Top 50 Albums of 2019 — Part 2 — #30-#1
Listen. Lists are weird. This is mine. It grows out of so many factors throughout a year that it’s hard to quantify. I hope you find something interesting that maybe you’d missed this year. Thanks for reading! (Apple Music playlist of all 50 albums at the end of this post!)
Oh and the first ten are gonna be batched like the previous post:
Numbers 30 to 21 (Alphabetically)
Blood Incantation — Hidden History of the Human Race
I’m a sucker for a good prog-metal record if it doesn’t go too off the rails. And Blood Incantation keep it tight. Solid riffs that build and swirl around each other instead of just incessant noodling and showboating. And at only 37 minutes in length, I never get bored (a problem with a lot of progressive rock/metal). It’s paced well too, with some jazzier moments to break up the insane shred. Really enjoyed this one.
CHAI — Punk
This record is just really fun. These Japanese girls really kick up some big dancy energy, catchy hooks, and it just makes me smile. The album cover kind of says it all. That’s how I feel when I listen to Punk!
The Comet Is Coming — Trust in the Lifeforce of the Deep Mystery
Last year one of my top ten records was Your Queen is a Reptile by Sons of Kemet. Sons of Kemet and The Comet is Coming share Shabaka Hutchings as their bandleader and the saxophonist’s style has really captivated me. Compared to the frantic tribal jams of Your Queen is a Reptile, Trust in the Lifeforce is much more of a mood record, combining cosmic jazz with synth heavy sonic landscapes. Very cool. The band released a second record later in the year but, while still good, was not quite as focussed as this one. Worth checking out tho.
Danny Brown — uknowwhatimsayin?
In 2016 Danny Brown released Atrocity Exhibition, a very intense record which dealt with depression and other heavy themes and which was my album of the year. Now Uncle Danny has released a new record that finds him more content and embracing his age. It’s a solid record with some great beats and lines. And there’s no wasted space — it’s only 34 minutes. I like nearly every track, but nothing really WOWed me like Atrocity Exhibition continues to everytime I listen to it.
Greg Foat — The Mage
Sometimes you just have to grab a record because of the album cover. Found this just perusing the jazz section and had to give it a spin. Pyschedelic/mystical artwork and title? Ok! And then three tracks into this album Foat busts out a cover of “Drifting” by Tim Buckley (probably the most underrated recording artist of all time?) and I was hooked. This album is really diverse in tone but never feels disjointed. I love the great jam “The High Priestess” which recalls Albert Ayler somewhat — and that’s always a good thing.
King Gizzard and the Lizard Wizard — Fishing for Fishies
My favourite band to tell someone about out loud (what a great name) released two environmental themed records this year — the boogie-infused Fishing for Fishies and the apocalyptic metal record Infest the Rats’ Nest. They’re both good but Fishies was just so much fun. It’s not nearly their best record as a band (see previous year end lists) but the way they take the boogie sound (which I happen to be partial to) and warp it from a backporch on the bayou to the future in outer space over the course of the record really tickled my fancy.
Matana Roberts — Coin Coin Chapter Four: Memphis
I loved Coin Coin Chapter One, which felt like a history of jazz music underneath the narrative of one of Roberts’ ancestors who bought her way out of slavery and became a landowner, but I missed chapters two and three. Four goes through the experience of a young girl who escapes a lynching while her parents are killed. The lynching being even more frightening because it’s conducted by white families she grew up knowing in town and even in church. Musically it weaves church hymns and ho-down/jamboree melodies into a chaotic free-jazz soup. It’s largely chaotic with a few hooks to ground you, and Roberts’ spoken word portions create breathing spaces to reconnect with the characters. Impressive and challenging.
Pkew Pkew Pkew — Optimal Lifestyles
Pop-punk is back and I love it! Or maybe it never went away?
Ooh-yeah
’Cause we’re the same old kids
That we were before, except older
Yeah, we’re the same dumb kids
Maybe that makes us dumber
Great sing along choruses, high energy, and a general distaste for conventional life makes this a fun IDGAF energy record.
Sunn O))) — Life Metal
The drone-metal pioneers came back in force this year. This record contains some gargantuan riffs and lives up to the band motto of “maximum volume yields maximum results.” This is a pretty middle of the road Sunn O))) record — which means I’m definitely into it. Put this on if you want to float down a river made of charcoal and aurora borealis.
Tropical Fuck Storm — Braindrops
This…is a very strange record — in case you couldn’t tell from the cover! These australian rockers infuse the angular guitar lines of 90s indie with shouts of rebellion against the dystopian world to come (“You’ll be picking Chinese cotton on the moon soon!”). And then they sprinkle in some dance grooves (a la Talking Heads) just for good measure. It’s a lot but it definitely captured my imagination with its intersection of raw emotionality and complex (yet catchy) instrumentation. Kind of like if Idles (one of my favourites of last year) did more acid?
#20 — FKA twigs — MAGDALENE
FKA twigs always seems to be exploring themes of manipulation. She manipulates her voice from song to song. She manipulates her face for every album or song cover. She works with producers who love to manipulate sound (Nicolas Jaar worked heavily on MAGDALENE). While not quite as compelling as some of her other projects (EP2 and LP1 are exquisite) the vocal work on “thousand eyes”, the chaotic chanting over an intense beat on “fallen alien”, and the devastatingly emotional and stripped down “cellophane” are powerful examples of her abilities.
#19 — Oren Ambarchi — Oglon Day
Oren Ambarchi creates long experiments in tension and release. It almost feels like he’s trying to combine the krautrock grooves of Neu! with the droning riffs of Sunn O))). And I am very into it. He’s extremely prolific and it’s sometimes hard to pick through his catelogue to find the exceptional gems. But when an album grabs me, it doesn’t let go (see my review of Hubris in a previous list). One of my favourite tricks he does is create a sort of minimalist electronic beat or soundscape and then have it build slowly in complexity and intensity and then have phenomenal live musicians improvise on top of it. Both Hubris and Oglon Day use incredible drummers to play on and around the beat creating an delicious rhythmic tapestry.
#18 — Swans — Leaving Meaning
Swans have had one of the strongest decades out of any musical group. They released 7.5 hours of music over four albums and two of those records landed in my favourite records of those years, and one made my Top 10 records of the decade. I’m not gonna lie, every one of their records could be a bit shorter. But it’s weird then that Leaving Meaning — they’re shortest record of the decade at 94 minutes) could also afford to be shorter. Don’t get me wrong, it’s got some great moments — for example the last track of the first disc, “Sunfucker” builds to an insane crescendo before exploding into a plodding groove overwhich Michael Gira can layer his insane vocal adlibs. However, by embracing a more meditative and transcendental mood on this record, there are much longer stretches without any magnificent conclusion. To be clear, this is a criticism in comparison to previous Swans records. This is still an ambitious, occasionally frightening, and often beautiful record. The shimmering improvisational collaborations with The Necks on a couple of tracks (notably “The Nub”) and the almost country-turned-drone chant of “It’s Coming Real” are other highlights well worth your time. I really like this record — a lot. I’d just hoped it would live up to the musical monoliths that are The Seer and the almost perfect To Be Kind.
#17 — Poppy — Choke EP
Poppy remains one of the most fascinating multimedia projects of the internet age. On Am I a Girl? (one of my top 10 albums of last year) Poppy woke up to the fact that she is an AI construct and went from cute youtuber girl to fashion icon to killing spree. The music reflected this, going from pitch-perfect electronic pop music to embracing nu-metal riffs and screaming vocals. On Choke, she is depressed and lonely after coming down from the insanity of the last record, and she lashes out as she searches for meaning (“Scary Mask”) before finally meeting GOD on “Holy Mountain.” Musically it doesn’t surprise and schock in quite the same way that Am I a Girl?, but it does build on the mythos and explore new forms of electronic and aggressive music for Poppy’s robotic voice to ooze over. And that’s still very fun for me.
#16 — Carly Rae Jepsen — Dedicated
Is Dedicated actually better than all of those records that ranked lower on this Top 50 list? Probably not haha. But it’s still one of my most listened to records of the year, and there are some really great pop songs on here so screw you, snob (*he tells himself*). It’s my list. Deal with it. The first four tracks are so fun and playful and sexy and just make me happy. This record’s production is good enough to focus on, but the album also has enough broad appeal that it kind of works for any mood and can be played all the way through without much friction. So basically, it’s a solid pop record. And sometimes you need some delicious pop. In the 00’s Kelly Clarkson was my staple for that. In the 2010's Carly takes that honour, and she closes the decade out strong.
#15 — Vampire Weekend — Father of the Bride
Six years after the wonderful Modern Vampires of the City (one of the best of the decade) Vampire Weekend returns with their longest record yet! And while the record is chock full of wonderful moments — the first five tracks are replete with beautiful little production moments and great melodies, and all the duets with Danielle Haim are delightful (especially the country-tinged ‘Married in a Goldrush”) — it’s too long…and probably the band’s weakest record. (Before you get mad, remember, it’s still #15 of the year. This band is great!)
While no track actively detracts from the listening experience, this record could have used a little more editing. I wonder if it suffered from the classic “this is a concept album, we need more tracks to fill in the story” problem or if it’s just a result of bandmember (and main producer of the first three records) Rostam Batmanglij leaving the band. Probably both. Anyway, there’s a really great 40 minute album in this 58 minute album. The fact that the style continues to change from song to song makes this a great record for road trips.
#14 — Little Simz — Grey Area
“You’re not listening,
I said it with my chest and I don’t care who I offend!”
Little Simz comes out swinging on Grey Area and follows through right to the end with one of the best hip hop records of the year. She comes from a position of strength but isn’t scared to speak to her struggles and the injustice of the modern world. “Boss” is all swagger with a grumbling beat while “Wounds (feat. Chronixx)” talks passionately about gun violence over a melancholy beat reminiscent of “Forgot About Dre.” And if you came for bars, watch the fuck out because “Venom” is pure fire and flows. Simz is one to watch for sure.
#13 — PUP — Morbid Stuff
More pop-punk goodness. Huge production without compromising the raw energy. Anthemic shout alongs, like the stone cold “Just coz you’re sad again doesn’t make you special!”, are found on almost every track. This record tackles relational strife and personal mental health with brute force — like who has time for subtelty? This is a FEELINGS record, not a rational one. And that’s actually quite refreshing.
#12 — Liturgy — H.A.Q.Q.
2011 was a great year for experimental black metal with four bands pushing the direction of what it could be. Krallice released the hypnotically stripped down yet relentlessly ferocious Diotima. Wolves in the Throne Room released the restrained, and often lovely, Celestial Lineage. Deafheaven released their debut Roads to Judah which began their adventures into combining shoegaze with black metal. and Liturgy released Aesthethica, a glitchy and occasionally electronic sounding record full of complex swirling instrumentation and pissed off everyone by releasing with it a manifesto outlining what black metal could be and should aspire to be. And then, with a few exceptions, nothing really remarkable happened for the rest of the decade. Seriously, maybe two or three black metal records in the next 8 years. So I was completely surprised and delighted when H.A.Q.Q. lived up to the exciting potential of 2011.
Are Liturgy’s intent and lyircs still completely incomprehensible without a philosophy degree? (and maybe even with one?) Yes. Entirely! Look at that album cover! WTF? But at the same time musically there is so much of interest packed into this record. There are harp passages on “God of Love” that add an angelic quality to the intense instrumentation and screeching vocals. There are recorders which play tunelessly (at first) in the background of “HAJJ” which slowly coalesce into quite a lovely chorus by the end. It’s a remarkably complex record with lots of excellent innovation on the black metal formula and some really exquisite performances. Definitely has me excited for what the future might once again hold for a genre I had mostly given up on.
#11 — Otoboke Beaver — Itekoma Hits
In the last four or five years, I have discovered that I have a very soft spot in my heart for female-fronted japanese rock and punk rock bands. Often I don’t know why. It just makes me happy. I think it’s something to do with the infusion of punk rock music with the strong melodic inclinations of J-Pop.
This isn’t that. This is pure, raw, kick-your-teeth-in punk rock (14 songs in 27 minutes!). The first track on this compilation of tracks from Otoboke Beaver, “Datsu: Hikage No Onna” opens with the refrain “I hate you!” over and over. There are very few english lyrics on this record, but the ones that are there really get the message across!
But musically this is hardcore. Some of the instrumentals would fit in with the best of the Dead Kennedys. The bass playing has that speedy bounce which I love, while the drums just hit so hard. “S’il Vous Plait” hits some nice surf grooves. But one of my other favourites is the call and response of the intro to “Don’t Light My Fire” followed by blisteringly frantic riffs and then the “Go to hell!” breakdown at the end. Seriously. From front to back this record kicks so much ass.
#10 — Nick Cave and the Bad Seeds — Ghosteen
Nick Cave is one of the greatest recording artists of the last 3 decades. He’s known for his intensity — nightmare inducing lyrics, ferocious live performances, a receding hairline that could fit on any comic book villain. But Ghosteen reveals him to be a true elder statesman of our music world. Having lost his teenage son earlier this decade, Ghosteen explores loss and grief, and finds beauty in the world on the otherside.
Musically the Bad Seeds have never stayed more out of the way. Lush synths, smooth crescendos, gentle flourishes — every note knows its purpose. And that purpose is to provide the perfect canvas for Cave’s voice. His rich baritone, slow and deliberate, paints picture after emotionally charged picture. He sounds old for the first time — but not in that thin way that some people age. Rather he sounds wiser and more vulnerable and undefeated by the harshest realities life can throw at a person.
It’s a long and cathartic journey. If 70 minutes seems like too much of an undertaking, I highly recomment at least listening to the final three tracks (which make up the entirety of disc two). They showcase excellently what this album represents — a powerful psalm of lament.
#9 — Sunn O))) — Pyroclasts
I almost considered combining the entries for Sunn O)))’s two records this year, especially since Pyroclasts came out of the Life Metal sessions. But, even though this is technically just 4 b-side improvisations, I like it so much more. Each track is about 11 minutes and drones along in a single key. There are no cataclysmic events or slow riffs, just walls of sound, each with a unique flavour or elemental property. There’s not much excitement, just a weighty mood, and I have found these four pieces very comforting in some of my darker moments this year. There is no expectation, just a loud and weighty now. And many of them are lovely, like the cover art. I’m very glad that these tracks were not thrown away or buried, even if they were never intended to be heard, because they have resonated with my soul.
#8 — clipping. — There Existed An Addiction To Blood
From the serene to the horrific. There Existed An Addiction To Blood is unapologetically a horror record. Minimal beats with sharp jabs. Sometimes there isn’t even a solid beat, just textures for Daveed Diggs to spill his eloquent and unnervingly anxious bars over. While there is some schlocky horror camp mixed in (especially the interludes) much of the horror is rooted in its reality — racial tension (“Blood of the Fang”), disappearing friends (“He Dead” with that amazing Ed Balloon vocal feature), and the loss of innocence from the violence of our modern age (“Club Down”) permeate the record. There is something relentless about the mood and tone of this record that makes me genuinely unsettled. And Diggs’ lyricism is as sharp and versatile as ever. A real example of why hip hop is often the most interesting and exciting genre these days.
#7 — Kero Kero Bonito — Civilisation I EP
Kero Kero Bonito have always been fun. But on their last record (one of my favs of last year) they hinted at some more ambitious and experimental sounds to their dreamy and brightly coloured power pop. This “single”/EP pushes their sounds in new directions and I am totally digging it. Incorporating new wave synths and some more intense guitar work into their sound makes for three really fun new songs and I’ve played them A LOT.
I got to see KKB live this fall, and it was SO fun. I was smiling the whole time. Those live vibes may be part of why this EP is so high but it’s also just solid songwriting with good production. Oh and their guitar player SHREDS live. Surprising and delightful. If you have time you should 100% look up all of the crazy and diverse songs they covered on this tour.
#6 — Alex Cameron — Miami Memory
Alex Cameron is back with another album dedicated to the dirtbags, underdogs, and sexy outliers. Right off the bat, with the opening track (and it’s catchy “I’m your STEPDAD!”) Cameron is walking that fine line of playing a sympathetic loser. “Stepdad” has a man (who’s being kicked out) trying to use his last conversation to give his stepson some good advice before he takes off — but also trying to protect his pride. It’s sincere and messy — like all of Cameron’s best songs. While I think that this album (especially the title track) stumbles off the tightrope and into the shock factor more than Forced Witness did, it still manages to deliver great pop-rock melodies and great characters.
Other stand out tracks include “Far From Born Again” an ode to sex workers who take charge of their lives and run a strong business while in the same breath he puts men in their place for looking down on them just because of their profession, and “Divorce” which has the great line (and horrible ultimatum) ultimatum, “I got friends in Kansas city with a motherfuckin futon couch if that’s how you wanna play it!”
Cameron builds a world full of songs that feels like Bruce Springsteen’s everyman ambition and Tom Waits’ freakshows fused together and threw out the concept of personal boundaries. It a great combination to make some colourfully dysfunctional antiheros.
#5 — black midi — Schlagenheim
These young men are making some very interesting and exciting rock music. It’s almost feels proggy sometimes with how freely they switch between riffs, but it’s far too post punk to ever be considered actually prog. And then they mix in some of Slint’s nightmarish contemplations with the insanity of Pere Ubu while pumping out really intense perfomances on each of their instruments — almost like it’s just to prove that they can . It seriously feels like they’ve thrown forty years of experimental rock into a blender and come out with something that’s all their own. It’s electric. I honestly think these kids could be the next great avant-garde rock band if they keep it up. I am SO excited to see where they go with it next, because it could be ANYWHERE.
Oh. And they can do it live just as well:
#4 — Lana Del Rey — Norman Fucking Rockwell
When Lana Del Rey released her first single, “Video Games,” in 2011 I was immediately captivated by her sad and sultry voice. It was raw and vulnerable but also felt like she was in charge somehow — and it really captured a mood…that Lana then spent almost a decade not quite capitalising on (for me). There were a few exceptions (Ultraviolence has some great tracks) but mostly I was watching her from the sidelines and hoping for something truly great. And Norman Fucking Rockwell is it!
Every single that got released leading up to this record made me more and more excited, starting with the 9.5 minute “Venice Bitch” which had a simple but haunting melody but just nailed that melancholy mood and didn’t let up on it for the whole track. I couldn’t stop listening to it. And every new single added to the mood — even the fucking SUBLIME COVER (seriously how did she make that work?).
Almost every song expresses the pain of being a flawed human in a relationship. Whether its really trying to do your part to build a healthy relationship(even when maybe your partner doesn’t seem to be making the same effort), or fighting between keeping your heart safe and wanting to be vulnerable and open, nothing is straightforward. Just like life isn’t straightforward. Across the album there’s pain, there’s joy, there’s rebellion, there’s extasy, and there’s loneliness.
They mistook my kindness for weakness
I fucked up, I know that, but Jesus
Can’t a girl just do the best she can?
While there are a few songs which don’t quite rise to the level of the others, most make me feel LDR’s humanity, and the beautiful production across all the tracks really makes the album feel like a whole piece. If you haven’t given this record a chance, you definitely should, even if you don’t usually like Lana’s music, because this one is really special.
#3 — Tyler the Creator — IGOR
On first listen I thought this record was…well…sloppy. The singing is often slightly out of tune and there’s very little actual rapping. I was disappointed after Flower Boy. But…I couldn’t stop listening to this record. And the more I listened, the more raw and vulnerable something as simple as “Earfquake” revealed itself to be — “You make my earth quake…don’t leave it’s my fault!” And every listen revealed more great little production moments and made me wake up to the craft involved in this “sloppy” record. The use of complex chord structures, and the quality of the melodies is actually very strong (seriously…check out the instrumental bridge in “I THINK”). Of course Tyler could have all the vocals on pitch, it’s a choice not to. And the little words of wisdom from Jerrod Carmichael that are interspersed between the tracks revealed a sort of structure of self discovery and personal growth.
This record makes me want to dance and cry at the same time. It’s really beautiful and human (despite Tyler making himself a monstrous outcast in the character of Igor…). The pain in a line like “You invited me to breakfast, why the fuck your ex here?” is just devastating. I’m glad this record had just enough to grab me and keep me coming back because there’s so many great moments hidden just below the surface.
#2 — Richard Dawson — 2020
What a delightfully odd record. On 2020 Richard Dawson crafts little musical dioramas out of day to day life — quitting a job (“Civil Servant”), trying to combat anxiety and depressiong with exercise (“Jogging”), and the cruelty and insanity of working as a peon for an unnamed online retailer — *coughamazoncough* (“Fulfilment Centre”). Each one is full of great guitar lines and long melodies sung by Dawson’s disarmingly strange british voice. It’s part yearning falsetto and part strident squawk but it’s very charming.
On previous records Dawson’s guitar style was a strangely angular combination of medieval-bard and “american-primitivism” (it’s a real style, don’t at me), and while those roots are still here, now he’s incorporating more of the distortion and synthetic sounds of modern rock (seriously, the opening riff on “Jogging” is suuuper heavy). But the melodies are still just a little longer than is usual and a little less interested in being smooth and pleasing. It keeps it nice and interesting.
There’s a lot of emotional weight packed into these little stories. “Heart Emoji” has a man discovering that his partner is having an affair because he sees a text message “with a heart emoji”, but then, rather than going to anger, he instead recounts the cute origins of their initial falling in love. It’s sadder and in some ways more honest than a dramatic break up song. And then there’s the epic quitting of a job in “Civil Servant” that details all the boring repetitive details of working a day job and then the triumphant last chorus of:
I don’t want to go into work this morning
I just want to lie here and play the new Call of Duty
I finally gathered the courage to ring in sickI’m not coming into work today
I’m really ill
Not coming into work today
Or for that matter any other day
I’m sick to my soul
I refuse to do this dirty work anymore
I refuse, refuse, refuse, refuse
Refuse, refuse, refuse
It’s so delightfully lame and punk rock at the same time. Or there’s “Two Halves” — one of the catchiest tunes on the album — which details the brutal experience of knowing your dad wants you to be a footballer and letting down the entire team in front of him by failing to score a penalty shot. Just…so much delightful cringe.
I really don’t think my writing is quite conveying the joy I get from all the creative guitar work and silly but poignant lyrics on this record. But by the end of track three on my first listen 2020 was already skyrocketing up my list of favourite records this year. I hope it delights you even a fraction as much as it delights me.
#1 — Lingua Ignota — Caligula
This. Fucking. Record. Wrecks me.
If Ghosteen is a psalm of lament…Caligula is an emotional crucifixion.
This is a raw artistic attempt to process surviving cycles of abuse and manipulation and a ferocious fight to reclaim the self during and after all of the pain and the self-doubting insanity that abuse causes. It’s a profane and operatic mass to survival.
Honestly. It’s probably the best record of the year. Fuck it. It’s the best record of the year. But…but…I don’t really ENJOY it.
[*This was originally my number 3 pick for the year, but writing this review changed my mind.*]
There are so many powerful moments just in the 9 minute “Do You Doubt Me Traitor” which culminates in the sinister line, “Do you doubt me traitor?/Throw your body in the fucking river!” Throughout the track (and the rest of the album) Kristin Hayter manipulates her voice to beautifully convey desperation and longing in one moment and then in the next she transforms her voice into the most hellish metal screams I’ve heard in ages as she lashes out in anger.
There are tracks like “Fragrant Is My Many Flower’d Crown” which is a gorgeously simple piano ballad (which evokes Nico’s solo records somewhat) but has these sinister lyrics being sung in such a beautiful melody that it makes it more frightening:
The bitter blood of many foes sustains me
And heavy is my hammer, swinging ‘round
And soft are their throats
And soft are their skulls
And fragrant is my many flower’d crown
It’s hard to convey how eclectic the influences on this album are and how seemlessly they are synthesized. She incorporates parts of the mass on “If the Poison Won’t Take You My Dogs Will” (notably the “Kyrie eleison”). At one point on the track she sings like an angel one moment, croons, begs, and then her voice twists as she declares to the world, “Life is cruel, and time heals nothing, and everyone you love will leave you!” Later the track devolves into demonic growling before there’s a sudden and startling shift into a solo organ solo at the beginning of “Days of Tears and Mourning.”
On other tracks sample orchestral works and seamlessly incorporate them into the mood and devastation of the album. There are lovely piano sections, and crushingly distorted drums in other moments (courtesy of the drummer from The Body). And at one point there is a legitimately frightening audio jump scare (if that’s even a thing) that get’s me every time.
There are beautiful moments that creep through the agonizing brutality of this record, and they are more beautiful in contrast. But really, the bravery and honesty and artistic integrity it takes to make a record like this about ones worst moments makes even the most harrowing and unsettling moments on this record beautiful. Caligula is a stunning emotional and musical achievement. I truly hope that the process of crafting it brought Kristin some sort of cathartic relief.
Album of the year.
Thanks for reading guys. What were your favourite albums of 2019? I’d love you to share them with me!
Playlist with all 50 albums:
https://music.apple.com/ca/playlist/2019-top-50/pl.u-BNA6vp6FJJJ4D
