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Workspace and Environment: Tremblexy

Austin and Sara from Tremblexy was kind enough to grant us an interview and share pictures of their studio from 2 years ago. The pictures are dated because as they made plans to photograph the current studio, it got burnt down! True and sad story. Help them get their studio back up by buying their new album Magmatic on Bandcamp or make a donation on their website.

Austin: I was born in Birmingham, Alabama. I attended The School of The Art Institute of Chicago and upon graduation I moved to Los Angeles to pursue work in music, film, and art. I started experimenting with recording and playing instruments as a teenager. I always gravitated towards overdubbing and layering sounds together. I have always been searching for new worlds of sound. Whether trying to create a sound I hear in my mind or discovering something completely foreign that I did not know existed.

Sara: I was raised in Bluemont, Virginia but was born in Santa Ana, California. I moved to Chicago in 1998 to attend SAIC and stayed in the city until 2004. I lived in Vienna, Austria for a short time before a 2 week visit to LA turned into 6 years. The earliest memory I have with making music was when I was 7. My dad gave me a Yamaha PSR-6 and I became instantly obsessed with #99 Wave played on the high C key. It had this modulation that none of the other presets had. I thought it was defective and therefore special. From then on I was attracted to sounds that sounded ‘wrong’. The motivation is pretty simple. I love sound. 

Austin: I am really in love with the Korg MS-10. I love the tactile interface of the Korg and the complexity of timbres that can be built with very simple analogue synthesis. I am very concerned with timbre and modulation so analog synthesis in general is very comfortable for me. It is a very helpful framework that broaches the questions “what waveform, what register, what frequency?”. It is a great place to start from.

Sara: I can’t really say that I have a favorite because I find that you can make great sounds from anything, but I generally gravitate towards anything that makes exceptional white noise sweeps.

Sara: I sometimes use a reverb plugin, but that’s about it. I recently discovered this Java applet that maps gray scale images and produces a 64-voice 1 second sound loop based on the image. I have plans. Mega plans.

Workspace and Environment
Austin: My workspace is extremely important for my mental space. My new home studio is surrounded by trees and sunlight which is very helpful. I spend a great deal of time editing film and sound so it is important to have a good relationship with my work desk and computer. I also try to get up and move about as much as possible. Physical movement and activity can be really helpful while playing an instrument to get the right energy or feeling. I have seen images of the film editor Walter Murch working while standing instead of sitting. I have thought about throwing out my chair altogether. I think the people and things that happen in the city are more important than the surface or geography. That being said California has the city, the ocean, the desert, and the mountains. Visiting all the different areas can help recharge the creative energies.

Sara: Space and surroundings is key. I have to keep my workspace super organized in order to think clearly or else my brain ceases to function. I’m usually working on 5 -10 projects at the same time so I need to know where everything is. I also just moved to a house in Glassell Park with a killer view and garden. It makes the breaks peaceful and inspiring. Ergonomics are extremely important to me, but I’m not always great about it. By the time I come out of a 4 hour work zone my body is contorted into a pretzel and I’m sitting sideways in my chair. I do try to stretch at least 5 times a day. I’ve noticed that since I’ve been in LA I’ve been creating so many loops and drones. I believe it is a reaction against the visual and auditory clutter of LA. I like meditating on repetition.

Austin: Having a place in an urban environment can be difficult with the issues of sound pollution and sound containment. My ideal place would be a studio in a remote forest.

Sara: Right now I love being in a place with mechanical noise and dense nature. LA has an amazing soundtrack. The ambient sounds are very rich and all sorts of stories occur when you listen. It’s very inspiring. I love sitting on my porch and listening to the white noise created from distant traffic melding with helicopters and birds. With my house being situated on a hill I have a large view and I like to imagine how the sound would change if I was over there or there. I love thinking about the relationship between distance and sound. Right now I’m creating a composition by ‘field recording’ a virtual environment that ties into that idea.

Austin: I try to focus on as few pieces of gear as possible when creating a composition. I like to work with a signal flow that is unique to and sympathetic to the structure I am building. Choosing the keyboard parameters, effects, mics, etc is usually modified while a structure is being chosen until the sound palette is integral to the series of notes or rhythmic patterns I am engaging with.

Sara: To squeeze everything you possibly can out of one piece of equipment and when you think you can’t anymore start over.

First Gear
Austin: I started recording with multiple tape decks and boom-boxes when I was about 12. Recording something and then playing with it and recording to another tape deck and then another, etc. I did not know multi-tracks existed! Then around 13 I got a Fostex Cassette 4 track. It opened up so many possibilities and then it pushed me to educate myself about audio recording because the results I was obtaining were so lo-fi. To this day I am very drawn to tape formats and using them to process, degrade, and distort signals.

Sara: I got a Tascam Porta 07 when I was 14. It was all over as soon as I discovered that the recording reversed when you flipped the tape. I started de-tuning my bass guitar as low as I could because the sound of that thing reversing was better than anything I had ever heard. That in combination with the #99 Wave sound on the PSR-6…pretty amazing. That 4-trak is broken now, but I still love recording to tape. I like to treat sound as if it was a malleable material. Tape helps achieve that.

Last Gear
Austin: Last year I bought a Boss RC-20 looper. It is great for building up a cloud or atmosphere of sounds to play with or inspire a new piece. I think recording and playing back sounds in realtime will always be a powerful tool.

Sara: A free M-box. It will always sound terrible, but I’m enjoying it. I’ve been gravitating towards super flat digital sounds lately.

Extra Curricular
Austin: I work with film directors and artists in varying capacities. I am currently working at the artist Doug Aitken’s studio. I find film editing, composing, sound design, and field recording reinforce and expand what I do with music. These endeavors expand how I can deal with music and sound but more importantly they make me question why I engage with music and sound.

Sara: Austin and I have written songs for a few commercials and films outside of Tremblexy. I just recently composed music for an animation by Nicolas Sassoon. I’d like to form more collaborative relationships where I compose pieces for visual artists.

Tremblexy Bandcamp
Sara Ludy

Random Picture

Alessandro in my lab working on some new… – Trent Reznor

Trent Reznor in his home studio discusses the Oscar nominated (winning) score for “The Social Network.”

Colin Marston – The Thousand Caves Studio

Studio Tour: Colin Marston – Scion Music(less) Music Conference from Scion A/V on Vimeo.

If you read my 2010 playlist you will have seen three engineers that I mention, Colin Marston is one of them. He’s either involved as a musician or behind the engineering on some of my favorite albums. So it’s without saying that seeing his workflow and workspace is insightful.

Workspace and Environment: 65daysofstatic

65daysofstatic were kind enough to let us distract them from their rehearsals for their January tour of Japan. Paul from 65daysofstatic spends some time answering our questions and talks about being a gangster. Mistakenly.

I was born in Manchester, UK. In the North. The band is based in Sheffield, UK. Also in the North. Two of us are from Sheffield anyway, the other two of us went to university there, and by the time that was over 65 had begun, so there we stayed.

For as long as I can remember. I had piano lessons when I was young, which I am really grateful for now. I never did any exams beyond my grade one, so I’m not really ‘classically trained’ or anything, but it definitely got me going. Then I was lucky enough to get a second hand Korg M1 for my 13th or 14th birthday and that’s when I got into sequencing. With the inbuilt sequencer and built-in multitimbral options you could make entire tracks with it. Mostly, I just made covers of Blue Monday and True Faith over and over again, but eventually started writing stuff of my own.

The motivation for me and all of 65, I think, is about the need to communicate ideas. There is so much in the world that can’t be adequately explained by words. Well, maybe it can if you’re Kurt Vonnegut or Kundera or somebody, but certainly not by us. Standing on stage and making tons of noise makes me feel like I’m actually sharing what I want to share with people more than anything else in the world. It’s not hard to stay motivated. It’s just sometimes hard to make your life work around it!

Right now I think it’s my Dave Smith Mopho. I’ve come at technology as somebody who grew up in the 80s and by the time I was a teenager and it was the 90s, I was getting into geeky music-making and it was all about drum machines and Akai samplers. Analogue was a totally alien concept to me. In fact, for a long time I had a really contrary disdain for anything capable of making ‘evolving’ sounds. I’d totally brainwashed myself into the discipline of writing songs using only a total of 20 seconds sampling time.
Also, of course, I could never really afford proper analogue equipment. I still can’t, really. I guess the Mopho is more of an entry level device. But to me, it sounds sublime. Despite not being able to own hardly any, I have got into analogue circuitry in a big way.

Ableton Live and Logic are the two staples of 65’s programming. Live for live, and Logic for writing. The Sugabytes plugins are pretty special. Vogue especially warms everything up nicely. I’m a big fan of Native Instrument’s Massive as well. It’s got a really great sawtooth sound. Also, the Sonalkis TBK3 is the nastiest, dirtiest compressor I’ve ever come across. It’s beautiful. Make sure you have the ‘fierce’ button pressed.

Workspace and Environment
We try not to let it the workspace affect us, but of course it does. At the time of writing, 65daysofstatic is on a bit of a high because for the first time in 9/10 years of being a band, we have just moved into a rehearsal room that is actually deserving of the name. The stories I could tell you about our previous spaces… Man, it sends shivers down my spine thinking about it. The worst was probably a warehouse that got raided by the police because of the Russian gangsters holed up next door and then later (because the police broke the padlock) raided by Russian gangsters who stole our equipment. Perhaps the miserable, damp and rotting holes we’ve been based in for most of our existence have actually influenced more than we ever knew – kept our music edgy – and now that we finally have a nice space to work in we’re gonna end up writing a coffee-table album that you can buy in Tesco/Walmart/Starbucks.

When a rehearsal room is so small that none of us has space to sit down it gets incredibly important. But beyond that… It really isn’t something we have ever thought about as a question. Music-making shouldn’t be too comfortable. We gotta keep telling ourselves that. RSI IS PUNK ROCK.

Perhaps our city affects us, perhaps not. I think some bands are more geographically-based than others. In Sheffield specifically, bands that have come out of there like Arctic Monkeys or Pulp wear their origins on their sleeves… I’m not sure we’re a band like that. For a start, the explosion of the internet over the past 15 years has led to a plethora of subcultures that exist online, not bound by location. I mean, this is arguably one of the most powerful things about the modern world, right? We are lucky enough to have fans all over the world. When I was 15, being into strange and abrasive music was such a divisive thing. At school, it could feel so isolating, liking music that nobody else liked, but then at the same time moments of shared understanding that you would get at gigs, or in record stores browsing the same ‘experimental’ aisles with fellow shoppers were incredibly exciting. Now you can find thousands of people who share your interests in a matter of seconds, whatever those interests happen to be. I have absolutely no idea what it is like to be a 15 year old now, or how this will shape music that’s being made by them in 5 years time.

That was a bit of a tangent. Of course a city where we live will influence the music we make. But not necessarily more or less than the infinite number of other experiences we have every day which also influence it..

Ideal Location
There’s a secret vintage synth shop on the fourth floor of an anonymous-looking building in Shibuya, Tokyo. Probably if we could get ourselves accidentally locked in there for six months or so. Japan is amazing and crazy. And that shop is something else entirely.

We’ve had about a million locations. I can’t even begin to tell you. And also – it’s worth stressing this point – we have NEVER had a studio. We still don’t. We demo using a laptop with logic going through some battered microphones and a mixing desk with loads of faders and pots missing.

Thought Process
When we first started, we were mostly all always playing, all at once, making as much noise as we possibly good. It worked for our first two albums, which we’re incredibly proud of and helped us really develop our sound and as a band. But we reached a point where we need to change things up because we don’t ever want to make the same album. With our latest record, ‘We Were Exploding Anyway’, I think we really managed to hit a new level regards discipline. We just about managed to remove all our egos from the song-writing process. If a song didn’t need guitars, then nobody played guitars. If there was no need for live drums until the last 30 seconds of a track, then that was fine. Regards the electronics specifically, every song is always started with an empty palette, and we just take on board what we need as and when it occurs to us.

First and Last Gear
My Korg M1, I think, but I’ve already talked about that. The most important piece of hardware I’ve ever owned was probably the Akai S2000 I bought with my first student loan. This is what I learnt to program on. Back then, my thoughts were just full-on excitement. These days, I still think it’s a wonderful piece of kit. I just wish that it had the ability to take flash cards instead of floppy discs. If it did then I’d probably still use it as a drum machine. Can I mod it? Or, actually, could somebody else mod it for me? Is that even possible?

Harking back to my early days, the last piece of gear that I’ve got hold of is proper old-school – an Akai MPC1000. This is actually for a side project (my solo Polinski stuff) because I don’t want to just be another anonymous guy stood behind a laptop. Not my idea of fun for either performer or audience. For 65daysofstatic, I think the last thing we got was at the start of the year. We had spent 2009 running the live show with only hardware – MPC5000, v-drums and synths. It was incredibly satisfying to be able to achieve this, but incredibly inflexible in terms of swapping and changing sets. So at the beginning of 2010 we bought two Macbook Pros with Solid State harddrives and switched back to Ableton and software. It’s the solid state drives that make the real difference. Our sound engineer spent most of 2009 on tour with The Prodigy, and that is basically what they do. Before this we didn’t have much faith in relying on laptops – too many bad experiences of crashes, but we thought ‘if it’s good enough for The Prodigy, then it should be good enough for us’. And (so far), it’s been working just fine…

Hearing Your Work Publicly
Heard it on the radio and stuff and every now and then it pops up on UK tv. It’s nice, it’s flattering, of course…We used to text each other, ‘we’re on 6music right now!’ or ‘turn on BBC1!’, but these days twitter tells us where we are before we know ourselves.

Extra Curricular
We would love to write a soundtrack at one point. In fact – we kind of are already. In February we are doing a live re-scoring of Silent Running for Glasgow Film Festival. But we aren’t approaching it as an ‘art project’. We are keeping all of the dialogue in the movie. We want people to experience it as a movie as much as a 65 gig. We just want to prove to ourselves that writing a soundtrack is something we can do. And that movie seems absolutely perfect for us…But this isn’t something that is ‘outside’ of 65. Even the fact that I’m starting to do a side project as Polinski doesn’t feel like it’s really ‘outside’ of 65. I think we might be trapped inside this band forever. Or until we go deaf, at least…There’s definitely worse places we could be.
65daysofstatic Twitter
Polinski Music
Polinski Twitter

Trash_Audio Presents an Evening With: Atari Teenage Riot (Part 3)

Justin and I stuck around after the show to see what their Ableton Live set and Autotune plug-ins looked like. That was sarcasm if you couldn’t detect it over the cold void of the internet. What really happened was that they showed us their high score in solitaire during their set. Again… Sarcasm.
CX showed us his custom built Catonator by Burle Avant of Avant Media Systems which turns out that it’s been given too much love but as he says, “broken buttons are better sometimes”.
Alec shows us his DAT machine that he uses to sum his entire live mix, the Vostok by Analogue Solutions, the Atari and his dope personal monitors.

An Evening With ATR: Part 1
An Evening With ATR: Part 2

Trash_Audio Presents an Evening With: Atari Teenage Riot (Part 2)

Alec and CX KiDTRONiK let us invade their dressing room and ask some pre-show questions about their live setup. We wanted this conversation to be an extension of the previous Workspace and Environment Alec conducted where it wasn’t so much about the gear itself but how the gear fits into the Atari Teenage Riot setup and sound.

An Evening With ATR: Part 1
An Evening With ATR: Part 3

Trash_Audio Presents an Evening With: Atari Teenage Riot (Part 1)

Atari Teenage Riot (Alec Empire, CX KiDTRONiK, Nic Endo) came through Chicago on 100110 and while ATR and T_A have dozens of mutual friends, we decided to go through legitimately by having our friends Debbie and Jason, whom are PR people, grant us access. Fortunately or unfortunately, depending on how you look at it, Alec already knew who we were from the previous Workspace and Environment interview we conducted with him – so we didn’t stay formal past the greetings and things got moving quick.

ATR’s crew let our cameras backstage and onstage during and after the performance. We ended up with our cameras maxed out of space and an incredible amount of footage that I’m still sorting out. Here is a teaser of some of the things to come.

An Evening with ATR: Part 2

Workspace and Environment: Big Black Delta

Big Black Delta1

Jonathan Bates from Big Black Delta

Born in Venezuela. Grew up in Miami. Lived in Boston. Hung out in LA and a woman bought me a drink. I never went back. True story.
I started playing guitar when I was around 13. I was good at it and could shred & shit, but it had no musical value. I didn’t really start listening to music and trying to write songs until I was about 19 or 20. Being a late bloomer is cool, cause I’m still freaking out about bands that people were over by the time they turned 16 (I’m 31). Besides jealousy, the prospect of a new sound or a simple song coming my way is the greatest motivator. The current name of the game is Big Black Delta and I also did stuff as mellowdrone

For Big Black Delta, Im planning to release an ep every 3-4 months. Im tired of spending a year and a half on LP’s. For this first EP, I’m giving a free mp3 download of a different song every couple of weeks. I’m using Topspin to do this. Down the road I’ll print up vinyl and CD’s but for now, I just want to get music out there. There will be AAC and every kind of format available once im done giving this first EP away.
My friend Caspar at Version Industries has been designing the visual media and website. As well as teaching me how to use Topspin. Could not have done this without him. While making the EP, Alessandro Cortini and I would meet almost weekly to trade each others music and critique. It really helps to get an objective opinion when making your own music. As all of us do, I tend to get lost in the wilderness and sometimes need a simple slap in the face.

Favorite Hardware
My Grado headphones, Akai LPK25 and a Shure SM7B. Not knowing where I’m going to record means I need a portable standard. These headphones help do that. SM7B cause it just works. I tried the mini controllers stuff from Korg, but I went through 3 of them in a month. The Akai is a lot stronger. Hate having stuff. Its just more shit to worry about, so the less hardware the better for me. I just end up bothering my friends.

I write and record in Logic because of the ease and access. Its glitchy, but its worth it. The SoundToys suite has been a favorite as of late. Echoboy and the Decapitator are incredible. Michael Norris’ suite is great and free. Olga is a great shareware synth I use a lot. But what I use the most is the standard Logic compressor. When used incorrectly, its pretty neat. Besides that, I love collecting samples of non instrument-based sounds.

Workspace and Environment
The more isolated I feel, the better my imagination works, the better the music. So a space could be cocoon-like or outside in a field, as long as people aren’t around, I can create freely. It feels like my whole life, I’ve been recording in an apartment, or a friends house…

Ideal Location
In the woods, not far from the ocean. With lots of light and a quite bar nearby. I would like to try in Alaska one day. Or in one of those industrial-grade tree houses they have in Hawaii.

Ever Hear Your Music Playing In A Public Space?
Yes. It was like graduating from high school. I was like :”shouldn’t this be cooler or something?”

I’ve had the pleasure of recently working with or producing/mixing: SONOIO, White Sea, M83, War Widow… and I just finished a Yogi Gong record.

Listen to Big Black Delta in the player below, or visit him at

Workspace and Environment: Prometheus Burning

Greg Vaneck of Prometheus Burning shares his studio and some insight on his life and workprometheus1

I was born and raised in Pittsburgh PA. I’ve lived here my entire life, but have moved over twenty times so far. I’ve learned to never get too attached to a single location, and to keep your belongings minimal, portable, and if necessary, disposable.
I’ve been involved with music in some form or other nearly my entire life. In grade school I learned how to read sheet music and could play the Saxophone and those plastic Recorder flute things to some extent. I was also in the choir for a few years before my balls dropped. After that my extra curricular activities soon turned to focusing on Industrial and Grunge music, freaky girls, skate boarding, expanding/destroying my mind, and unlearning all of the brainwashing I received from attending a Catholic grade school.
I rediscovered my interest in making my own music and not just consuming it around 1998 when I could finally afford some gear like a used keyboard and effects pedals. In 2000 I obtained an obsolete Pentium 133mhz computer with a soundcard from Ebay. That opened up a new dimension for me. My life hasn’t been the same since.

I’ve been fascinated with weird sounds and noise for as long as I can remember. By age four, I was already playing on my parents Atari 2600. The thing I remember the most about it are the sounds. I was too young to be any good at the games, but the sounds kept me entertained. Games like Super Breakout, Grand Prix, Missile Command. They all had amazing sounds that have burned their way into my brain. Sounds stimulated my imagination more than anything as a kid. My Fisher Price tape recorder was my best friend. I would put its microphone on the rusted chains of my swing set and record the creepy metallic sounds. I also tried to record the sounds of ghosts a lot, and was convinced my house was haunted by three entities. I used to
think I could tune into them with this toy “Pound Puppies” AM radio I had. Weird shit like that.
My fascination with sound and how it stimulates my imagination is what motivated me as a child, and still motivates me today. I’ve never grown out of it. Its like therapy for me. Helps keep me sane and deal with my anxiety disorder. At times the noise helps me tune in, while other times it helps me to tune out. And then there are the times where I get lucky and the end result resembles something “musical”.

Favorite Hardware
I am currently obsessed with our Eurorack Modular Synth which we have nicknamed “The BEAST”. My favorite modules in The BEAST are the Hertz Donut and the Tyme Sefari, both made by The Harvestman. I’ve also been digging on the Sound of Shadows and Plague Bearer modules by Flight of Harmony. The modules I own by these two brands are overflowing with sonic possibilities, and seem to be geared more toward the harsh and experimental side of things which is right up my alley.

Favorite Software
I’ve been a fan of the Audio Damage plugins since their very first releases. I dig their experimental approach. I also like how they design their interfaces to be very straightforward and similar to hardware in certain instances. Propellerheads “Reason” has always appealed to me for the same reasons. Everything is right in front of you, not buried behind layers of boring menus or goofy unintuitive shit. I have a very short attention span, and interface is everything to me. If I can’t dive into it and get dirty quickly, I move on to something else.

Workspace and Environment
I am a big believer in establishing the right “set and setting” when it relates to any activity that involves tapping into your subconscious. The studio is my “sacred space”. I try to keep it organized yet jam packed with inspiring gear, art, and imagery. I am constantly rearranging my setup and moving things around, always trying to find the perfect balance and place for everything.

Ideal Location
Somewhere very isolated and sound proof. I work very loud, and get weird about people or neighbors or roommates hearing me. It can really effect me negatively if I feel like someone is listening to me. Its like having someone listen in on you while you are fucking. Art is intimate, and I don’t like being invaded. Total privacy would be ideal for me. Maybe in Outer Space perhaps?

First and Last Pieces of Gear
Scored a used Yamaha PSR keyboard back in 1998. I can’t remember the exact model, but it had some decent features like being able to record up to two tracks. I had no clue how to “play it”, but I figured out how to dive deeper into the configuration and make the default sounds interesting and mutilated. My latest piece of gear is an ASSMASTER fuzz module by Malekko. Its nasty as hell and responds very well to feedback loops.

Wish List
Gear lusting after the Piston Honda by The Harvestman, Atoner by 4ms, Sem20 by Bubblesound, and the .COM comparator/divider by STG. Also the POKEY synth module by Skrasoft seems to be progressing very well and has my interest.

Live Setup
The Prometheus Burning live setup is constantly changing. After the “It Ain’t Dead Yet tour” in 2009, we got tired of lugging around racks of hardware. Now we are trying to compact it as much as possible. Our most recent setup has me on the laptop running AudioMulch, Battery, Reaktor, and some other jazz controlled by two M-Audio midi controllers. I also have a small portable Modular setup for some live improvised chaos. We are running her vocals through the laptop again,
which I can then manipulate in real time. She usually brings along an Electric Violin, AudioWeevil08, Theremin, and some effects pedals.

Not currently, but I would certainly like to give it a try. There are many nights where I sit in the studio making soundtracks to my own imaginary stories and movies that don’t exist. It would be quite an experience to do it for real. I think my style of sound design could mesh well with certain types of independent and horror films. I watch a LOT of movies, and have a huge appreciation for film, especially films with good sound design and music scores. Producers like Clint Mansell and John Carpenter are very inspiring to me in that regard. Too many films rely on generic and “canned sounds” these days. Not enough innovation or creative sound design or synth work like you used to hear in the 70’s and 80’s. I also have a side project called Four Pi Movement, which started out as collaborative effort between Nikki Telladictorian, Nick Vasculator, and myself. Now it functions more like a solo project for me. I keep everything completely improvised with Four Pi Movement, trying to capture raw emotion in real time using Modular Synths, Noise Boxes, and other hardware devices. I am currently collaborating with Theologian, the new project from Leech of Navicon Torture Technologies for the next release. It will be released on Cassette by th
label: Annihilvs

I focus most of my creative efforts into “Prometheus Burning” along with Nikki Telladictorian, my partner in sonic destruction and auditory mayhem. We’ve released material on Cassette, Vinyl, CD and Digital formats on several independent labels since 2001, as well as self-released material like our most recent double disk album “Displacement Disorder”. We’ve also been touring and performing live since 2004. More info can be found on our website: Prometheus Burning

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