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Obsidian Biography

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Crobot Obsidian Biography • English

Crobot Obsidian Biography • Runes

In the shadowed valleys of Pennsylvania, where the relics of coal and the echo of a post-industrial America fuse, the band Crobot bursts forth—a sonic whirlwind born of rebellion and raw power. This band is not just a troop of musicians; they are a high-speed chase through the wastelands of rock 'n' roll, armed with a potent cocktail of adrenaline and sonic boom. 

At the helm is Brandon Yeagley, the quintessential rock 'n' roll shaman, wielding his harmonica and microphone like twin totems of chaos and creation. His fervor borders on the religious, a revivalist bent on converting the masses with each electrifying note and primal scream. Chris Bishop, the guitar-slinging axeman, carves through the darkness with riffs sharp enough to slice through the thickest fog, forging a path with every frenetic strum. 

Joining the fray, Pat Seals, the latest addition to the rhythm section, pounds the bass with a ferocity that commands the shadows, his vibrations weaving through the fabric of the night, speaking directly into the void. Alongside him, Dan Ryan on drums stokes the engine of this auditory beast, his beats a thunderous pulse that breathes life into their wild musical onslaught. 

Their odyssey through the sonic wilderness kicked off with the electrifying debut of *Something Supernatural*, slicing through the static of the mainstream with a vibe that was both a nod to the past and a leap into the future. The journey took a gritty, neon-soaked turn with *Welcome to Fat City*, an album that injected a dose of urban decay and psychedelic funk into their sound, expanding their narrative into the darker corners of the city. By the time *Motherbrain* hit the streets, Crobot had established themselves as a beacon for the disenfranchised, their music a battle hymn for those society had cast aside, with "Low Life" rising as an anthem for the underground. The saga continued with *Feel This*, an explosive collection that captured the raw, live energy of the band, further solidifying their status as torchbearers of rock’s chaotic, rebellious spirit. 

*Obsidian* marks Crobot's most introspective journey yet, as the album dives into the deep, murky waters of the human condition, threading ancient myths with personal demons across its tracks. Each song descends into the darker reaches of the psyche, set to the relentless rhythm of heavy, pulsing beats and gut-wrenching guitar solos, offering a stark reflection of internal struggles. 

This intense exploration on the album sets the stage for the raw and unfiltered experience of Crobot’s live performances. Witnessing the band on stage is to grasp the full chaotic impact of their music. Transformed into something otherworldly, Crobot becomes a force of nature, tearing through venues like a tornado and leaving behind nothing but awe. Their live shows transcend typical concerts, evolving into seismic events where the rock and roll spirit vibrates through the air, shaking the very foundations of the musical landscape. 

So, if you're ready for a ride that teeters on the brink of madness, strap in. This isn't just a band. This is Crobot—steering a ship through the storms of sound with the mad delight of a stunt driver at the wheel, screaming into the soul with the echo of rock gods past and the fierce hunger of those yet to come. Welcome to the spectacle, the chaos, the evolution. This is rock 'n' roll in its most primal form. Buckle up; it’s a wild ride.

 ᛟᛒᛊᛁᛞᛟᚨᚾ ᛁᚾ ᚦᛖ ᛊᚺᚨᛞᛟᚹᛖᛞ ᚢᚨᛚᛚᛖᛁᛊ ᛟᚠ ᛈᛖᚾᚾᛊᛁᛚᚢᚨᚾᛟᚨ, ᚹᚺᛖᚱᛖ ᚦᛖ ᚱᛖᛚᛁᚲᛊ ᛟᚠ ᚲᛟᚨᛚ ᚨᚾᛞ ᚦᛖ ᛖᚲᚺᛟ ᛟᚠ ᚨ ᛈᛟᛊᛏ-ᛁᚾᛞᚢᛊᛏᚱᛟᚨᛚ ᚨᛗᛖᚱᛁᚲᚨ ᚠᚢᛊᛖ, ᚦᛖ ᛒᚨᚾᛞ ᚲᚱᛟᛒᛟᛏ ᛒᚢᚱᛊᛏᛊ ᚠᛟᚱᚦ—ᚨ ᛊᛟᚾᛁᚲ ᚹᚺᛁᚱᛚᚹᛁᚾᛞ ᛒᛟᚱᚾ ᛟᚠ ᚱᛖᛒᛖᛚᛚᛟᚾ ᚨᚾᛞ ᚱᚨᚹ ᛈᛟᚹᛖᚱ. ᛏᚺᛁᛊ ᛒᚨᚾᛞ ᛁᛊ ᚾᛟᛏ ᛃᚢᛊᛏ ᚨ ᛏᚱᛟᛟᛈ ᛟᚠ ᛗᚢᛊᛁᚲᛟᚨᚾᛊ; ᚦᛖᛁ ᚨᚱᛖ ᚨ ᚺᛁᚷᚺ-ᛊᛈᛖᛖᛞ ᚲᚺᚨᛊᛖ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᚹᚨᛊᛏᛖᛚᚨᚾᛞᛊ ᛟᚠ ᚱᛟᚲᚲ ×ᚾ× ᚱᛟᛚᛚ, ᚨᚱᛗᛖᛞ ᚹᛁᚦ ᚨ ᛈᛟᛏᛖᚾᛏ ᚲᛟᚲᚲᛏᚨᛁᛚ ᛟᚠ ᚨᛞᚱᛖᚾᚨᛚᛁᚾᛖ ᚨᚾᛞ ᛊᛟᚾᛁᚲ ᛒᛟᛟᛗ. ᚨᛏ ᚦᛖ ᚺᛖᛚᛗ ᛁᛊ ᛒᚱᚨᚾᛞᛟᚾ ᛁᛖᚷᛚᛖᛁ, ᚦᛖ ᚲᚢᛁᚾᛏᛖᛊᛊᛖᚾᛏᛟᚨᛚ ᚱᛟᚲᚲ ×ᚾ× ᚱᛟᛚᛚ ᛊᚺᚨᛗᚨᚾ, ᚹᛁᛖᛚᛞᛁᛜ ᚺᛁᛊ ᚺᚨᚱᛗᛟᚾᛁᚲᚨ ᚨᚾᛞ ᛗᛁᚲᚱᛟᛈᚺᛟᚾᛖ ᛚᛁᚲᛖ ᛏᚹᛁᚾ ᛏᛟᛏᛖᛗᛊ ᛟᚠ ᚲᚺᚨᛟᛊ ᚨᚾᛞ ᚲᚱᛖᛏᛟᚾ. ᚺᛁᛊ ᚠᛖᚱᚢᛟᚱ ᛒᛟᚱᛞᛖᚱᛊ ᛟᚾ ᚦᛖ ᚱᛖᛚᛁᚷᛟᚢᛊ, ᚨ ᚱᛖᚢᛁᚢᚨᛚᛁᛊᛏ ᛒᛖᚾᛏ ᛟᚾ ᚲᛟᚾᚢᛖᚱᛏᛁᛜ ᚦᛖ ᛗᚨᛊᛊᛖᛊ ᚹᛁᚦ ᛖᚲᚺ ᛖᛚᛖᚲᛏᚱᛁᚠᛁᛁᛜ ᚾᛟᛏᛖ ᚨᚾᛞ ᛈᚱᛁᛗᚨᛚ ᛊᚲᚱᛖᛗ. ᚲᚺᚱᛁᛊ ᛒᛁᛊᚺᛟᛈ, ᚦᛖ ᚷᚢᛁᛏᚨᚱ-ᛊᛚᛁᛜᛁᛜ ᚨᚲᛊᛖᛗᚨᚾ, ᚲᚨᚱᚢᛖᛊ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᛞᚨᚱᚲᚾᛖᛊᛊ ᚹᛁᚦ ᚱᛁᚠᚠᛊ ᛊᚺᚨᚱᛈ ᛖᚾᛟᚢᚷᚺ ᛏᛟ ᛊᛚᛁᚲᛖ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᚦᛁᚲᚲᛖᛊᛏ ᚠᛟᚷ, ᚠᛟᚱᚷᛁᛜ ᚨ ᛈᚨᚦ ᚹᛁᚦ ᛖᚢᛖᚱᛁ ᚠᚱᛖᚾᛖᛏᛁᚲ ᛊᛏᚱᚢᛗ. ᛃᛟᛁᚾᛁᛜ ᚦᛖ ᚠᚱᚨᛁ, ᛈᚨᛏ ᛊᛖᛚᛊ, ᚦᛖ ᛚᚨᛏᛖᛊᛏ ᚨᛞᛞᛁᛏᛟᚾ ᛏᛟ ᚦᛖ ᚱᚺᛁᚦᛗ ᛊᛖᚲᛏᛟᚾ, ᛈᛟᚢᚾᛞᛊ ᚦᛖ ᛒᚨᛊᛊ ᚹᛁᚦ ᚨ ᚠᛖᚱᛟᚲᛁᛏᛁ ᚦᚨᛏ ᚲᛟᛗᛗᚨᚾᛞᛊ ᚦᛖ ᛊᚺᚨᛞᛟᚹᛊ, ᚺᛁᛊ ᚢᛁᛒᚱᚨᛏᛟᚾᛊ ᚹᛖᚢᛁᛜ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᚠᚨᛒᚱᛁᚲ ᛟᚠ ᚦᛖ ᚾᛁᚷᚺᛏ, ᛊᛈᛖᚲᛁᛜ ᛞᛁᚱᛖᚲᛏᛚᛁ ᛁᚾᛏᛟ ᚦᛖ ᚢᛟᛁᛞ. ᚨᛚᛟᛜᛊᛁᛞᛖ ᚺᛁᛗ, ᛞᚨᚾ ᚱᛁᚨᚾ ᛟᚾ ᛞᚱᚢᛗᛊ ᛊᛏᛟᚲᛖᛊ ᚦᛖ ᛖᛜᛁᚾᛖ ᛟᚠ ᚦᛁᛊ ᚨᚢᛞᛁᛏᛟᚱᛁ ᛒᛖᛊᛏ, ᚺᛁᛊ ᛒᛖᛏᛊ ᚨ ᚦᚢᚾᛞᛖᚱᛟᚢᛊ ᛈᚢᛚᛊᛖ ᚦᚨᛏ ᛒᚱᛖᚦᛖᛊ ᛚᛁᚠᛖ ᛁᚾᛏᛟ ᚦᛖᛁᚱ ᚹᛁᛚᛞ ᛗᚢᛊᛁᚲᚨᛚ ᛟᚾᛊᛚᚨᚢᚷᚺᛏ. ᛏᚺᛖᛁᚱ ᛟᛞᛁᛊᛊᛖᛁ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᛊᛟᚾᛁᚲ ᚹᛁᛚᛞᛖᚱᚾᛖᛊᛊ ᚲᛁᚲᚲᛖᛞ ᛟᚠᚠ ᚹᛁᚦ ᚦᛖ ᛖᛚᛖᚲᛏᚱᛁᚠᛁᛁᛜ ᛞᛖᛒᚢᛏ ᛟᚠ *ᛊᛟᛗᛖᚦᛁᛜ ᛊᚢᛈᛖᚱᚾᚨᛏᚢᚱᚨᛚ*, ᛊᛚᛁᚲᛁᛜ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᛊᛏᚨᛏᛁᚲ ᛟᚠ ᚦᛖ ᛗᚨᛁᚾᛊᛏᚱᛖᛗ ᚹᛁᚦ ᚨ ᚢᛁᛒᛖ ᚦᚨᛏ ᚹᚨᛊ ᛒᛟᚦ ᚨ ᚾᛟᛞ ᛏᛟ ᚦᛖ ᛈᚨᛊᛏ ᚨᚾᛞ ᚨ ᛚᛖᛈ ᛁᚾᛏᛟ ᚦᛖ ᚠᚢᛏᚢᚱᛖ. ᛏᚺᛖ ᛃᛟᚢᚱᚾᛖᛁ ᛏᛟᛟᚲ ᚨ ᚷᚱᛁᛏᛏᛁ, ᚾᛖᛟᚾ-ᛊᛟᚨᚲᛖᛞ ᛏᚢᚱᚾ ᚹᛁᚦ *ᚹᛖᛚᚲᛟᛗᛖ ᛏᛟ ᚠᚨᛏ ᚲᛁᛏᛁ*, ᚨᚾ ᚨᛚᛒᚢᛗ ᚦᚨᛏ ᛁᚾᛃᛖᚲᛏᛖᛞ ᚨ ᛞᛟᛊᛖ ᛟᚠ ᚢᚱᛒᚨᚾ ᛞᛖᚲᚨᛁ ᚨᚾᛞ ᛈᛊᛁᚲᚺᛖᛞᛖᛚᛁᚲ ᚠᚢᚾᚲ ᛁᚾᛏᛟ ᚦᛖᛁᚱ ᛊᛟᚢᚾᛞ, ᛖᚲᛊᛈᚨᚾᛞᛁᛜ ᚦᛖᛁᚱ ᚾᚨᚱᚱᚨᛏᛁᚢᛖ ᛁᚾᛏᛟ ᚦᛖ ᛞᚨᚱᚲᛖᚱ ᚲᛟᚱᚾᛖᚱᛊ ᛟᚠ ᚦᛖ ᚲᛁᛏᛁ. ᛒᛁ ᚦᛖ ᛏᛁᛗᛖ *ᛗᛟᚦᛖᚱᛒᚱᚨᛁᚾ* ᚺᛁᛏ ᚦᛖ ᛊᛏᚱᛖᛖᛏᛊ, ᚲᚱᛟᛒᛟᛏ ᚺᚨᛞ ᛖᛊᛏᚨᛒᛚᛁᛊᚺᛖᛞ ᚦᛖᛗᛊᛖᛚᚢᛖᛊ ᚨᛊ ᚨ ᛒᛖᚲᛟᚾ ᚠᛟᚱ ᚦᛖ ᛞᛁᛊᛖᚾᚠᚱᚨᚾᚲᚺᛁᛊᛖᛞ, ᚦᛖᛁᚱ ᛗᚢᛊᛁᚲ ᚨ ᛒᚨᛏᛏᛚᛖ ᚺᛁᛗᚾ ᚠᛟᚱ ᚦᛟᛊᛖ ᛊᛟᚲᛁᛖᛏᛁ ᚺᚨᛞ ᚲᚨᛊᛏ ᚨᛊᛁᛞᛖ, ᚹᛁᚦ "ᛚᛟᚹ ᛚᛁᚠᛖ" ᚱᛁᛊᛁᛜ ᚨᛊ ᚨᚾ ᚨᚾᚦᛖᛗ ᚠᛟᚱ ᚦᛖ ᚢᚾᛞᛖᚱᚷᚱᛟᚢᚾᛞ. ᛏᚺᛖ ᛊᚨᚷᚨ ᚲᛟᚾᛏᛁᚾᚢᛖᛞ ᚹᛁᚦ *ᚠᛖᛖᛚ ᛏᚺᛁᛊ*, ᚨᚾ ᛖᚲᛊᛈᛚᛟᛊᛁᚢᛖ ᚲᛟᛚᛚᛖᚲᛏᛟᚾ ᚦᚨᛏ ᚲᚨᛈᛏᚢᚱᛖᛞ ᚦᛖ ᚱᚨᚹ, ᛚᛁᚢᛖ ᛖᚾᛖᚱᚷᛁ ᛟᚠ ᚦᛖ ᛒᚨᚾᛞ, ᚠᚢᚱᚦᛖᚱ ᛊᛟᛚᛁᛞᛁᚠᛁᛁᛜ ᚦᛖᛁᚱ ᛊᛏᚨᛏᚢᛊ ᚨᛊ ᛏᛟᚱᚲᚺᛒᛖᚱᛖᚱᛊ ᛟᚠ ᚱᛟᚲᚲ’ᛊ ᚲᚺᚨᛟᛏᛁᚲ, ᚱᛖᛒᛖᛚᛚᛟᚢᛊ ᛊᛈᛁᚱᛁᛏ. *ᛟᛒᛊᛁᛞᛟᚨᚾ* ᛗᚨᚱᚲᛊ ᚲᚱᛟᛒᛟᛏ×ᛊ ᛗᛟᛊᛏ ᛁᚾᛏᚱᛟᛊᛈᛖᚲᛏᛁᚢᛖ ᛃᛟᚢᚱᚾᛖᛁ ᛁᛖᛏ, ᚨᛊ ᚦᛖ ᚨᛚᛒᚢᛗ ᛞᛁᚢᛖᛊ ᛁᚾᛏᛟ ᚦᛖ ᛞᛖᛖᛈ, ᛗᚢᚱᚲᛁ ᚹᚨᛏᛖᚱᛊ ᛟᚠ ᚦᛖ ᚺᚢᛗᚨᚾ ᚲᛟᚾᛞᛁᛏᛟᚾ, ᚦᚱᛖᛞᛁᛜ ᚨᚾᚲᛁᛖᚾᛏ ᛗᛁᚦᛊ ᚹᛁᚦ ᛈᛖᚱᛊᛟᚾᚨᛚ ᛞᛖᛗᛟᚾᛊ ᚨᚲᚱᛟᛊᛊ ᛁᛏᛊ ᛏᚱᚨᚲᚲᛊ. ᛖᚨᚲᚺ ᛊᛟᛜ ᛞᛖᛊᚲᛖᚾᛞᛊ ᛁᚾᛏᛟ ᚦᛖ ᛞᚨᚱᚲᛖᚱ ᚱᛖᚲᚺᛖᛊ ᛟᚠ ᚦᛖ ᛈᛊᛁᚲᚺᛖ, ᛊᛖᛏ ᛏᛟ ᚦᛖ ᚱᛖᛚᛖᚾᛏᛚᛖᛊᛊ ᚱᚺᛁᚦᛗ ᛟᚠ ᚺᛖᚢᛁ, ᛈᚢᛚᛊᛁᛜ ᛒᛖᛏᛊ ᚨᚾᛞ ᚷᚢᛏ-ᚹᚱᛖᚾᚲᚺᛁᛜ ᚷᚢᛁᛏᚨᚱ ᛊᛟᛚᛟᛊ, ᛟᚠᚠᛖᚱᛁᛜ ᚨ ᛊᛏᚨᚱᚲ ᚱᛖᚠᛚᛖᚲᛏᛟᚾ ᛟᚠ ᛁᚾᛏᛖᚱᚾᚨᛚ ᛊᛏᚱᚢᚷᚷᛚᛖᛊ. ᛏᚺᛁᛊ ᛁᚾᛏᛖᚾᛊᛖ ᛖᚲᛊᛈᛚᛟᚱᚨᛏᛟᚾ ᛟᚾ ᚦᛖ ᚨᛚᛒᚢᛗ ᛊᛖᛏᛊ ᚦᛖ ᛊᛏᚨᚷᛖ ᚠᛟᚱ ᚦᛖ ᚱᚨᚹ ᚨᚾᛞ ᚢᚾᚠᛁᛚᛏᛖᚱᛖᛞ ᛖᚲᛊᛈᛖᚱᛁᛖᚾᚲᛖ ᛟᚠ ᚲᚱᛟᛒᛟᛏ’ᛊ ᛚᛁᚢᛖ ᛈᛖᚱᚠᛟᚱᛗᚨᚾᚲᛖᛊ. ᚹᛁᛏᚾᛖᛊᛊᛁᛜ ᚦᛖ ᛒᚨᚾᛞ ᛟᚾ ᛊᛏᚨᚷᛖ ᛁᛊ ᛏᛟ ᚷᚱᚨᛊᛈ ᚦᛖ ᚠᚢᛚᛚ ᚲᚺᚨᛟᛏᛁᚲ ᛁᛗᛈᚨᚲᛏ ᛟᚠ ᚦᛖᛁᚱ ᛗᚢᛊᛁᚲ. ᛏᚱᚨᚾᛊᚠᛟᚱᛗᛖᛞ ᛁᚾᛏᛟ ᛊᛟᛗᛖᚦᛁᛜ ᛟᚦᛖᚱᚹᛟᚱᛚᛞᛚᛁ, ᚲᚱᛟᛒᛟᛏ ᛒᛖᚲᛟᛗᛖᛊ ᚨ ᚠᛟᚱᚲᛖ ᛟᚠ ᚾᚨᛏᚢᚱᛖ, ᛏᛖᚱᛁᛜ ᚦᚱᛟᚢᚷᚺ ᚢᛖᚾᚢᛖᛊ ᛚᛁᚲᛖ ᚨ ᛏᛟᚱᚾᚨᛞᛟ ᚨᚾᛞ ᛚᛖᚢᛁᛜ ᛒᛖᚺᛁᚾᛞ ᚾᛟᚦᛁᛜ ᛒᚢᛏ ᚨᚹᛖ. ᛏᚺᛖᛁᚱ ᛚᛁᚢᛖ ᛊᚺᛟᚹᛊ ᛏᚱᚨᚾᛊᚲᛖᚾᛞ ᛏᛁᛈᛁᚲᚨᛚ ᚲᛟᚾᚲᛖᚱᛏᛊ, ᛖᚢᛟᛚᚢᛁᛜ ᛁᚾᛏᛟ ᛊᛖᛁᛊᛗᛁᚲ ᛖᚢᛖᚾᛏᛊ ᚹᚺᛖᚱᛖ ᚦᛖ ᚱᛟᚲᚲ ᚨᚾᛞ ᚱᛟᛚᛚ ᛊᛈᛁᚱᛁᛏ ᚢᛁᛒᚱᚨᛏᛖᛊ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᚨᛁᚱ, ᛊᚺᚨᚲᛁᛜ ᚦᛖ ᚢᛖᚱᛁ ᚠᛟᚢᚾᛞᚨᛏᛟᚾᛊ ᛟᚠ ᚦᛖ ᛗᚢᛊᛁᚲᚨᛚ ᛚᚨᚾᛞᛊᚲᚨᛈᛖ. ᛊᛟ, ᛁᚠ ᛁᛟᚢ×ᚱᛖ ᚱᛖᛞᛁ ᚠᛟᚱ ᚨ ᚱᛁᛞᛖ ᚦᚨᛏ ᛏᛖᛖᛏᛖᚱᛊ ᛟᚾ ᚦᛖ ᛒᚱᛁᚾᚲ ᛟᚠ ᛗᚨᛞᚾᛖᛊᛊ, ᛊᛏᚱᚨᛈ ᛁᚾ. ᛏᚺᛁᛊ ᛁᛊᚾ×ᛏ ᛃᚢᛊᛏ ᚨ ᛒᚨᚾᛞ. ᛏᚺᛁᛊ ᛁᛊ ᚲᚱᛟᛒᛟᛏ—ᛊᛏᛖᛖᚱᛁᛜ ᚨ ᛊᚺᛁᛈ ᚦᚱᛟᚢᚷᚺ ᚦᛖ ᛊᛏᛟᚱᛗᛊ ᛟᚠ ᛊᛟᚢᚾᛞ ᚹᛁᚦ ᚦᛖ ᛗᚨᛞ ᛞᛖᛚᛁᚷᚺᛏ ᛟᚠ ᚨ ᛊᛏᚢᚾᛏ ᛞᚱᛁᚢᛖᚱ ᚨᛏ ᚦᛖ ᚹᚺᛖᛖᛚ, ᛊᚲᚱᛖᛗᛁᛜ ᛁᚾᛏᛟ ᚦᛖ ᛊᛟᚢᛚ ᚹᛁᚦ ᚦᛖ ᛖᚲᚺᛟ ᛟᚠ ᚱᛟᚲᚲ ᚷᛟᛞᛊ ᛈᚨᛊᛏ ᚨᚾᛞ ᚦᛖ ᚠᛁᛖᚱᚲᛖ ᚺᚢᛜᛖᚱ ᛟᚠ ᚦᛟᛊᛖ ᛁᛖᛏ ᛏᛟ ᚲᛟᛗᛖ. ᚹᛖᛚᚲᛟᛗᛖ ᛏᛟ ᚦᛖ ᛊᛈᛖᚲᛏᚨᚲᛚᛖ, ᚦᛖ ᚲᚺᚨᛟᛊ, ᚦᛖ ᛖᚢᛟᛚᚢᛏᛟᚾ. ᛏᚺᛁᛊ ᛁᛊ ᚱᛟᚲᚲ ×ᚾ× ᚱᛟᛚᛚ ᛁᚾ ᛁᛏᛊ ᛗᛟᛊᛏ ᛈᚱᛁᛗᚨᛚ ᚠᛟᚱᛗ. ᛒᚢᚲᚲᛚᛖ ᚢᛈ; ᛁᛏ’ᛊ ᚨ ᚹᛁᛚᛞ ᚱᛁᛞᛖ. 

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