The Mob – All The Madmen Records – 1980 / 1983

The Mob formed in a village near Yeovil in Somerset, England, around the beginning of 1978. The band at this time consisted of Mark (guitar, vocals and songwriter), Graham (drums), and Curtis (bass and backing vocals). All of the members of The Mob had previously been in a band called Magnum Force while at school together…

The Mob played local halls and did not go too far out of the west country region during this early time in the band’s history.

A lot of the early gigs were attended by local meatheads, and there was quite a bit of hostility shown from some members of the audience towards the band and their friends, which sometimes ended in violence. This aggression was common all over England during and after punks ‘heyday’ specifically in small towns and villages. The Mob blagged a slot on the 1978 Stonehenge free festival, a festival which the band supported and had attended before the punk explosion of 1977. The Mob performed at this free festival throughout the following years until the band’s breakup in 1983.

The following year in 1979, the band’s gigs opened up quite a bit, the band went on the road with Here and Now who drew a different audience than the ‘bored youngsters’ that would cause trouble in youth clubs in and around Yeovil. The band also experienced playing their first European gigs with Here And Now. Both these bands performed together in Holland towards the end of 1979 which was useful for The Mob as they got to know the members, and the hangers on, of the free festival scene. The Mob performed for a second year at the Stonehenge free festival during the summer solstice.

At this time there was a small explosion of various like minded individuals in the  local area who had started bands and began to organise their gigs with The Mob. Some of the friends included Geoff, who had the original All The Madmen fanzine based at his parents house, where most of the friends would hang out without too much grief from Geoff’s parents.

The record label name, soon to be born, was a continuation of the fanzine name. The fanzine was dying down a bit by 1979-80. The members of The Mob, Debbie (who went on to form My Bloody Valentine in the mid 1980’s) and Christine from The Bikini Mutants were also regular friends and visitors to Geoff’s parents house along with Wilf who supplied the artwork for a lot of the releases on the All The Madmen record label and all The Mob’s vinyl output in particular.

The Androids Of Mu were also close to The Mob at this time.

The band’s first single ‘Crying Again’ 7″ was recorded in the winter of 1979 at Crypt Studios in Stevenage, by Here And Now’s soundman, and resident Street Level Studios engineer, Grant Showbiz.

The record was released on Geoff’s All The Madmen record label, with the help of Max who saved up a fair bit of cash to put the single out in the early months of 1980.

Crying Again


The next single, the ‘Witch Hunt’ 7″ was recorded in the summer of 1980 at Spaceward in Cambridge, and had a much bigger impact, reaching further out via the network of fanzines growing up in the rise of Crass and bands of that scene. Also John Peel played it a bit, and therefore this single was just about everybody’s first experience of The Mob specifially if you were outside the band’s immediate local area.

At the start of  ‘Witch Hunt’, there is a blood-curdling scream, this scream was used on the ansa-phone message when ringing up Geoff’s house in Larkhill Road from then on!

More local gigs followed, also a small ‘free’ tour in the vein of what Here And Now were promoting a year earlier. This tour was called Weird Tales and included The Mob, The Astronauts, Zounds, Andriods Of Mu plus any local bands that happened to be in the area the tour had got to that day. The band’s got paid by passing around a hat during the gigs…

A few tracks still exist on tape of this era, mostly on Kif Kif’s cassette label Fuck Off tape label, ‘Tribute To Bert Weeden’ and a little later on ‘Folk In Hell’ being two of them worth listening to.

The band played the Stonehenge free festival in 1980, unfortunately this was the year when some trouble brewed up during the day from some violent biker gangs who did not have the patience to listen to ‘punk’ music and specifically Crass who were to play there set later on in the evening. The Snipers and The Mob got off lightly, but when The Epileptics (soon to be renamed Flux Of Pink Indians) were performing the trouble started and many people were hurt in the clashes. Zounds, Poison Girls and Crass did not even get to perform as the promoters and the sound guy, Grant Showbiz, could not guarantee the safety of these bands or the punks who had come to see them perform. Ironically both Crass and Poison Girls successfully played this same festival the year before in 1979 with no trouble whatsoever. The difference between both years, according to Mark Mob, was that hundreds of ‘Kings Road’ fashion punks turned up in 1980. This is what seemed to upset the biker gangs.

Witch Hunt

Shuffling Souls

In the beginning of 1981, Mark and Curtis moved up to London into the squats of Brougham Road, Graham had decided to stay in Yeovil so the band were in need of a new drummer. After previously trying out Adie (from Null And Void) and a guy called Tim Hutton (from Zounds), they recruited fellow Brougham Road resident Josef Porter (from Zounds, Null And Void and Entire Cosmos).

On the back of the popularity of the ‘Witch Hunt’ single, and with the new drummer in place, the band got together to record some tracks to be released on cassette format. The tape was recorded in Josef’s bedroom in Brougham Road, Hackney and was eventually entitled ‘Ching’. This very basic bedroom recording was sold at gigs and through mailorder to people writing to the band.

The Mob caught the attention of Penny Rimbaud, drummer and writer for the seminal anarcho-punk band Crass, who recruited them for a recording of a single on Crass Records.

‘No Doves Fly Here’ 7″ is not quite like anything else the Mob ever recorded. This is partly because of the tune’s violently slow pace and vivid anti-war lyrics. It’s also due to the production tweaks added later by Rimbaud at Southern Studios in North London, including his famous sound clips and a very prominent synth track that the band hadn’t expected. At the time when the soon to be released record was sent to The Mob, the sound effects annoyed the band members to various degrees. There are test pressings of the original drum and bass version around, which sounds decent enough, but I think what Penny tried to do does add emotion to the tracks, and the tracks sound better for the tweaking. That is just my view though, and I must add, I also like and respect Penny very much!

More information on this release by The Mob HERE

The intense power of the song, combined with Crass’ better distribution via Rough Trade, ensured this release to be in the top 5 of the then independent charts for several weeks.

The Mob played a Streetlevel music festival in 1982 at a playground on Hampstead Heath, this performance was witnessed by Alistair Livingston, Tony D, Val D, Min and several other notible Kill Your Pet Puppy collective members. The first time the band and the fanzine contributors had crossed paths.

The band also performed at the infamous ZigZag squat gig in December 1982, along with some of the best in the anarcho-punk scene including Omega Tribe, Faction, D.I.R.T, Null And Void, Lack Of Knowledge, The Apostles, Conflict, Poison Girls, D & V, and Crass themselves. This gig was partly organised by members of the Kill Your Pet Puppy collective.

In the autumn of 1982, The Mob recorded some tracks at Spaceward with the financial help of Kill Your Pet Puppy collective members, Alistair Livingston and Mick Lugworm. The product was released by All the Madmen records early on in the spring of 1983 with the backing of Geoff Travis of Rough Trade, who saw the potential in dealing with this band / label for his organisation.

The ‘Let The Tribe Increase’ album was a milestone for The Mob, and for the anarcho scene that the band had been lumped into against their wishes. The band never wanted any labels pushed onto them, although the band members had respect for all the individuals that they crossed paths with, bands, writers, activists etc. The album is considered a ‘classic’ by many 1000’s of people around the world, and rightly so.

The release came with stunning artwork from Wilf (borrowed if we are to be polite, from Alternative TV’s second album ‘Vibing Up The Senile Man’ – The ATV album nobody liked, because the tracks were not fast and did not have enough fuzz boxes on them) and a huge poster…

The original artwork by Wilf that was considered would have been too expensive to print so the band went for the cheaper two colour option instead.

The album hit the top 3 in the independent charts with the help of the fanzine writers and the music weeklies of the time which in no small way was down to Alistair Livingston and Tony D from Kill Your Pet Puppy fanzine pushing the album whenever and wherever they could, including getting a cover and centre spread of Punk Lives magazine which had quite a large circulation at the time. Also The Mob who had previously been playing to such colourful audiences at the Wapping Autonomy Centre, the Centro Iberico, Meanwhile Gardens and a host of other ‘off the circuit’ venues throughout the last couple of years helped to push the record.

Furthermore bands like Blood And Roses, Sex Gang Children, Southern Death Cult and Brigandage were getting positive publicity at the time, and The Mob were generally regarded as a similar sort of band attitude wise, esp in the better fanzines like Kill Your Pet Puppy and Vague, as well as the music weeklies like the N.M.E.

The final Mob release was the ‘Mirror Breaks’ 7″, again recorded at Spaceward and released in the summer of 1983. Musically it was one of the prettier songs that the band had attempted, but with the same feel and some of the best lyrics of any Mob song in the set at the time.

The Mirror Breaks


This last single was selling very well, as was the album, what better time to knock it all on the head, and get something else done than during the pinnacle of the band…!

Mark Mob decided a couple of months after a European tour in the winter of 1983, to put down his guitar, put his teepee in the truck, and roam around the countryside, originally with the Peace Convoy, then settling at Pooh Corner for several years, later still settling down near Bath with his family.

The Mob bowing out at the top of the band’s popularity was a sensible thing to have done, and the band’s legacy is greater for it.

In 1984 Josef and Curtis continued performing together with Blyth Power until those old friends split up late 1986.

Josef carried on Blyth Power for many years with different line ups, and they still play a few times a year. Curtis has settled in Wales and has became a chef. He hopes to own his own restaurant sometime in the future. Josef is now in charge of testing models (airfix toys not girls) for a magazine. Josef’s ‘dream’ job. Mark has a van parts business, buying and selling scrap metal. He spends a fair bit of time in his second home in Morrocco. Wilf, the artist of all the record sleeves and much more than that, a close friend to all the band, passed away in the late 1990’s.

All the Madmen records continued thoughout under Alistair Livingston’s guidance after Mark Mob had disappeared in 1984. He helped release the Astronauts album ‘All Done By Mirrors’ in late 1983, the Flowers In The Dustbin 12″ and the Zos Kia 7″ in 1984 featuring Kill Your Pet Puppy collective member, Min.

Rob Challice from Faction, took the record label over in 1985 and released a whole heap more material by Blyth Power, The Astronauts and Thatcher On Acid until early 1988, when All The Madmen records closed it’s doors for the last time.

Official Mob Site

Official ATM site

All artwork by Wilf including the record sleeves, photographs from the collections of Mark Mob, Min, Val D and Penguin. Joanne Childs also supplied the original Wilf artwork that heads this post and Mark Mob supplied the original artwork for the ‘Let The Tribe Increase’ LP.

The very early Mob flyer promoting a gig at Poole courtesy of Kerr Ray Z Fokker, the Weird Tales Tour posters and photo are from Nick Godwins collection and all other flyers and the two examples of Wilf’s artwork at the bottom of the post from Penguin’s collection.

  1. jock
    May 27, 2010 at 2:20 pm

    where and when did the term ‘crust’ come from?
    never seem to remember anyone calling themselves as a ‘crusty’ or a band describing their type of music as ‘crust’.
    @-chris,thanks for the explanation of SCUM by the late Valerie Solanas , well i think she is dead according to wikipedia.

  2. curious guy
    curious guy
    May 27, 2010 at 5:04 pm

    I wonder what Sakevi of GISM thinks about all that. He sure has a violent reputation and is known as someone you don’t want to have against you.
    Anyone remembers those Anarchy & Violence T-shirts?

  3. alistairliv
    May 27, 2010 at 6:57 pm

    I assume Lady Gaga has pretty tight security.

  4. Graham Burnett
    Graham Burnett
    May 27, 2010 at 9:46 pm

    I think the single with the red and black sleeve I was thinking of might have been by ‘Depth Charge Souls’ ring any bells? Google didn’t turn anything up…

  5. Simon
    May 27, 2010 at 10:29 pm

    Dear all,
    Interesting thread.
    I think the first time ‘crust’ was used as a musical sub-genre or term was maybe Hellbastard and their ‘Ripper Crust’ demo from 1986. Yes there were ‘crusty’ looking folk around long before but i can’t remember the reference being used before this. Maybe , with equal ‘crust’ impact was Deviated Instinct and their ‘terminal filth stenchcore’ demo from 1986 also.
    I seem to remember the label ‘crust’ was more of a joke used by people to lovingly describe particularly stinky individuals which kind of caught on and spread until people were purposely making their clothes look dirty , not from continuous wear but staining shirts for example with tea or whatever. Nic is right, the Americans latched onto this and created something out of nothing if you like.

  6. Chris
    May 27, 2010 at 11:29 pm

    Interesting post, Simon. Think you may be right about Hellbastard coining the phrase. And, yes, there were crusty looking folk about long before then, but that was generally because they were living hand-to-mouth, in squats with no running water, skint, and in some cases too young to even sign on so only to be expected. Probably only after the term was coined that it became a fashion and subculture in it’s own right.

    Haha…staining shirts with tea?!! That’s a new one on me. I do, however, recall one particularly absurd Scottish cruster who was in fact quite bizarrely fastidious and tidy (he was the flatmate of an aquaintance of mine) demonstrated never-ending enterprise when it came to converting his perfectly good and newly purchased garments into sea monster garb: sandpapering down the sides of boots to make the leather split, which was then ‘repaired’ with gaffa tape, rubbing boot polish onto trousers and jackets, washing saggy, armless T-shirts with a grated lump of coal in the water, not to mention perennial back-combing and crimping of hair. You really couldn’t make it up!

    Who knows, perhaps some unknowing Deviated Instinct fan was the influence for Hussein Chalayan’s “Denim buried in earth” line or Rei Kawakubo’s stinky Comme de Garcons ‘Tar’ and ‘Leaves’ scents?

    Funnily enough, i’ve been smelling patchouli oil a bit lately. Always reminds me of stinky squats. Fucking smell under satan’s foreskin. Uggghh…

  7. Graham Burnett
    Graham Burnett
    May 28, 2010 at 1:00 am

    For me patchouli has even earlier associations with ‘Afghan’ coats, desert boots and the tedium of lying about in rooms full of zonked out ‘hippies’ rolling ‘spliffs’ on the sleeve of ‘Wish You Were Here’ while ‘Shine On You Crazy Diamond’ droned endlessly on in the background…

    No wonder I got into King Crimson, Henry Cow and the Spontaneous Music Ensemble. Punk came just a little bit later…

  8. alistairliv
    May 28, 2010 at 5:31 am

    ‘Wish your were here’? You were lucky Graham. In my day it were copies of the Beatles ‘White Album’… once there was 150 of us caught in a time loop in a student flat for a week listening to Revolution Number Nine… sometimes I think I still am and punk hasn’t happened yet….

  9. Simon
    May 28, 2010 at 8:40 am

    LOL Chris. Obviously being a crusty was hard work 😉 To be honest, I remember, with cringing embarrassment now, scuffing up denim jackets to get that poverty look and maybe some combat trousers as well and feeling pleased with my efforts when the clothes looked like shit.

    Funny thing is, after going through the punk/hardcore thing and out the other side where the uniform is of no interest now (love the music still tho’), it really does highlight the dichotomy (if thats the right word here) of being into a musical genre.
    Best explained siting last year’s Amebix reformation show in London, when Camden was invaded by what one could call the catalogue ‘crusty’. Black denim jacket covered in patches celebrating almost exclusively Anti sect, Amebix, Wolfs Brigade, Deviated Instinct and Discharge, dreads, silver tipped bullet belt, big boots. No doubt they considered themselves living outside the system and individual yet to a man conforming to the ‘look’ of that musical group.
    I say all this with no malice to these folk at all and at the expense of sounding like a hypocrite, with a subtle look over my shoulder down memory lane because i did a similar thing years ago (minus all the patches tho) 🙂 but when the desire to fit in with the fashion disappears, it’s quite interesting to witness others hit the fashion parade hard.

    Also, just to add. I’m pretty sure the patches thing happened around the same time Profane Existence and other upmarket distro / labels (mainly US distros?) germinated. This was around late 80’s early 90’s?

  10. Nic
    May 28, 2010 at 8:53 am

    Yes, Simon is right about the origins of the term ‘Crust’…

    ‘Crust’ was initially used as a humourous in-joke referring to ‘Squatter chic’. It then spread outwards in the wider culture as a term relating to Travellers.

    I first heard references to ‘Crust’ in a musical context on Deviated Instinct’s 1986 demos and then Hellbastard’s ‘Ripper Crust’ demo in 1986. Again, it’s debateable whether the term was used in relation to music or to a general in-joke: at that time, none of the bands themselves would have called their musical rumblings ‘Crust’. However, the impetus for the development of the term ‘Crust’ as a musical sub-genre seems to have originated with Profane Existence magazine from the USA (which had an obsession with the manifestations of ‘Hardcore / Thrash’ from the UK in the mid-to-late 1980’s). I would also put this down partly to the band Glycine Max who visited the UK in the late 1980’s and stayed with many of the people involved in the hardcore scene (including our house where members of Doom lived), and probably picked up on the term during that visit. As a result, the term developed independently in an arena which had little real contact with the origins of the term (as happens), and it has then been applied reatroactively to groups such as Amebix (in a similar way to the terms D-Beat and Dis-core)…

    Whilst the whole ‘Crust’ thing may seem pretty ludicrous, it’s perhaps worth noting that Punk in general always relied on ludicrous fashion choices, and – as such – it’s within that milieu. As fashion tends to follow the street (rather than vice versa), maybe Leggo from Deviated Instinct is Chalayan’s inspiration Chris…

    Al: I think that you’re right in a way about the way in which the logos of these bands become fetish (and thus magical) objects. If one definition of the function of a fetish is that “The part intimates the whole”, you can perhaps understand why the acolytes of this vision become so angry: by the appropriation of a patch containing a logo, the whole is appropriated…

    Sorry MartinC, I can’t help with the Radio 4 programme…

    I’ve noticed the odd whiff of Patchouli recently as well..!

  11. jock
    May 28, 2010 at 10:29 am

    i remember some guy in newcastle ‘teaching’ me that rubbing boot polish into trousers gave them that crusty look…lol
    what i also remember seeing, perhaps it was antisect whilst on the discharge support tour was the amount of tiny patches sewn into their pants, dont think there was any holes that needed patching though!! must have taken months to do, obviously he was quite nimble with the thimble and needle and thread.
    i know someone who lives near me who reeks of patchouli, it must be spreading?

  12. Chris
    May 28, 2010 at 12:36 pm

    Actually, in terms of bands popularising the look wouldn’t it have been Antisect who were the progenitor culprits? I remember when I went to Nottingham with Nic to a gig they were playing in summer 1982 when they arrived at the venue – the Boat House? I remember it was near a river…tho the less said about that the better 😉 – in their grimy Belstaff jackets, bike boots and matted hair. I’d never seen anything like it before. They looked like the evolutionary missing link. Also remember Chaos UK + Disorder were capering about on skateboards which no one believed when I told them, only for the whole ‘skate punk’ craze to take off a few years later. The photo of Amebix in that ‘Day The Country Died’ book was taken at that gig. Would love to see others from that show as we were all standing by the speaker cabs at the left of the stage and may have been caught on camera.

  13. jock
    May 28, 2010 at 2:49 pm

    when i spent a few months in London there was no need to rub boot polish into yer pants, the sheer filth of the airs atmosphere would build up on your clothes, longer you went without washing body or clothes the ‘crustier’ you became.
    as for the tide mark left in the bath……………’d need a bolster chisel to remove it!

  14. expletive undeleted
    expletive undeleted
    May 29, 2010 at 7:14 pm

    Loving this thread.

    I was only joking about never seeing Anjelina in a Mob t-shirt. Dial House financial issues aside, seeing celebs in Crass t-shirts actually gives me a bit of a thrill – and part of that is the notion that some kid might get exposed to the ideas behind the symbol, somehow.

    First crusty band I ever saw were the Skum Dribblerz, 82ish.

  15. Lee23
    May 30, 2010 at 3:44 pm

    I always thought the ‘anarcho crust’ look was like some ‘reversed out’ monochromatic version of the heavy metal look of cut off blue denim jackets festooned with multi coloured patches of various NWOBHM bands…Im sure there was some subconscious channelling going on as most as those crusty bands took musical stylings from metal…or maybe i just enjoy over analysing youth cults ?!?

  16. Nuzz
    May 31, 2010 at 1:58 pm

    Anarcho, Hell, Crust, Doom, it’s all gaga to me.

  17. yan tree
    yan tree
    May 31, 2010 at 2:50 pm

    ha ha I was gonna mention the Profane Existence thread about this Lady GaGa & doom/gism patches…funny. the PE forum is amazing – i’ve been there for many years true it was more populated about 3 years ago & the discussions were more ‘furious’ but still its an interesting place

    Graham you posted: Graham Burnett Says:
    May 27th, 2010 at 9:46 pm
    I think the single with the red and black sleeve I was thinking of might have been by ‘Depth Charge Souls’ ring any bells? Google didn’t turn anything up…

    did you mean The Ex gatefold 7″ about the Spanish Revolution in 1937 where anarcho-syndicalism the CNT/FAI unions took control of the workplaces until stabbed in the back by the communists & fascists

    I love the Mob! wish I’d seen them – I still avidly follow Blyth Power!
    cheers KYPP – this site rocks

  18. Graham Burnett
    Graham Burnett
    May 31, 2010 at 8:23 pm

    No definately not the Ex Spanish civil war double single, that triumph of packaging and design still sits proudly on the shelf over my CD player (even though I can’t play it any more…)

  19. Nick Hydra
    Nick Hydra
    June 1, 2010 at 7:44 am

    alistairliv: “Nick H. said he checked with Amebix and they confirmed the AOS/ Amebix link. Not sure about the actual fonts used by ‘crust’ bands mentioned by Nic above, but if derived from Amebix then that places the Doom etc patches on Lady Gaga’s leather jacket within an occult rather than political (symbolic) context.”

    The Amebix ‘font’ is a very spiky/ spidery kind of thing and I would argue that all the crust/ grindcore/ death metal ‘fonts’ are based at least in part on it (and Antisect’s).

    I think the point about logos in general having a ritual element is very true, in a literal sense and in the sense of the original meaning of ‘Fetish’ as discussed above. Didn’t ‘Logo’ in it’s current meaning derive from an early christian use (when they were being persecuted by Rome) to refer to the fish symbol?

    Having said that, Doom’s logo is not really similar, having very clean lines, more like a classic ’70s HM logo (i.e.Thin Lizzy/ Kiss) and from a ‘readability’ perspective is very well designed.

    As opposed to the Black/ Death Metal stuff which seeems to make a definite effort to be hard to read.

    Me and Alex B from Leech Woman used to spend hours planning a made up black metal band who were going to be called… ‘Indecipherable’, with a logo so difficult to read that people ould be forced to ask us “What the fuck does that say?”, so we could go “It’s Indecipherable.” “I know it’s indecipherable, but what does it say?” “It’s Indecipherable.” And so on…

  20. NickG
    August 30, 2010 at 7:18 pm

    Hello people,
    Here are some pics and posters of 1979-80s Idiot Ballroom, Meanwhile Gardens, including Weird Tales posters and photo of last gig of Weird Tales first tour (1979), and one picture which features Jesus on bongos at Meanwhile Gardens. Anyone remember him?
    I think if you subscribe to this set you might get alerted when I update it (but I’m not sure).
    Best wishes to all.

  21. Chris L
    Chris L
    August 31, 2010 at 10:21 pm

    As a rather surprising development to the Lady GaGa angle, I recently found out that her best friend, flat-mate and now ‘Support DJ’ used to hang about in the same Camden punk circles as the band I was drumming for in 2000-2002. Can’t for the life of me remember her myself but apparently she was a regular at Jet Black & Bleached and the Dirty Water Club (both of which we played at) so it would be unlikely in the extreme that she – and vis a vis her not-yet-famous flatmate – *WASN’T* au fait with those punk bands whose self appointed guardians of the covenant are getting their fannies in such a froth about. Not that it should really matter a fuck either way, give me Lady Gaga over crust punk any day 🙂

  22. Penguin
    Penguin • Post Author •
    February 1, 2011 at 10:18 pm

    This was the third studio practice with the three original members, Graham, Curtis and Mark. The gigs have not to my knowledge been set yet, but Mark is actively involved in getting other bands and organisations involved for the big bash. A Mutoid Waste exhibition (Mark looks after a fair bit of their kit at his scrap yard) will be his favorite opening for The Mob, Zounds, Astronauts et al (Steve Lake and Mark Astronaut have been talked to by Mark Mob) to make an appearance. These exhibitions from Mutoid (a couple a year in London at least in ‘interesting’ off the wall venues) are always stunning with enough scope for bands and soundsystems to perform whilst punters look at the sculptures. Watch this space for more details. Nothing is confirmed yet. When a time and a venue is confirmed the details will appear on this site and

  23. yet another dave
    yet another dave
    February 2, 2011 at 6:04 pm

    Stunning news to see on a wednesday. I’ll be there with my pimped up zimmer

  24. Penguin
    Penguin • Post Author •
    February 17, 2011 at 7:14 pm

    The Mob are happy to confirm that The Mob, Zounds and Insurrection will be playing the Fleece in Bristol, Friday 8th April 2011 8-late. Other bands to be confirmed…

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