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Colin Marston

Colin Marston (born 1982) is an multi-instrumentalist, , and recording renowned for his contributions to and genres. Based in , he has performed on guitar, bass, keyboards, and touch guitar across numerous projects, while also establishing himself as a sought-after for complex, high-intensity recordings. Marston graduated from New York University in 2004 with a Bachelor of Arts in music technology, where he focused on acoustics, signal flow, and recording techniques that would define his career. Early in his professional life, he founded the Paincave studio in Williamsburg, Brooklyn, from 2004 to 2006, before relocating to Woodhaven, Queens, to establish Menegroth, the Thousand Caves, in 2006—a space named after a location in J.R.R. Tolkien's The Silmarillion. The studio became a hub for extreme metal acts, hosting recordings for bands including Krallice's debut album, Dysrhythmia's Coffin of Conviction (2015), and Defeated Sanity's Chronicles of Lunacy (2007), as well as diverse artists like Jarboe, Phil Anselmo, and Yo La Tengo. Marston operated Menegroth full-time for 18 years, engineering 40-60% metal projects alongside free improvisation, progressive rock, and ambient music, until its closure in spring 2024 due to lease expiration; he has since relocated to Pennsylvania, where he established a new studio as of 2025. As a performer, Marston co-founded the instrumental technical metal band in the early 2000s and has been a core member of Dysrhythmia since 2004, contributing to their progressive sound. He co-founded the black metal band in 2007, co-writing and performing on albums that blend atmospheric intensity with intricate compositions, and became Gorguts' bassist and co-producer in 2009, notably engineering their comeback album Colored Sands (2013), which ranked second on Stereogum's list of the year's top metal albums. His solo project, Indricothere, explores ambient and electronic textures, while other collaborations include the ambient duo Byla and the noise ensemble Infidel?/Castro!. During the , Marston released approximately 100 recordings via , spanning experimental and archival material under his Omni Sound imprint. Marston's engineering approach emphasizes clarity and space in dense genres like and , often using unconventional techniques such as analog mastering and meticulous mic placement to capture brutal yet articulate sounds for acts like and Afterbirth. His resume boasts over 200 credits with labels including , Profound Lore, and , solidifying his influence in underground and scenes.

Early life and education

Early life

Colin Marston was born on September 13, 1982, in , . Details on Marston's family and early upbringing are limited, though he developed an early interest in music around age 10 or 11, with exposure to a range of genres including metal and experimental sounds that would later influence his work. During high school in , Marston began his musical explorations, primarily self-taught on guitar and , and played in a local band that shared a bill with the progressive metal group Dysrhythmia in late 1999 or early 2000—a formative experience at age 17. He also pursued studies in music during this , providing an initial formal entry into musical before transitioning to college-level training in music technology.

Education

Marston, who developed early musical interests during his upbringing in , enrolled at (NYU) around 2000 to pursue formal studies in music. He earned a degree in Music Technology from NYU's Steinhardt School in 2004. His curriculum emphasized recording engineering, providing hands-on training with both analog and digital equipment. Marston's program also incorporated elements of theory, building directly on the music theory studies he had begun in high school. This academic foundation integrated theoretical knowledge with technical proficiency, allowing Marston to apply high school-level principles in advanced college courses on music production and electronic music . The focus on over pure or aligned with his goal of enhancing his own recordings and pursuing a career in audio.

Musical career

Early projects

Following his education in music technology, Colin Marston co-formed the experimental ambient/drone duo Byla in 2003 with guitarist Kevin Hufnagel, both of whom also shared membership in Dysrhythmia, with Marston contributing on bass, guitar, and keyboards. The project emphasized layered soundscapes and minimalist compositions, drawing from ambient and drone traditions without traditional vocals or drums. Byla's self-titled debut album, released in 2005 on Translation Loss Records, captured this style through tracks like "Sent" and "Submerge," showcasing Marston's textural bass work and atmospheric arrangements. Around the same time, Marston engaged in short-lived experimental endeavors, notably his collaboration with percussionist George Korein in Infidel?/Castro!, an avant-garde outfit blending noise, drone, electronic, and elements. Formed earlier but active in releases during 2003–2005, the project issued works such as the 2003 split with Friendly Bears and earlier efforts like Case Studies in Bioentropy (2001), where Marston handled composition, electronics, and processing to create disorienting, bioentropic sonic environments. During 2002–2006, Marston honed his multi-instrumental abilities through these outlets, expanding from proficiency to adept handling of guitar and keyboards, often layering them in studio settings to build dense, immersive textures. His NYU training in music technology directly supported initial DIY recording experiments in the underground scene, including self-engineering, mixing, and mastering Byla's debut on home setups before professional release. These efforts established Marston's reputation for innovative, low-fi production within Brooklyn's experimental circuits circa 2004–2006.

Major band involvements

Colin Marston co-founded the instrumental band in 2001 with guitarist Mike Lerner, serving as the band's primary guitarist on and conventional six-string setups. His contributions have centered on pioneering technical innovations in prog-metal, such as hyper-complex patterns, atonal harmonies, and polyrhythmic structures that demand virtuosic precision from all members. Over the band's two-decades-plus tenure, Marston's creative input has driven its evolution from raw, experimental demos to more refined recordings that maintain a commitment to boundary-pushing dissonance and instrumental interplay. In 2004, Marston joined the longstanding mathcore trio Dysrhythmia as bassist, infusing the group with his expertise in rhythmic intricacy and progressive dynamics. His role has emphasized the creation of interlocking bass lines that underpin the band's instrumental complexity, blending precision with aggression to evolve Dysrhythmia's sound toward ever-more labyrinthine compositions. This involvement has solidified the band's reputation for cerebral, high-speed technicality, with Marston's steady presence enabling sustained touring and recording output. Marston co-founded the black metal band in alongside Mick Barr, taking on responsibilities and co-writing much of the material. His songwriting has been instrumental in developing the band's thematic depth, merging raw ferocity with atmospheric layering, odd time signatures, and philosophical undertones drawn from environmental and existential motifs. Through numerous albums and lineup shifts, Krallice under Marston's influence has progressed from straightforward aggression to more expansive, experimental forms incorporating ambient passages and ensemble improvisation. Marston joined death metal pioneers Gorguts in 2009 as bassist, contributing to their reunion activities, including engineering and performing on the album Colored Sands (2013). His bass work has highlighted the band's technical death metal hallmarks, integrating dissonant riffs, microtonal explorations, and avant-garde orchestration to refresh Gorguts' legacy of progressive extremity. Marston's role has supported the group's evolution into a more collaborative unit focused on conceptual storytelling and sonic experimentation during tours and subsequent releases. Beyond these core ensembles, Marston has lent his talents to select side projects, including the 2010 collaborative effort Sailors With Wax Wings, where he provided guitar and engineering for its hallucinatory blend of ambient metal and orchestral textures led by R. Loren of Pyramids. He also contributed guitar performances to Pyramids' recordings from 2008 to 2010, enhancing their fusion of , , and with layered, atmospheric riffing on tracks like those from A Northern Meadow. These endeavors build on precursors like his work in the drone duo Byla, which honed his interest in textural and improvisational group dynamics.

Solo and experimental work

Colin Marston's solo project Indricothere, active since 2007, served as a primary outlet for his ambient and noise explorations, featuring self-recorded compositions that blended elements with experimental soundscapes. The debut album Indricothere, released in 2007 on The Sacrosanct Opuscule, showcased Marston performing all instruments, including , standard guitar, and drum programming, to create dense, instrumental tracks emphasizing atmospheric textures over traditional song structures. Follow-up (2013, self-released) expanded on this with heavier low-end riffs from the and bounding bass lines, incorporating electronic processing for a monolithic, immersive sound. The release Plagued (2015, self-released) delved deeper into noise and ambient territory across two extended tracks totaling 43 minutes, utilizing digital formats like and for non-commercial distribution via . The project has continued with releases like ALL TIME (2021) and others via . During the , Marston released approximately 100 recordings via under his Omni Sound imprint, spanning experimental and archival material. As of 2025, solo endeavors continue with new releases, and he remains active with bands like , including pre-production for new material in July 2025. Beyond Indricothere, Marston contributed to experimental works through guest appearances in the , often incorporating his signature . On So Is The Tongue's A Child of Divorce (2012, Nefarious Industries), he provided a guest slide on the track "You're Nobody," adding a layer of textural dissonance to the band's and style. Similarly, for East of the Wall's Farmer's Almanac (2008, Translation Loss), Marston delivered guest on select tracks, enhancing the album's atmospheric prog-metal with his precise, extended-range playing. Marston's avant-garde collaborations in the 2010s further highlighted his experimental side, merging metal with interdisciplinary elements. He featured on M. Lamar & Mivos Quartet's Surveillance Punishment and the Black Psyche (2017, Negrogothic Records), contributing guitar to tracks like "Watchtower" and "1947 / Solitude," which fused black metal influences with string quartet arrangements to explore themes of racial surveillance and psyche. In the death metal realm, Encenathrakh—co-founded by Marston in 2013—released its self-titled debut (2014, self-released), a brutal technical death metal effort where he handled bass and composition, pushing boundaries with chaotic rhythms and electronic undertones. These non-commercial releases often relied on custom instrumentation like the Warr guitar and electronic drum programming, drawing from Marston's technical proficiency honed in major band settings to enable intricate, boundary-pushing compositions.

Production and engineering

Studio establishment

In 2006, Colin Marston established Menegroth The Thousand Caves as a home recording studio in , , following his earlier setup at the short-lived Paincave studio from 2004 to 2006. The space, originally a hip-hop studio known as Bayside Sound, featured an unconventional layout with no square corners to minimize sound reflections and was named after an elven city from J.R.R. Tolkien's The Silmarillion, evoking its cave-like atmosphere near Forest Park. Marston's in music technology from in 2004 provided the foundational skills for transforming this Craigslist-found property into a functional recording environment. By around 2010, the studio had evolved into a facility, equipped for both analog and techniques particularly suited to the demands of , including a live room, control room, and three isolation booths adapted from the original two control rooms. This growth was driven by word-of-mouth bookings rather than promotion, allowing Marston to handle engineering, mixing, and mastering for a range of projects while maintaining its unassuming residential exterior. Menegroth operated as Marston's primary live-in workspace for nearly two decades, blending personal residence with professional production in a windowless, ship-like interior that supported intensive sessions for independent artists worldwide. Its significance lay in providing an affordable, high-quality haven for underground and experimental acts, fostering collaborations and enabling raw, powerful recordings without the constraints of larger commercial studios. The studio closed in spring 2024 after 18 years, prompted by the building's sale in 2018 and the subsequent denial of lease renewal, alongside Marston's relocation to amid shifting industry dynamics for independent production spaces. By 2025, Marston had established a new in , where recorded pre-production demos for new material in July 2025. The final projects at Menegroth included recordings for and , marking the end of an era for this pivotal venue in the extreme music scene.

Key production techniques and philosophy

Colin Marston's techniques emphasize the use of analog gear, including tape machines, to impart warmth and texture to recordings, countering the genre's inherent harshness without resorting to heavy that could flatten . He favors capturing performances with minimal digital intervention during tracking, often employing live room setups to preserve natural bleed and spatial depth, which enhances the chaotic energy of fast-paced elements like blast beats. This approach stems from his belief that over- diminishes the visceral impact of metal, leading him to prioritize analog for a more lifelike aggression in mixes. In mixing, Marston employs unconventional methods such as multi-tracking guitars to build density while maintaining clarity, layering multiple takes to create a wall of sound that supports complex, atonal structures without muddiness. He frequently uses custom re-amping techniques, adjusting amplifier settings and microphone placements iteratively to isolate and refine individual elements in dense arrangements, ensuring that intricate riffs and discordant harmonies remain discernible amid high-speed drumming. These practices address the technical challenges of extreme genres, where capturing blast beats requires precise transient control to avoid smear, and atonal passages demand balanced EQ to highlight microtonal nuances without artificial enhancement. Marston has discussed these hurdles in interviews, noting the "insane" demands of such music and the need for setups that make drums "sound like drums" naturally. At the core of Marston's philosophy is a to preserving the artist's intent, viewing as a collaborative enhancement of technical precision rather than a transformative overhaul, heavily influenced by his musical roots that value experimental freedom over polished perfection. He encourages bands to experiment with "weird ideas" in the studio, adapting workflows—whether all-analog chains or hybrid digital tools—to align with their vision, while gently guiding toward broader sonic cohesion. This , articulated in discussions on balancing raw capture with subtle , underscores his role as an enabler of artistic expression in challenging sonic territories.

Notable client work

Marston's production work for ' Colored Sands (2013) marked a significant contribution to , where he served as producer, engineer, and mixer, delivering a dynamic and crushing sound that balanced brutality with clarity. This album, the band's first in over a decade, refined the genre's dissonant elements through enveloping production that highlighted intricate guitar work and atmospheric depth. He continued this collaboration on Pleiades' Dust (2016), an EP that further emphasized experimental structures with precise engineering. Beyond , Marston handled mixing and mastering for several external acts in the 2010s, including Panopticon's Autumn Eternal (2015), enhancing the atmospheric black metal's folk-infused textures, and Sabbath Assembly's Rites of Passage (2017), bringing polish to their rock-metal hybrid. These efforts underscore his role in elevating underground metal releases with professional fidelity. Marston's collaborations extended to more and brutal territories, producing, engineering, and mixing Artificial Brain's Labyrinth Constellation (2014), which captured the band's cosmic brutal chaos through layered, disorienting tones. For Imperial Triumphant's Vile Luxury (2018), his work amplified the group's experimental jazz-infused , emphasizing nightmarish and aesthetics. He mastered Origin's (2014), sharpening the technical 's relentless speed and precision. In 2024, Marston remixed and remastered a redux edition of Vile Luxury. These projects highlight his expertise in brutal and experimental sounds. In 2025, recorded pre-production demos at his new studio. In addition to studio albums, Marston contributed to live recordings and archival efforts, including remastering Atheist's Original Album Collection (2018), which restored the progressive death metal pioneers' early works with modern clarity for re-release. He often incorporates analog processing in these endeavors to preserve organic aggression while achieving polished results.

Performance discography

Behold... The Arctopus

Colin Marston co-founded in 2001 in as an instrumental trio, initially featuring himself and Mike Lerner with a before expanding to include live drummers. He serves as the band's primary , specializing on the —a touch-sensitive, 12-string instrument that enables complex polyphonic playing—and contributes to the group's signature technical style characterized by intricate odd time signatures and abrupt rhythmic shifts. Marston's performance credits with span multiple releases, emphasizing his work that drives the band's , math-metal sound. On the 2005 EP Nano-Nucleonic Cyborg Summoning, released by Epicene Sound Systems in a limited run of 800 copies, he performed all parts across its three tracks, blending frenetic riffs and dissonant textures. The band also issued a split EP with Orthrelm that year via Crucial Blast Records, where Marston's contributions included on 's side, showcasing early experiments in hyper-technical composition. In 2012, Marston provided Warr guitar for the full-length album Horrorscension on Black Market Activities, marking the debut of drummer Weasel Walter and featuring extended pieces with polyrhythmic complexity and Marston's layered guitar synth elements. His ongoing involvement continued with the 2023 album Interstellar Overtrove, self-released via , where he handled and guitar synth duties alongside Lerner and electronic drummer Jason Bauers, exploring cleaner tones and spatial arrangements while retaining the band's penchant for unconventional meters. During the 2000s, Marston participated in live performances supporting these recordings, including a 2006 East Coast tour and a 2007 spring tour with Dysrhythmia, showcasing 's material in high-energy settings that highlighted the physical demands of their odd-signature-driven setlists.

Dysrhythmia

Dysrhythmia is an band formed in in 1998 by guitarist Hufnagel and bassist Clayton Ingerson, with drummer Jeff Eber completing the original lineup. The group initially released albums like (2000) and No Interference (2001) before Ingerson departed in 2004. Colin Marston joined as bassist in late 2004, bringing his technical precision from projects like to the ensemble and helping solidify Dysrhythmia's reputation for intricate, rhythm-driven compositions. Marston's performances on are featured prominently across Dysrhythmia's starting with their third full-length , Barriers and Passages (2006), which showcased the band's evolving sound through polyrhythmic structures and dynamic interplay between guitar and lines. Subsequent releases, including Psychic Maps (2009), Test of Submission (2012), The Veil of Control (2016), Terminal Threshold (2019), and the latest studio Coffin of Conviction (2024), highlight his contributions to the band's emphasis on rhythmic complexity, often employing odd time signatures and interlocking patterns that demand high levels of coordination among the . These tracks prioritize conceptual depth over , creating a sense of controlled chaos that defines Dysrhythmia's style. As of 2025, Dysrhythmia remains active, with the band performing an East Coast mini-tour in late 2024 to support Coffin of Conviction and scheduling additional live shows, including a performance at Underground Arts in on February 8, 2025. Marston's role has expanded in recent years to include guitar contributions alongside bass, further enhancing the band's live energy and experimental edge.

Krallice

Colin Marston co-founded in 2007 alongside guitarist Mick Barr as a collaborative black metal project. He has served as the band's primary guitarist since its inception, contributing intricate, technically demanding riffs that emphasize atmospheric density and progressive structures within the genre. Marston performed lead and on 's self-titled debut album, released in 2008, where his playing intertwined with Barr's to create layered, riff-driven compositions exploring themes of existential decay. He continued providing guitar on the 2011 follow-up Diotima, delivering complex arrangements that expanded the band's sonic palette with elongated, evolving passages. His guitar work featured prominently on the 2015 album Ygg huur, incorporating dissonant harmonies and dynamic shifts to heighten the record's immersive quality. Most recently, Marston contributed guitar—alongside synthesizers—on the 2024 release Inorganic Rites, blending his signature riffing with electronic textures for a more hybridized sound. In addition to full-lengths, Marston's guitar performances appear on key EPs and splits, such as the 2009 EP Dimensional Bleedthrough, a double-length release featuring extended tracks like the title song, where his riffs propel the band's relentless, labyrinthine style. Throughout Krallice's catalog, Marston shares songwriting credits with bandmates for riffs and arrangements, often drawing from traditions while infusing progressive and elements to craft songs that prioritize conceptual flow over conventional verse-chorus forms. Post-2020, Krallice's evolved under Marston's to incorporate more experimental components, including his addition of keyboards and synthesizers starting around that period, which introduced darker ambient layers and further abstracted the band's foundations. Self-production aspects of these releases, including recording and mixing, are detailed in Marston's broader production discography.

Gorguts

Colin Marston joined as bassist for their 2013 reunion, contributing to the band's evolution toward a more intricate sound on the album . His bass performances on the record, characterized by complex, dissonant lines and polyrhythmic interplay, complemented the group's signature atonal riffs and abstract structures, drawing from his experience in progressive and outfits like Dysrhythmia and . Marston continued his role on the 2016 EP Pleiades' Dust, a 33-minute single-track divided into seven chapters, where his work provided a dynamic foundation of technical precision and atmospheric depth amid the EP's experimental, sludge-infused passages. Critics noted his contributions as particularly standout for their intensity and integration with the ensemble's chaotic yet cohesive dynamics. From onward, Marston has been a key member in ' live performances, participating in extensive North American and European tours that showcased material from the reunion era alongside classics. His onstage bass playing emphasized the band's technical demands, blending high-speed precision with improvisational flair to enhance the raw energy of their framework. This included a 2025 North American with Death to All, celebrating anniversaries of influential albums, and ongoing activity through late 2025. While no official live albums featuring Marston have been released as of November 2025, the band has shared informal recordings from tours, such as the 2014 Tour Tape, capturing his contributions in a live setting. In the 2020s, has focused on new material, with Marston involved in pre-production demos for an anticipated 2026 album recorded at his studio, further incorporating his technical sensibilities into the group's sound. No re-recordings of older material have been issued during this period.

Other performances

Beyond his core band affiliations, Colin Marston has contributed as a performer to several collaborative and guest projects, often blending his technical metal expertise with experimental and ambient elements. In the ambient duo Byla, formed with guitarist Kevin Hufnagel, Marston handled guitars and additional sounds on their self-titled debut album released in 2005, creating layered, minimalist soundscapes that marked an early exploration outside . Marston joined Withered as bassist for their 2016 album Grief Relic, providing the low-end foundation for the band's evolving dual-guitar attack amid lineup changes, including the addition of vocalist/ Ethan McCarthy. His contributions extended to guest bass on Assembly's Quaternity (2014), infusing the outfit's sound with intricate textures. In black metal collaborations, Marston appeared as a guest musician on Pyramids' A Northern Meadow (2015), contributing to the album's swirling post-rock and atmospheric intensity alongside figures like Vindsval of Blut Aus Nord, and provided additional guitars on the 2012 collaborative EP Magpie & Raven. He also performed bass and guitar in the technical death metal supergroup Encenathrakh on their Studio Album (2021), delivering chaotic, high-speed riffs and lines in a project featuring Mick Barr and Weasel Walter. Marston contributed as an additional musician (synthesizer, loops, samples) on Bomb A Lil Joy's debut album Baby Blue (2025), a collaborative experimental project. Marston ventured into classical crossover territory as a featured performer on M. Lamar's 2017 album Surveillance Punishment and the Black Psyche with the Mivos Quartet, playing on tracks like "Watchtower" and "1947 / Solitude," where his guitar intertwined with arrangements to explore themes of Black psyche and surveillance. These appearances highlight Marston's versatility in bridging extreme music with and interdisciplinary formats.

Production discography

Self-produced projects

Colin Marston has applied his production expertise to several projects involving his own bands and solo endeavors, handling engineering, mixing, and mastering duties at his Menegroth, the Thousand Caves studio. In Behold... The Arctopus, Marston served as the recording engineer, mixer, and mastering engineer for the band's 2012 album Horrorscension, where he also performed on Warr guitar. This instrumental technical death metal release showcases his ability to capture the group's intricate, high-speed compositions with clarity and intensity. For Dysrhythmia, another core band featuring Marston on , he produced the 2012 album Test of Submission, emphasizing a traditional metal recording approach that highlighted the as a foundational element rather than a secondary guitar. The album's production reflects his philosophy of balancing technical precision with emotional depth in instrumental . Marston took on full production responsibilities—including recording, mixing, and mastering—for Krallice's 2024 album Inorganic Rites, on which he contributed synthesizers alongside his bandmates. This outing builds on his longstanding involvement with the band, where he has engineered and produced earlier releases like Dimensional Bleedthrough (2009) and Diotima (2011) to achieve dense, atmospheric soundscapes. His work on Inorganic Rites integrates electronic elements seamlessly into the genre's raw aggression. As the sole creator of the solo project Indricothere, Marston handled mastering for releases spanning 2007 to 2015, including the self-titled debut album (The Sacrosanct Opuscule, 2007), where he also engineered, mixed, and performed all instrumentation and programming. These ambient and experimental works demonstrate his command over and noise textures, with mastering that preserves subtle dynamic ranges across albums like II (2013) and others in the series.

External productions

Marston has extensively contributed to the sound of Imperial Triumphant, handling mixing and mastering for several of their full-length albums throughout the 2010s and into the 2020s. For Abyssal Gods (2015), he mixed and mastered the record at his Menegroth studio. Similarly, Alphaville (2016) credits him as mixer, producer, and mastering engineer. He continued this collaboration on Vile Luxury (2018), where he recorded, mixed, and mastered the experimental black metal release. For Spirit of Ecstasy (2022), Marston served as producer, recording engineer, mixer, and performer on electronic drums. On the band's 2025 album Goldstar, he co-produced, engineered, and mixed the material, though mastering was handled by Arthur Rizk. In the genre, Marston mastered Origin's Omnipresent (2014), blending the band's high-speed aggression with clear dynamics. He provided mastering for Unparalleled Universe (2017), enhancing the album's intricate riffing and blast beats. This role extended to Chaosmos (2022), where his mastering preserved the quintet's punishing intensity. Marston's work with includes recording drums for their third full-length Blue Lambency Downward (2008) at Menegroth, contributing to the album's textures amid production led by Randall Dunn. He also recorded elements for the band's 2006 split with Bloody Panda. For , Marston mixed and mastered all of their full-length albums up to 2024, shaping the progressive outfit's cosmic sound. This includes their debut Labyrinth Constellation (2014), where he handled full production. He mixed and mastered (2017), Nameless Void (2020), and the self-titled (2022). Marston mastered Withered's Grief Relic (2016), also recording bass for the Atlanta extreme metal band's atmospheric dual-vocal assault. Among recent credits, Marston mastered Panopticon's And Again Into the Light (2021), accentuating the atmospheric black metal project's folk-infused layers following a mix by Spenser Morris. Earlier, he mixed and mastered Autumn Eternal (2015) and Kentucky (2012), integrating acoustic elements with heavy distortion. In spring 2024, Marston closed his Menegroth studio after nearly two decades, potentially shifting his external production workflow to remote or alternative setups for future projects.

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