Deathcore

<h2 id="characteristics">Characteristics</h2>
Compared to <a href="/facts/Metalcore/aIBE8GeF">metalcore</a>, the fulcrum of deathcore is "weight and volume".<a class="footnote-ref" id="fnref:9" href="#fn:9">9</a> A fusion genre, deathcore combines <a href="/facts/Death_metal/LQnBoMRh">death metal</a> characteristics such as <a href="/facts/Blast_beat/hCQ2dvac">blast beats</a>, down-tuned guitars, <a href="/facts/Tremolo_picking/TtN7b4Lk">tremolo picking</a>, and <a href="/facts/Death_growl/7DSj58fJ">growled vocals</a> with metalcore characteristics such as <a href="/facts/Breakdown_(music)/NJ08hky1">breakdowns</a>. The genre is usually defined by breakdowns and death metal riffs or metalcore riffs played in the usual death metal tuning.<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a><a class="footnote-ref" id="fnref:11" href="#fn:11">11</a> Like in other <a href="/facts/Extreme_metal/U8ovGHSn">extreme metal</a> fusion genres, deathcore guitarists down-tune their guitars to give their music a heavier sound. Deathcore bands may also employ <a href="/facts/Guitar_solo/75F1IxS5">guitar solos</a> as well.<a class="footnote-ref" id="fnref:12" href="#fn:12">12</a><a class="footnote-ref" id="fnref:13" href="#fn:13">13</a><a class="footnote-ref" id="fnref:14" href="#fn:14">14</a><a class="footnote-ref" id="fnref:15" href="#fn:15">15</a><a class="footnote-ref" id="fnref:16" href="#fn:16">16</a>
Low <a href="/facts/Death_growl/7DSj58fJ">growls</a> and shrieked <a href="/facts/Screaming_(music)/nWvhz7KD">screams</a> are common types of vocals in deathcore.<a class="footnote-ref" id="fnref:17" href="#fn:17">17</a><a class="footnote-ref" id="fnref:18" href="#fn:18">18</a> Some other techniques that deathcore vocalists have used include what is known as pig squeals.<a class="footnote-ref" id="fnref:19" href="#fn:19">19</a><a class="footnote-ref" id="fnref:20" href="#fn:20">20</a><a class="footnote-ref" id="fnref:21" href="#fn:21">21</a><a class="footnote-ref" id="fnref:22" href="#fn:22">22</a><a class="footnote-ref" id="fnref:23" href="#fn:23">23</a> Sung vocals in the genre are rare and most bands seldom if ever use them, but the idea has been experimented with by a few bands such as <a href="/facts/All_Shall_Perish/VnLcn47q">All Shall Perish</a> (in the song "Awaken the Dreamers") and <a href="/facts/Oceano_(band)/GwfvxmYr">Oceano</a> (in the song "Incisions").<a class="footnote-ref" id="fnref:24" href="#fn:24">24</a>
Some lyrical themes common in deathcore songs include <a href="/facts/Antireligion/PUCXdEj0">antireligion</a>, <a href="/facts/Psychological_pain/kPaBoDH4">psychological pain</a> and <a href="/facts/Body_horror/VBvR7lgS">body horror</a>.<a class="footnote-ref" id="fnref:25" href="#fn:25">25</a>

<h2 id="history">History</h2>
<h3>Predecessors (1990s)</h3>

The term "deathcore" has had convoluted uses on-and-off in various metal/hardcore scenes far before it was considered an established or recognized genre. The earliest known use of "deathcore" as a word was by New York band <a href="/facts/Straight_Ahead_(band)/KwUEH6RL">N.Y.C. Mayhem</a>, a self-description for their merger of <a href="/facts/Hardcore_punk/eonxzUyP">hardcore punk</a> and <a href="/facts/Thrash_metal/TJJ0bhAc">thrash metal</a>.<a class="footnote-ref" id="fnref:26" href="#fn:26">26</a> Outside of the US however, there also existed some early exampled uses; a German <a href="/facts/Deathgrind/Udha0m6G">deathgrind</a> band named Deathcore existed in the mid 1980s, and another German deathgrind band Blood, used the word as the title for a demo put out in 1986.<a class="footnote-ref" id="fnref:27" href="#fn:27">27</a> However it wasn't until 1996 that "deathcore" eventually began gaining traction to describe a musical style; Nick Terry of <a href="/facts/Terrorizer_(magazine)/pCtu19g3">Terrorizer magazine</a> that year publicized: "We're probably going to settle on the term deathcore to describe the likes of <a href="/facts/Earth_Crisis/Nh9RgNgG">Earth Crisis</a> (as well as the more <a href="/facts/New_York_hardcore/vpWK3PVA">NYHC</a>-ish but still as deathly <a href="/facts/Merauder/nyVNyyA5">Merauder</a>)."<a class="footnote-ref" id="fnref:28" href="#fn:28">28</a> <a href="/facts/Embrace_the_Eternal/PM9oalgp">Embrace the Eternal</a> (1998) by <a href="/facts/Embodyment/mP35185D">Embodyment</a>, <a href="/facts/Yesterday_Is_Time_Killed/adXVPWmE">Yesterday Is Time Killed</a> (1999) by <a href="/facts/Eighteen_Visions/TUPsnxoT">Eighteen Visions</a>, and <a href="/facts/Rain_in_Endless_Fall/IuzXc4ux">Rain in Endless Fall</a> (1999) by <a href="/facts/Prayer_for_Cleansing/IuzXc4ux">Prayer for Cleansing</a> are early examples of albums that feature a metalcore sound combined with death metal influences,<a class="footnote-ref" id="fnref:29" href="#fn:29">29</a><a class="footnote-ref" id="fnref:30" href="#fn:30">30</a><a class="footnote-ref" id="fnref:31" href="#fn:31">31</a> in 2019 music site The New Fury has even gone on record to credit Embodyment as "[pioneers] of the deathcore genre" due to their performance on Embrace the Eternal.<a class="footnote-ref" id="fnref:32" href="#fn:32">32</a><a class="footnote-ref" id="fnref:33" href="#fn:33">33</a> <a href="/facts/Decibel_(magazine)/toJvW9UM">Decibel</a> magazine wrote that death metal band <a href="/facts/Suffocation_(band)/U4rzQ2Qp">Suffocation</a> were one of the main inspirations for the genre's emergence by writing: "One of Suffocation's trademarks, breakdowns, has spawned an entire metal subgenre: deathcore."[32]
The Belgian <a href="/facts/Music_of_Belgium/DC65GUTa">H8000</a> music scene was also influential to the development of the sound, with bands like Deformity, and Liar helping to pioneer a prototype for the genre in the late-1990s and early-2000s.<a class="footnote-ref" id="fnref:34" href="#fn:34">34</a> When writing about deathcore pioneers <a href="/facts/Despised_Icon/ga0pH8eK">Despised Icon</a>, Dom Lawson of <a href="/facts/Metal_Hammer/q10rqRll">Metal Hammer</a> wrote: "blending death metal with hardcore was by no means a new thing when Despised Icon emerged."<a class="footnote-ref" id="fnref:35" href="#fn:35">35</a> Suffocation bassist Derek Boyer says Suffocation "were influenced by many early metal and hardcore bands".<a class="footnote-ref" id="fnref:36" href="#fn:36">36</a> Death metal bands like <a href="/facts/Dying_Fetus/chVWJRSe">Dying Fetus</a>, Suffocation, and Internal Bleeding were influential on deathcore due to their use of "crushing, mid-paced grooves and breakdowns", according to Lawson.<a class="footnote-ref" id="fnref:37" href="#fn:37">37</a>

<h3>Origins (early to mid-2000s)</h3>
Despite a few earlier metalcore/death metal hybridizations, <a href="/facts/Antagony/tLQ07I79">Antagony</a><a class="footnote-ref" id="fnref:38" href="#fn:38">38</a><a class="footnote-ref" id="fnref:39" href="#fn:39">39</a> and Despised Icon are considered to be the true pioneers of deathcore,<a class="footnote-ref" id="fnref:40" href="#fn:40">40</a><a class="footnote-ref" id="fnref:41" href="#fn:41">41</a> however both bands have rejected the label.<a class="footnote-ref" id="fnref:42" href="#fn:42">42</a><a class="footnote-ref" id="fnref:43" href="#fn:43">43</a> Antagony founder and frontman <a href="/facts/Nicholas_Vasallo/29FPk4a1">Nick Vasallo</a> is credited as being the "father of deathcore" due to his work in the band.<a class="footnote-ref" id="fnref:44" href="#fn:44">44</a> <a href="/facts/The_Red_Chord/5dI5RMch">The Red Chord</a> is referenced as an early influential source for the genre due to their hybridization of metalcore and death metal sounds (among other genres).<a class="footnote-ref" id="fnref:45" href="#fn:45">45</a> New Hampshire band <a href="/facts/Deadwater_Drowning/6V1WDd5U">Deadwater Drowning</a> and Californian group <a href="/facts/All_Shall_Perish/VnLcn47q">All Shall Perish</a> are also seen as notable early entries of the genre. Deadwater Drowning's <a href="/facts/Deadwater_Drowning_(EP)/4R9m6ojQ">2003 EP</a> was remarked as "basically the blueprint for every current deathcore band out today,"<a class="footnote-ref" id="fnref:46" href="#fn:46">46</a> while All Shall Perish's debut album <a href="/facts/Hate,_Malice,_Revenge/pyMLQ3hk">Hate, Malice, Revenge</a> (2003) "never got tied down to [simply] death metal or metalcore."<a class="footnote-ref" id="fnref:47" href="#fn:47">47</a> Music journalist T Coles said, "in a similar fashion to their grindcore ancestors, cultural barriers melted away as kids with earnest interests in various heavy sounds melded ideas together [...] they were earnestly trying to be as ruthlessly heavy as possible, taking elements from everything they liked and pushing them as hard as they could, just as bands [in the 1990s], and a decade before that, had done."<a class="footnote-ref" id="fnref:48" href="#fn:48">48</a>
In the mid 2000s, deathcore spiked in popularity shortly after <a href="/facts/Job_for_a_Cowboy/AkkHbNtc">Job for a Cowboy</a> released their EP <a href="/facts/Doom_(EP)/HHA5ffup">Doom</a> in 2005, which is heavily credited as one of deathcore's most significant and influential releases for the genre.<a class="footnote-ref" id="fnref:49" href="#fn:49">49</a> The genre saw an increase in popularity even further when English band <a href="/facts/Bring_Me_the_Horizon/zwK5ay8M">Bring Me the Horizon</a> released their deathcore debut full-length <a href="/facts/Count_Your_Blessings_(Bring_Me_the_Horizon_album)/7PUKPYJ1">Count Your Blessings</a> in 2006. The band were presented the <a href="/facts/Kerrang!_Awards/EjFRo5yt">2006 Kerrang! Award</a> for "Best British Newcomer" shortly after the album's release,<a class="footnote-ref" id="fnref:50" href="#fn:50">50</a> however the band abandoned the deathcore genre soon thereafter.<a class="footnote-ref" id="fnref:51" href="#fn:51">51</a>

<h3>Expansion (late 2000s and 2010s)</h3>

In the mid-to-late 2000s, many deathcore groups began to embrace elements of <a href="/facts/Nu_metal/7vNyq9rB">nu metal</a>, with <a href="/facts/Whitechapel_(band)/4F57QhgN">Whitechapel</a> and <a href="/facts/Suicide_Silence/TCmLaPl2">Suicide Silence</a> making use of a "heavier and more groove-driven sound than their predecessors and increasingly bordered nu-metal",<a class="footnote-ref" id="fnref:52" href="#fn:52">52</a> and <a href="/facts/Emmure/wyLDAdGu">Emmure</a>, <a href="/facts/Winds_of_Plague/N0FUyPJk">Winds of Plague</a> and <a href="/facts/The_Acacia_Strain/L52wyabc">the Acacia Strain</a> embracing its urban, black aesthetics.<a class="footnote-ref" id="fnref:53" href="#fn:53">53</a> As early as 2011, publications including <a href="/facts/MetalSucks/9hVgr2WN">MetalSucks</a> had begun to use the term "<a href="/facts/Nu-deathcore/f4Knz87T">nu-deathcore</a>" or "nu-dethcore" to refer to a wave of bands combining nu metal and deathcore, including Emmure, Suicide Silence, <a href="/facts/Here_Comes_the_Kraken/qn71ahUH">Here Comes the Kraken</a>, <a href="/facts/Upon_a_Burning_Body/ufnB492j">Upon a Burning Body</a> and <a href="/facts/Gorelord/qmRaj15S">Gorelord</a>.<a class="footnote-ref" id="fnref:54" href="#fn:54">54</a> This wave led Japanese band Dir En Grey to return to their nu metal influence sound while also embracing deathcore on songs such as "<a href="/facts/Different_Sense/bhvAxl5F">Different Sense</a>".<a class="footnote-ref" id="fnref:55" href="#fn:55">55</a> Suicide Silence's <a href="/facts/No_Time_to_Bleed/w9eM30l5">No Time to Bleed</a> (2009) peaked at number 32 on the <a href="/facts/Billboard_200/XtbnoFSM">Billboard 200</a>, number 12 on the <a href="/facts/Rock_Albums_Chart/sjC2KK8U">Rock Albums Chart</a> and number 6 on the <a href="/facts/Hard_Rock_Albums/sjC2KK8U">Hard Rock Albums</a> Chart,<a class="footnote-ref" id="fnref:56" href="#fn:56">56</a> while their album <a href="/facts/The_Black_Crown/MVv85yy6">The Black Crown</a> peaked at number 28 on the Billboard 200, number 7 on the Rock Albums Chart and number 3 on the Hard Rock Albums Chart.<a class="footnote-ref" id="fnref:57" href="#fn:57">57</a> <a href="/facts/Whitechapel_(band)/4F57QhgN">Whitechapel</a>'s album <a href="/facts/This_Is_Exile/b0mBoj1A">This Is Exile</a> sold 5,900 in copies, which made it enter the Billboard 200 chart at position 118.<a class="footnote-ref" id="fnref:58" href="#fn:58">58</a> Their <a href="/facts/Whitechapel_(album)/7dKlpV4w">self-titled album</a> peaked at number 65 on the <a href="/facts/Canadian_Albums_Chart/hB0HgwY6">Canadian Albums Chart</a><a class="footnote-ref" id="fnref:59" href="#fn:59">59</a> and also at number 47 on the Billboard 200.<a class="footnote-ref" id="fnref:60" href="#fn:60">60</a> Their third album <a href="/facts/A_New_Era_of_Corruption/VPQQnM5l">A New Era of Corruption</a> sold about 10,600 copies in the United States in its first week of being released and peaked at position number 43 on the Billboard 200 chart.<a class="footnote-ref" id="fnref:61" href="#fn:61">61</a>
San Diego natives <a href="/facts/Carnifex_(band)/u55lDJJc">Carnifex</a> witnessed success with their first album <a href="/facts/Dead_in_My_Arms/wdahmC88">Dead in My Arms</a> (2007), selling 5,000 copies with little publicity. On top of their non-stop touring, the band's methodical songwriting resulted in Carnifex quickly getting signed to label <a href="/facts/Victory_Records/yv5t3yeF">Victory Records</a>.<a class="footnote-ref" id="fnref:62" href="#fn:62">62</a> Australian deathcore band <a href="/facts/Thy_Art_Is_Murder/ggg5no42">Thy Art Is Murder</a> debuted at number 35 on the <a href="/facts/ARIA_Charts/aUXUHRK7">ARIA Charts</a> with their album <a href="/facts/Hate_(Thy_Art_Is_Murder_album)/ETHLkXa8">Hate</a> (2012),<a class="footnote-ref" id="fnref:63" href="#fn:63">63</a> making them the first extreme metal band to ever reach the Top 40 of this chart.<a class="footnote-ref" id="fnref:64" href="#fn:64">64</a>
In the 2020s, deathcore experienced a resurgence in popularity, with bands like <a href="/facts/Fit_For_An_Autopsy/RGeXeTLV">Fit For An Autopsy</a>, Boundaries, <a href="/facts/Paleface_Swiss/sjf9qz5w">Paleface Swiss</a>, <a href="/facts/Ingested/VIsgnlnA">Ingested</a> and <a href="/facts/Angelmaker/ADFBIgMM">Angelmaker</a> bringing new attention to the genre. Lorna Shore, in particular, gained mainstream recognition with their 2021 song "To the Hellfire," which went viral and was credited with revitalizing deathcore.<a class="footnote-ref" id="fnref:65" href="#fn:65">65</a> These bands have introduced symphonic and progressive elements while maintaining the core traits of breakdowns, blast beats, and guttural vocals.<a class="footnote-ref" id="fnref:66" href="#fn:66">66</a> Russian deathcore group <a href="/facts/Slaughter_to_Prevail/636ParFB">Slaughter to Prevail</a> reportedly reached over 3.5 million streams on music services for their song "Hell" (2015); the band also performed a line of sold-out shows in <a href="/facts/China/lTjIXY5p">China</a>, which made the group the only foreign metal band to perform a sold-out concert in the country in all of 2020.<a class="footnote-ref" id="fnref:67" href="#fn:67">67</a><a class="footnote-ref" id="fnref:68" href="#fn:68">68</a> <a href="/facts/Lorna_Shore/5xse81I0">Lorna Shore</a>'s 2021 song "<a href="/facts/To_the_Hellfire/HzPfwA9k">To the Hellfire</a>", saw the band gain significant attention, primarily through videos shared on <a href="/facts/TikTok/LC3FaCbX">TikTok</a>, to the extent that in a 2022 article by <a href="/facts/Revolver_(magazine)/dLUGKnh5">Revolver</a>, writer Eli Enis called the band "the new faces of deathcore".<a class="footnote-ref" id="fnref:69" href="#fn:69">69</a>

<h2 id="fusion-with-other-genres">Fusion with other genres</h2>
A variety of deathcore bands experimented with other genres into their music as influence and time progressed. <a href="/facts/Emmure/wyLDAdGu">Emmure</a> has been credited to be heavily influenced by <a href="/facts/Nu_metal/7vNyq9rB">nu metal</a><a class="footnote-ref" id="fnref:70" href="#fn:70">70</a> and was described as "the new <a href="/facts/Limp_Bizkit/kvas490g">Limp Bizkit</a>".<a class="footnote-ref" id="fnref:71" href="#fn:71">71</a> Suicide Silence's 2011 album <a href="/facts/The_Black_Crown/MVv85yy6">The Black Crown</a> is a deathcore album with some nu metal influences.<a class="footnote-ref" id="fnref:72" href="#fn:72">72</a> Other examples of nu metal-inspired deathcore bands include <a href="/facts/Here_Comes_the_Kraken/qn71ahUH">Here Comes the Kraken</a>'s later material.<a class="footnote-ref" id="fnref:73" href="#fn:73">73</a> The early 2010s saw bands fusing the genre with influences from <a href="/facts/Djent/GqSQIl35">djent</a> and <a href="/facts/Progressive_metal/8y6HIRpw">progressive metal</a>, which began to achieve underground popularity. Examples of the aforementioned include <a href="/facts/Veil_of_Maya/toom3eGn">Veil of Maya</a>,<a class="footnote-ref" id="fnref:74" href="#fn:74">74</a><a class="footnote-ref" id="fnref:75" href="#fn:75">75</a> <a href="/facts/Born_of_Osiris/JBzkrEqG">Born of Osiris</a>,<a class="footnote-ref" id="fnref:76" href="#fn:76">76</a><a class="footnote-ref" id="fnref:77" href="#fn:77">77</a> and <a href="/facts/After_the_Burial/qhg03vG0">After the Burial</a>.<a class="footnote-ref" id="fnref:78" href="#fn:78">78</a> Some bands, such as <a href="/facts/Make_Them_Suffer/tSNsfhXn">Make Them Suffer</a> and <a href="/facts/Winds_of_Plague/N0FUyPJk">Winds of Plague</a>, mix deathcore with <a href="/facts/Symphonic_music/C5Ha0d0G">symphonic/classical</a> elements.<a class="footnote-ref" id="fnref:79" href="#fn:79">79</a><a class="footnote-ref" id="fnref:80" href="#fn:80">80</a><a class="footnote-ref" id="fnref:81" href="#fn:81">81</a> French band <a href="/facts/Betraying_the_Martyrs/xYVEASz0">Betraying the Martyrs</a> has been described as "[the] punishing brutality of deathcore with melodic flourishes pulled from symphonic and progressive metal, giving it a theatricality that feels distinctly European."<a class="footnote-ref" id="fnref:82" href="#fn:82">82</a>

<h2 id="criticism">Criticism</h2>
Deathcore has been criticized, especially by longtime fans of other <a href="/facts/Heavy_metal_subgenres/eEa5enwV">heavy metal subgenres</a>, often because of its fusion of <a href="/facts/Death_metal/LQnBoMRh">death metal</a> with <a href="/facts/Metalcore/aIBE8GeF">metalcore</a> and use of <a href="/facts/Breakdown_(music)/NJ08hky1">breakdowns</a>.<a class="footnote-ref" id="fnref:83" href="#fn:83">83</a><a class="footnote-ref" id="fnref:84" href="#fn:84">84</a><a class="footnote-ref" id="fnref:85" href="#fn:85">85</a><a class="footnote-ref" id="fnref:86" href="#fn:86">86</a> Music journalist T Coles observed, "Whilst kids were eating this up, the old guard saw it as a further death blow. The established traditions were being tinkered with, old rules were being broken, and, having already lost out to <a href="/facts/Slipknot_(band)/9GLU8DKK">Slipknot</a>, it was now seeing its ideas taken and warped by a younger generation that was reaping the financial benefits."<a class="footnote-ref" id="fnref:87" href="#fn:87">87</a> They also state that an oversaturation of artists within the scene during the 2010s "[homogenized]" the genre.<a class="footnote-ref" id="fnref:88" href="#fn:88">88</a>
In addition to this, members of certain deathcore bands do not take a liking to being labeled "deathcore". In an interview with vocalist Vincent Bennett of <a href="/facts/The_Acacia_Strain/L52wyabc">The Acacia Strain</a> about the deathcore label, he said "Deathcore is the new nu-metal. [...] It sucks. And if anyone calls us 'deathcore' then I might do something very bad to them."<a class="footnote-ref" id="fnref:89" href="#fn:89">89</a> While in an interview with Justin Longshore from <a href="/facts/Through_the_Eyes_of_the_Dead/psQj8W2z">Through the Eyes of the Dead</a> about the deathcore label, he said, "You know, I really hate that term. I know we've been labeled as that but I think there's so much more to our music than just a mixture of death metal and hardcore ( [<a href="/facts/Sic/qB9MUUWF">sic</a>]) even though we incorporate those elements in our music. To me it seems that is just the new and fresh thing that kids are following."<a class="footnote-ref" id="fnref:90" href="#fn:90">90</a>
In November 2013, <a href="/facts/Terrorizer_(magazine)/pCtu19g3">Terrorizer</a> wrote, "The term 'deathcore' is usually seen as a dirty word in metal circles" while interviewing vocalist Bryce Lucien of the Texas-based metal band Seeker. Lucien then stated:<a class="footnote-ref" id="fnref:91" href="#fn:91">91</a>

Much like what became of metalcore in the mid-2000s, deathcore is an often maligned term that can instantly diminish a bands credibility. What once conjured images of ridiculously brutal, unapologetically heavy bands like <a href="/facts/Ion_Dissonance/fYrtVQHy">Ion Dissonance</a> and <a href="/facts/The_Red_Chord/5dI5RMch">The Red Chord</a> now brings to mind bands full of twenty-year-olds sporting throat tattoos, matching black T-shirts, and trying desperately hard to look tough while they jump in sync onstage. 
In contrast, some bands appear to be more lighthearted and less concerned over being described as deathcore. Scott Lewis of the San Diego–based deathcore band <a href="/facts/Carnifex_(band)/u55lDJJc">Carnifex</a> stated, "We're not one of those bands trying to escape the banner of deathcore. I know a lot of bands try and act like they have a big problem with that, but if you listen to their music, they are very 'deathcore.' I know that there is a lot of resentment towards deathcore and kind of younger bands."<a class="footnote-ref" id="fnref:92" href="#fn:92">92</a> In a 2012 interview, former <a href="/facts/Chelsea_Grin/8d6wq6MK">Chelsea Grin</a> guitarist Jake Harmond said, "Everyone likes to flap their jaw and voice their own opinion how 'embarrassing' it is to be in a band that can be labeled 'deathcore,' but honestly we have never given a fuck".<a class="footnote-ref" id="fnref:93" href="#fn:93">93</a>

<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/List_of_deathcore_artists/FCRP8rPT">List of deathcore artists</a></li></ul>

<h2 id="references">References</h2>

<ol>
<li id="fn:1">Henderson, Alex. "Desolation of Eden". AllMusic. Archived from the original on August 16, 2018. Retrieved June 26, 2015. Deathcore -- the type of noisy, caustic, abrasive mixture of metalcore and death metal that Chelsea Grin offer on their first full-length album, Desolation of Eden -- is bound to annoy a lot of parents, which is exactly the point." <a href="http://www.allmusic.com/album/release/desolation-of-eden-mr0002871032" target="_blank">http://www.allmusic.com/album/release/desolation-of-eden-mr0002871032</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></li>
<li id="fn:2">Rivadavia, Eduardo. "Heaven Shall Burn". AllMusic. Rovi Corporation. Archived from the original on October 19, 2015. Retrieved March 25, 2011. <a href="http://www.allmusic.com/artist/p519192" target="_blank">http://www.allmusic.com/artist/p519192</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></li>
<li id="fn:3">Henderson, Alex. "Burning Skies". AllMusic. Rovi Corporation. Archived from the original on January 15, 2016. Retrieved March 25, 2011. <a href="http://www.allmusic.com/artist/burning-skies-p671407/biography" target="_blank">http://www.allmusic.com/artist/burning-skies-p671407/biography</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></li>
<li id="fn:4">Chichester, Sammi (October 19, 2012). "Dan Kenny of Suicide Silence Picks the Top Five Underground Death-Metal Bands". Revolver. Archived from the original on October 20, 2012. Retrieved December 11, 2015. <a href="http://www.revolvermag.com/news/dan-kenny-of-suicide-silence-picks-his-top-five-underground-death-metal-bands.html" target="_blank">http://www.revolvermag.com/news/dan-kenny-of-suicide-silence-picks-his-top-five-underground-death-metal-bands.html</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></li>
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<li id="fn:65">"Lorna Shore and the Deathcore Resurgence". Metal Injection. Retrieved February 24, 2025. <a href="https://metalinjection.net/news/fit-for-an-autopsys-pat-sheridan-discusses-deathcores-resurgence-lorna-shores-role-in-it" target="_blank">https://metalinjection.net/news/fit-for-an-autopsys-pat-sheridan-discusses-deathcores-resurgence-lorna-shores-role-in-it</a> <a href="#fnref:65" class="footnote-back-ref">↩</a></li>
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<li id="fn:67">Slaughter to Prevail unleashed aptly titled new song Archived August 2, 2020, at the Wayback Machine The New Fury <a href="https://thenewfury.com/slaughter-to-prevail-unleashes-aptly-titled-new-song-demolisher/" target="_blank">https://thenewfury.com/slaughter-to-prevail-unleashes-aptly-titled-new-song-demolisher/</a> <a href="#fnref:67" class="footnote-back-ref">↩</a></li>
<li id="fn:68">SLAUGHTER TO PREVAIL - Sold Out Show in Shanghai, China <a href="http://www.insaneblog.net/2020/05/slaughter-to-prevail-watch-full-show.html" target="_blank">http://www.insaneblog.net/2020/05/slaughter-to-prevail-watch-full-show.html</a> <a href="#fnref:68" class="footnote-back-ref">↩</a></li>
<li id="fn:69">ENIS, ELI. "HOW LORNA SHORE BEAT THE ODDS TO BECOME THE NEW FACES OF DEATHCORE". Revolver. Retrieved May 16, 2023. <a href="https://www.revolvermag.com/music/how-lorna-shore-beat-odds-become-new-faces-deathcore" target="_blank">https://www.revolvermag.com/music/how-lorna-shore-beat-odds-become-new-faces-deathcore</a> <a href="#fnref:69" class="footnote-back-ref">↩</a></li>
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<li id="fn:71">"FURTHER MORE PROOF THAT EMMURE ARE THE NEW LIMP BIZKIT". MetalSucks. August 27, 2012. Archived from the original on May 23, 2013. Retrieved February 6, 2013. <a href="http://www.metalsucks.net/2012/08/27/further-proof-that-emmure-are-the-new-limp-bizkit/" target="_blank">http://www.metalsucks.net/2012/08/27/further-proof-that-emmure-are-the-new-limp-bizkit/</a> <a href="#fnref:71" class="footnote-back-ref">↩</a></li>
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<li id="fn:85">"Why Do Metal Nerds Like All These Deathcore Bands????". Sergeant D from MetalSucks. May 16, 2012. Archived from the original on May 24, 2013. Retrieved January 6, 2013. I like this band OK, but I think it's really funny how when they first came out everybody was like "WTF this band sucks they are posers/not real death metal!!!" Then they put out their second album, which was basically generic late-90s death metal like any of the 8962323 jillion bands who ripped off Cannibal Corpse and Suffocation at the time, and then everybody was all "I guess they are OK this record is pretty sweet." <a href="http://www.metalsucks.net/2011/05/16/why-do-metal-nerds-like-these-deathcore-bands/" target="_blank">http://www.metalsucks.net/2011/05/16/why-do-metal-nerds-like-these-deathcore-bands/</a> <a href="#fnref:85" class="footnote-back-ref">↩</a></li>
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<li id="fn:88">Coles, T. Death Metal. Bloomsbury Academic. p. 109. As history could have forseen, deathcore's rapid growth could not be sustained forever. By the beginning of the 2010s, the genre had swollen drastically, homogenizing the sound. <a href="#fnref:88" class="footnote-back-ref">↩</a></li>
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<li id="fn:93">"Chelsea Grin interview". Lambgoat. January 7, 2012. Archived from the original on February 22, 2014. Retrieved March 11, 2014. <a href="http://lambgoat.com/features/interviews/151/Chelsea-Grin-interview" target="_blank">http://lambgoat.com/features/interviews/151/Chelsea-Grin-interview</a> <a href="#fnref:93" class="footnote-back-ref">↩</a></li>
</ol>

Deathcore open-in-new

Deathcore