Favorite 50: 2024 Edition, Part 2
There's only one more part in case you were worried. I'm not going to GRRM you
This is the second installment of our year-end series. You can find Part 1 here.
Whatever I wrote last time: double it.
25. Abyssal - Glacial (Transylvanian Recordings)
From: Tijuana, Mexico
Genre: funeral doom
Glacial is indeed darker, using a starker palette of timbres. Ruiz, who handles vocals, guitars, and bass on the album, is joined by session drummer Fernando Morales and longtime member Luna on “additional spoken words.” For one exception, all three set their contributions to crushing dismalness in all possible volumes. For instance, “Glacial” begins with a slow build of quietly despondent guitars. Soon, that first strum of deafening distortion kicks in, mirroring the album artwork created by Primitive Man/Vermin Womb’s Ethan Lee McCarthy, a textured miasma of harsh blacks and grays. From there, the song acts like an exorcism of negativity, delving deep into pitch-black portions of the soul, something that’s effectively conveyed via the various sections with whispered vocals.
24. Mean Mistreater - Razor Wire (Dying Victims Productions)
From: Austin, TX
Genre: heavy metal
“Let ‘Em Roll” is that package. The twin-guitar attack of Alex Wein and Quinten Lawson craft leads and riffs that flash like lightning and rumble like thunder. Bassist Jon Gibson and drummer Joaquin Ridgell rip through muscular rhythms that have the horsepower of a hot rod. And Gonzalez can absolutely wail, belting out hooks with a power and grit that achieves that heavy metal ideal. And all of that makes sense. Mean Mistreater are that band. They’re not play-acting as a heavy metal entity. It simply is heavy metal.
23. meth. - Shame (Prosthetic Records)
From: Chicago, IL
Genre: sludge / noise rock
Indeed, SHAME’s wretchedness builds up like a pressure cooker. Sonically, meth. end up in a similarly tense territory to a band like Black Sheep Wall if they were more indebted to Public Castration Is A Good Idea-era Swans. And songs like the title track, an impressive squall of howling amplifiers that makes good on Farrar and fellow guitarist Michael McDonald’s textural proof of concept, rise to the high-level tension-teasing songwriting of noise rock pain merchants like KEN mode and Great Falls. But there’s something else here, too. SHAME is one of the best albums I’ve heard this year that encapsulates what it feels like to deal with trauma and how its virulent knock-on effects — the guilt, torment, and shame — pervade every inch of your being with no relief.
22. Bilious Miasma - Bilious Miasma (KTFQ)
From: Parts Unknown
Genre: black metal
All hail Ordo Vampyr Orientis, the collective with more BMs than a GI doctor's lab. For me, 2024 will end up being a lost year for black metal. I lost interest in most new stuff mainly because the external forces at play in my life weren't giving me the prompts to be like, "Oh, do you know what I need to listen to right now? New black metal." I was beaten down, so I needed music to beat me down. Everything was chaos, so I desired chaos, etc., etc., etc. So, for Bilious Miasma to surface above the BDM sewage that mostly filled my ears this year is a testament to its goodness. Granted, "new" is a bit of a misnomer: its self-titled debut definitely bends more toward the classic contours of the genre. If this record was a lost Moonfog release found in the back of Satyr's van that naturally has the cover of Dark Medieval Times spray painted on the door, I don't think anyone would blink. But it's also just good in a way that things from 2024 know how to be good, taking the best elements from the past and aligning them to please modern ears. A lot of bands do that, sure, but the reason why Bilious Miasma excels is because it retains that original Helvete spark, that live wire, that sense that everything could go off the rails. It still feels like the members are flying by the seat of their pants, like many of the early second-wave black metal bands. Plus, and this is a very technical, music-school observation, so I'm sorry for getting so in the weeds on this stuff, Oneiric's voice is cool as hell. It's cool in Doldrum. It's cool in Erraunt. It's extra cool here.
21. Theurgy - Emanations of Unconscious Luminescence (New Standard Elite)
From: [Daft Punk voice] around the world
Genre: brutal death metal
So, let’s talk about those CVs. If provided the intel above, perhaps one could sketch a rough outline of what Theurgy might sound like. Finco is newish to goo; Theurgy is clearly his baby, but he also hopped aboard the budding international band Deprecatory as a vocalist for an EP this year, so he knows his way around the br00ts. Iacovella, on the other hand, is a known quantity in the world of progressive death, turning heads last year with Lunar Chamber on its debut EP, Shambhallic Vibrations, which is the closest a band that hasn’t picnicked in the Garden of Ma’at has gotten to Lykathea Aflame. Theurgy’s recipe, then, is simple: Take the third-eye-pried, transcendental melodic inclinations of Iacovella’s other gig, slather it with Finco’s technical fury, clamp it together with the rhythmic glue of Talwalker’s constantly shifting, Defeated Sanity-esque rhythms, and splurt Beokhaimook’s from-the-gut, power barfs on top like frosting. There you go. Makes sense. And yet, no. Absolutely not. It absolutely does not make sense. Those are just words. The actual article, the brain-mulching music, is something else. This stupid blurb can’t capture that. No, this stupid blurb is the equivalent of reading about a 100 mph fastball in a scouting report versus getting buzzed by one during a game.
20. Serpent Column - Tassel of Ares (self-released)
From: Parts Unknown
Genre: black metal
“The Long War Of Essential Struggle,” Tassel Of Ares’s nearly 18-minute centerpiece, is when that feeling of divine delirium reaches a fever pitch. It’s a longform, no-hyperbole journey that is an instant reminder of Serpent Column’s power, as much as something clocking in at over a quarter of an hour can be instant. It’s also an encapsulation of everything the band can be, the artisan excelling at patiently constructing chaos, the architect of ataxia. Few modern metallers can write a riff like Serpent Column, those gloriously knotty arpeggios that are slashed to bits by attacking strums.
19. Submerged - Tortured at the Depths (New Standard Elite)
From: San Diego, CA
Genre: brutal death metal
Submerged, which was a trio on Tortured At The Depths, the band’s debut full-length, was one of two new-student-in-class BDM introductions from San Diego, California, this year. The other comes from the related Regurgitated Entrails, a much more ignorant purveyor of pummel that wears a song title like “Squelching Schizophrenic Derangement” proudly. However, unlike its chunky sibling, Submerged is a speed demon. Also, maybe a sea demon? As evidenced by the opener, “Infested With Barnacles,” and the Jon Zig artwork of a diver getting torn asunder by some monkfish-ass-looking tentacle beasts, Tortured At The Depths sports a (mostly) nautical theme. “For their crushed dreams and goals,” singer Erick Rincon growls on the abovementioned “Barnacles,” “Their aspirations one surface away/ They boiled and consumed our brethren.” So, it’s kind of like full steam ahead Brodequin if it had “Under the Sea” on the brain and desired to live out the revenge fantasy of all lobsters. Watch your ass, Jacob Knowles.
18. Embryonic Devourment - Prime Specimens (self-released)
From: California
Genre: brutal death metal
On the page, that makes Prime Specimens seem like a mess, the kind of fractured timeline that would result from Christopher Nolan starting a brutal death metal band. Old practice recordings with a fresh coat of new riffs? What, is this Goatlord 2024? And yet, thanks to Petersen's mix and master, along with the combined virtuosic abilities of the players, these 10 songs absolutely crush. The sound is full, defined, with plenty of separation between the instruments. The compositions are unbelievably well-structured while maintaining the live-wire looseness of an in-the-flesh performance. This was from a practice session? Are you sure? That's like calling the Chicago Bulls's first three championships a practice for its next three-peat.
Guitar Nerd Energy
Per Hunter Petersen, the scintillating solo-slaying sicko behind Trichomoniasis, Potion, and Chloroma, a brief brush with another metaller filled a vital role in the young brutalizer's life. "I was also lucky enough to have been introduced to Disgorge freshman year of high school by some kid named Glenn that I hung out with like five times ever (thanks …
17. Aseitas - Eden Trough (Total Dissonance Worship)
From: Portland, OR
Genre: death metal / prog
As Aseitas says, “Writing was a balance of indulgence and keeping things lean,” and that’s no clearer than on “Tiamat.” The 10-minute penultimate brain-melter is the epitome of what makes Eden Trough unique. “‘Tiamat’ was conceived with a mind to explore counterpoint guitarwork,” and, jeez, do the guitars get a workout here. The opening riff is that prog death good stuff. Guitarists Gage Dean, who also plays bass, and Travis Forencich keep that riff moving, continually iterating on its badassery while it dips and dives through numerous permutations. Drummer Zack Rodrigues stuns with an avalanche of rhythms that always land in the right spots. And vocalist Nathan Nielson is able to dexterously dart in and out of the pocket while maintaining a varied and engaging delivery. Then, at 4:40, “Tiamat” takes a turn toward one of the best stretches of metal this year. After a brief reset with quieter guitars, Aseitas launches into a glorious section that’s like if Opeth commandeered Nothing-era Meshuggah. It is absolute bliss if you’re a particular type of metal fan. And the fact that this song fosters flow states that make it feel like a tenth of its actual length is a sonic miracle for a work this dense and complex.
16. Mayhemic - Toba (Sepulchral Voice Records)
From: Santiago, Chile
Genre: thrash / death metal / black metal
Besides its breakneck proclivities, Mayhemic’s adeptness at spinning a good yarn is its other strength. Much of Toba focuses on the primitive. Mayhemic wields a skull-crushing club on “Kollarbone Crushed Neanderthal,” a song about Homo sapiens challenging its fellow primate. “Triumph Portrait” does a five-minute thrash roundup of the Black Death. My favorite of the bunch is the instrumental “Eschatological Symphony,” which is exactly that, a thrash symphony (thrashphony?) that might’ve been a respected part of the classical canon if bygone composers had the privilege of hearing Pleasure To Kill. This stuff just works: barbaric music about ancient barbarity, hellish howls about past hells, violent metal explosions about world-ending volcanic events. When Toba gets going, it sounds like a roller coaster car getting speed wobbles, ready to jump off its track at any point, which is the real thrill of thrash. But don’t sleep on the songwriting, which is like when an action movie has a great script. EXT. VOLCANO – MAGMA-FLINGING MOUNTAIN – REVELATIONS-ASS END TIMES: Kaboom.
15. Fórn - Repercussions of the Self (Persistent Vision Records)
From: [Daft Patriot voice] around the USA
Genre: doom / sludge
The slo-mo churn of sludge, notably the funeral variant Fórn has spent over a decade formulating, is a good vessel for exploring the nearly imperceptible slow creep of change, that moment-to-moment, second-to-second perpetual tick and tock of time. Unlike occurrences of instant upheaval, what Fórn explores hangs around in the background. It’s the lifetime of experiences, memories, and feelings — the totality of reality that doesn’t feel like much at the time because one is living through it — that act like droplets of water carving a canyon. You’re always you, and then one day, you’re different, sanded down into a shape your younger self wouldn’t recognize. But “Pact of Forgetting” is about another type of change, too, the eternal tug-of-war between the past and the future and the life-shaping narratives one needs to disentangle oneself from to stop repeating the same mistakes.
14. Abhorration - Demonolatry (Invictus Productions)
From: Oslo, Norway
Genre: death metal
Got to say, those are pretty good descriptors for “Demonolatry.” Guitarists Garathun and Nekromantheon/Obliteration’s Arild Myren Torp race through riffs with some of that Goatlord-derived, tech-before-tech complexity while ensuring that each solo break scintillates with panic-shredding, whammy-bar screams. Drummer Kvam and bassist Andreas Hagen hammer the grooves home with the muscular efficiency of a pile driver while unleashing blasts that have the bloodthirstiness of a vengeance-seeking subway car in the Maximum Overdrive universe. Aggressive, evil, brutal; rips. I didn’t think there would ever be a successor to Condor’s Unstoppable Power, but Abhorration is it. Everything old can be new again, I guess, and old-school death can be brought back to life.
13. Nimbifer - Der böse Geist (Vendetta Records)
From: Hanover, Germany
Genre: black metal
I gave up on black metal in 2024. Most of the higher-profile releases are incredibly dull, and now that black metal is the most popular and populous underground music genre, the subterranean world is stuffed with half-assed garbage. Talk about putting the "zzz" in "zeitgeist." So, yeah, I'm burned out. To wit, the only albums I even considered for the top of this list were from bands like Serpent Column, Ὁπλίτης, and Bilious Miasma, that being outfits either a thousand miles ahead or staunchly old-school. (Is Scarcity black metal? Tune in next time?) Nimbifer belongs to the latter camp. Der böse Geist is what most people would call a second-wave experience: tremolos, hanging drones, hypnotic blasts, frosty leads. It's like a cold draft blowing through a castle. And in a year where I've decided that I'm pretty much done with easily identifiable black metal, that probably wouldn't be enough to pique my interest. But Nimbifer is so good at this stuff, infusing each second with an undeniable catchiness. Also, and this is a lesson any young band should pay attention to, the German duo goes hard as hell. Really, you can solve most of your music issues just by going hard as hell. In a year when I put most black metal on ice, Nimbifer's flame burned bright.
12. Effluence - Necrobiology (Putrefactive Recordings)
From: California
Genre: extremely hard bop
Here we go: “Ravenous Putrid Fleshfeast.” Lol. From the jump, you can tell this Effluence cut is closer to the Disgorge (Mex) school of BDM, particularly that band’s definitive statement, Necrholocaust. (The fact I’ve mentioned Necrholocaust twice this year in Stereogum amuses me to no end.) And then, as Effluence does, the track gets strange, using brief breakdowns to unleash improvised squalls of woodwinds, John Frusciante in a blender guitar squiggles, and clattering free-time percussion fills. At 2:44, “Ravenous Putrid Fleshfeast” trips into the Twilight Zone, becoming a noise-ambient track worthy of Namanax. Then, the switch is flipped to full modern avant-garde mode: Krzysztof Penderecki if he were into Dave Douglas and, uh, blast beats. It’s the entire Effluence experience in four minutes — head exploding, loling, WTFery. Hell yeah, for me. Your hell yeahs may vary.
11. Replicant - Infinite Mortality (Transcending Obscurity Records)
From: New Jersey
Genre: death metal
Behold the "blech!" That cousin of the OOGH is one of the moments when you know Replicant will be a fitting bridge for hardcore kids once they're ready/smart enough to make the jump to death metal. I mean, they're already Torture-curious, so why not do the real deal? Replicant is that, and they've already got the tagline: "Gorguts for morons," a sick burn one doughy keyboard warrior, or "trash can hands" in the Zao parlance, tried to swing like a sword that actually ended up knighting the New Jersey death metallers. Whoops. Anyway, let's chat about chugs. You know that one day, Replicant will be leading the pack at Philadelphia Hardcore as a gaggle of grandkids start doing E. Honda moves in the pit. But Replicant is more than just sick riffs, although sick riffs account for much of Infinite Mortality — sick title, by the way. One does not earn the Gorguts tag, even in jest, without doing some wackadoo shit. For every bare-knuckle beatdown, Replicant also kicks out a discordant din of weird tones and atypical playing. All of it combines into a package that's like getting your master's degree from Miskatonic University while matriculating in the mosh pit. New Jersey death metal supremacy.
10. New Money - Dinero Nuevo (self-released)
From: Copenhagen, Denmark
Genre: noise rock / metalcore
Thus, you get something like the riff at 1:21 in “Perpetual Stew,” an askew groover that is the epitome of a Mathcore Index mating call. Think if Coalesce played Car Bomb. Sauffaus’ drums pound, Bonnesen’s guitar snarls, and Tornby’s bass rumbles. The mosh incitement of “As above, so below/ Arf arf” is also one for the books. All of it is metalcore extended universe gold, deserving a bust somewhere between Kiss It Goodbye and Ed Gein. That said, keen ears will hear that “Perpetual Stew,” while exhibiting classic markers, doesn’t sound like it’s cut from the same cloth as those classics. You can tell something else is happening underneath the hood that sets New Money apart. And that engine is fueled by a band that writes riffs not in the key of the style’s history but the history of themselves. Thankfully, New Money are rich with experience, too.
9. Kraanerg - Heart of a Cherry Pit Sun (self-released)
From: Houston, TX
Genre: prog
What Bergrin has composed is daring in its complexity, a many-sided marvel that never fails to unveil something new. There are, of course, the sonic layers. Bergrin, who plays piano, synths, and additional guitars, is joined by Laktating Yak’s Angel Garcia (drums, vocals), Kostnatění’s D. L. (guitars), El Mantis’ Danny Kamins (saxophone), and Daniel Cho (violin), along with some extra “ambience” by Tchornobog’s Markov Soroka, who also mixed and mastered the album. These players construct not just a wall of sound but paint a vibrant, detailed mural upon that wall. Every section is packed with independent points of interest, aural brushstrokes with their own narrative arcs, that unifies as a greater whole. It might be trite to write, but in that respect, Heart Of A Cherry Pit Sun echoes life’s expected and unexpected contours in the grander sense and on a smaller, more personal level.
Interview: Nat Bergrin (Kraanerg)
Today on Stereogum, we ran a blurb for Heart of a Cherry Pit Sun, one of my favorite releases of the year. The three-song album is a welcome burst of emotion, a gamma ray from the spirit, that is also a brainy, detailed work recommended to any sound enthusiast. This melding of heart and avant-garde art is irresistible to me, one of tho…
8. Oxygen Destroyer - Guardian of the Universe (Redefining Darkness Records)
From: Seattle, WA
Genre: death metal
On “Shadow Of Evil,” Oxygen Destroyer hits a frantic high from the jump. Between the sonic boom OOGH and the start of the rough-as-a-cat’s-tongue, rasping vocals of the verse, the band consumes many notebooks full of headbangable riffs, the kind of involuntary neck-snappers that will keep chiropractors in business for eons. For the rest of the track, the terrain quickly shifts beneath the listener’s feet as fleet rhythms explore the outer boundaries of thrash extremity while panic shredding solos chase closely behind them. All of this happens in lightning-fast miniatures. It’s the thrash journey — that classic songwriting standby when the bridges and codas sprint through an instrumental odyssey before returning to the main section — condensed to highly concentrated laser-like zaps.
7. Convulsing - Perdurance (self-released)
From: Melbourne, Australia
Genre: death metal / big feelings
The feelings are, of course, appropriately big. During our 2022 conversation, Sloan mentioned his fondness for the genre tag “big feelings music,” which was then used to describe bands in the alt rock renaissance. There was a hope that “big feelings metal” would be allowed to take root. Perdurance is “big feelings metal” blooming. The feelings here are universal, delving into pain, hurt, and fury, but rendered with such poetic grace that it feels like Sloan has insight into your life. “I know the way/ To cause the pain/ Necessary to know,” Sloan growls on the Azagthothian “Flayed.” “Shattered Temples,” with its driving, purple-castle riffs filtered through an Opeth or Inanna progressiveness, channels the maddening frustration with oppressive leaders that hang onto power; “Passenger to poisoned world/ ruled by the whim of small men,” Sloan screams at that song’s outset. While it’s always up for interpretation, like any good art is, these songs make me feel because these are things I’ve felt before.
6. Concrete Winds - Concrete Winds (Sepulchral Voice Records)
From: Finland
Genre: death metal
And thus, here we are again, back to “Infernal Repeater,” another fitting title for Concrete Winds’s incessant desire to wage an all-out onslaught. Nestled into Concrete Winds‘s four-hole and batting behind a couple sub-two-minute speedsters, “Infernal Repeater” opens with PJ’s phlegm-flinging roar. Before you can even appreciate the stridency of that scream, Concrete Winds is off and blasting, blazing through several cyclonically circular sections that are like 20 Slayer stuck grooves playing simultaneously. Enter churning chugs that give the track something of a dynamic tempo in the same way that being thrown out a window during a car crash and then getting run over by another car might be a dynamic experience. Enter the solos, the epitome of steel-melting shred. They sound like having a panic attack over a panic attack. And then, the song is over. A brief outro of static sets up “Subterranean Persuasion”‘s pounding industrial-y intro before you get to do it all again.
5. 夢遊病者 - Delirium Pathomutageno Adductum (self-released)
From: Parts Unknown
Genre: parts unknown
I caught a trio of Betzy Bromberg short films this year during a retrospective of the director's work. I described Soothing the Bruise thus: "It's like you're looking inside the consciousness of another person, and these are all the moments the mind snips out before reconstructing lasting memories." That's 夢遊病者's Delirium Pathomutageno Adductum to me. The word "swirl" has become overused as a critical crutch these days, especially with the nth-wave of shoegaze, but I don't know how else to describe 夢遊病者 sonically. It's a swirl. It's a swirl of those involuntary thoughts you have five minutes before falling asleep, when the weird and surreal start leaking into your reality through the fissure opened up by impending dreams.
Delirium Pathomutageno Adductum once again surrounds the shadowy band with an all-star cast of collaborators. What's fascinating is that 夢遊病者 doesn't force any of them to bend to its will. It's like it said, "Just do you." And they did. You end up with this extra-engrossing album that sounds like five albums at once, a real Coltrane's Ascension-type approach to metal. Power metal licks, folk vocals, jazz, and more all collide together into this badass, dense din. I've said it before, but 夢遊病者 is post-metal in the sense that it is post-metal. This is the sound of the future, and that transmission has been squashed together thanks to an advanced codec we can't quite yet decode. There's nothing else like it in our little corner of the world. I often gush about a band's unique voice, but Delirium Pathomutageno Adductum is it, the real-deal article. And yet, because of its dreamlike state, you have to ask yourself: Is it even real at all? Are we awake, or is 夢遊病者 telling us to wake up?
4. Couch Slut - You Could Do It Tonight (Brutal Panda)
From: New York, NY
Genre: noise rock
It’s difficult to think of a better way to describe Couch Slut’s music than bashing oneself in the skull with a microphone. This is some primal, aggressive stuff — losing yourself in the moment and hearing about it later from worried friends. Nobel and bassist Kevin Hall lay into these devastating lurches with the walk cycle of a hideous monster. Guitarists Amy Mills and Dylan DiLella (also of Pyhrron, the band whose singer wrote a bunch of blurbs you read a couple minutes ago; Doug also has two guest spots on this record to go full disclosure) trade off on the harrowing job description duties of grinding out sickening jud crunches that sounds like someone fell into industrial gears and screeching out hair-raising howls that put the horror in horripilation. And then there’s that trademark, soul-incinerating Osztrosits scream that, no matter how many times you hear it, never fails to make you feel the phantom sting from the first time they lashed you.
3. Scarcity - The Promise of Rain (The Flenser)
From: New York, NY
Genre: black metal, I guess
But Scarcity’s strength is leaving the music open to interpretation. To my ears, “The Promise of Rain” feels so much like finding acceptance in one’s given situation. Unlike The Promise of Rain‘s opener, the thrillingly caustic “In The Basin Of Alkaline Grief,” Randall-Myers and DiLella’s riffs feel more in sync, giving the song a more assured, unified quality. Then, there are the lyrics, some of the best of Moore’s career. “For I, too, am marred and strange,” he sings. “By sun and wind and stars deplored/ A vagrant flood, a moth to flame,/ Adoring your unearthly forms.”
2. Defeated Sanity - Chronicles of Lunacy (Season of Mist)
From: [Daft Punk, but in a German accent] all over the world
Genre: brutal death metal
So, on “Temporal Disintegration,” you get Josh Welshman’s pliable-like-taffy growls. You get Vaughn Stoffey’s killer squelch cannon juds and Rubik’s Cube widdles. (Also, is there a sneaky quote of Suffocation in there?) You get Jacob Schmidt pulling double duty as a uniting force with demonic Tetris bass lines and wild, wobbly bowel emptiers. And you get Lille Gruber reaffirming his place as one of the best drummers in death metal. Defeated Sanity gives you it all because this is a for-the-diehards song on a diehards album. But as previously stated, it’s a hell of a potential intro, too, as easy as Defeated Sanity is ever going to get. That duality is Defeated Sanity in the year of our blargh, 2024: You get it all. And, to that end, Chronicles of Lunacy is worthy of being called Defeated Sanity if the band wanted to.
1. Pyrrhon - Exhaust (Willowtip)
From: New York, NY
Genre: death metal / noise rock
So yes, Exhaust is Pyrrhon through and through. It’s a band flexing its singular ability to channel the too-real rot of reality into the music that possesses the same clarifying effects of a near-fatal car crash. Same as it ever was. But no, like how time changes us all, this is a different Pyrrhon, too. “I like to think that we also have a clearer sense of who we are, and how to get the most out of our efforts when we make them,” Moore explained to Lelahel Metal regarding the band’s trajectory. “Beyond that, we wake up earlier and have more joint pain than we did in 2008.” Sure. But if I may, let me float this idea: If Pyrrhon can rage against the dying of the light this hard, finding its best self in midlife when so many other facets of culture believe you already have one foot six feet deep when you cross the age of 25, then Exhaust is a compelling reason to keep waking up. Can I prove it? Yeah. My favorite riff is right there. And I want to hear it again tomorrow and the day after that until I can’t anymore.
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