klaus Dinger, the material was released by Dinger on a small Japanese label in 1995 under the title Neu! 4. That album was a real ragtag collection of music with several tracks sounding like different takes and mixes of one another. It was a mess but an engaging mess. Dinger appears to have thought that titling the album as '4' connoted the half-finished brilliance of Neu! 2, their second album. That album however, was a side of complete and enthralling music backed with a side of discordant non-music that was created in the studio to fill out the LP. Neu! 4 simply sounded unfinished, it was badly sequenced and felt like a rip off.

Neu! '86 then, made since the passing of Dinger, inevitably resembles Rother's take on the album sessions. It is an unusual prospect of an album, akin (I imagine) to listening to Let It Be Naked, the Beatles revision of their final album, or one of Jimi Hendrix's or Otis Redding's posthumous albums. So, a cynical 1995 album gets a cynical 2010 re-release? That's one view, but I don't take it, for two reasons. First, there will always be people who hanker after demos and aborted sessions, and Neu! '86 at the very least prevents them from spending ridiculous amounts of money for music. Secondly, I think Rother has done a good job, I really do.

Neu! '86 does one thing that the former incarnation does not, it sequences the music well and thereby presents the unfinished music in the best possible way. The first half of the album is arguably the better with the more finalised songs like 'Danzing', 'La Bomba', 'Crazy' and 'Drive'. The second half has more fragments of songs, but these are short and multi-layered. Rother appears to have taken the master tapes and mixed together a lot of the material. Dinger had chosen to extend and expand this material. Again, I can see advantages and problems with each approach, but the difference is that Rother's is a better listening experience and a less repetitive record.

So what of the actual music, how does it fit with that of their three albums? Well, and this is depending on your tastes what makes the album a failure or a success. The music is, to crowbar and alter John Peel's summary of The Fall, different but the same. In places it sounds very of its time, the 1980s, with Synthesizers and Keyboards everywhere. These sound a bit cheap, and a little daft in their application. Yet, detractors should remember that Neu! '75, their third album had a lot of keyboards. Thankfully there is some very Neu! music to be found, 'Crazy', 'Drive' and 'Wave Mother' each have the smack and formula of Dinger's drums complemented with rock riffs and beautiful patterns of Rother's guitar. On the debit they sound a bit like minor homages to their trademark sound, and the short length of each is disappointing (the longest is six minutes). Vocals are prevalent on the album, which is probably the biggest difference. Dinger sings (i.e. shouts) over a lot of the music, much like he memorably did in the 1970s on 'Super', 'Lilac Angel', and 'Hero'. Those songs while defining and brilliant were complimented with long instrumental tracks, which in my opinion, were their forte. Neu! '86 ends up being a bit too talky, with sung songs from 'Danzing' on down all having the same and therefore tiring sloppy, silly, and playful abandon. Neu! '86 just isn't as majestic or mysterious as their best work.

In summary, Neu! '86 is a good record. It isn't seminal, and probably says more about music in the mid-1980s than it does about the music of Dinger and Rother. Taken with their other albums it is refreshing and different. It still sounds like Neu!, but it is the distillation of the rock ethos of side 2 of Neu! '75 with the synths of side 1 of that same record. In failing, Neu! ended up sounding truer to themselves than they perhaps realised. Try It.


Esperanza
Esperanza
Price: £14.76

4.0 out of 5 stars Austere Electronic Music, 9 Feb. 2010
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This review is from: Esperanza (Audio CD)
Michael Rother's album 'Esperanza' was released after a hiatus in his career. His previous full-length album was released in 1987. It represents Rother's first music made for the CD era. For example Kraftwerk's Tour De France Soundtracks was influenced by the possibility for greater format capacity, and clocked in at almost double the length of their previous LP era album. 'Esperanza' offers seventeen tracks, in regards to his back-catalogue, the music is repetitive in a manner similar to his 1979 masterpiece Katzenmusik. The first half of the album is very cohesive. The songs such as 'Esperanza', 'Electra' and 'Kristall' sound like variations of one another. The second half of the record is more varied the final track, 'Spirit of '72' is particularly oddball.

I'm no authority on Rother's work, but I find the material to be better than his mid to late 80s work, its less stiff, but arguably more cold, if that makes any sense! Fans of Neu!, Harmonia and guitar-driven music may find this album does not satisfy, there's barely a guitar present. At this point in his career, Rother uses of effects for guitar and keyboards so heavily that one is left unsure what instrument is playing. Guitar or no guitar, what most people accustomed to Rother will be looking for are songs with his distinctive melodies and hooks. Thankfully Rother still sounds like he always has on the opener 'Silver Sands' and on 'Gleitflug'. 'Esperanza' is probably Rother's most sedate release, only on 'Loop-Loop' do the rhythms really drive. The music is heavily synthetic and almost sounds homemade in its particular musical palette.

It is definitely an album that improves with each listen. My only criticism is the lack of his distinctive guitar work. Rother appeared to lean towards his trademark sound briefly on his 2004 album Remember (The Great Adventure) with the lovely 'Aroma Club B3'. 'Esperanza' might have been a touch warmer with a song like that. I still recommend it, I mean who really wants every artist to make the same album over and over?


Lum: Return of Lum: Trouble Times Ten Vol 4 (Return of Lum Urusei Yatsura)
Lum: Return of Lum: Trouble Times Ten Vol 4 (Return of Lum Urusei Yatsura)
by Rumiko Takahashi
Edition: Paperback

4.0 out of 5 stars Wintery escapades with everyone's favourite bizarre-ensemble-undefinable-comedy series, 5 Dec. 2009
Verified Purchase(What is this?)
'Trouble Times Ten' is the fifth in short lived English-translated version of Urusei Yatsura series. This entry has ten individual stories but most are concerned with the arrival of Lum's cousin; Ten. In my opinion the previous volume 'Sweet Revenge' is the point where the manga really kicks in and begins to weave effortlessly between the differing characters and relationships with brilliant humour. Takahashi's real genius as a writer is her development of characters. She does this best by evolving each character's nuances through adding new characters that alter the dynamic of the relationships in each story they appear (Ran, Rei, Mendo). In this volume Sakura is shown as much more than a priestess which could have be restrictive (bizarrely she'd already been made a priestess/school nurse). In a couple of the stories the focus revolves around her and Ten, and they show a lot more of her life. My personal favourite character is Ran. She is barely in this volume but her awkward presence is funny in both stores she appears. This volume also sees Benten reappear in the series for another one-off episode about Setsuban. In my opinion its much better than her previous appearance in volume one.

I suppose the best story in the book revolves around New Year offerings and oracles. It is a situation that Takahashi returns to a lot in her work. I think this episode sums up why she uses the event a lot because it is so funny and is full of potential jokes. It also shows Ataru and Lum's relationship up for what it is: "Orge and Skirt-chaser, a rotten but inseparable bond"! To me Urusei Yatsura is at its best when Lum isn't treated as ethereal and precious. When she is more crazed the relationship makes more sense.

I can understand that for a lot of fans, Urusei Yatura isn't itself without Ten, so this volume is a good entry point in the series for fans of the TV show. Recommended


The No Comprendo
The No Comprendo
Price: £10.51

4 of 4 people found the following review helpful
5.0 out of 5 stars C'mon Andy say "Yes", 17 Aug. 2009
Verified Purchase(What is this?)
This review is from: The No Comprendo (Audio CD)
I would have loved to have been a fan of Les Rita Mitsouko when this album dropped. Let me explain.

'Marcia Bailia' became a surprise hit on the French singles chart in 1985. The single had the complete package, it was an upbeat song with a sad but celebratory theme. The instrumentation was modern and ingenious, and the group were stunning too; Catherine Ringer with her Louise Brooks bob-haircut, and Fred Chichin with his skinny frame and funny charm. This was complemented by one of the eighties most original and extravagant videos. It was brilliant. The debut album from with 'Marcia Bailia' was lifted, was arty and leftfield with a mixture of sparse poppy numbers and longer organ-heavy drones. 'Marcia Bailia' was the obvious standout because it was both brighter and more developed than the rest of the album.

'The No Comprendo' then, must have come as a surprising and frankly slamming follow up. The core change is the tempo and the emphasis on strong rhythms. The music featured works as both a logical follow up to the debut and as a completely new and bold direction. The double a-side and first single 'Andy' / 'Un Soir un Chien' plays like a mission statement. The former takes 'Marcia Bailia's synth-horns and giddy feel but locks it to a brittle Prince-like framework with funky bass flourishes and chanted backing vocals. The song practically pile-drives the listener asking them either to dance or at least say "oiu"! 'Un Soir un Chien' moves along on a loungey groove, happy to take its time to develop. It offers Catherine's sweet but strained and utterly-unique vocal performances, which is would later become de rigueur for the group. She dominates the arrangement and it's a formula that is repeated on each of their following albums ('Le Petit Train', 'Les Amants', 'La Sorcière et l'Inquisiteur').

In spite of what I've written so far what's so special about this album and the group is the perfect meshing and switching between live band sounds and the ability to utilise synths, drum machines and effects for such alien sounding results. It also helps that the album is expertly structured. The three main singles - which are upbeat and importantly quite different from one another - give way to the centre of the album, which is dominated by slower numbers ('Vol de Nuit', 'Stupid Anyway', and 'Un Soir un Chien'). While none of these conform to the Chanson genre, they do go a way to emphasising its fundamentals. Catherine's voice (on most tracks) is free to establish a mood however contrary the backing track may initially sound. It's unfair to state and restate Catherine's contributions, but if this review manages anything, I hope it gets close to expressing my adoration and respect from her vocal style. She manages to sing like a stylised Kate Bush or a throaty Bjork while being completely unique.

Another new element is a more pronounced Rock direction. On 'C'est Comme Ca', 'Someone to Love' and 'Bad Days', the guitars and bass guitars are full in the mix. Each manages to straddle that distinction between dance music and rock so perfectly in a manner sort of like New Order or Devo. 'C'est Comme Ca' in particular gets to have its cake and eat it with an energetic Catherine vocal, and a rhythm that flirts between a danceable and rocking, topped off with a superb rock 'n' roll guitar solo.

Returning once more to 'Marcia Bailia', the album closes with a cousin of the hit in the shape of 'Nuit d'ivresse'. The song shares the Latin-tinged acoustic guitar and a light and bright feel. It makes a lovely closer, flipping the more downbeat and paranoid leanings of the middle of the album and finishing on a vibe as joyous as that of 'Andy'.

'The No Comprendo' is such a better album than the first one and is such a more immediate album, but it is so different. In defence of the début, it too is original and touches on styles that the group would never or rarely pursue again; 'La Fille Venue du Froid' is particularly good. But 'The No Comprendo' is the sound of a band on the way up, drunk on success, more ambitious but more aware of their new found pop audience. They could have easily become a one hit wonder, yet the album presents all their strengths and complements them with immediate hooks and great rhythms.

If it's a question of "if you buy only one" Les Rita Mitsouko album, then it has to be this, but I doubt you'll stop with this, they are just so fabulous.
Comment Comment (1) | Permalink | Most recent comment: Dec 28, 2010 4:07 PM GMT


Birds Of Prey...Plus/History Mix Volume 1...Plus
Birds Of Prey...Plus/History Mix Volume 1...Plus

4 of 4 people found the following review helpful
3.0 out of 5 stars Superb value for some inspired moments, 8 Jun. 2009
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'Birds of Prey/History Mix, Vol. 1' is the third in Edsel Records' trio of expanded and remastered pairings of Godley and Creme albums (No 'Goodbye Blue Sky' as of yet though). Together - and with bonus tracks - the material in this collection could be described as the duo's synth-pop phase.

Anyone familiar with Godley and Creme's output will be acutely aware that their ideas and songs veer in quality. They've been known for their musical experimentation, often employing meandering arrangements and odd (sometimes lame) jokes. Concurrently, the pair would produce the occasional pure pop delight - exactly the sort of thing they cranked out regularly as part of their former group; 10cc. I think it's funny that the duo ran away from their faultless pop-smarts, because when they did do pop they could marry the most peculiar instrumentation or sublime humour with a faultless melody. 1981's 'Ismism' featured a pair of super-singles - 'Under Your Thumb' and 'Wedding Bells'- confirmed that their 10cc days pop writing was no fluke. 'Birds of Prey/History Mix, Vol. 1' in turn throws in a few delightful "hits".

In the scheme of things 'Birds of Prey' plays things quite straight, the songs are shorter and simpler than usually found on a Godley and Creme album. For a start there's none of Godley's half-decent rapping/spoken word to be found. The highlights can be found at the beginning of the record (Side One to be precise). 'My Body the Car' is a smart a capella track, while 'Sampson' has a fuzzy and skuzzy electronic mock-reggae arrangement. Godley turns in a great vocal on the single; 'Save a Mountain for Me' which brings together a chain-gang pastiche and big, clanging-eighties drums. The absolute highlight is actually 'The Worm and the Rattlesnake'. The song's clattering percussion with a thumping drum machine and hand claps moves with great momentum. The track could almost be classed as new wave and comes across like something halfway between Sparks and New Order.

'History Mix, Vol. 1' isn't a normal album, but is actually a remix album that condenses 25 years of Godley and Creme material. The majority of the album consists of two long mixes that weave numerous samples and song fragments over an abrasive drum machine. When it works which is mostly during 'Wet Rubber Soup' it is a fun and unique experience. When it doesn't the music can be really annoying.

Sandwiched in between the lengthy mixes is THAT song with THAT video. I'm referring to 'Cry', which is one of slickest songs of Godley and Creme's career and recalls 10cc's 'I'm Not in Love'. The connection between the two songs is made overt in the sampling of "Don't Cry" from the "Big boys don't cry" section of 10cc's hit. The song is phenomenal, in part because of a clean mix - courtesy of Trevor Horn - but also because Godley's vocal is one of his very best and most expressive. He really was too good a singer to be only doing backing vocals for 10cc.

The bonus tracks on the two discs are nice to have, but aren't anything too substantial. It is good to have 'Welcome to Breakfast Television' and the single mix of 'Cry', but will you really get that much out of three very similar versions of 'Golden Boy'? Additionally, the mix of 'Snack Attack' is actually the 'Ismism' album version, and not the 1987 remix; and edit of which appeared on the popular 'Changing Faces' compilation.

This double disc set isn't 100% quality but at such a low price it is completely worthwhile having. Get it if only for 'The Worm and the Rattlesnake' and the longer album mix of 'Cry'.


Re
Re
Price: £19.35

3 of 3 people found the following review helpful
3.0 out of 5 stars Remix albums are always messy and this ones no different, 2 Jun. 2009
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This review is from: Re (Audio CD)
The rear sleeve of 'Re' claims that "This is not a compilation album" but it pretty much is one. What I think this proclamation meant was that this CD is not a greatest hits or singles album. The songs present are versions of eight of the groups singles which is nearly all of them at that point in Les Rita Mitsouko's career.

In terms of content, 'Re' (as in Re-mix) is a compilation of twelve inch mixes along with a few newly commissioned remixes and a re-recording of 'Don't Forget the Night'. The album has a sort of accidental unifying concept in respect that band member Fred Chichin remixed half of the material, while William Orbit produced three of the other mixes. Chichin's mixes of 'Nuit d'Ivresse', 'Le Petit Train', 'Andy Live' and 'Jalousie' range from punchy and inventive to disappointingly washed-out and meandering. Chichin is a genius arranger and musician but he doesn't really have the chops to turn in concise club-orientated mixes or trippy/dubby re-works. Orbit's mixes all work to a formula - extending the originals, adding more of a groove to the percussion and warping the main hooks - but it is a formula that works.

The remaining tracks are a mixed bag. Jesse Johnson's take on 'Andy' reduces the track to a skeletal arrangement that isn't particularly interesting over six minutes. The mix of 'Marcia Baïla' is the low point of the entire set, and Les Rita Mitsouko have only themselves to blame as the produced the mix! All that is changed is the insertion of a firm (and awfully repetitive) drum track. Rather than pitching the song up for clubs, the new drums reduce the song into something that feels wearisome and plodding.

In the midst of all the other mixes of varying quality are the album's two definitive highlights. One is the extended twelve inch version of 'C'est Comme Ça', which amps up the drums and extends the track in all the right places. The other is the re-recording of 'Don't Forget the Nite'. This new take is the number one reason to purchase 'Re'. Working with Tony Visconti; Les Rita Mitsouko give the track a faster (dare I say) indie sound. This new incarnation is a lot fruitier, with cooing backing vocals, a funky bassline and has a nice, almost surf-rock guitar solo at the end. Yet, the most striking element of the track is the intro, which incorporates the first verse of 'Amnésie' (from the groups début) but sung in an airy ethereal manner with a touch of Catherine Ringer's unique high-pitched vocal delivery. It's beautiful.

'Re' is a bit of a mess, but it has enough quality material to warrant a purchase. On top of that, their (nearly perfect) Best of album is almost impossible to buy, while Re is fairly easy to find and serves a similar purpose. This makes 'Re' work as something of a retrospective after all.


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