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NOTTURNO CONCERTANTE

Symphonic Prog • Italy


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Notturno Concertante biography
NOTTURNO CONCERTANTE is an Italian band, named after a musical piece by Carulli, a XIX-century Italian composer. This is Italian neo-prog with influences from MARILLION, IQ and PENDRAGON. They use of acoustic guitar adds a richness to their music. The band has recorded 5 albums, and also contributed to several prog rock tribute albums (GENESIS, VANDER GRAAF GENERATOR, CAMEL and a Cantenbury tribute).

Their first album "The Hiding Place", recorded on 8-tracks in a private studio, is considered as one of the best progressive rock albums in the italian scene. Their most recent recording is called "Riscrivere Il Passato". As a whole, the music that is presented on this album can be defined as a melodious blend of Neo and Classic Symphonic Progressive with quite accessible and beautiful arrangements. Another great album from one of the fathers of the renaissance of italian prog of the nineties. Recommended if you like Gordon GILTRAP, the acoustic Steve HACKETT, or Anthony PHILLIPS.

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NOTTURNO CONCERTANTE discography


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NOTTURNO CONCERTANTE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.70 | 12 ratings
The Hiding Place
1990
2.98 | 13 ratings
Erewhon
1993
2.45 | 12 ratings
News From Nowhere
1993
3.19 | 15 ratings
The Glass Tear
1994
3.94 | 15 ratings
Riscrivere Il Passato
2002
3.93 | 25 ratings
Canzoni allo specchio
2012
4.06 | 21 ratings
Let Them Say
2020

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NOTTURNO CONCERTANTE Reviews


Showing last 10 reviews only
 Let Them Say by NOTTURNO CONCERTANTE album cover Studio Album, 2020
4.06 | 21 ratings

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Let Them Say
Notturno Concertante Symphonic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars NOTTURNO CONCERTANTE are back with mesmerizing compositions and a really elegant flow throughout. What a nice show! Lucio Lazzaruolo and Raffaele Villanova are building the band's inspirational and musical core since 1990, the year when they had released their debut 'The Hiding Place'. Well, after all it took eight years to offer something new to the prog scene, but the wait was worth it. 'Let Them Say' is different to what we know from this band so far. It has become a profound eclectic album with a mix of symphonic, classical, jazz, and traditional folk traces. The recordings see them also intensively collaborating with drummer Francesco Margherita, hence consequently he's listed as a regular band member on this occasion.

Furthermore they have invited several guest musicians. A good move in general, if one is intending to serve something really colourful, provided with diversified impressions. Some of them already have appeared on prior albums. Though not Japanese citizen Seto Nobuyuki, for what I know. He contributes extraordinary soothing as well as slightly weird clarinet portions, exemplarily on Fellow Travellers and Handful Of Hopes. A real attraction. I mean, I'm still detecting new impressions. It's a relaxed and charming experience predominantly. Bearing a jazzy touch the drumming totally fits, no question, comes to the point.

You will hear wonderful violin and cello all around, plus ethereal female voices on Dei Miei Sospiri for example. Delicate Sabbath transfers a special rhythmic elegance with Latin/Samba touch. Acoustic guitars all over, and nice piano solo excursions on Darkness I Became. So Far Out even really rocks with driving electric guitar and bass. So there's a plenty to discover. Now Let Them Say (the band) ... ''an instrumental album which essentially consists of a sort of crossover of various influences, from ethnic to electronic music, to jazz and rock influences' ... Yep, a proper conclusion, nothing more to add. 4.5 stars.

 Let Them Say by NOTTURNO CONCERTANTE album cover Studio Album, 2020
4.06 | 21 ratings

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Let Them Say
Notturno Concertante Symphonic Prog

Review by luciolazzaruolo

5 stars "The most striking aspect of this new record is that it is completely instrumental, it is based on a mix of acoustic instruments (mostly guitars, but also drums and piano) and electronics. It is an album made also with a work at distance with musicians of various nationalities and in this album the rhythmic aspect is always very important. In short, it is rather distant from the previous album. The first completely instrumental record in almost forty years of history comes with a significant title: Let Them Say, the seventh album of the Notturno Concertante, published by Luminol Records. Notturno Concertante is in the music biz since the early 80s as a duo and then evolved into an anomalous and singular prog band, always careful to acoustic elements, to elegant and sophisticated textures, to the connections between various genres.

Eight years after Canzoni allo specchio, Lucio Lazzaruolo and Raffaele Villanova return with new album, which contains elements of the past and anticipates new musical horizons. The prog of the early days has been definitively archived, Let Them Say explores the possibilities of a crossover of various influences, from world music to electronics, between jazz and rock influences. Furthermore, in Let Them Say the Notturno returns to the ancient duo line up, opening to various collaborations, in a sort of "working band" which also includes international musicians such as the Russian violinist Nadia Khomutova, the American Molly Joyce, the Canadian cellist Kaitlyn Raitz, the Canadian cellist Katlyn Ritz the Japanese clarinetist Seto Nobuyuki. The new drummer Francesco Margherita also participated together with the previous Simone Pizza, Luciano Aliperta and Giuseppe D'Alessio on bass and, presence of absolute prestige, the vocal group Gesualdo Consort directed by Marco Berrini in Dei miei Sospiri, which uses parts of a madrigal by Carlo Gesualdo (recorded live by Notturno himself).

Between one album and another, Notturno did not stop, there were important collaborations in studio for soundtracks and in live shows and projects: with director Giorgio Diritti, Ray Wilson former singer of Genesis), Giovanna Iorio, Lina Sastri, Pamela Villoresi, Daniela Poggi, Barbara Alberti and Paolo Rumiz. These collaborations, in addition to the group's innate curiosity, eclecticism and openness to new influences, have matured a detachment from the progressive of the origins, adopting a new approach, as Lucio and Raffaele declare: "If for progressive rock we mean a continuous backward glance towards a period now long gone, with the obligatory references and what many expect (mellotron, dreamy guitars, whispering flutes ...) we are no longer progressive from a long time. Instead we mean prog in a broader sense, as an attempt to keep in mind the evolution of music, to be more personal, to cross various musical genres, making them balanced, then we are more prog than ever".

Let Them Say is a sort of reboot album, which will accompany a new transition for the Notturno Concertante, already working on another album that is probably new instrumental, acoustic, with the even more marked involvement of the new drummer Francesco Margherita. After thirty years of music, Notturno dialogues once again with its listeners: "We believe and hope that our audience is mentally open, interested to know a musical proposal that has many different influences within it, not least the progressive, a music that we still like".

 News From Nowhere  by NOTTURNO CONCERTANTE album cover Studio Album, 1993
2.45 | 12 ratings

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News From Nowhere
Notturno Concertante Symphonic Prog

Review by apps79
Special Collaborator Honorary Collaborator

2 stars Same year and same label as ''Erewhon'', but older material was what the next Notturno Concertante ''News from nowhere'' contained.Propably Mellow Records believed much in the band and this CD included reworkings of older songs, covers, material from the band's early demos and live pieces.Raffaele Villanova and Lucio Lazzaruolo appear throughout the 13 tracks and they are reasonable supported by various musicians, each one linked to the period of recordings.

Most tracks sound a bit more Neo Proggy than the later albums of the band, which is pretty ok, as with talk about archival material recorded mainly during the 85'-87' period.Stylistically the old cuts follow the standard lines established by Notturno Concertante's more renowed works, this is rather soft Neo/Symphonic Prog with strong MARILLION and GENESIS overtones, sung in English and based on melodic, careful arrangements with smooth keyboard passages, mellow piano lines and the electric guitars adding some tension and drama via Villanova's interesting solos.But again the elaborate classical guitar of Lucio Lazzaruolo is constanly present after the middle for a more pastoral enviroment, while the vocals are decent but far from extraordinary.Recording quality ranges from poor to just acceptable, pitty because the tracks from the demo tapes show a band with potential, trying to be a bit pompous and bombastic at moments with the pronounced keyboard flashes.With two covers of ''The web'' and the interlude from ''Grendel' the band somewhat admits the strong MARILLION influence on their music, with the second piece sounding more personal due to Lazzaruolo's performance on classical guitar.

Not the starting point if you want to explore Notturno Concertante's discography, but this is a good archival effort by the band and Mellow Records, which has some chances to be appreciated by fans of the 80's and relaxed Symphonic Rock...2.5 stars.

 Erewhon by NOTTURNO CONCERTANTE album cover Studio Album, 1993
2.98 | 13 ratings

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Erewhon
Notturno Concertante Symphonic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Since 1993 and through a five-year span Notturno Concertante slowly entered their most prolific period by far.This era begins with the album ''Erewhon'', which was also the first album of the group for the Italian label Mellow Records.Singer Giancarmine Tammaro and drummer Michele Iacoviello had left the group and new drummer Orazio Grappone was recruited, while the vocals were delivered Raffaele Villanova along with guest singer Betty Iandolo.The album was recorded at the Trasparent Music Studio in the band's hometown Grottaminarda.

Dreamy melodies and folky references were always in the band's menu, but on ''Erewhon'' these elements have a special place with the acoustic guitars being constantly used and the overall style being a very soft Progressive Rock with influences from GENESIS, MARILLION, ATON'S, while some of the vocal parts of the album have a poppy yet sensitive aura akin to PHIL COLLINS' solo albums.Musically ''Erewhon'' offers nine short tracks of melodic and calm -mainly Neo- Progressive Rock with strong acoustic breaks, smooth piano lines and dreamy synthesizers in a very relaxing mood.The few symphonic hints of the debut are almost totally absent and the focus of the group is to produce ethereal atmospheres with warm vocal lines and pastoral soundscapes.However some energy can be found on the good, bursting electric solos of Raffaele Villanova, who has a style similar to MIREK GIL or STEVE ROTHERY.The combination is pretty charming and if the production value was higher ''Erewhon'' propably would have sounded a bit more interesting.

Notturno Concertante played a safe Progressive Rock with an impressive atmospheric content in ''Erewhon'' and what they chose to do, they did it well.Recommended, especially for fans of Neo Prog and pastoral Folk Rock.

 Canzoni allo specchio by NOTTURNO CONCERTANTE album cover Studio Album, 2012
3.93 | 25 ratings

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Canzoni allo specchio
Notturno Concertante Symphonic Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian band NOTTURNO CONCERTANTE has been a going concern for almost 20 years, citing 1984 as their year of formation. The first half of the 90's appears to have been their most active period, with a substantial amount of years between new album releases from the second half of the 90's and onwards. "Canzoni Allo Specchio" is their sixth full length production, following 10 years after their previous album.

Notturno Concertante have made themselves a solid sixth full length production, a smooth and well produced affair that emphasizes on accessible, harmonic melodies and finely controlled arrangements. As it is a CD that broadly can be described as progressive folk rock for the first half and accessible but sophisticated jazz-oriented music in the latter half, and those who tend to enjoy both of these stylistic expressions explored in an accessible manner should be a key audience for this album.

 Canzoni allo specchio by NOTTURNO CONCERTANTE album cover Studio Album, 2012
3.93 | 25 ratings

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Canzoni allo specchio
Notturno Concertante Symphonic Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Canzoni Allo Specchio' - Notturno Concertante (7/10)

Halfway between proggy folk rock and smooth jazz, the latest album from Notturno Concertante is a bit of a tough egg to crack. Although this Italian act originally went for a melodic neo-progressive sound a la Marillion, "Canzoni Allo Specchio" demonstrates the evolution that has come along with age. Notturno Concertante may have an original approach, but fans of Italian prog music will find themselves instantly at home. At times the band's mellow approach tends to underwhelm, but fans of Italian prog rock will find "Canzoni Allo Specchio" a worthy listen.

Although the aforementioned 'smooth jazz' leanings may send up red flags for many proggers, it should be stated up front that Notturno Concertante never give up the sense of sophistication first introduced in the prog folk powerhouse "Ahmed L Ambulante". One thing that also tends to stay consistent however is Notturno Concertante's soft approach to music. As is the case with "Come Il Vento" (among others), "Canzoni Allo Specchio" does show its rock influence, but only sparingly. Regardless how complex the arrangements between the guitars, accordion and string sections get, Notturno Concertante's music flows over the listener as a string of beautiful, cinematic passages. The closest thing I might compare it o in that sense is a technically proficient, progressive form of restaurant music; "Canzoni Allo Specchio" focuses in on creating a mood, and they stick with it.

Of course, Notturno Concertante's progressive roots tend to lie with their compatriots, and listeners may find themselves comparing "Canzoni Allo Specchio" to a slew of their favourite RPI records. The laid-back mood and heavy use of non-rock instruments does give Notturno Concertante an original twist, but the vocals are deep within what will be familiar to a fan of Italian prog. Giuseppe Relmi's vocals are a warm vessel for the beautiful phonetics of the Italian language. The music is conventionally beautiful, and the vocals fit the same description.

Although the complexity of the compositions becomes clear after several listens, the mellowness does often get to the point where it's easy to let it sink into the background. Although I'd hate to think myself intrinsically 'against' a genre of music, the smooth jazz elements in Notturno Concertante do not sit comfortably. Although the tenor saxophone worship that pervades much of the album is the most apparent 'smooth' aspect, Notturno Concertante will occasionally throw away their brilliant sophistication in exchange for pure pleasantry; chord progressions that seek to sound pretty, but fail to create more than a 'background music' vibe. "Lei Vede Rosso" is the worst offender for this, a romantic piece that may not sound out of place in a department store elevator.

Suffice to say, "Canzoni Allo Specchio" is not the most exhilarating RPI record, but the beauty and warmth is herein full. Not to mention that the band have gone from a fairly basic Marillion tribute to something they can call their own, Notturno Concertante can be proud of this.

 The Glass Tear  by NOTTURNO CONCERTANTE album cover Studio Album, 1994
3.19 | 15 ratings

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The Glass Tear
Notturno Concertante Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars The italian progressive scene was always popular in Brazil. I guess it must started because of those San Remo Festivals since the late 60┬┤s that were shown on brazilian TV at the time (where several of those bands appeared). Whatever the reason why, the brazilian prog circles never ceased to talk about - and, most of the time, praise - them. I was always amazed by the sheer number of groups, the high quality and the variety of styles they played. Notturno Concertante had a certain "cult" status amog brazilian prog fans, so I was curious to listen to this group. I had recently the opportunity to get The Glass Tear.

The album is very laid back, melodic and tasteful. Lots of soft keyboards and classical guitars. Maybe too laid back. A little more energy and variations would be great for their tunes. The songs are pretty much straighforward, with not that much tempo or mood changes we are expected to hear from a symphonic prog band. The musicians are excellent of course and clearly they know how to write catchy stuff. Still, you end up longing for a little more than what they deliver. Besides, they made the mistake of having some of the tracks sung in english, while it is obvious that italian is much more suited for their style of music, as the ones sang in that language show. Production is quite good, although the drums timbres are not the best around (the frequent use of a drum machine doesn┤t help wither) and the music flows evenly throughout the whole record.

Having said that, I must admit I liked the CD. It┬┤s quite pleasant, with strong influences of classical, folk and italian popular music all over it. Not challeging at all and, for the fame they have, a bit simplistic. I┬┤m looking forward to hear their other works to see if The Glass Tear is their best efford or not (probably not, considering the ratings I saw here on PA).

Rating: 3 stars. Good, but not essential in any way.

 Canzoni allo specchio by NOTTURNO CONCERTANTE album cover Studio Album, 2012
3.93 | 25 ratings

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Canzoni allo specchio
Notturno Concertante Symphonic Prog

Review by andrea
Prog Reviewer

4 stars Notturno Concertante began life in Benevento in the eighties on the initiative of Lucio Lazzaruolo and Raffaele Villanova. Their debut album, "The Hiding Place", was released in 1989, influenced by bands such as Genesis and Marillion. It was followed by "Erewhon" (1993), "News From Nowhere" (1994) and "The Glass Tear" (1994). After a long hiatus and some line up changes, in 2002 they released "Riscrivere il passato" (Re-writing the past) and after another long period and many years of work, in 2012 they finally released a new album, "Canzoni allo specchio" (Songs in the mirror), in my opinion their best so far. The line up on their last work features Lucio Lazzaruolo (classical guitar, keyboards), Raffaele Villanova (guitars, vocals), Giuseppe Relmi (lead vocals), Carmine Marra (sax, clarinet, whistles), Carmine Meluccio (violin), Gabriele Moscaritolo (accordion), Antonio D'Alessio (bass), Giuseppe D'Alessio (bass) and Simone Pizza (drums). The overall sound of the band is more original, personal if compared with the neo-prog of their early works and features many Mediterranean colours and psychedelic touches. The packaging is very rich and features the art-work of Fabio Mingarelli a.k.a. Ming, a booklet with the lyrics and the liner notes written by the Italian critic Donato Zoppo (with an English translation) and many pictures.

The opener "Ahmed l'ambulante" (Ahmed the hawker) is a kind of acoustic psychedelic trip in a cold winter night, a bad trip. It was inspired by a poem by Stefano Benni describing in a surreal way the death of an African hawker, a "vu cumprÓ". It happened in the middle of the night under a desert arcade in an Italian city when a bunch of hooligans smashed his merchandise and hit him in the head with a stick, just for fun. Ahmed died but the goddess of the night came down to take his spirit back home... "Ashiwa, the goddess of the night came to set me free / She kissed my temples and healed my wounds / They didn't see her / I didn't die in a canvas bag but on a big pyre of ebony in the heart of the forest / And my people sung for forty nights...". This is a really good track but Notturno Concertante were not the first band who interpreted Stefano Benni's verses: in 1994 the Modena City Ramblers recorded another excellent song inspired by this poem on their debut album Riportando tutto a casa.

Next comes "Young Man Gone West", more relaxed and lighter. It's an instrumental track featuring violin and whistles in the forefront that drives you from East to West in a musical journey full of colourful nuances. According to the liner notes, this piece is dedicated to five young Kurdish migrants who died during their journey to Western Europe and whose corpses were found near Grottaminarda, not far from Naples. It leads to the dreamy, melodic "Come il vento" (Like the wind) that was inspired by a reflection about the charming, seductive power of words. The lyrics describe the feelings of a man who can hear the words of his lover echoing in his head in a starry night. The words are like a raging river that could submerge him... "Speak to me / Whisper to me / Mumble in my ear / Like the wind...".

"Le anime belle" (The beautiful souls) is another beautiful, dreamy ballad. It's a piece dedicated to all the daydreamers who keep on fighting against the windmills in name of their ideals. "The daydreamers are volunteers in a war that they want to lose...". According to the liner notes this song was written to honour the memory of the late Antonio D'Alessio, bassist of the band who died in 2008.

"On Growing Older" is a short acoustic instrumental track built upon a nice guitar arpeggio. It leads to "The Price Of Experience", a piece sung in English that recalls the neo-prog sound of the early works of the band (you can find a first version of this song on the album The Glass Tear from 1994). The lyrics evoke hopes sacrificed to the needs of the daily life... "All at once everything seemed to loose its magic and everything was so hard to bear / Someone said this is the price of experience, but I felt like I just had enough / When did I become another house with no door? / When every distance seemed to break my heart...".

"Lei vede rosso" (She sees red) is a melancholic track featuring a nice sax work. The lyrics describe a woman on the verge of madness, everybody knows her but how can people really understand what's going on in her mind? She keeps on staring at the washing- machine and can't see nothing but blood, the blood of her lover who died in a car accident... "A veil falls behind her eyes / Your world becomes completely red...".

"La milonga di Milingo" (Milingo's milonga) is a nice instrumental featuring warm, sensual Latin American influences. The title is a kind a "calambour" (a pun) that combines the words Milonga (a South American dance) and Milingo, a criticized former Roman Catholic archbishop. It leads to another track full of sensuality, introduced by a saxophone solo, "Canzone allo specchio" (Song in the mirror). It's a love song that starts from an image in the mirror which push a man to reflect about his errors... "You know there is nothing to say / Silence speaks for us today / I just remember that I was lost / And you found me...". The romantic, short instrumental for classical guitar and piano "Ark En Ciel" (Rainbow) concludes the album

On the whole "Canzoni allo specchio" is a very nice work. I suggest to listen to it in streaming from the official website... Judge by yourselves!

 The Hiding Place by NOTTURNO CONCERTANTE album cover Studio Album, 1990
2.70 | 12 ratings

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The Hiding Place
Notturno Concertante Symphonic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Named after a piece composed by Ferdinando Carulli, among the most important guitarists of the 19th century, Notturno Concertante begun life in mid-80's in Avellino, initially as a duo led by guitarists Raffaele Villanova and Lucio Lazzaruolo.The band evolved into a 5-piece group towards the end of the decade, eventually releasing their debut LP ''The hiding place'' in 1990 on Musea Records.A CD reissue would follow 4 years later on Mellow Records with three bonus tracks.

By the time Lazzaruolo took over the keyboard duties as well with Giancarmine Tammaro on vocals, Enzo Abbondandolo on bass and Michele Iacoviello along with some help by flutist Enzo Matarazzo.Their sound didn't differ much of the late-80's Italian Prog movement, though the band sung in English, but playing in a style reminiscent mostly of ATON'S, SITHONIA and ERIS PLUVIA.Light Symphonic Rock mixed with Neo Prog is the game played in ''The hiding place'' and the band managed to create some good pieces of music among the more average ones in a dark period for prog music.The guitar playing is rather simplistic, recalling PIETRO RATTO, with some good distorted solos throughout, while the synthesizers of Lazzaruolo are more dominant, adding a symphonic color to the arrangements.Vocals have a district Italian accent and are not among the album's highlights.Do not expect any high-class complicated material, the band's focus remains on creating elaborate arrangements with occasional organ, flute, acoustic parts and harsichord sounds here and there, just when they sound pretty symphonic with some nice soundscapes delivered.The more guitar/synth-driven tracks still have a decent artistic value, following the steps of Neo Prog acts like ARCANSIEL or LEVIATHAN.The three bonus tracks on the Mellow Records release are of less interest being mostly Soft Rock compositions with sensitive vocals but only a bit of intricacy.

Regarding the time of the release, Notturno Concertante's debut was an album of daring music along the typical prog values, but today it has lost some of its freshness, mainly due to the mediocre production and drumming.However it can be a great occasional listening for both fans of Symphonic Rock and Neo Prog.Recommended.

 The Hiding Place by NOTTURNO CONCERTANTE album cover Studio Album, 1990
2.70 | 12 ratings

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The Hiding Place
Notturno Concertante Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

2 stars I'm not going to say too much about this album as i'm not into playing the part of a critic. From my first listen of this record though I didn't like it, and it didn't grow on me as i've listened to it 6 times now. I was shocked when I saw this listed under "Symphonic" because this sounds like "Neo-Prog" to me. Now because this was their first release i'm assuming that they changed their style along the way. The guitar and synths though along with the Gabrial-like vocals are all crying out neo to me. The vocals unfortunately are quite weak, and so is the sound quality of this recording.

Best I can do is 2 stars.

Thanks to ProgLucky for the artist addition.

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