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The Grand Astoria x Montenegro

by The Grand Astoria x Montenegro

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666 The Body Limits сделана в духе трека с предыдущего сплита с US Christmas. Это первая запись, где 2 вокалиста)

El Matadero - ребята смешивают психоделический стонер с местным аргентинским колоритом. Получился эпик - интерпретация новеллы Э. Эчеверриа "Бойня".

vk.com/psych_music?w=wall-29318096_18691 Favorite track: El Matadero.
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1.
Since we've lost horizon No alarms here And it feels This abyss Eating from inside me From behind me Right in front of me "Keep it calm" they say I lost my way And so did they I count the days When it will end This ship is damned And we will roam forever 700 days The anger swells And swallows all that was so good That was so kind Backyard of mind Is trashed with useless fears Panic and despair It's everywhere And who will judge us if we stop? Right on the top Before the fall into shining void Call it self-indulgence Ancient vengeance Carnal ignorance Decontrol of feelings Primal meaning in a new dimension Curiosity still pushing me And I will keep my eyes ajar We've come too far The shooting star Will never guide my path again And who will pay the price for those who're next in line? You got my message right Who said "it's worth trying"? The leper or a saint? Just buried all my dreams Many moons ago when this trip started Didn't expect I could be such a monster Never cared 'bout universal stardom I am on my final TV show now I can show you better world that we've created Join us right now or it's gonna be too late Don't get fooled when bullets trace the air Nothing is the same whatever it seems Flower pots and bombs have equal power Crushing heads and making cities burn down I can show you better world that we've created Join us right now or it's gonna be too late Heaven, let me kiss you Reservoir of madness how I call it Bunch of freaks are digging dirt in mires Others eating dust And I am among them I can show you better world that we've created Join us right now or it's gonna be too late
2.

about

"The Body Limits" continues on the way of previous The Grand Astoria split "To Whom It May Concern" ( split with U.S. Christmas, 2012: noname666.bandcamp.com/album/the-grand-astoria-x-us-christmas ). This time we have more music and two vocalists, prog vocals by Daniel Danilov, who is solid part of the band playing keyboards and percussion.

Montenegro, as on their debut album ( montenegrorock.bandcamp.com/album/confusos-recuerdos-despu-s-del-coma ), mixes psycehdelic stoner rock with Argentinian attitude. This track is showing cool argentinian stoner epic. El Matadero (The Slaughterhouse) is an interpretation of the story written by Esteban Echeverría. Guys growing as musicians and songwriters, this song is the proof of a promising debut work. The song continues to bring you on waves from "The Body Limits", in the second half of it we came to Kyuss-riffs with conquerors fighting their fight.

After this track I tried their debut album again and it showed me new colours of this solid work. I really love the band and records, and of course I'm waiting for new ones.

This is the second The Grand Astoria split and the third for (No Name) label. We are not fans of splits as listeners. But this one worth to check it, because there is no such a normal problem of splits where two bands prove their frendship. One track good/OK and one track is OK/"y not?"/"don't mind, it's our mates, we drunk a lots of biers together". This is not the kind of split that works on that way. This is pure epic record with two great songs, each one is beautiful and both sounds great on one release. We are really proud to release this record together with Sickodelic Records.


battlehelm.com review by Anders Ekdahl:
"This is a split between THE GRAND ASTORIA from the Russia and MONTENEGRO from Argentina. I am not the biggest fan of splits other than as collectables. As a fan I do want to have everything a band releases and that does at times include splits. I don’t oppose them because the music sucks as much as I oppose them as a concept. But the truth is that at times a split is an excuse for a band to release a song that they would not otherwise release, and therefore rendering the split musically useless. I don’t know if that is the case here, that the two bands feel they can be more experimental on this split. What I do know is that this is as far away from crap as it can be. The THE GRAND ASTORIA track is an 29 minute long excursion into the psychedelic stoner universe. MONTENEGRO are more bluesier on their 18 minutes track. Still with that stoner feel to it. As splits goes this is one of the cooler I have come upon recently. Dating back to 2014 this one fits right in there in my THE GRAND ASTORIA collection."
battlehelm.com/reviews/the-grand-astoria-x-montenegro-split/



German rockblogbluesspot.com review:
"Dieser Split bringt die Bands The Grand Astoria und Montenegro aus Buenos Aires zusammen. Grand Astoria beginnt mit „The Body Limits“. Das Werk dauert fast eine halbe Stunde und ist der ideale Auftakt zu dem, was die Band für das Album „The Mighty Few“ vorbereitete.
„The Body Limits“ ist ein monumentales, episches Werk und damit sehr mächtig. Es kommt darin keinerlei Langeweile auf. „El Matadero“ von Montenegro ist eher eine typischere Stonernummer, mit fast neunzehn Minuten Spielzeit.
Es hat zwar nicht ganz den Schwung und Vielfalt von „The Body Limits“ aber Montenegro beweisen dennoch, dass sie eine interessante Band sind, die man weiter beobachten sollte. Ein Plus bedeutet die Tatsache, dass der Track in ihrer Landessprache gesungen wird. Der Split ist allgemein ein sehr schöner Ohrenschmaus."
rockblogbluesspot.com/2016/05/18/no-name-records-into-the-void/




theburningbeard.com review by Gabriel:
"A Wild-Eyed Journey...

This split brings together the bands The Grand Astoria (who hail from St. Petersburg, Russia) and the Argentinian outfit of Montenegro. And what a split! Between the two tracks, there's more than 45 minutes of material to be heard (though it can also be watched, via Montenegro's music video, which you'll find below).

The Grand Astoria start things off slowly in “The Body Limits”, with acoustic guitar being picked carefully as woodland animals make their presence known in an ambient environment that's gradually overwhelmed by the force of the band. The group makes use of an interesting electric guitar method, with the right and left channels each sporting a separate guitar input, making for some stimulating layering of the strings. In addition to that, there's bass, drums, samples, vocals, and electronics, all coming together in fine form. Though the music makes plenty of detours into experimentation, the threads of cool psychedelic rock power hold it together as it shifts from one wiggy groove to the next, never letting itself settle down for too long.

As hard as it would be to follow that up, Montenegro put forth a strong showing in their track, “El Matadero”, which translates to 'the slaughterhouse'. They go for a heavier, more doom/blues-styled approach, though the psychedelic influence remains a significant part of the music. After setting the mood with some leisurely bass grooving, they add the vocals, which create a very nice harmonization with the string tones and each other. Most of the track is instrumental, though, with slippery rhythms and precise drum snapping filling the song with a colorful sense of fun.

Both bands bring a lot to the table, and manage to pull off that most rewarding part of a split, working well with each other's style while organically showing off their own take on things. While the length of The Grand Astoria's song precludes this release from popping up on vinyl, it's still worth grabbing a copy for yourself, sitting down with it, and letting the music have its way with your ears for the better part of an hour. Not to be consumed while operating heavy machinery."
www.theburningbeard.com/2014/10/a-wild-eyed-journey.html



astralzoneblog.blogspot.com review by Santtu aka Dj Astro:
"This is a second split release by this rather active Russian progressive, heavy and a little bit psychedelic fuzz rock/metal band The Grand Astoria. First came the split with the excellent US Christmas a couple of years ago, and now they have teamed up with Montenegro from Argentina. Both bands deliver one long track for this CD.

The Grand Astoria's "The Body Limit" was recorded in Tallinn, Estonia in February this year. It starts off with some tranquil, gentle guitar and bird-song, and grows slowly when some slow drums, quiet female singing, bass and lead guitar gets added. The mood remains the same although the track gets more intense until around the 12-minute-marker when it turns into pure metal and Kamille, the guitarist/singer starts to sing. Then we get weird, some more psychedelic instrumental passages with delayed guitar. The next vocal part reminds me a bit of some of the progressive metal bands like Queensrÿche, so if you're into that kind of stuff you'll like it. Then the track gets faster for a while, but then we get some more atmospheric stuff and the almost 30-minute track ends in a beautiful, mellow way. This is a rather massive, varied track, that's all I can say. Phew!

I got to admit that I've not previously heard about the band Montenegro from Buenos Aires, Argentina. The label Sick-o-Delic Records is also from Buenos Aires, and through their web site I was able to find some information, and what little I could understand the band was formed in 2009 and has released one full-length on the the label before this split. It's good to see that there is at least some kind of psych/stoner underground in Buenos Aires at the moment. The 18:40-long track "El Matadero" starts off with slow, fuzzy blues jamming, and in three minutes we get some laid-back vocals in Spanish. I like the chilled-out mood of this song, and the psych guitar work is pretty good as well. Before the ten-minute-marker the boys start to rock out in heavy stoner rock manner, and then some more progressive, experimental stuff follows. There's a weird, acoustic, almost classical part with some spoken word (the speech of Juan Manuel de Rosas on his rise to power at Buenos Aires government, 8th December 1829). I'm not sure how well that fits in, but then we get some fast and heavy blasting until the end. I'd like to know what this song is about, but at least matadero means a slaughterhouse and I guess the track is based on an important short story with the same name written by Esteban Echeverría in 1839 but not published before 1871 (according to Wikipedia). A pretty cool track, anyway."
astralzoneblog.blogspot.com/2014/12/the-grand-astoria-montenegro-st.html



Russian inrock.ru review by Dmitry Koshelev
"На этом сплит-альбоме The Grand Astoria продолжила практику сотрудничества с близкими по духу командами. На сей раз себе в напарники питерцы выбрали аргентинцев Montenegro.

Представленные здесь песни объединяет эпичность (обе длятся порядка 20 минут), изрядный налет психоделии и прото-прогрессива. Интересно, что композиция The Grand Astoria была создана под впечатлением от научно-фантастического романа Станислава Лема «Магелланово облако». Здесь нас ждут вдумчивые «космические» проигрыши, меланхоличные соло, вокализы (ответственный – новый певец и клавишник группы Данила Данилов), а также электронные сэмплы, неожиданные брейки и динамичные риффы. Сама песня кажется немного затянутой. Но в живом исполнении, если музыканты смогут правильно расставить все акценты и выдержать динамику, трек этот, несомненно, должен погрузить слушателей в самую пучину стоунер-рока.

Опус аргентинцев, имея в своей основе предельно психоделичный блюз-рок, звучит более мистично, с вкраплением характерных для музыки Южной Америки интонационных нюансов. Экзотичности добавляет вокал на испанском.

Оба трека объединены на CD под обложкой авторства Софьи Мироедовой, постоянного оформителя работ The Grand Astoria. Мощный союз двух групп, чье творчество, пересекаясь в чём-то глобальном, демонстрирует всю глубину разнообразия, которое могут выжать из консервативного стоунера его одухотворенные адепты."
inrock.ru/reviews/the-grand-astoria-the-body-limits-split-with-montenegro-2014



dprp.net review by Calum Gibson:
"The Grand Astoria is from Russia and provide a blend of jazzy, psychedelic, doomy hard rock and specialise in lengthy tracks, this one in particular being a full 29 minutes long! As expected, there is a lot of build up. Utilising simplistic repetition, it builds for around 12 minutes, but it doesn’t feel that long before the vocals and doom-laden riffs kick in.

The track ebbs and flows, mixing riffs with psychedelic experimentation and atmosphere. All in all, an interesting journey into the band and a good representation of their work.

Montenegro were born in Argentina, also playing a blend of experimental psychedelic rock. This track kicks in with a bass-heavy rhythm, before some jazzy/psychedelic leads come in to help the atmosphere grow.

The track has a similar kind of atmospheric-psychedelic feel as the previous, however it has less of the doomy riffs and more of the jazzy feel to it. This one as well takes you through a mix of styles, all melding together into another showcase of how psychedelia, prog and hard rock can mesh together."
dprp.net/reviews/2018-056



Russian vk.com/psych_music premiere:
"Это второй сплит для The Grand Astoria и 3-й для лейбла. Не сказать чтобы все мы были фанаты сплитов вообще. За сплитами тянется некий шельф дружеских пластинок, где одна часть сплита часто довольно сильная, а вторая так себе - друзья, хорошие ребята, "y not?". Тем не менее уже который раз удаётся сделать сильный сплит, где все группы выдают их "the best of":

The Body Limits сделана в духе трека с предыдущего сплита "To Whom It May Concern" (сплит с US Christmas, 2012). В этот раз больше музыки и это первая запись, где 2 вокалиста, в проговой манере исполняет Данила, клавишник группы. Первый раз эту вещь слышал живьём - очень неожиданно было услышать кого то кроме Кэма, но получилось отлично. Крутая вещь, как всегда всё очень вкусно сделано, применены все новейшие нанотехнологии, даже по прогу тому же прошлись, ну и всё это на месте.

El Matadero - как и на дебютном альбоме ( vk.cc/2SBfA9 ), ребята смешивают психоделический стонер рок с местным аргентинским колоритом. В этот раз получился длинный эпик - интерпретация новеллы аргентинского писателя Эстебана Эчеверриа "Бойня". Музыкально очень чувствуется рост группы. Вещь уносит сразу, подхватывая оставшиеся волны The Body Limits, во второй половине разворачивается собственно Бойня, конкистадоры по Kyuss-у вступают в дело.

После знакомства с этой темой переслушал их дебютный альбом ещё раз и ещё больше проникся их творчеством, вроде всё на поверхности, но чтобы въехать и проникнуться понадобилось время и "всё вот это")

Я для себя сам не могу определиться, какая из вещей со сплита мне больше вкатила. Они очень разные, но и есть много общего, очень хорошо звучат вместе, диск звучит как "альбом", вряд ли кто из вовлечённых изначально на это рассчитывал. Для меня это наверное некий эталон для сплитов на данный момент."
vk.com/psych_music?w=wall-29318096_18691




Polish kvlt.pl review by Dominik Dwornicki:
"Ocena 8,5/10

Kamille Sharapodinov płodnym kompozytorem jest, to fakt, studiując na dyskografię The Grand Astoria oraz cykliczność ich wypuszczania. W 2014 roku oprócz bardzo dobrej La Belle Epoque ten petersburski zespół nagrał split z grupą Montenegro z Buenos Aires. Na wydawnictwie znalazły się dwa numery, prawie półgodzinny The Body Limits autorstwa The Grand Astoria oraz El Matadero kapeli z Argentyny. Krążek ten wyszedł pod egidą [addicted label].

Utwór The Body Limits odbieram w całości, jakby przedstawiał życie człowieka. Rozpoczynają go dźwięki strumyka, powolutku płynie do przodu, razem z tonami gitary, które pojawiają się po kilku sekundach. Motyw ten staje się głównym tematem powtarzanym na okrągło, i jak życie rozwija się powoli, co jakiś czas się zmieniając. Potem pojawia się śpiew ptaków, który jest niczym symbol dziecinnej swobody i beztroski. W około siódmej minucie utwór zaczyna pomału nabierać tempa, dojrzewa – dochodzą dodatkowe dźwięki. Brzmienie staje się coraz bogatsze. Pojawia się głos, (Danila Danilov) fantasmagorycznie nucący gdzieś w tle. Stopniowo wokal wyłania się na pierwszy plan. Tempo zaczyna narastać, pojawia się solówka na gitarze, ale tylko w jednym kanale, by nie zagłuszać głównego tematu. W końcu The Body Limits porzuca ciągle powtarzany do tej pory motyw, by w dwunastej minucie zaatakować ciężkim stonerowym riffem. Klimat stoner rocka utrzymuje się aż do szesnastej minuty, kiedy to znów następuje zmiana na bardziej psychodeliczne granie, (utwór wchodzi w wiek średni), wręcz szalone w okolicach dwudziestej minuty. Często mówi się, że na starość ponownie się dziecinnieje, tak samo The Body Limits powraca do początkowego gitarowego wątku, nieco odmiennego oczywiście. Rzeka, tak jak życie, jak każda kompozycja ma swój koniec. Ten utwór pod koniec zwalnia, dźwięki powoli zanikają, znów pojawia się śpiew ptaków, a na sam koniec żegna nas dźwięk żałobnych dzwonów. Sharapodinov dzięki ograniczeniom ciała po raz kolejny potwierdza, że jego twórczość to obcowanie z epickością, monumentalnością, wielowątkowością, geniuszem…

Montenegro zaprezentowali na tym splitcie swoją odpowiedź na The Body Limits. El Matadero może nie powala swoim rozmachem tak jak to czyni jego poprzednik, jednakże jest równie interesujący. W całości zaśpiewany po hiszpańsku, tworzy specyficzny klimat, szczególnie poprzez ciekawe aranżacje wokali. El Matadero jest utrzymana w klimacie stoner rockowym z elementami psychodelicznego rocka oraz tempem doomu. Numer ten, choć eksperymentalny i sowicie ekspresyjny, nie płynie tak jak kompozycja The Grand Astoria. Montenegro wplata w swój utwór przeróżnego rodzaju motywy, jak na przykład akustyczno-folkową gitarową aranżację, w tle której słychać przemowę Juana Manuela de Rosas, argentyńskiego polityka i generała, który wprowadził rządy terroru w ich kraju. Ogólnie rzecz ujmując, numer ten jest cięższy, posiada również kilka przyśpieszeń, dzięki czemu może przyciągnąć fanów surowszych brzmień.

Split The Grand Astoria z Montenego choć jest tylko dwukawałkowy trwa prawie pięćdziesiąt minut, jest więc czego słuchać, zwłaszcza że obydwa utwory są bardzo rozbudowane. Zachęcam do sprawdzenia."
kvlt.pl/recenzje/the-grand-astoria-montenegro-split-2014/




metaladdicts.com review by Ivison Poleto:
"This is a split album that represents very well the past historic influences of Metal. If I may, Metal is the evolution of some 1960s musical movements inside rock which are heavy rock, acid rock, and psychedelic rock. All of them were known by the massive use of distorted guitars and by the extensive care to instrumentals. Metal inherited those features as well as uncommon and gritty vocals full of rage. Those musical movements inside rock were in some way against the tide of the flower power. The Vietnam War showed the world all the contradiction of the hippie flower power movement due to its violence and controversies as enlisting proportionally more minorities youngsters than white. Metal stood against the hypocrisy that was a rule into society. Metal was the rebellion into the rebellion – Hum, I guess I’ve already said that, but it doesn’t matter at all.

The Grand Astoria and Montenegro is an album that combines perfectly all the musical anarchy that reigned in the 1960s and the beginning of the 1970s when some weirdos started to meld national and folk influences into rock. Two bands, one split CD, two songs that could have been recorded by any Doom Metal band of this sad and lonely planet. They are eighteen and twenty-nine minutes longs. Montenegro do that in “El Matadero” mixing spanish musical tradition with a heavy and embodied rock. De rigueur, The Grand Astoria could be labeled as proto-metal due to the fuzzed guitars, long solos and heavy drumming. As the tradition rules, is long but no linear or monolithic. a great track to the lovers of the great music that was done in the 1960s. I’m indeed one of them. I love the sound of a fuzz pedal with its thick and solid distortion that makes the guitar screams loud and clear. It’s a pity Metal bands don’t use it more often.

The Grand Astoria with “The Body Limits” is a proto-doom Metal with its monolithic twenty-nine minute track full of effects and atmospheres. “The Body Limits” goes slowly in a crescendo to reach the top more or less in the middle of it. When I say slow crescendo, you get very slow and slight crescendo as a matter of fact. The drummer go slowly, but consistently hitting harder and harder and an angelical voice come sin to embellish the guitars that little by little are getting stronger leaving the clean lines to add the famous fuzz distortion. Around the twelfth minute, “The Body Limits” has a big change of heart leaving the intimistic beginning to get to a more regular heavy rock tune with tons of guitars. From where I’m standing it’s great to hear again all those influences that were a bit dorment. De rigueur, “The Body Limits” goes from the crescendo to reach the extasis then to return to intimistic beginning. A real musical trip as it was in the 1960s."
metaladdicts.com/site/the-grand-astoria-x-montenegro-the-grand-astoria-x-montenegro/




the-rocker.co.uk review by Stuart Hamilton:
"Deep breath, everyone. What we have here is a reissue of a split LP from two psych / stoner / doom / proto metal bands. One from Russia and one from Argentina. Oddly enough it’s Montenegro who come from Argentina.

Now you’ll have noticed that I said this was a split LP. Well it is despite it only having two songs. You read me right. One song from each band. The Grand Astoria supply ‘The Body Limits’ and, not oddly, ‘El Matadero’ comes from Montenegro. The latter is a bit skimpy clocking in at a mere 18 minutes plus while the former comes in at a shade under half an hour. Those of you with weak constitutions may leave the room now.

Although that would be a shame as there is a lot of good music on offer here. The Grand Astoria are definitely one for the psych fans out there as they experiment with so many different moods and shades of music across the half hour. Don’t be fooled by the gentle, pastoral opening stages as there is plenty of rawk on the way.

Over in Argentina I’m presuming based on a serious lack of research that this song is connected to the short story by Esteban Echeverría. I’m probably wrong but if I am then it doesn’t matter as it would still work superbly as a soundtrack to his political allegory. Musically it’s got more in the way of acid rock and Sabbathy vibes than the first track but it too has so many nuances to it as to require repeated plays.

Both bands bring their A game to this and if you’ve got the slightest interest in looking for some unusual vibes and grooves then this is definitely somewhere you should be visiting."
therocker65.wordpress.com/2019/06/04/reviews-roundup-the-rods-vs-the-grand-astoria-montenegro-vs-grand-reunion-vs-mandolin-orange-vs-luca-kiella-vs-thunderosa/




progressor.net review by Kev Rowland:
"This is an interesting release from No Name, as in many ways from a physical perspective it is a CD-sized album. It comes in a cardboard sleeve (which has the details printed on the spine), the CD itself is printed on one side so it looks like a record, and it is held inside an inner sleeve which contains the details of who played on it, when it was recorded etc., and this care and attention to detail certainly adds to the enjoyment for me. A split release, it features just two songs, but the one from The Grand Astoria is nearly 30 minutes long while Montenegro’s is nearly 19. Although both bands are heavily influenced by doom, stoner and psychedelic genres together with bands such as Blue Cheer, Sabbath, Kyuss and Hawkwind, geographically they are remote from each other was while The Grand Astoria are from Russia, Montenegro are from Argentina, and both songs were recorded in 2014. No name are rapidly becoming one of my favourite labels, and this cleanly-produced album is yet another example of why that is. For one reason or another it has taken me much longer than usual to get around to reviewing this, so subsequently have played it far more than I would usually prior to reviewing it and have found the more I played it the more I enjoyed it. The first few times I felt the bands were meandering without any purpose, but gradually I became more enamoured about what I was hearing. The bands are quite different, yet very related in what they are doing, and the lack of acclaim for this release (which is now some five years old) is not a reflection in the quality of the music contained within. For fans of stoner and doom this split release is definitely worthy of further investigation."
www.progressor.net/review/the_grand_astoria_montenegro_2014_2.html

credits

released September 5, 2014

The Grand Astoria: thegrandastoria.bandcamp.com

Kamille Sharapodinov — electric guitar (left chanel), acoustic guitar, vocals, electronics, samples
Danila Danilov — vocals
Igor Suvorov — electric guitar (right chanel)
Dmitry Ogorodnov — bass
Albert Vartanov — drums, percussion

Magnus Andre — sound
Sophia Miroedova — artwork

Recorded in February 2014 in Tallinn (EE) by M.Andre
Additional recording in March at Boiler Records (St.Petersburg, RU) by D.Danilov and K.Sharapodinov


X


Montenegro: montenegrorock.bandcamp.com

Agustín Girolami — voz
Santiago Lago — batería
Luciano Marchisio — bajo
Gonzalo Rubio García — guitarra eléctrica y acústica

Minuto 14:01 a 15:18 :
-Arreglo para guitarra de "A media luz" (Edgardo Donato) realizado por Anibal Arias.
-Discurso de asunción de Juan Manuel de Rosas al Gobierno de Buenos Aires, 8 de diciembre de 1829 (Registro Nacional. Provincias Unidas del Río de la Plata. 1874).

Grabado entre octubre 2013 y abril 2014 en estudios La Villa Records por José Luis Alvarez Rodríguez.
Arte gráfico por Sophia Miroedova.
Editado en la Federación Rusa por el sello No Name [690], con apoyo del sello argentino Sick-o-Delic Records [SR003].

En “El matadero”, Montenegro expresó su interpretación del libro homónimo de Esteban Echeverría. Bajo ninguna perspectiva presentamos nuestro relato como una "verdad" acabada ni total, al contrario, consideramos la obra del poeta como una interpretación subjetiva sobre un período histórico argentino. Estamos en contra de la utilización política de las figuras históricas y la falsificación de los hechos históricos con fines tendenciosos.

Video oficial: youtu.be/khOKim6KV-E

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[addicted label] Moscow, Russia

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