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SOILWORK Beyond the Infinite

EP · 2014 · Death Metal
Cover art 4.00 | 1 rating
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"Beyond the Infinite" is an EP release by Swedish metal act Soilwork. The limited edition EP was released through Avalon/Marquee Records in September 2014 and is exclusive to the Asian market. "Beyond the Infinite" features five outtakes/unreleased tracks from "The Living Infinite (2013)" sessions. Believe it or not, but there were actually leftover tracks from that double album release.

Stylistically the five tracks on the 21:49 minutes long EP are pretty much in line with the melodic death metal tracks featured on "The Living Infinite (2013)", but with a little twist here and there, which makes it understandable but not wildly obvious that it was these five tracks which weren´t included on the album. There are just some small details, and in some cases a slightly less infectious chorus melody than usual for Soilwork, which points in the direction that the tracks on "Beyond the Infinite" were outtakes. Musically this is melodic death metal with both raw semi-growling/screaming vocals and many clean vocal parts, melodic lead guitar work and heavy and fast death/thrashy riffing, very fast precision drumming, and keyboards used for effect and atmosphere. In other words, the sound of Soilwork.

And that´s about it, because overall the material is very well written, incredibly well performed, and as well produced as the material on "The Living Infinite (2013)". So if you´re a fan of that album, "Beyond the Infinite" is definitely worth your time and money. a 4 star (80%) rating is deserved.


Album · 2015 · Folk Metal
Cover art 4.00 | 2 ratings
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During my more experimental phase of trying to further evolve and refine my tastes in various types of metal, I would occasionally struggle with certain genres, until I found that one band that would eventually convince me to dig deeper. For anything relating to folk metal, that band was Ensiferum. As soon as I heard their album From Afar I was instantly hooked, and since then they have become not only my favorite band in their genre (as well as the band that opened the door for me discovering such excellent bands as Turisas, Equilibrium and Eluveitie) but probably one of a handful or so of my absolute favorite bands at this point. Some fans were disappointed with their more slowed down and melodic previous release Unsung Heroes, but I found it to be just as incredible as their previous two. With their upcoming sixth full length release One Man Army, they have kept their streak alive, with yet another brilliant album that both builds on their previous work, and throws in some big surprises on a couple tracks.

In case it wasn't made obvious in the opening paragraph, I’m very much in the minority when it comes to most Ensiferum fans, in that while I enjoyed their two releases with Wintersun frontman Jari Mäenpää, I find they really came into their own as soon as Petri Lindroos joined. Every album they've done starting with Victory Songs has been fantastic in its own way, with each release maintaining certain key elements while moving their sound into new and exciting directions. By comparison, One Man Army is their first one in a while that doesn't feel like a huge step forward. Instead, it largely feels like a spiritual successor to From Afar and it’s epic, speedy melodic death power metal sound, once again infused with tons of symphonic and folk elements, while occasionally mixing some of the slower sections that Unsung Heroes had, and introducing a few new tricks here and there. The opening track “Axe of Judgement” in particular feels like the closest they've come to being a symphonic power metal band, complete with an excellent section in the middle where the choir vocals and orchestras take over. The only thing separating them from having a symphonic power metal tag on that song is the fact that it still heavily features Petri’s excellent growls. Fans of From Afar should love that one as well as the equally awesome title track, which is pretty much a pure melodic death metal song, only sparingly using symphonic and folk elements.

As with any Ensiferum album, there’s a great range of different vocal styles on One Man Army. Obviously, the bulk of the load is carried by Petri Lindroos, who sounds as powerful and energetic as ever. In fact, on songs like “Cry for the Earth Bounds” and the later parts of “Descendant, Defiance, Domination”, he shows off a higher end to his growls than normal, and these vocals sound especially strong and epic. I almost wish he’d use that voice more often, it sounds that good. Clean male vocals are handled by guitarist Markus Toivonen and bassist Sami Hinkka. As always, the clean vocals sound great and help enhance the melodies, most notably on “Warrior Without a War”, which is another epic speedy track. Elsewhere, the choir vocals and various forms of gang vocals are still used frequently and sound as awesome as ever. Like with Unsung Heroes, a couple songs also feature clean female vocals and they sound great.

While most of the album feels closer to From Afar, and perhaps even Victory Songs at times, the song “Heathen Horde” is very similar to the title track of “Unsung Heroes”, in that it’s more of a mid tempo track where the folk melodies dominate, and the gang vocals during the chorus are quite epic. Other songs show their symphonic elements coming through even more strongly than they did on From Afar, most notably on “Cry for the Earthbounds”, where the operatic choirs sound especially epic. Later on in the song we have one of two instances on the album where a solo female voice is heard, as well as well as one late section in the song where Petri showcases those higher growls I mentioned earlier. On the whole, that track is a clear hi-light.

Of course, the biggest connection to From Afar comes from the tracks “My Ancestors’ Blood” and “Descendants, Defiance, Domination” which join together to make up a new chapter in the “Heathen Throne” saga. These tracks really do feel like one 16 minute epic (the first track even ends with some ambient keyboards which continue into the start of the second track) and once again Ensiferum has delivered spectacularly on that front. They do sound somewhat similar to the first two parts, with the first track being a bit more mid tempo and featuring a catchy chorus, while the second track is largely instrumental, at least in the first half, and features several tempo changes. Near the end Petri delivers more of his epic higher growls, but perhaps the most surprising thing about the track is the effective use of narration. I generally find narration in music to be very distracting, but in this case it’s used in very quick bursts and helps to push the music along, without ever getting in the way. The first half of the track does an excellent job of setting the tables, while the second half is some of the band’s best work to date.

And then we have the two oddball tracks. First up is “Two of Spades”, which starts off as a fast paced, rather straight-forward and super catchy power/melodeath song, but then in the middle it transforms into what I can only describe as some kind of weird retro dance music or something. I really can’t put it into words, but the music goes really weird for a while, and even the vocals sound a bit cheesy in a fun way, with the lyrics switching to Finnish, I believe. Whatever the heck they were attempting in that song, it worked, because it’s somehow one of the most addictive songs on the album, and it certainly sounds unique. The other surprising track is the closer “Neito Pohjolan”, another track I have a hard time properly describing. It’s a fairly upbeat track, but it’s not at all metal, and it features all female vocals, sung entirely in Finnish. My first reaction was one of utter shock, especially considering how strong a finale the previous two tracks would have made, but once I got over that I found it to be a rather fun and fresh sounding track. They even included an English version as a bonus track on the Digipak release, though this alternate version features a low singing male vocalist, and at least based on the name, the lyrics seem to be entirely different, but the music remains entirely the same. The other bonus tracks are also fun, with the appropriately named “Bonus Song” in particular being really fun and humorous.

While the previous three Ensiferum albums have shown the band constantly evolving, One Man Army feels more like a celebration of everything the band has become, with occasional glimpses into a lighter, more humorous side of the band. Fans of Victory Songs and especially From Afar should be very pleased with this one, while even those who preferred Unsung Heroes should find a lot to like. And of course, I highly recommend it to all fans of melodeath infused folk metal and symphonic metal. Overall this is yet another fantastic album from a band that has proven to be the best in their field time and time again.

(Originally written for myglobalmind: http://myglobalmind.com/2015/02/02/ensiferum-one-man-army-review/)


EP · 2015 · Sludge/Post-metal
Cover art 3.00 | 1 rating
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The Angry Scotsman
Another Pelican EP, just enough to keep us satisfied, but leave us hungry enough to want more!

This EP consists of three remakes of their song, "The Cliff" released on their last album, as well as one original song, "The Wait".

The first remake, "The Cliff (Vocal Version" is just that, the original song but with vocals. This is of course shocking for the instrumental band, and unlike their only previous song with vocals which featured the singing in an airy, light style, this song features distinct, clear singing with lyrics such as "I'm gunna wait. I'm gunna wait here for you. You're running late. I'm gunna stay here for you. You're gunna love me someday." Honestly, I was a bit shocked...but it works. The vocals fit superbly and the lyrics, well they work! Also note the lyrics about waiting and the final song, "The Wait". Refreshing song.

"The Cliff (Justin Broadrick Remix)" is just that. Broadrick of Godflesh amd Jesu fame adds a noisy, industrial touch to the lengthened song, leaving it recognizable but clearly unique. The Palms Remix is done by Aaron Harris and Bryant Clifford Meyer from Palms, as well as the legendary Isis, and features the first song, (complete with vocals) but with some extra touches to it, such as Harris' classic drumming, some electronic touches, and a recognizable though clearly redone section of "The Cliff" with a nice ending.

"The Wait" is a Pelican song with all that we've come to love and expect. Beauty, power, subtle textured songwriting building to a powerful climax and of course the clean/heavy dynamic and powerful drumming.

So what to make of this little EP? Any Pelican fan will like it, and while it doesn't add much at all to their discography, take it for what it is: a fun, simple snack. The star power on this small EP is an intriguing touch, and while small there is a bit of a story to all of it: the first song, simply vocals added to an older song, is redone itself later. The lyrics in that first song, add a bit to the last, knowing what exactly "The Wait" is referring to, and perhaps adds to it's power and movement.

If you like Pelican, give it a listen. If you've never heard the band, give it a listen. The former should find it a simple, nice and fun EP, the latter will hopefully be encouraged to try the band's other material!

Good but non essential


MEGASCAVENGER At the Plateaus of Leng

Album · 2014 · Death Metal
Cover art 3.50 | 1 rating
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"At the Plateaus of Leng" is the 2nd full-length studio album by Swedish death metal act Megascavenger. The album was released through Chaos Records in February 2014. Megascavenger is a Rogga Johansson project where he handles guitars, bass, and some vocals. The drums are handled by Brynjar Helgetun (who also sings on one track). On "At the Plateaus of Leng" all 9 tracks feature a different vocalist, which was also, to a lesser extent, the case on the band´s debut full-length studio album "Descent of Yuggoth (2012)". Among others Dave Ingram (Benediction, Bolt Thrower, Down Among the Dead Men), Martin van Drunen (Pestilence, Asphyx, Hail of Bullets), and Kam Lee (Massacre, The Grotesquery).

The dominant vocal style on the album is growling, but there are a few tracks included featuring more "regular" singing. The basis in the music is old school Swedish death metal, but "At the Plateaus of Leng" is at times also quite melodic, and generally a bit more varied than many of Rogga´s other projects. The fact that the album features so many different lead vocalists has the effect that it becomes a bit less cohesive than what is usually a good idea when you release a full-length album, but listened to one by one all tracks on the album are pretty good quality material. As it´s often the case with Rogga´s projects the material seldom reach excellence though. For that the riffs aren´t remarkable enough and some of the vocal performances not convincing enough.

"At the Plateaus of Leng" features a well sounding production, which suits the material well, and in many ways "At the Plateaus of Leng" is one of the more interesting Rogga related releases out there because of the varity of the material and the varity of the vocal performances, but the diversity is also the album´s biggest issue as the album feels more like a compilation of leftover tracks from various other projects (Rogga has collaborated with quite a few of the guest vocalists on other projects), than a planned album release. A 3.5 star (70%) rating is still deserved though.

VAMPIRE SQUID Nautilus World

Album · 2014 · Death Metal
Cover art 3.50 | 1 rating
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"Nautilus World" is the 3rd full-length studio album by US, California based death metal/deathcore act Vampire Squid. The album was independently released in September 2014. It´s available at a "name your price" tag on the band´s Bandcamp profile, and is also available on CD for a fixed price. Vampire Squid was formed in 2013, and "Nautilus World" is the band´s third album release in under 2 years.

The music on "Nautilus World" is a technical brand of death metal/deathcore with occasional progressive leanings. It´s generally quite the adventurous release played by technically skilled musicians. Tempo- and time signature changes, breaks, fast fretboard runs, and a varity of extreme vocal styles (growling, screaming, piggy squeals) are some of the elements which make up "Nautilus World". It´s not only the music which is adventurous, but also the lyrics, which song titles like "Deathstarfish", "Alliance Proposal to the Squids from Saturn", and "Big Fang Theory" are a testament to.

The material on the 11 track, 44:01 minutes long album is generally well written, but it takes a few listens before the tracks start to stand out from each other. And even then it´s not exactly music featuring the most catchy hooks, and it´s in that department Vampire Squid could improve. Because there´s lots of potential here considering the high level musicianship, and the rather adventurous lyrics and atmosphere surrounding the release. "Nautilus World" is pretty well sounding production too, but it does lack an organic touch, and occasionally sounds a bit too artificial. Still "Nautilus World" is an interesting release and a 3.5 star (70%) rating is deserved.

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Album · 1970 · Proto-Metal
Cover art 3.81 | 3 ratings
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In 1968, a quartet of dudes from the Woodstock, Ontario area got together to form and heavy rock, heavy psychedelic band. The chose the name Warpig, got a record deal in 1969, and by the spring of 1970 released their first and only record. The album is an excellent example of the spirit of the times as the band were by this time fully into the heavy rock sound and had all but left behind the psychedelic aspects. Loud distorted guitars, a Hammond organ (in the background often), a good pounding rhythm section, and vocals that, when necessary, could soar into the range of David Byron.

There are many bands around this time who were part of the burgeoning first generation of heavy metal scene. Some bands only experimented with the sound a little and included it in the form of a song or two on their one or two releases. Other bands came out fully charged and rocking for their debuts. And a third type enjoyed exploring both the heavy side and the progressive side of the new music scene. Warpig cut six tracks of heavy rockers and two that explored musical possibilities a bit more deeply and in length. “Flaggit”, “Tough Nuts”, and “Melody with Balls” offer three distinct takes on the heavy rock approach: “Flaggit” sounding like an inspiration for the first Wolfmother album; “Tough Nuts” the home of a great guitar riff; and “Melody with Balls” crossing “Communication Breakdown” speed with a psychedelic noisescape middle section.

“Advance Am” or “Advance in A minor” is the band’s take on a long instrumental that gives the keys more room up front. For a debut, it’s a decent honest effort, though it sounds like they hadn’t really grown into the lengthy progressive approach yet. Keith Emerson had nothing to worry about, that’s for sure.

Side two opens with a controversial rocker, “Rock Star”. You can find plenty of web sites and YouTube videos about this one. It sounds an awful lot like Deep Purple’s “Fireball” though it was released nearly a year earlier and around the same time as “Deep Purple In Rock”. Many say Deep Purple blatantly ripped off this song. On the other hand, others will point out that the instrumental part in the middle sounds very much like parts of “Flight of the Rat” from “In Rock”. Who borrowed from whom? I’ve also read comparisons to Led Zeppelin and Black Sabbath but I am not hearing those similarities. On “Rock Star” the crossover with Deep Purple, however that goes, is very clear.

Side two has two more excellent first generation metal tracks in “Sunflight” and “The Moth” both of which include some great heavy guitar. “U.X.I.B.” is side two’s longer composition, this time a song and not an instrumental but with a little more musical complexity than the three other tracks.

According to the liner notes, the band’s label was later bought out and they ended up without a label. A second album was recorded but they couldn’t get anyone to release it and soon they disbanded. This is a shame as I can see this band could have contributed more toward the early years of heavy metal. As it is, this album is a fine addition to any collection of proto-metal from between 1969 and 1973, the years which I personally consider the period of the first generation of heavy metal.


Album · 2011 · Progressive Metal
Cover art 3.74 | 4 ratings
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"DeEvolution" is the debut full-length studio album by US, California based Cynthesis. The album was released through Sensory Records in April 2011. The lineup comprises three former Zero Hour members (Troy Tipton, Jasun Tipton and Erik Rosvold) and Enchant drummer Sean Flanegan. So minus drummer Mike Guy, this is the lineup who recorded the classic "The Towers of Avarice (2001)" album by Zero Hour. I note with great joy that "DeEvolution" also marks the return of Erik Rosvold to the metal scene after a lengthy break in music oriented activities (Zero Hour recorded three albums with other singers in his absence).

It´s of course deliberately that I mention "The Towers of Avarice (2001)" above. The dark and brooding sci-fi themed technical/progressive metal album stands as the finest achivement in the career of the now defunct Zero Hour, and therefore many questions arise before listening to "DeEvolution". Is this a continuation of the musical style initiated on "The Towers of Avarice (2001)"? Is Erik Rosvold still the vocal capacity he once was?

...the answers are both yes and no and somewhere in between. The sci-fi themed lyrics and concept form of "The Towers of Avarice (2001)" are also features on "DeEvolution" although it´s a different story (the first part of a planned triology), and Erik Rosvold is definitely still the vocal capacity he was 10 years back, but when that is said "DeEvolution" is a very different sounding album compared to "The Towers of Avarice (2001)". While the concept is still pretty dark, the music on "DeEvolution" is not as bleak sounding as the case was on "The Towers of Avarice (2001)". It´s of course no surprise, that the music on "DeEvolution" is more melodic and dynamic in nature, if you´ve followed the development of the Tipton brothers over the years. The acrobatic chromatic fretboard shredding is still a part of their sound, but I struggle to recall them composing music as melodically focused as the music on "DeEvolution". It´s like they´ve really matured as songwriters over the last couple of years and the material on "DeEvolution" is both varied and generally very well written. Personally I miss more harder edged and aggressive parts in the music, but the increased focus on melody and atmosphere is also quite effectful.

The musicianship is not surprisingly on a very high level. Sean Flanegan gets to show a bit more of his technical playing skills than what we usually hear when he is playing with Enchant and as mentioned above Erik Rosvold is a fantastic vocalist with a personal and intense singing style and a strong and powerful voice. The Tipton brothers are as usual distinct sounding and focused on playing adventurous themes, but also more sensitive than ever to melody. Especially bassist Troy Tipton is on fire on "DeEvolution".

Overall "DeEvolution" is an original sounding progressive metal album, with both melodic moments, an intriguing atmosphere/concept story, and packed with skillfull adventurous playing. Combine that with a powerful and detailed sound production, and the above mentioned high level musicianship, and "DeEvolution" is quite a successful album to my ears. A 4 star (80%) rating is deserved.

TOXIK Think This

Album · 1989 · Thrash Metal
Cover art 3.93 | 8 ratings
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"Think This" is the 2nd full-length studio album by US power/thrash metal act Toxik. The album was released through Roadrunner Records in October 1989. Toxik was founded in 1985 and released two albums before disbanding in 1992. Despite generally good reviews and positive fan reactions, the band never broke through in their homeland, but had a decent following in both Europe and Japan. Since the release of "World Circus" lead vocalist Mike Sanders has been replaced by Charles Sabin and the band have added a second guitarist to the lineup in John Donnelly.

The music on "Think This" is technically well played US power/thrash metal with occasional progressive metal leanings. Actually the weight has shifted a bit more towards progressive metal than the thrash/US power metal sound of the debut album although thrash metal is still the dominant "core" sound. Tracks like "Black and White", "Technical Arrogance", and "Machine Dream" are however full blown progressive metal tracks to my ears and it is sometimes a bit difficult to tag the music correctly because of the combination of stylistic elements. The two former mentioned tracks both feature obvious Voivod references, but acts like late eighties Fates Warning and especially Realm are also valid references.

The shift on the lead vocalist spot has resulted in the band´s sound becoming slightly more accessible in that department, but the music is overall more challenging and varied than the case was on the "World Circus (1987)". What hasn´t changed is the extremely high level of musicianship on the album. These guys are incredibly skilled and pull off playing some very technically challenging sections and make it sound easy in the process. The sound production is powerful, but it is in this department that "Think This" could have been slightly better. I could have done without the cover of "Out on the Tiles" by Led Zeppelin too, but it´s not downright horrible, just a bit unnecessary. "Think This" is still enjoyable as it is though and a 4 star (80%) rating is fully deserved.

KILLING JOKE Pandemonium

Album · 1994 · Industrial Metal
Cover art 4.34 | 4 ratings
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Killing Joke-Pandemonium

'Pandemonium' is the ninth studio album by Industrial metal/rock band Killing Joke. While Killing Joke always liked to dabble a bit in heavy metal, they never really made a heavy metal album until their eighth studio album 'Extremities, Dirt, and Various Repressed Emotions'. 'Pandemonium' takes it a step further creating a dark, pounding, and aggressive industrial metal album that really proves that they have their important spot in industrial metal history.

The album begins with the driving opening guitar work of the title track. Jaz Coleman's vocals are really varied, switching from clean goth rock vocals to guttural punk vocals that remind me a lot of Lemmy of Motörhead. A great start to a great album. The next song, 'Exorcism', brings you into crunching guitars and the moving beat of the electronics. Coleman's sickened coughs and screams fit well with the repetitious pounding guitars and electronics. Speaking of repetition, this is one of those songs that just pounds itself into your skull. The third song, 'Millennium', is a true classic of industrial metal. The crunching guitar compliments Coleman's guttural vocals, and the transitions into the melodic passages are performed perfectly. The industrial death metal band Fear Factory covered this song, but it doesn't match the quality of original in my opinion. 'Whiteout' reminds me of Acid House of the 90's combined with Ministry, with it's aggressive industrial-thrash combined with chaotic electronics. Like 'Exorcism', this song is another one that just keeps on repeating making you get lost in the pure raging energy.

While this album has perfect headbanging material, it's not without it's less aggressive moments. One of my favorites from the album is the meandering 'Pleasures of the Flesh'. Coleman's guttural vocals are still here, but there aren't any crunching guitars here. Instead, this song is a very atmospheric industrial track with very flowing guitar work. This album also has great use of middle-eastern instrumentation in the songs 'Communion' and 'Labyrinth'. 'Labyrinth' has a great combination of the menacing use of Phrygian scale and distorted guitar.

The lyrics are very thought-provoking on this release, 'Labyrinth' having some of my favorites. The lyrics are on the topics of society, politics, and religion. Some of my favorite lines from this track are 'All the role models, lost souls, false goods that I am shown.' and 'Mystery school of fools, great seats of learning.'

Overall, this is certainly an excellent pick for any industrial metal collection. A great start for anyone looking to get into Killing Joke or the genre. Recommended to fans of Ministry and the more aggressive side of industrial metal.

HELLWITCH Syzygial Miscreancy

Album · 1990 · Thrash Metal
Cover art 4.00 | 1 rating
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siLLy puPPy
At the time when death metal was distinguishing itself from thrash, there were a few bands that seemed like the perfect intermediate between the two. HELLWITCH was yet another thrash band from Florida that was clearly in the transition zone from thrash to death. They were also one of the bands that were clearly interesting in the technical side of the musical equation with lots of interesting progressive touches gracing their first and only full release album for another 19 years - SYZYGIAL MISCREANCY. After a brief little acoustic intro this band means business with some of the most energetic and pummeling thrash riffing and drum abuse that existed during the day. The intellectual song titles reflect a desire to add a complexity to the music that was fairly rare in the 1990 time period when glam metal was still ruling the roost and other extreme bands were not quite as sophisticated.

This frenetic head banging delight sounds most like the “Piece Of Time” album by Atheist which is not surprising being close neighbors in Southern Florida. Atheist surely must have been a major influence in the relentless pace, deathened thrash vocals and progressive additions that make this album a real gem in the long lost under appreciated albums that i never knew about until recently. The songs are all strong beginning with “Nosferatu” and continue their unforgiving relentlessness until the very end. The vocals range from traditional thrash but merge on death metal growls with occasional bizarre effects such as the Demilich sounding weirdness on “Sentient Transmography.”

Although it sounds like HELLWITCH was on the same path as Atheist, it is unfortunate for whatever reason they were not successful in evolving to the next level and only released this one album until 2009 when their second full release “Omnipotent Convocation” was released, however they did release quite a few demos before this and a few EPs after. Although not quite as brilliant as Atheist’s debut album which is the sound most like this one, the diverse elements and original aspects along with the relentless head banging bliss that this gives me guarantees a solid four stars.

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