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Mark Deutrom
Mark Deutrom
Mark Deutrom
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Mark William Deutrom[1] is an American musician, composer, songwriter, and producer, best known as the guitarist for the punk rock band Clown Alley in the 1980s, and as the bassist for the multi-genre rock band Melvins from 1993 to 1998.

Career

[edit]

In the early 1980s, Deutrom was a member of a Los Angeles-based art co-op called Werkgruppe founded by D. Emily Hicks and Daniel Joseph Martinez. Lori Black was also a member. Deutrom contributed several multichannel soundtracks for Hicks' and Martinez's conceptual pieces culminating in a 23 channel synthetic audio environment for the 1984 Olympics Arts Festival installation entitled "The Peoples of Los Angeles". The piece included multiplex holograms of individuals from Los Angeles reciting soundtracks of their experiences in the region against a constantly shifting holographic audio ambience. Other collaborators included physicist and holographer Lloyd Cross, holographer Sharon McCormack, artist Abbe Don and musician Chili Charles. The exhibition was held at the University of Southern California Atelier Gallery in Santa Monica. A catalog was published that included 3-D glasses. "The Peoples of Los Angeles" was reviewed in The Los Angeles Herald Examiner.[2] It was also reviewed in the Los Angeles Times.[3]

In 1993, following the release of their album Houdini, Deutrom joined the Melvins as bass player. He had worked with the band previously, producing and engineering the early releases Gluey Porch Treatments and Ozma. He appears on the 1994 albums Prick and Stoner Witch, the 1996 album Stag and Honky in 1997. During his tenure in the Melvins, they toured with acts such as Rush and Nine Inch Nails. Mark Deutrom left the band in early 1998 to pursue other projects. In 2000, he released his first solo album, The Silent Treatment, which was reissued in 2018.

Deutrom played with the drone metal band Sunn O))) for several shows in 2006.[4]

Alchemy Records

[edit]

Alchemy Records was an American independent record label, founded in the San Francisco Bay Area in 1985 by musicians Mark Deutrom and Victor Hayden that was active until 1989.[5][6] The Melvins' debut album, Gluey Porch Treatments, was released on the label.[7]

References

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Mark Deutrom

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Mark Deutrom is an American , , songwriter, and , renowned for his multi-instrumental contributions to heavy metal and scenes. Deutrom studied music composition at the and attended influential seminars with composers including , , , , and , which shaped his genre-transcending approach to sound. In 1986, he co-founded Alchemy Records, through which he produced early works such as Neurosis's debut album (1987), as well as releases by and (RKL). From 1993 to 1998, Deutrom served as bassist for the during their prolific "," contributing to acclaimed albums including Prick (1994), (1994), Stag (1996), and (1997), while also producing several of the band's recordings. During this period, he toured extensively with the Melvins alongside major acts such as Tool, Nirvana, , , and Rush, solidifying his role in the alternative and metal underground. Beyond the Melvins, Deutrom was the guitarist in his punk rock band Clown Alley in the 1980s and later collaborated with drone metal pioneers Sunn O))) on live performances in 2006. He has also led the project Bellringer, releasing the album Jettison in 2016, and maintains an active solo career with six albums to his credit, including Brief Sensuality & Western Violence (2013) and The Blue Bird (2019) via Season of Mist, showcasing his experimental and sludge-oriented compositions.

Early Life and Formative Years

Involvement in Art and Music Scenes

In the early 1980s, Mark Deutrom became involved in the art scene as a member of Werkgruppe, an artist collective founded by cultural theorist D. Emily Hicks and artist Daniel Joseph Martinez, which also included musician . The group focused on interdisciplinary projects blending technology, performance, and social commentary. Deutrom contributed to Werkgruppe's installation "The Peoples of Los Angeles," commissioned for the 1984 Olympic , which featured nine sculptural forms containing 45-second holographic portraits of diverse Los Angeles residents, captured using a mobile unit designed by Lloyd Cross and mounted on a . The work, exhibited at the USC gallery in , incorporated oral histories translated into nine languages, accessible via headphones, to highlight multicultural narratives and challenge conventional displays. During this period, Deutrom pursued formal music studies at the (CalArts), where he engaged with composition under influential figures such as , the dean of the music school. He also attended seminars led by composers and , whose experimental approaches profoundly shaped his understanding of indeterminacy and sonic innovation in music. These experiences at CalArts exposed him to the intersection of music, performance, and , fostering a foundation in non-traditional structures that resonated with the broader experimental ethos of the era. Deutrom's immersion extended to the vibrant punk and scenes in during the early 1980s, where, after moving to the city post-college, he frequented iconic venues like the M.A.S.Q.U.E. and witnessed performances by bands such as The Germs, , and . He described the scene's expressionistic, nihilistic, and anarchic energy as echoing and surrealist art movements, drawing parallels between punk's raw disruption and historical rebellions against convention. These encounters in the underground music and art communities directly influenced his shift toward forming the punk band Clown Alley later in the decade.

Formation of Clown Alley

In the mid-1980s, Mark Deutrom co-founded the band Clown Alley in San Francisco's Bay Area, shortly after relocating there following his college studies. The band emerged from the vibrant West Coast underground scene, drawing brief influence from the earlier punk movement that Deutrom had encountered during his formative years. With Deutrom serving as the primary and key songwriter, Clown Alley quickly established itself as a raw, energetic outfit, featuring vocalist David Duran, Lori , and drummer Justin Clayton. Deutrom's contributions shaped the band's distinctive sound, blending aggressive with crossover thrash elements and experimental flourishes that evoked the intensity of acts like Black Flag and . As guitarist, he crafted gritty riffs and driving structures that underscored the group's crusty, sludge-tinged aesthetic, while his songwriting emphasized themes of chaos and social critique through fast-paced, heavy arrangements. Deutrom also took on production duties, honing his skills in capturing the band's unpolished energy during recordings, which helped define Clown Alley's place in the 1980s Bay Area punk landscape. Clown Alley's sole , Circus of Chaos, was released in 1986 on Alchemy Records, showcasing their high-octane punk sound across tracks like "The Lie" and "Theme," which highlighted Deutrom's riff-heavy guitar work and the band's chaotic live vibe. The band disbanded around 1987 following a final performance in , , primarily due to the loss of their drummer and growing internal fatigue among members.

Association with Melvins

Production Contributions

Mark Deutrom first connected with the Melvins in 1985 through Victor Hayden, co-founder of Alchemy Records, who had scouted the band in Seattle and brought them to San Francisco. Shortly after their arrival, Deutrom photographed the group at his home for the cover of their debut album, Gluey Porch Treatments, which he subsequently produced and mixed. Released in 1987 on Alchemy Records, the album was recorded in October 1986 at Studio D in Sausalito, California, utilizing the studio's large live room to capture a slow, expansive acoustic environment that amplified the band's raw, heavy riffs and nascent sludge aesthetic. With minimal overdubs—limited mostly to vocals and guitar—Deutrom focused on magnifying the Melvins' unique essence, employing techniques like strategic mixing to highlight their experimental edge without overpolishing the sound. Building on this collaboration, Deutrom produced the Melvins' follow-up album Ozma, released in 1989 on Boner Records. Recorded in May 1989 at CD Studios in San Francisco and mixed at Starlite Studios in Richmond, California, the sessions emphasized the band's evolving sludge and experimental style through Deutrom's engineering oversight, including the use of distortion and layering to enhance their dense, atmospheric textures. His approach prioritized the band's natural dynamics, resulting in a more refined yet abrasive sonic palette that distinguished Ozma in the underground metal scene. In addition to studio work, Deutrom handled front-of-house sound engineering for the ' early tours starting in the early . These contributions through Alchemy Records and beyond laid the groundwork for Deutrom's deeper involvement with the band, culminating in his tenure as from 1993 to 1998.

Tenure as Bassist

Mark Deutrom joined the as bassist in 1993, replacing following the release of the band's album Houdini. He had previously worked with the band in production capacities and shared a musical history with Black through their joint project Clown Alley. During his tenure from 1993 to 1998, Deutrom provided basslines and contributed to songwriting on key releases, including the EP Prick (1994), the full-length Stoner Witch (1994), Stag (1996), and Honky (1997). His input helped shape tracks such as those on Stoner Witch and Stag, where he co-wrote material. This period marked a shift for the Melvins toward a more melodic sludge style, blending their heavy, experimental roots with accessible riffs and structures. Deutrom participated in extensive touring to support these albums, including a 1994 West Coast run opening for and a subsequent tour opening for that same year. These outings exposed the band to larger audiences and highlighted their evolving live energy amid challenging dynamics with headliners. Deutrom departed the Melvins in 1998, prompted by his relocation to , which complicated band logistics given the core members' base in . This move ended his full-time involvement, though he had already begun exploring solo projects toward the close of his time with the group.

Alchemy Records

Founding and Operations

Mark Deutrom co-founded Alchemy Records in 1985 with Victor Hayden (d. 2018), a psychedelic musician and cousin of , in the . The independent label was established to promote and record underground bands in genres such as punk, hardcore, and emerging sludge and , emerging from discussions between Deutrom and Hayden following a Clown Alley performance. In operations, Deutrom took on key roles in artist and repertoire (A&R), and signing acts while providing production oversight to capture their raw sounds with higher fidelity than typical DIY efforts of the era. The relied on cost-effective strategies, such as booking discounted or canceled studio sessions in places like Sausalito, to produce recordings amid limited budgets. Distribution posed significant challenges in the pre-digital , with independent labels like facing hurdles in reaching audiences beyond local networks and mail-order systems, often compounded by the niche appeal of . Alchemy Records remained active from 1985 to 1989, during which it helped provide early exposure for bands like the through initial releases. The label ceased operations in 1989, marking the end of its short-lived run in the Bay Area underground scene.

Key Releases and Impact

Alchemy Records' catalog included several influential releases that captured the raw energy of the late 1980s underground metal and punk scenes. Key among them were B.C.'s Party With God (1986), a blistering thrash assault recorded at Starlight Sound in ; the ' debut Gluey Porch Treatments (1987), featuring slow, oppressive riffs amid punk fury; on LSD's Rock 'n' Roll Nightmare (1987), which blended with satirical lyrics and included a 32-page ; ' Pain of Mind (1987), an early hardcore effort showcasing the band's aggressive, socially charged sound; and Clown Alley's Circus of Chaos (1986), a outing that highlighted the band's chaotic, math-inflected style. These albums significantly shaped the emerging sludge and doom genres, with often hailed as a cornerstone of for its fusion of hardcore speed and Black Sabbath-inspired heaviness, influencing bands like and . Sacrilege B.C.'s contribution amplified the Bay Area thrash legacy through its relentless pace and punk edge, while ' debut laid groundwork for their evolution into pioneers. RKL's release bolstered the movement with its irreverent humor, and Clown Alley's work added to the crossover thrash lexicon with angular riffs and thematic absurdity. Critically, received acclaim for defining sludge's visceral intensity, earning retrospective praise as a genre blueprint in metal publications. Party With God was lauded for its no-holds-barred thrash ferocity, positioning it among Bay Area classics. The releases' long-term legacy endures through multiple reissues—such as by in 1994 and Neurot Recordings in 2000, and via Ipecac—affirming their role in 21st-century discussions of underground metal's origins. Deutrom personally produced select titles like Party With God and , enhancing their gritty sonic profile.

Production and Collaborative Work

Productions for Other Artists

Mark Deutrom's production work for other artists began in the late 1980s through his involvement with Alchemy Records, where he helmed sessions for several underground metal and punk acts. His debut production credit came with Neurosis's self-titled first album, (1987), recorded at Starlight Sound in , which captured the band's raw energy while introducing elements through thick, aggressive mixes. Deutrom emphasized planning and live tracking to maintain authenticity, resulting in a sound that balanced punk's immediacy with heavier, fuller tones. In 1987, Deutrom produced Rich Kids on LSD's (RKL) Rock 'n Roll Nightmare, also on , where he collaborated with the band to create a polished yet powerful album. The sessions featured innovative tracking, with drummer "Bomber" Pritt laying down both bass and drum parts simultaneously without a scratch track, allowing the rest of the band to build around this foundation for a tight, energetic feel. This approach highlighted Deutrom's ability to inject professionalism into punk recordings, enhancing the album's sharp edge and comic-book lyric integration. Deutrom's earlier Alchemy production was Party with God (1986) by Sacrilege B.C., a outfit, recorded at Starlight Sound and mixed with engineer Carl Herlofsson to deliver a crusty, high-octane sound blending Venom-like heaviness with Black Flag-inspired aggression. These Alchemy-era efforts established Deutrom's reputation for capturing the raw essence of emerging sludge and metal scenes through minimal overdubs—often limited to vocals and subtle guitar layers—and a focus on drum tones evoking John Bonham's massive presence. Extending into later decades, Deutrom's production style evolved to emphasize heavy low-end mixing tailored to genres, prioritizing big, immersive sounds that amplified the genre's downtuned riffs and atmospheric weight. Examples include his production of The Well's debut album Samsara (2014), a fuzz-laden heavy record, and alt-country band Meat Purveyors' Pain by Numbers (2004). In a 2024 , he reflected on this approach, noting his drive to elevate punk and metal recordings beyond lo-fi constraints while preserving their rebellious spirit, earning him the moniker "Professor of Sludge" for his influential role in shaping the genre's sonic identity.

Notable Collaborations

One of Mark Deutrom's notable guest performances occurred in 2006 when he joined the drone metal duo Sunn O))) for a series of live shows across the United States and Europe, providing bass support that enhanced their signature heavy, atmospheric soundscapes. This collaboration drew on Deutrom's prior experience with dense, low-end textures from his Melvins tenure to contribute to recordings such as the live album La Mort Noir dans Esch / Alzette, captured during their tour with Earth. In the 2010s, following his departure from the , Deutrom engaged in brief stints with experimental acts, particularly within circles. He fronted the psychedelic swamp rock group County Bucks in 2011, contributing guitar and vocals to tracks like those on the Ruckus Juice 12-inch release, which blended bluesy riffs with hallucinatory elements. Later, from 2014 to 2019, he led as a live vehicle for his compositions in , collaborating with musicians like drummer R.L. Hulsman and vocalist Monique Ortiz to explore jazz-infused on albums such as Jettison. Deutrom's personal life intersects with his creative work through his to and designer Jennifer Deutrom, with whom he has undertaken joint endeavors in music visuals and graphics. Jennifer has directed music videos for his tracks, including the psychedelic "" from his 2019 solo album The Blue Bird, and provided art direction for releases, integrating rotoscoped animations and experimental designs to complement his sonic explorations.

Solo Career

Debut and Early Solo Releases

Mark Deutrom's debut solo album, The Silent Treatment, was released in 2000 through Lunasound Recording in Sweden and Tee Pee Records in the United States. Recorded over one week in March 1998 at Clearlake Audio in Burbank, California, the album features 16 tracks blending downtempo grooves with chaotic interludes, creating a chilled yet powerful mood. All songs were written by Deutrom, who handled primary instrumentation and production, with drums performed by his childhood friend John Evans and mixing by . The record incorporates elements infused with psychedelic and stoner influences, drawing from 1970s artists like and featuring organic, nostalgic arrangements with humorous touches reminiscent of and . Atmospheric soundscapes and explorations of the human psyche underscore its diverse and daring style, evoking a sense of transitional sentimentality. Captured amid Deutrom's permanent departure from the , The Silent Treatment repurposed some backlog material originally intended for the band, signaling an artistic pivot toward introspective solo expression influenced by his time with the group. Initial critical reception was positive in limited coverage, praising its quirky rock grooves and weirdness, though distribution challenges led to it fading initially before cultivating an underground following. Deutrom continued his solo output with the EP Gate in 2005, followed by the single Iraq in 2006. His second full-length solo album, The Value of Decay, arrived in 2011, exploring further experimental and elements.

Later Albums and Reissues

In 2018, Deutrom oversaw the reissue of his debut solo album through , featuring updated artwork and a bonus track to expand its original 2000 content. This edition highlighted the album's foundations, blending stoner and psychedelic elements that had influenced his later work. That same year, reissued The Value of Decay with a bonus track from the original sessions. Also in 2018, reissued Brief Sensuality & Western Violence, Deutrom's 2013 solo effort, adding a bonus track titled "Miniskirts" and presenting it as a psychedelic exploration from primal consciousness to modern alienation. Deutrom's next major solo release, The Blue Bird, arrived in January 2019 via , marking his first full-length under his own name in nearly six years. The album delved into melody, space, nuance, and dynamic volume shifts, forming a cohesive "prismatic audio storybook" with tracks like "The Futurist Manifesto," which evoked epic, desert-tinged metal influences. Critics noted its evolution toward longer, more atmospheric compositions, building on his and experimental roots while emphasizing instrumental breadth. By the early 2020s, Deutrom shifted toward and fan-supported models, launching a platform to share exclusive compositions, including solo guitar pieces and electronic experiments. This approach allowed direct engagement with supporters, funding ongoing projects without traditional label constraints. In a 2024 , Deutrom reflected on achieving artistic equilibrium by balancing professional production values with the raw energy of influences, such as slowed-down riffs and punk aggression, while teasing instrumental works that extended his post-2019 creative trajectory. No full solo album followed The Blue Bird by November 2025; however, in September 2025, he released , a single-track work for , exclusively via and . Efforts continue to center on these Patreon-driven endeavors.

References

  1. https://www.season-of-mist.com/bands/mark-deutrom/
  2. https://www.last.fm/music/Clown+Alley/+wiki
  3. https://markdeutrom.bandcamp.com/album/the-blue-bird
  4. https://teknikaradica.cmagnus.com/teknikaradica.org/conference/participants/hicks.html
  5. https://direct.mit.edu/books/oa-monograph/chapter-pdf/2385029/c002300_9780262378727.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAA1EwggNNBgkqhkiG9w0BBwagggM-MIIDOgIBADCCAzMGCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMXVxx8rigRhM4UX6PAgEQgIIDBGojxhejkMxawkN8mBgC_t7XyLNgqK5-reecP9MUUIiIsAGmuDDsOP8Cp3w0B8inU6xnrtacKQ4uEPg7_a6wf6IoOJlSIw2UXf8qIVB8r-F58W9cxDrv1k4SIaANm3tyrv5qo1yWK_e3xHiWvmXk6YHRymawMOLxNFKGUYecgPtw2ovArj0c38t0DckO2BtaE2glODupRWiS8MbxyW_jsXRlzGkqGnIPrHkk65FzUZtrm3q-GP5xBPXz9M3ZfVzxr-v1iKF_reWdYet1x9wZYtrV0hQKrLfMnlCTTH5IA4Q2Vy57r63JdpIgQH_3lHMCpG7Ai6MuTbIh8SWhPLSm9d2P2jAkQWCE2TYtj8Znb_h-rUzdKCvoQmi4N-t7uKxat6OGtWwje5I3ezX5XPSjiW1c9kELQvNo2CfkEA5eswO7N8iOfBUA9F_jPMm-0MQqJKgFyshMUQlFbXY_rQNReiONY74ierYl0ws2xfeeh4EttR8HZo7xXc7f-W2ia8oGOnpBv1Oc0b2mezPQPTNAgGqUlV79XcNpphsib9t7uT_H7VjrCNfxGffqN9AbbhgQLAO7If3rFsStPHYO0YZrOUr64ZjaNMHlEW54VKdodMbwP3LMp8kIehOkCgPu62Z_oj6U6DDSx6lN70mtNenkCRox9YMXBxQ231HYh3NNlSQSZ01xKv-vZpYxGJ90t5zbAmsmelAL_A5QIz8QcPdUpN_F26bhRDHkrjOk9Tpr5eVs
  6. https://medium.com/vesto-review/professor-of-sludge-an-interview-with-mark-deutrom-b6d77b04f8e8
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  8. https://www.metal-archives.com/bands/Clown_Alley/29235
  9. https://markdeutrom.bandcamp.com/album/clown-alley-circus-of-chaos
  10. https://www.psychedelicbabymag.com/2014/08/mark-deutrom-interview.html
  11. https://www.metal-archives.com/albums/Clown_Alley/Circus_of_Chaos/62651
  12. https://themelvins.net/wiki/index.php/NOT_YET_DECIDED_1988_Interview_with_Brian_Walsby
  13. https://www.peek-a-boo-magazine.be/en/interviews/mark-deutrom-clown-alley-the-melvins-2019/
  14. https://www.discogs.com/release/453195-Melvins-Gluey-Porch-Treatments
  15. https://www.austinchronicle.com/music/ex-melvins-confederate-mark-deutrom-achieves-artistic-equilibrium-11674949/
  16. https://www.discogs.com/master/50708-Melvins-Ozma
  17. https://rockandrollglobe.com/hard-rock/hes-got-a-voice-a-wretched-voice-indeed-the-melvins-stoner-witch-turns-25/
  18. https://www.brooklynvegan.com/mark-deutrom-ex-melvins-has-a-trippy-new-video-off-new-solo-lp-touring/
  19. https://www.revolvermag.com/music/how-melvins-invented-sludge-ugly-spawn-punk-and-metal/
  20. https://riotfest.org/2016/07/13/rush-sent-melvins-postcard/
  21. https://the-avocado.org/2021/02/21/artist-spotlight-melvins-or-how-to-leave-town-before-the-gold-rush-part-5-of-11/
  22. https://www.youtube.com/watch?v=b4xvb0vj6yA
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  26. https://www.discogs.com/master/47451-Neurosis-Pain-Of-Mind
  27. https://www.discogs.com/master/16728-Rich-Kids-On-LSD-Rock-N-Roll-Nightmare
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  30. https://blabbermouth.net/news/sacrilege-b-c-s-classic-1986-album-party-with-god-receives-digital-release
  31. https://www.scenepointblank.com/blog/formative-years-rich-kids-lsd/
  32. https://genius.com/albums/Melvins/Gluey-porch-treatments
  33. https://www.metalcrypt.com/pages/interviews.php?intid=642
  34. https://www.discogs.com/release/973375-Neurosis-Pain-Of-Mind
  35. https://www.discogs.com/release/5986481-Neurosis-Pain-Of-Mind
  36. https://www.facebook.com/mutiladorfanzine/videos/sacrilege-bcparty-with-god1986recorded-in-april-1986-at-starlight-sound-richmond/1602422496984124/
  37. https://www.discogs.com/release/1065480-Neurosis-Pain-Of-Mind
  38. http://www.markdeutrom.com/bio.html
  39. https://www.discogs.com/release/840615-Rich-Kids-On-LSD-Rock-N-Roll-Nightmare
  40. https://www.reddit.com/r/punk/comments/1bgp699/mark_deutrom_talking_about_the_making_of_rkl/
  41. https://untamedrage.com/2024/10/31/album-review-r-k-l-rock-n-roll-nightmare-1987/
  42. https://www.discogs.com/release/29011642-Sacrilege-BC-Party-With-God
  43. http://www.markdeutrom.com/credits.html
  44. https://www.discogs.com/master/742541-The-Well-Samsara
  45. https://www.discogs.com/release/14382476-The-Meat-Purveyors-Pain-By-Numbers
  46. https://sunn-live.bandcamp.com/album/sunn-o-20060530-avalon-new-york-ny-usa
  47. http://drownedinsound.com/releases/16330/reviews/4143008
  48. http://www.bellringeratx.com/about.html
  49. https://www.vice.com/en/article/bellringer-mark-deutrom-interview-melvins/
  50. http://www.jdeutrom.com/animation.html
  51. https://www.discogs.com/artist/5097021-Bellringer-2
  52. https://www.discogs.com/master/58255-Mark-D-The-Silent-Treatment
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  56. https://www.season-of-mist.com/release/the-silent-treatment/
  57. https://markdeutrom.bandcamp.com/album/the-value-of-decay
  58. https://markdeutrom.bandcamp.com/album/the-silent-treatment
  59. https://shopusa.season-of-mist.com/mark-deutrom-brief-sensuality-western-violence-cd-digisleeve
  60. https://www.amazon.com/Blue-Bird-Mark-Deutrom/dp/B07JJQ6ZCZ
  61. https://www.patreon.com/markdeutrom
  62. https://markdeutrom.bandcamp.com/album/anthropocene
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