Metal Related Genres

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Metal Related is a term used on Metal Music Archives (MMA) in regard to artists that, although they do not play metal themselves, still have a place within the metal scene.

On MMA the aim is to build up a complete picture of the metal music genre and its associated scene, and the Metal Related Genres umbrella sub allows the inclusion of related bands and side projects of metal musicians to be included in the site database, along with artists that exist on the fringes of the metal scene by including elements of metal in their music, but haven't ever made a fully fledged metal album. There are also sections for some of the more closely related genres to metal.

There are five sections to the metal related section on MMA: Hard Rock (encompasses heavy psych and heavier progressive rock and more), Hardcore & Crust (punk genres that can sometimes be metallic), Metal Related (releases with metal elements), Non-Metal (mostly a catch all for releases that don't otherwise fit, but also sometimes used for related bands and side-projects to be included on MMA) and Proto-Metal (artists involved in the early development of the metal genre). Each sub-genre is governed by its own rules and policies, some with dedicated teams and some handled by the site admins. More can be learned about each by listing their individual sub-genre pages.

Nothing is ever added directly to the parent Metal Related Genres page. It is merely an umbrella sub used to group the five child sub-genres in one place.

metal related genres top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

WISHBONE ASH Argus Album Cover Argus
WISHBONE ASH
4.59 | 30 ratings
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JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
JIMI HENDRIX
4.51 | 45 ratings
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SPOCK'S BEARD V Album Cover V
SPOCK'S BEARD
4.89 | 9 ratings
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THE WHO Who's Next Album Cover Who's Next
THE WHO
4.49 | 38 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
NEAL MORSE
4.48 | 36 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.55 | 23 ratings
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QUEEN Queen II Album Cover Queen II
QUEEN
4.42 | 63 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.37 | 100 ratings
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KING CRIMSON In The Court Of The Crimson King Album Cover In The Court Of The Crimson King
KING CRIMSON
4.36 | 97 ratings
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NEAL MORSE One Album Cover One
NEAL MORSE
4.62 | 14 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.36 | 74 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.35 | 91 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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metal related genres Music Reviews

THE NEAL MORSE BAND The Similitude of a Dream

Album · 2016 · Metal Related
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Warthur
The first Neal Morse Band album was a deliberate exercise in Neal Morse shifting gear from his usual approach to making albums. Don't have a plan, don't have anything pre-prepared, just go into the studio as a group and cook everything up collaboratively.

To my mind, it was a major success - and clearly enough people thought the same to make it worth giving the Neal Morse Band idea another shot. This time, however, things seem to have shifted a little, with Neal taking on a bit more of a "band leader" role - seeing how it's his name on the cover and all - whilst not totally abandoning the collaborative approach of the group.

In particular, The Similitude of a Dream is based on a concept decided by Neal (it's an adaptation of The Pilgrim's Progress), with lyrics all written by Neal, and in a format which was ultimately decided by Neal. (Reportedly, he and Mike Portnoy had a disagreement over whether it should be a 1CD or 2CD release - Mike favoured a shorter album to prevent the concept from wearing thin - and Neal eventually got his way.)

That isn't to say this is a reversion to the approach of Neal's solo albums, or the time he spent as leader of Spock's Beard - an era when he'd write more or less all the music and lyrics and everyone else was there to execute his vision and did only minimal songwriting of their own. Once again, the credit for the music goes to all the band members - and once again, you can hear that, with more nods to pastoral-era Genesis and Pink Floyd (for example) than is typical for Neal's usual writing approach, plus some even wilder stylistic curveballs (there's bits of Draw the Line which seem almost nu-metal influenced, in terms of having a hard, funky instrumental basis which you could imagine a nu-metal vocalist rapping over at points). All this is the the sort of thing which also felt novel and interesting on The Grand Experiment, and so seem likely to be the contribution of other band members.

The shift here, then, seems to be that Neal has taken on the responsibility for providing the broader structure and concept, whilst the band as a whole take that framework and put the meat on the bones. It's a change which makes a lot of sense; The Grand Experiment was successful, of course, but it's the sort of thing which can only really be truly novel once. Coming into the studio with at least an outlined concept to hand is the sort of thing which focuses the mind, and having that sort of focus saves the album from being a mere rehash of what came before.

Using The Pilgrim's Progress as a concept also makes a lot of sense in terms of Neal's wider career; although Neal seems to be more open than he was back in the 2000s to be involved in projects producing music which is secular, or at least not overtly and explicitly Christian, he does like to involve his religion in his art. One of the things which is genuinely good about the prog albums in his solo career is that he doesn't just restrict himself to the same very limited set of themes which more conventional Christian Rock artists tend to rag on about over and over again. He's aware that Christianity has a rich cultural history behind it, and he'll use that to do concept albums based on obscure parts of the Bible, or Church history, or - in this case - Christian allegorical fiction.

In addition, the whole "weird allegorical journey" thing which The Pilgrim's Progress is based on is, of course, exactly the sort of thing which has been the substance of a bunch of great prog concept albums of the past - The Lamb Lies Down On Broadway by Genesis is exactly that concept, in particular. (For that matter, so's Spock's Beard's Snow...) Basing the album on the structure of the original story means that John Bunyan is, in effect, an additional collaborator - because in his lyrics Neal is interpreting Bunyan's characters and plot, rather than coming up with his own story from whole cloth.

The end result is something which is both different from what Neal Morse would have come up with adapting The Pilgrim's Progress all by himself and then just handing down the finished compositions to the band, and different from what the Neal Morse Band would have come up with just wandering into the studio with no fixed plan for a second time. As such, despite all the retro-prog influences on it, the album still seems fresh in the context of Neal's prog discography, and helps to continue the revitalisation of that side of his output which the Neal Morse Band represents.

KING CRIMSON Absent Lovers: Live In Montreal

Live album · 1998 · Non-Metal
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Warthur
The final concert of the 80s incarnation of King Crimson is recorded here in decent sound quality, and finds the band in dynamic and energetic form - lending a bit of drive to compositions which at points were slightly sluggish on their respective studio albums. (The Beat and Three of a Perfect Pair material particularly benefits). The emphasis, obviously, is on material from this lineup's three studio albums, but the couple of oldies slipped into the setlist - Larks Tongues In Aspic Part 2 and Red - are a real treat, particularly in the way that the new lineup reworks the old material such that it fits in with their style whilst simultaneously shining a light on how their sound is a natural progression from the mid-1970s lineup's. Definitely one of the more interesting King Crimson live releases.

KING CRIMSON Happy With What You Have To Be Happy With

EP · 2002 · Non-Metal
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Warthur
This EP from King Crimson does the same job for The Power To Believe album as VROOOM did for THRAK - act as a preview of the material being worked on for the album and a general indication of where King Crimson's heads were at. In this case, the answer to the latter is "favourably impressed by the young padawans Tool and King Crimson", since the heavy metal-influenced prog of those bands influences the title track here (yet another King Crimson rumination about the process of making music itself).

On the whole, it's a pretty decent EP, reflecting what the band were concentrating on at the time - namely, dividing their attentions between workshopping material for The Power To Believe (they weren't going to make the same mistake they made with The ConstruKction of Light and go into the studio without a set of material which had received careful refinement and polishing in the leadup to it), and revisiting the material from The ConstruKction of Light to tease out its better aspects. (The version of Larks' Tongues In Aspic Part IV here is excellent, and knocks the version on ConstruKction of Light out cold.)

SPOCK'S BEARD Snow Live

Live album · 2017 · Metal Related
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Warthur
It was one of the biggest shocks to hit the early 2000s prog scene: no sooner had Spock's Beard released Snow, an ambitious double concept album, band leader Neal Morse (who had composed a substantial majority of their material to date - including almost all of Snow) quit. His declared reason at the time was that he wanted to focus his time on making solo work exploring his religious beliefs, and didn't think it would be right to expect the band to follow him down that particular rabbithole; as he would later allude to on the Testimony 2 concept album, a health scare involving his young daughter may well have prompted him to want to pull out of band projects altogether and stay at home more. Ambitious plans to perform Snow live were shelved, never to see fulfillment...

...until 2016, that is. After shocking the prog world by quitting all his existing band projects in 2002, Neal shocked it again in 2009 by returning to band work, reforming Transatlantic. Between that, the brand new Flying Colors project, and The Neal Morse Band (in which, despite the name, songwriting duties are shared much more evenly than on Neal's solo albums), it became evident that Neal was now comfortable with working as part of a band again, even on projects which didn't have an overt, explicitly stated Christian focus.

He'd even make appearances with Spock's Beard, joining them onstage at a festival or two and even making contributions to the Brief Nocturnes and Dreamless Sleep album, though being careful to be credited as a guest rather than a full member of the band. This was a classy move, because that album was the debut of Ted Leonard as the group's full-time frontman (after filling in for a departing Nick D'Virgilio on some live gigs), and it's clear that whilst Neal was happy to stop by to help out, he was also humble enough not to upstage the new singer right when he needed that spotlight.

Snow Live, however, represents perhaps the biggest and most significant reunion of Neal and Spock's Beard to date: a full live performance of the album, performed at Morsefest. (Morsefest is Neal's homegrown fan convention, a bit like his version of Marillion's weekend bashes - one likes to think of him chatting with his Transatlantic bandmate Pete Trewavas between takes in the studio, picking his brains about the logistics of running such things.) This consists of the full Snow epic, plus two encores - old favourite June and Falling Forever, a track previously recorded by Neal and Spock's Beard for the First Twenty Years compilation album.

Inevitably, such an undertaking involves Neal being prominently featured front and centre - a de facto reunion, even if just for this show (and a repeat in Europe a short while later). Snow was an extremely personal concept for him - it's basically him working through his feelings about quitting the band before he actually quit the band, he wrote almost all the music and lyrics, that's just inevitable.

Nonetheless, Neal and the band do a grand job of making the show less about Neal coming back and acting as frontman for one more night, and more about a celebration of the band's entire history. Far from sitting this one out, Ted Leonard is included in the show, the group doing a fine job of finding ways for him to contribute some lead performances as well as assisting with the backing vocals where it would serve the concept to do so. Likewise, Nick D'Virgilio came back for this gig, with the band using a two-drummer setup to allow him and Jimmy Keegan to play together, and he also contributes some vocals too in keeping with his role of frontman for the run of albums between Neal leaving and Ted Leonard joining.

(Having multiple vocalists on hand, in fact, turns out to be not just a bonus, but essential - after all, as with much early Spock's Beard stuff, there's some moments where they get into intricately intertwined vocals reminiscent of some of Gentle Giant's experiments in that vein; you might be able to do that solo in a studio by multi-tracking your voice, but you need a bunch of vocalists on hand to do that live!)

In other words, the album doesn't just include Neal Morse playing with Spock's Beard again - it also includes every single person who'd been an official member of Spock's Beard on a studio album up to this point. (Original bassist John Ballard isn't on it, but John was only in the band fairly briefly, departing before they recorded The Light.) The result is a performance of Snow which is somewhat warmer than the chilly title implies - and it works an absolute treat. Some credit has to be given to the delightful acoustics of the venue - it's Neal's local church, which gives the whole thing a nice, intimate sound, and on the whole I actually think the resulting performance sounds better than the rather clean, precisely-produced studio album.

The execution is absolutely spot on; despite the fact that neither Spock's Beard nor Neal's solo backing bands have performed all this material like this, they really nail it, like they've been playing this setlist regularly since Snow originally released. Or perhaps it sounds even better than that - maybe letting the material sit fallow for this long gave Neal and the group the appetite to really get their teeth into it now this wonderful opportunity had arisen. The fact that they deliberately only planned to play this show a very limited number of times, rather than doing a full Spock's Beard And Neal Morse Play Snow tour, might have also added a certain helpful frisson - nothing like knowing that you've got limited chances to get this right to focus the mind!

Of course, it'd be foolish to write off the possibility that Neal and Spock's Beard will perform this set again in future, or otherwise collaborate again - the very existence of this live album proves that all bets are off and "never say never" should be one's motto. But at the same time, if this is the last major collaboration between the two parties and it's just occasional guest appearances on a song here and there from here on out, this is a magnificent way for the Neal Morse-fronted incarnation of Spock's Beard to bow out, and does a fantastic job of providing the closure we never got back in 2002.

KING CRIMSON The ConstruKction Of Light

Album · 2000 · Non-Metal
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UMUR
"The ConstruKction of Light" is the twelfth full-length studio album by UK progressive rock act King Crimson. The album was released through Virgin Records in May 2000. It´s the successor to "Thrak" from 1995. The band at this point consisted of Adrian Belew on guitars and vocals, Robert Fripp on guitars, Trey Gunn on bass, touch guitars, and baritone guitars, and Pat Mastelotto on drums. Fripp was never satisfied with the way the album turned out, feeling the band had rushed into the studio without letting the compositions develop in a live environment before recording them in the studio. Therefore a remixed and remastered version of the album titled "The ReconstruKction Of Light" appeared in 2019. In addition to remixing and remastering the album Mastelotto also re-recorded his drum parts for the 2019 version of the album.

Stylistically the material on the album is experimental/progressive rock. Demanding as ever as the notes are often played in unusual succesion (chromatic runs and unconventional scales/choices of notes) and twisted in innovative ways. "The ConstruKction of Light" is unmistakably a King Crimson album. No one really sounds like them. The music is dark (which you would probably have guessed from looking at the bleak cover artwork) and at times pretty complex too. Tracks like the instrumental "The ConstruKction of Light (Part One)", "Larks' Tongues in Aspic, Part IV (Part One)", and the insanely complex "FraKctured" are arguably among the most challenging compositions King Crimson have ever produced. The latter should actually please fans of technical/progressive metal as parts of the song could be compared to the most technically focused acts in that genre. The heaviness and harshness of the track too.

The album features some great tracks with vocals too. "Into the Frying Pan" features some delightfully dark harmony vocals that remind me of some of the dark and twisted vocal parts on Alice In Chains eponymously titled third album from 1995. Bleak as hell and a real treat. "ProzaKc Blues" isn´t a personal favorite track (because of the silly low growling vocals) but it´s a solid composition, completely twisting the conventions of a blues. "The ConstruKction of Light (Part Two)" is one of the highlights of the album (of the tracks featuring vocals).

The production is thick, heavy, and dark (slightly less on the 2019 version). The way the bass sounds on the this album is heavier than heavy. What a treat. The drums feature such a powerful and meaty sound too. The sound production is overall of a great quality. "The ConstruKction of Light " is one of King Crimson´s heavier albums and maybe that´s why it often receives such harsh criticism from progressive rock fans. Coming from a background in metal this doesn´t bother me at all though and I find it to be an excellent and very focused album in King Crimson´s discography. It´s not their most groundbreaking release, but it´s solid and enjoyable. A 3.5 star (70%) rating is deserved.

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PENDRAGON Past And Presence

Movie · 2007 · Non-Metal
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Warthur
Pendragon's Past and Presence captures a very special concert put on by Pendragon in celebration of the band's history. Recorded in Poland as a special treat for their very appreciative Polish fanbase, the concert saw a host of past members of the band making special guest appearances - with all the current and ex-Pendragon members present taking to the stage for show closer Stan and Ollie (a good call, since the song was essentially written as a goof-off piece to round off the band's sets with a happy party number, much like Marillion's Margaret).

Aside from 2AM from Kowtow (present as one of several encores), the songs here are all vintage Pendragon from their very earliest days - you have all the tracks from The Jewel and the Fly High Fall Far EP here, plus some delicious rarities otherwise only available in inferior versions on the Once Upon a Time In England compilations. Two decades have come and gone since the band recorded the versions of the songs we're most familiar with, and the additional experience really does show. Many of the songs here blow the original studio versions out of the water - even songs which sounded really excellent on the original recordings, such as The Black Knight.

I'd go so far as to say that this wonderful show is, perhaps, the absolute best way to experience Pendragon's material from before The World came out. Certainly, I would strongly encourage people to pick up the limited edition version which comes with a 2CD audio version of the show, because the audio stands up really well on there and I actually find I listen to the CD more than I watch the actual show.

NEAL MORSE Morsefest! 5015

Movie · 2017 · Metal Related
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adg211288
Morsefest! 2015 is a live release by US musician Neal Morse. Morsefest! shows are without a doubt the most special Neal Morse shows that a fan could attend – a two day event with a different Neal Morse set each night. Morsefest! 2015 was released on either a 2x blu-ray or 4 x CD/2x DVD package in 2017. Strictly speaking it is The Neal Morse Band playing on the release – Neal Morse, Mike Portnoy, Randy George, Eric Gillette & Bill Hubauer – but Morsefest! 2015 was released under just Neal Morse's name likely due to the event's focus on his albums ? (2005) and Sola Scriptura (2007).

While the focus is indeed on those albums, with ? played in full on night one and Sola Scriptura in full on night two, the set is varied with various extra tracks. The Neal Morse Band had released their debut album The Grand Experiment earlier in 2015 and that album also gets a fair airing across the two nights, particularly in the first half of night one with The Call, the title track and the limited edition bonus track New Jerusalem gets played, while Waterfall was featured on night two complete with some instrument changes for various band members. Three Spock's Beard songs are also brought out, Go the Way You Go on night one and At the End of the Day and Wind at My Back on night two, the latter two featuring Nick D'Virgilio first on drums then co-lead vocals. An edited version of Transatlantic's near eighty minute whole album epic The Whirlwind closes the second night, with further guest vocals by D'Virgilio and guitar by Phil Keaggy, who also makes an appearance on night one and was the support act for the event. Finally the band brings to the live stage for the first time a lesser known Neal Morse epic called A Whole Nother Trip, which appeared on his first solo album while still a member of Spock's Beard amongst what was otherwise a bunch of pop songs. There is also a cover of the song MacArthur Park, originally released by Richard Harris, which has been given the prog treatment by Bill Hubauer on challenge from Mike Portnoy. Neal Morse hates the song apparently and always swore he'd never cover it, but there you go. Hubauer sings lead on it.

The main draw to the Morsefest! 2015 live release is of course the full performance of two of Neal Morse's best known albums. ? is basically one long song in and of itself and is treated like the crowning piece of what Morse describes as a night of epics – a fair description when the shortest song is about seven and a half minutes long. For me personally the performance of Sola Scriptura is the key focal point of the two night show though. That's my personal favourite Neal Morse album, not to mention the one that really got me into his music. It's also one of his heaviest and most metal works which along with various parts of The Neal Morse Band's music gives a metallic edge to those otherwise symphonic progressive rock fuelled double concert.

Morsefest! 2015 is one heck of a show if you're into progressive rock. The scope is tremendous not just through the double show but each night's set is over two hours a pop as well. The amount of musicians on stage at one time goes far beyond the core band – far too many to recite in a review. Suffice to say there's a lot of people involved to pull this off. The sound and picture quality of the blu-ray release is excellent and you certainly get a lot of music for your money. The only fault with the set is that one listed bonus feature called Prog Jeopardy is completely missing from the release. Not sure what the story is there, perhaps it was planned and had to be cut for some reason and they forget to change the inserts before going to the press, who knows? But you weren't buying this for the bonus features anyway right?

There are several of the Morsefest shows released by the time of writing this review in September 2020 so which one holds the most appeal to each fan will of course be different. 2015 was a no brainer for me due to my particular love of Sola Scriptura. Someone else may think 2014's focus on Testimony (2003) and One (2004) or 2017's Testimony 2 (2011) and The Similitude of a Dream (2016) to be better options for them. Regardless any Neal Morse fan owns it to themselves to pick up at least one of these releases for his most special and exclusive concerts.

PORCUPINE TREE Arriving Somewhere...

Movie · 2006 · Metal Related
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Warthur
Focusing on the more metal-oriented material from Deadwing and In Absentia - though notably steering it back in a more rock-oriented direction in order to allow this material to sit a little more comfortably beside the "indie prog rock" stylings of Stupid Dream, Lightbulb Sun and Recordings (picks from all of which surface here). Fans of their earlier psychedelic and space rock styles might be disappointed that those aren't represented, but on the plus side there's a liberal sprinkling of rarities here such as the glorious Buying New Soul as well as Revenant, So-Called Friend and Mother and Child Divided, those three songs having only appeared on various special editions of Deadwing. Not the definitive Porcupine Tree live experience, but a pretty decent one nonetheless.

BLIND FAITH London Hyde Park 1969

Movie · 2006 · Proto-Metal
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stefanbedna
Blind Faith -London Hyde Park 1969 dvd. An excellent concert.Quite simple concert.A beautiful day and a hundred thousand people in London´s central Hyde Park listens Blind Faith in their first big gig.Absolutely wonderful.For me the historic value of this concert.Rating 4,0 stars for me.Concert will be held 07/06/1969.Performers lineup eric clapton lead guitar,steve winwood phenomenal vocal and keyboards, rick grech on bass and of course phenomenal ginger baker on drums.This is an example of the unique combination of two large groups of Cream and Traffic rights in the Great introducetd in London´s Hyde Park.Really very interesting concert series watch it again on dvd.I highly recommend.

RIVERSIDE Reality Dream

Movie · 2009 · Metal Related
Cover art Buy this album from MMA partners
progshine
My polish girlfriend gave me this DVD on my anniversary in May, I really didn't know what to expect of the band live cause I only knew their studio recordings. Like I always do, I watched the bonus DVD first, I like to see backstage footage, interviews and extras much more than the proper live presentations on most of the time (maybe the only exception is Live At Wembley by QUEEN).

The first DVD is the show itself, and it's a very good recording, both audio and video, and seeing them live male me wonder how good is Mariusz Duda, cause as a bass player myself, I know how hard is to play some lines while you sing, Mariusz dows a fantastic work live, as the whole band.

I think it's a great buy for any prog rock fan, this polish band deserves more light on our '70's' world.

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