Metalcore

<h2 id="etymology">Etymology</h2>

The term "metalcore" is a portmanteau of the words "metal" and "hardcore", and was originally <a href="/facts/Tongue-in-cheek/WvEjwP4F">tongue-in-cheek</a>.<a class="footnote-ref" id="fnref:4" href="#fn:4">4</a> During the 1980s, <a href="/facts/Maximumrocknroll/jhUkQytD">Maximumrocknroll</a> had used early variations of the term, referring to Richmond band Black Pyramid as "heavy-metal core" in February 1985;<a class="footnote-ref" id="fnref:5" href="#fn:5">5</a> Oxnard band <a href="/facts/False_Confession_(band)/7QRhSqmo">False Confessions</a> as "metal-core" in December 1985;<a class="footnote-ref" id="fnref:6" href="#fn:6">6</a> Mesa band Desecration as "death metal core" in May 1986;<a class="footnote-ref" id="fnref:7" href="#fn:7">7</a> and Austin band Last Will as "ghoulish metal/core" in December 1986.<a class="footnote-ref" id="fnref:8" href="#fn:8">8</a> When the metalcore genre began in the 1990s, it was largely known as "metallic hardcore".<a class="footnote-ref" id="fnref:9" href="#fn:9">9</a>

Phillip Trapp of <a href="/facts/Loudwire/2XAavf9m">Loudwire</a> states that <a href="/facts/Shai_Hulud/QboFTBSr">Shai Hulud</a> guitarist <a href="/facts/Matt_Fox_(musician)/bmQaHtA5">Matt Fox</a> is widely credited for playing a role in "popularizing" the term. However, in a 2008 interview, Fox claimed the term had already been in use before his band began releasing music. He recalled: "There were bands before Shai Hulud started that my friends and I were referring to as 'metalcore.' Bands like Burn, Deadguy, Earth Crisis, even Integrity. These bands that were heavier than the average hardcore bands. These bands that were more progressive [...] my friends and I would always refer to them as 'metalcore' because it wasn't purely hardcore and it wasn't purely metal [...] so we would joke around and say, 'Hey, it's metalcore. Cool!' But it was definitely a tongue-in-cheek term."<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a>
Alternatively, Jorge Rosado of <a href="/facts/Merauder/nyVNyyA5">Merauder</a> claimed in 2014 interview that he and his band coined the term.<a class="footnote-ref" id="fnref:11" href="#fn:11">11</a>
Luke Morton of <a href="/facts/Metal_Hammer/q10rqRll">Metal Hammer</a> stated that the word "means different things to different people," highlighting the fact that the tag has been variously applied to stylistically dissimilar bands such as <a href="/facts/Killswitch_Engage/9eSHnMj7">Killswitch Engage</a>, <a href="/facts/Earth_Crisis/Nh9RgNgG">Earth Crisis</a>, <a href="/facts/Asking_Alexandria/FDIlman9">Asking Alexandria</a> and <a href="/facts/Parkway_Drive/tLxa22RE">Parkway Drive</a>.<a class="footnote-ref" id="fnref:12" href="#fn:12">12</a>

<h2 id="characteristics">Characteristics</h2>
<h3>Stylistic elements</h3>

Metalcore fuses elements of <a href="/facts/Hardcore_punk/eonxzUyP">hardcore punk</a> and <a href="/facts/Extreme_metal/U8ovGHSn">extreme metal</a>, and is known for its use of <a href="/facts/Breakdown_(music)/NJ08hky1">breakdowns</a>. According to Scott Kennedy, although metalcore existed "in some form or another" throughout the 1990s, it was only during the early 2000s that metalcore became codified or distinguished as a genre with specific traits. He links this with the movement known as the "<a href="/facts/New_Wave_of_American_Heavy_Metal/QCy7tWn3">New Wave of American Heavy Metal</a>".<a class="footnote-ref" id="fnref:13" href="#fn:13">13</a>
The genre is broadly defined, and throughout its history, various metalcore acts have fused elements of hardcore and metal in different ways. Some earlier metalcore bands, such as <a href="/facts/Botch_(band)/vn03yqJm">Botch</a> and <a href="/facts/Cave_In/AAVXhWTs">Cave In</a>, were stylistically derived from traditional hardcore scenes. Jorge Martins of <a href="/facts/Ultimate_Guitar/9NB8jhzI">Ultimate Guitar</a> explained, "some of those bands fused <a href="/facts/Slayer/tGVSVlNn">Slayer</a>-based assaulting riffs with <a href="/facts/Pantera/JYs9emFP">Pantera</a>-leaning plummeting breakdowns and punk's ferocity and ethics, and a whole new beast was formed."<a class="footnote-ref" id="fnref:14" href="#fn:14">14</a>

Some later acts, such as <a href="/facts/Killswitch_Engage/9eSHnMj7">Killswitch Engage</a>, gravitated towards a more accessible <a href="/facts/Heavy_metal_music/WsIPhM9e">heavy metal</a> sound, while also incorporating elements of <a href="/facts/Swedish_death_metal/UuqJWFWQ">Swedish melodic death metal</a> and <a href="/facts/Boston_hardcore/eonxzUyP">Boston hardcore</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><a class="footnote-ref" id="fnref:17" href="#fn:17">17</a><a class="footnote-ref" id="fnref:18" href="#fn:18">18</a> Many 2000s metalcore bands were heavily influenced by <a href="/facts/Melodic_death_metal/JfKJB0I0">melodic death metal</a>, and extensively incorporated elements of the style into their music.<a class="footnote-ref" id="fnref:19" href="#fn:19">19</a> <a href="/facts/Alternative_Press_(magazine)/X1tgPjWb">Alternative Press Magazine</a> described metalcore as the "breakdown-heavy counterpart" of melodic death metal, referring to the latter genre as the "founding ancestor" of the former.<a class="footnote-ref" id="fnref:20" href="#fn:20">20</a> Malcolm Dome of <a href="/facts/Revolver_magazine/dLUGKnh5">Revolver</a> wrote that without Swedish melodic death metal band <a href="/facts/At_the_Gates/LVpc5Nt3">At the Gates</a>' 1995 album <a href="/facts/Slaughter_of_the_Soul/cb5utlGu">Slaughter of the Soul</a>, modern North American melodic metalcore acts such as <a href="/facts/As_I_Lay_Dying_(band)/2V0FkuDI">As I Lay Dying</a> and <a href="/facts/All_That_Remains_(band)/Mok75MDz">All That Remains</a> "wouldn't even exist."<a class="footnote-ref" id="fnref:21" href="#fn:21">21</a> Graham Hartmann of <a href="/facts/Loudwire/2XAavf9m">Loudwire</a> retroactively assessed that the album appeared to be a "<a href="/facts/Nostradamus/T6LmaDrz">Nostradamus</a>-esque prediction of how metal would evolve."<a class="footnote-ref" id="fnref:22" href="#fn:22">22</a> Jon Weiderhorn of <a href="/facts/Loudwire/2XAavf9m">Loudwire</a> said that deathcore and some metalcore bands were influenced by elements of <a href="/facts/Death_metal/LQnBoMRh">death metal</a>.<a class="footnote-ref" id="fnref:23" href="#fn:23">23</a>

<h3>Genre classification</h3>
There is debate as to whether metalcore is a fusion genre, a subgenre, or a genre of its own.<a class="footnote-ref" id="fnref:24" href="#fn:24">24</a> 
Metalcore is not universally accepted in some traditional <a href="/facts/Heavy_metal_music/WsIPhM9e">heavy metal</a> and hardcore circles.<a class="footnote-ref" id="fnref:25" href="#fn:25">25</a> There has been debate and disagreement over whether metalcore is an authentic subgenre of heavy metal, and some in the <a href="/facts/Heavy_metal_subculture/BYK5sAnk">heavy metal community</a> do not recognize it as a "true" form of metal.<a class="footnote-ref" id="fnref:26" href="#fn:26">26</a><a class="footnote-ref" id="fnref:27" href="#fn:27">27</a><a class="footnote-ref" id="fnref:28" href="#fn:28">28</a> Traditional metalheads tend to view it as an inauthentic imitation of "real" metal, and "a diluted misinterpretation of metal's stylistic codes".<a class="footnote-ref" id="fnref:29" href="#fn:29">29</a>

<h3>Instrumentation and vocals</h3>

Instrumentally, metalcore bands generally employ heavy, metallic, percussive <a href="/facts/Guitar_riffs/VgNk7JRt">guitar riffs</a>, and stop-start <a href="/facts/Rhythm_guitar/WFcg4fXC">rhythm guitar</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> Metalcore is known for its emphasis on <a href="/facts/Breakdown_(music)/NJ08hky1">breakdowns</a>. According to Graham Hartmann of <a href="/facts/Loudwire/2XAavf9m">Loudwire</a>, "when a band changes up the mood with some masterful composition, a breakdown can be brilliant as well as devastating."<a class="footnote-ref" id="fnref:32" href="#fn:32">32</a> <a href="/facts/Drop_tunings/fr9aUeQw">Drop guitar tunings</a> are often used in metalcore. Most bands use tuning ranging between Drop D and A, although lower tunings, as well as <a href="/facts/Seven-string_guitar/L1G7YQqe">7</a> and <a href="/facts/Eight-string_guitar/wd13aKhe">8 string guitars</a>, are not uncommon. Drummers typically employ various techniques common in extreme metal and hardcore, such as <a href="/facts/Double_bass_drumming/W7MvHkKJ">double-kick</a> drumming. Author James Giordano explains that metalcore is usually played at slower <a href="/facts/Tempo/06hWvKMc">tempos</a> than some of the styles its artists draw influence from, such as <a href="/facts/Thrash_metal/TJJ0bhAc">thrash metal</a>.<a class="footnote-ref" id="fnref:33" href="#fn:33">33</a>
Metalcore vocalists usually perform <a href="/facts/Screaming_(music)/nWvhz7KD">screaming</a>, a harsh vocal technique that became popular in the underground punk and metal scenes of the 1980s.<a class="footnote-ref" id="fnref:34" href="#fn:34">34</a> Vocal performances in early metalcore acts were characterized by what has been described as a "raw, scream-meets-shout vocal style."<a class="footnote-ref" id="fnref:35" href="#fn:35">35</a> Later metalcore bands often alternate between harsh vocals and singing (also known as "clean vocals"), usually during the <a href="/facts/Bridge_(music)/xrf07Qcf">bridge</a> or <a href="/facts/Refrain/sAxmu5XJ">chorus</a> of a song.<a class="footnote-ref" id="fnref:36" href="#fn:36">36</a> Joe Davita of <a href="/facts/Loudwire/2XAavf9m">Loudwire</a> explains that many people define modern metalcore by the tradeoff between screaming and clean singing. Although many modern metalcore tracks have choruses that contain <a href="/facts/Hook_(music)/ulBo1GjV">hooks</a>, some bands still do omit clean vocals entirely. Other bands use clean vocals very sparingly, done for the purpose of "coloring a mood."<a class="footnote-ref" id="fnref:37" href="#fn:37">37</a> Modern metalcore clean vocals have drawn comparisons to the mainstream <a href="/facts/Emo/SdGNr7kG">emo</a> and <a href="/facts/Pop-punk/TempWLK7">pop-punk</a> music of the 2000s, which some have suggested may have deterred some fans of heavier music styles.<a class="footnote-ref" id="fnref:38" href="#fn:38">38</a>

Lyrics in metalcore are often personal, introspective and emotive.<a class="footnote-ref" id="fnref:39" href="#fn:39">39</a>
<h3>Increased commercialism</h3>
In the early 2000s, bands under the metalcore banner drew criticism for "their increasingly considered images, polished production, and what was seen as appeal to progressively more mainstream audiences".<a class="footnote-ref" id="fnref:40" href="#fn:40">40</a> 
Despite several metalcore bands achieving critical acclaim and cult status, several journalists have noted that the metalcore tag earned a "bad rep" after several bands in the genre found commercial success, or released albums with polished production. Andrew Sacher of <a href="/facts/BrooklynVegan/CU9myLnH">Brooklyn Vegan</a> stated his belief that "the mainstream boom tarnished the word 'metalcore' for a while."<a class="footnote-ref" id="fnref:41" href="#fn:41">41</a> Several bands and musicians labelled as metalcore have rejected the term entirely,<a class="footnote-ref" id="fnref:42" href="#fn:42">42</a><a class="footnote-ref" id="fnref:43" href="#fn:43">43</a><a class="footnote-ref" id="fnref:44" href="#fn:44">44</a> and even some who accept the term nonetheless insist that the style has become "bastardized" by the influence of <a href="/facts/Commercialism/P1P4GHrF">commercialism</a> and trends.<a class="footnote-ref" id="fnref:45" href="#fn:45">45</a>
Critics and journalists have observed the increased presence of ballads on modern metalcore albums, claiming that the "<a href="/facts/Punk_rock/voBjpcpS">punk rock</a> spirit [is] long gone" from the genre. Stephen Hill of <a href="/facts/Metal_Hammer/q10rqRll">Metal Hammer</a> assessed, "<a href="/facts/Killswitch_Engage/9eSHnMj7">Killswitch Engage</a> became something akin to the <a href="/facts/Metallica/pxaTB2vo">Metallica</a> of metalcore, enjoying continued success whilst others dwindled but, with <a href="/facts/Howard_Jones_(American_singer)/eWX5kfIN">Howard Jones</a> taking the mic from <a href="/facts/Jesse_Leach/EHtpoGqq">Jess Leach</a>, becoming more <a href="/facts/Hard_rock/yC1FkQcC">hard rock</a> and <a href="/facts/Ballad/fy4mVSDS">ballad</a>-heavy with each new album." Journalists have also observed many later metalcore bands omitting direct hardcore punk influence entirely. Hill also assessed, "So instantly recognisable was the Killswitch sound that it was aped unashamedly by many a newcomer, where before it was an underground scene full of innovative and eclectic bands, there was now a formula."<a class="footnote-ref" id="fnref:46" href="#fn:46">46</a> Furthermore, many of the genre's more commercially successful acts, such as All That Remains, <a href="/facts/Asking_Alexandria/FDIlman9">Asking Alexandria</a>, <a href="/facts/Of_Mice_%2526_Men_(band)/XkA5TbKz">Of Mice & Men</a> and <a href="/facts/Bring_Me_the_Horizon/zwK5ay8M">Bring Me the Horizon</a>, eventually abandoned their metalcore roots entirely, opting for what has been described as a "more radio-friendly <a href="/facts/Rock_music/zBM2guyQ">rock</a>- and <a href="/facts/Pop_music/kgshFE5B">pop</a>-inclined" approach.<a class="footnote-ref" id="fnref:47" href="#fn:47">47</a><a class="footnote-ref" id="fnref:48" href="#fn:48">48</a> Stephen Hill of Metal Hammer explained: "To onlookers from the outside, metalcore was dead, a one dimensional flash in the pan to go alongside <a href="/facts/Glam_metal/qHTrE0vq">glam</a> and <a href="/facts/Nu_metal/7vNyq9rB">nu-metal</a> in the ‘what were we thinking?’ Fads of alternative culture."<a class="footnote-ref" id="fnref:49" href="#fn:49">49</a>
Some practitioners who have expressed disillusionment with the genre's development have attempted to differentiate and constitute acts such as <a href="/facts/Martyr_A.D./8wJ4TVKJ">Martyr AD</a> and <a href="/facts/Poison_the_Well_(band)/fPW73H0L">Poison The Well</a> as representing "what true metalcore is."<a class="footnote-ref" id="fnref:50" href="#fn:50">50</a> Stephen Hill of Metal Hammer suggested that later metalcore bands such as <a href="/facts/Attila_(metalcore_band)/EuaSX0wk">Attila</a> and <a href="/facts/Blessthefall/SKc0Vb9V">Blessthefall</a> "[have] more in common with <a href="/facts/Airbrush/UtDFzVf6">airbrushed</a>, cynically-minded <a href="/facts/Boy_band/wo1gDJ2A">boy bands</a> than the melding of two <a href="/facts/Counterculture/8vyVeL92">counter-cultures</a>."<a class="footnote-ref" id="fnref:51" href="#fn:51">51</a>

<h2 id="history">History</h2>
<h3>Precursors: 1980s</h3>
Main articles: <a href="/facts/Hardcore_punk/eonxzUyP">Hardcore punk</a> and <a href="/facts/Tough_guy_hardcore/cPxlJBWH">tough guy hardcore</a>

Many of the originators of <a href="/facts/Hardcore_punk/eonxzUyP">hardcore punk</a> took influence from the sound of heavy metal, including <a href="/facts/Black_Flag_(band)/7kW3GV3k">Black Flag</a>,<a class="footnote-ref" id="fnref:52" href="#fn:52">52</a> the <a href="/facts/Bad_Brains/4vcCFkEp">Bad Brains</a>,<a class="footnote-ref" id="fnref:53" href="#fn:53">53</a> <a href="/facts/Discharge_(band)/rLFxJkTF">Discharge</a> and <a href="/facts/The_Exploited/X0rWuDHj">the Exploited</a>,<a class="footnote-ref" id="fnref:54" href="#fn:54">54</a> Furthermore, during the 1980s many genres originated merging the two styles, including <a href="/facts/Crust_punk/CINCu4oN">crust punk</a>, <a href="/facts/Sludge_metal/EntFR3j1">sludge metal</a> and <a href="/facts/Crossover_thrash/esmjNjT7">crossover thrash</a>.<a class="footnote-ref" id="fnref:55" href="#fn:55">55</a> Nonetheless, punk and metal cultures and music remained fairly separate through the 1980s.<a class="footnote-ref" id="fnref:56" href="#fn:56">56</a>
Bands in the <a href="/facts/New_York_hardcore/vpWK3PVA">New York hardcore</a> scene in particular put a significant emphasis on the influence of metal, building their own take on hardcore, based around groove-driven, <a href="/facts/Palm_mute/Cq5ol1Wo">palm muted</a> guitar riffs.<a class="footnote-ref" id="fnref:57" href="#fn:57">57</a> Early on, this scene saw the development of the hardcore <a href="/facts/Breakdown_(music)/NJ08hky1">breakdown</a>, an amalgamation of Bad Brains' <a href="/facts/Reggae/JC95IvF6">reggae</a> and hardcore backgrounds, which encouraged moshing.<a class="footnote-ref" id="fnref:58" href="#fn:58">58</a> It was this <a href="/facts/New_York-style_hardcore/FKH58XGU">New York-style hardcore</a> that metalcore grew directly out of.<a class="footnote-ref" id="fnref:59" href="#fn:59">59</a><a class="footnote-ref" id="fnref:60" href="#fn:60">60</a><a class="footnote-ref" id="fnref:61" href="#fn:61">61</a>

<h3>Origins: 1990s</h3>

One of the earliest metalcore scenes was that of <a href="/facts/Cleveland/rQb7qveu">Cleveland</a>, <a href="/facts/Ohio/YutCnTlh">Ohio</a>. Fronted by <a href="/facts/Integrity_(band)/oCtMdvBS">Integrity</a> and <a href="/facts/Ringworm_(band)/KfagzvUh">Ringworm</a>, the sound of bands in the scene was distinctly darker than what the genre would become.<a class="footnote-ref" id="fnref:62" href="#fn:62">62</a> Integrity's debut album Those Who Fear Tomorrow (1991) merged hardcore with apocalyptic lyrics and metal's guitar solos and chugging riffs to create one of the primeval albums in the genre.<a class="footnote-ref" id="fnref:63" href="#fn:63">63</a><a class="footnote-ref" id="fnref:64" href="#fn:64">64</a> <a href="/facts/Revolver_(magazine)/dLUGKnh5">Revolver</a> magazine writer Elis Enis stated that the album "influenced practically every breakdown that's been recorded since".<a class="footnote-ref" id="fnref:65" href="#fn:65">65</a> Whereas, Ringworm's debut The Promise (1993) made use of a style closer to crossover thrash while also putting a heavy emphasis on breakdowns.<a class="footnote-ref" id="fnref:66" href="#fn:66">66</a> The term "holy terror" refers to this specific style of metalcore which Integrity and Ringworm pioneered.<a class="footnote-ref" id="fnref:67" href="#fn:67">67</a> The style is typified by soaring guitar leads,<a class="footnote-ref" id="fnref:68" href="#fn:68">68</a> gravelly vocals<a class="footnote-ref" id="fnref:69" href="#fn:69">69</a> and lyrics discussing <a href="/facts/Western_esotericism/AW5dDFh1">western esotericism</a>.<a class="footnote-ref" id="fnref:70" href="#fn:70">70</a>
Philadelphia's <a href="/facts/Starkweather_(band)/etSEu3CR">Starkweather</a> were also an important early metalcore band, with their album Crossbearer (1992) which merged early metal's grooves and dark atmospheres with elements of hardcore.<a class="footnote-ref" id="fnref:71" href="#fn:71">71</a> <a href="/facts/Rorschach_(band)/jCnLfcjL">Rorschach</a> also pioneered a distinctly dissonant and <a href="/facts/Noise_music/zzruNzyI">noise</a>-influence niche into this early metalcore sound, which would go on to define <a href="/facts/Noisecore/dRQLt6fp">noisecore</a> and <a href="/facts/Mathcore/dRQLt6fp">mathcore</a>.<a class="footnote-ref" id="fnref:72" href="#fn:72">72</a><a class="footnote-ref" id="fnref:73" href="#fn:73">73</a>
In 1993, <a href="/facts/Earth_Crisis/Nh9RgNgG">Earth Crisis</a> released "Firestorm", a song which became one of the most influential in metalcore.<a class="footnote-ref" id="fnref:74" href="#fn:74">74</a> The band's militant <a href="/facts/Vegan/ENrKFBzz">vegan</a> <a href="/facts/Straight_edge/fEd0HDsS">straight edge</a> ethic and emphasis on chug riffs saw them immediately influence a wave of subsequent bands and gained coverage by major media outlets like <a href="/facts/CNN/kEYsUQqr">CNN</a>, <a href="/facts/CBS/BhMsVoej">CBS</a> and <a href="/facts/MTV/S5gxqCxh">MTV</a>.<a class="footnote-ref" id="fnref:75" href="#fn:75">75</a> The <a href="/facts/Firestorm_(EP)/tyqbP9Mr">EP the song was a part of</a> was also one of the earliest releases by <a href="/facts/Victory_Records/yv5t3yeF">Victory Records</a> who go on to be a defining part of the metalcore scene in the coming years, through releasing many of the style's most successful albums.<a class="footnote-ref" id="fnref:76" href="#fn:76">76</a>
<a href="/facts/Boston/exjfn6xf">Boston</a>, <a href="/facts/Massachusetts/9uumCbFI">Massachusetts</a> too developed <a href="/facts/Boston_hardcore/eonxzUyP">an early metalcore scene</a>, led by <a href="/facts/Overcast_(band)/jtPIaMu6">Overcast</a> who formed in 1990.<a class="footnote-ref" id="fnref:77" href="#fn:77">77</a> Much of this scene were based around <a href="/facts/Hydra_Head_Records/dCavREcm">Hydra Head Records</a>, which was founded by <a href="/facts/Aaron_Turner/kTW4evmL">Aaron Turner</a> after moving to Boston. <a href="/facts/Converge_(band)/1dgs1Q85">Converge</a> were one of the earliest and most prominent groups from the city, formed in 1990.<a class="footnote-ref" id="fnref:78" href="#fn:78">78</a> Using Rorschach's music as their sonic template,<a class="footnote-ref" id="fnref:79" href="#fn:79">79</a> the band's experimental attitude, emotional lyrics and attention to dynamics led to them becoming one of the most influential bands in the genre.<a class="footnote-ref" id="fnref:80" href="#fn:80">80</a> Converge, along with <a href="/facts/Morris_Plains%2c_New_Jersey/sAVIh4q4">Morris Plains, New Jersey</a>'s <a href="/facts/The_Dillinger_Escape_Plan/f9EFgAlq">the Dillinger Escape Plan</a> and <a href="/facts/Tacoma%2c_Washington/hFgAd9BJ">Tacoma, Washington</a>'s <a href="/facts/Botch_(band)/vn03yqJm">Botch</a> were three of the founding acts in the style's mathcore subgenre,<a class="footnote-ref" id="fnref:81" href="#fn:81">81</a> with <a href="/facts/Kansas_City%2c_Missouri/N8GxbWWR">Kansas City, Missouri</a>'s <a href="/facts/Coalesce_(band)/qRCNDS4a">Coalesce</a> and <a href="/facts/New_Brunswick%2c_New_Jersey/YF4Dp1Lt">New Brunswick, New Jersey</a>'s <a href="/facts/Deadguy/ezo0laMq">Deadguy</a> being prominent acts transitioning towards the style.<a class="footnote-ref" id="fnref:82" href="#fn:82">82</a> Converge's guitarist <a href="/facts/Kurt_Ballou/PnJnxQuh">Kurt Ballou</a> opened the recording studio GodCity Studio in 1998, and would go on to record many of the most influential subsequent hardcore records from the city.<a class="footnote-ref" id="fnref:83" href="#fn:83">83</a>
<a href="/facts/New_York_City/YlyvFmVC">New York City</a>'s <a href="/facts/Merauder/nyVNyyA5">Merauder</a> released their debut album Master Killer in 1996, merging the sounds of metalcore, earlier New York hardcore and the newly emerged <a href="/facts/Beatdown_hardcore/cPxlJBWH">beatdown hardcore</a> style. Of the album, <a href="/facts/Revolver_(magazine)/dLUGKnh5">Revolver</a> writer Elis Enis stated "any self-proclaimed 'metallic hardcore' band of the last 25 years is indebted to Master Killer's steel-toed stomp."<a class="footnote-ref" id="fnref:84" href="#fn:84">84</a> Along with <a href="/facts/All_Out_War_(band)/tagvMl6w">All Out War</a>, Darkside NYC and Confusion, Merauder were a part of a wave of bands defining a newer, increasingly metallic style of hardcore in New York that had long been one of the epicentres of the genre.<a class="footnote-ref" id="fnref:85" href="#fn:85">85</a> Long Island's <a href="/facts/Vision_of_Disorder/f1MGVo8n">Vision of Disorder</a> were also a prevalent band in the scene, being one of the first bands to incorporate clean singing into the genre, which would soon become a staple, as well as incorporating elements of <a href="/facts/Nu_metal/7vNyq9rB">nu metal</a>.<a class="footnote-ref" id="fnref:86" href="#fn:86">86</a> In a 2005 article by <a href="/facts/Billboard_(magazine)/CVruQGq5">Billboard</a> magazine, writer Greg Pato stated that "with seemingly every local teen waving the VOD banner circa the mid/late '90s, it seemed as though it was only a matter of time before VOD would become the band to take 'metalcore' to a massive audience".<a class="footnote-ref" id="fnref:87" href="#fn:87">87</a>

<a href="/facts/Bridgeport%2c_Connecticut/aTxnYm62">Bridgeport, Connecticut</a>'s <a href="/facts/Hatebreed/4yjplI56">Hatebreed</a> released their debut album <a href="/facts/Satisfaction_is_the_Death_of_Desire/0Fwu9E7P">Satisfaction is the Death of Desire</a> in 1997. The album helped the band achieve underground success, selling 158,000 copies, according to <a href="/facts/Nielsen_SoundScan/vnNMy1at">Nielsen SoundScan</a>,<a class="footnote-ref" id="fnref:88" href="#fn:88">88</a> and holds the record for Victory Record's best selling debut album.<a class="footnote-ref" id="fnref:89" href="#fn:89">89</a> The band's style merged classic hardcore with beatdown and metalcore,<a class="footnote-ref" id="fnref:90" href="#fn:90">90</a> while also overtly referencing metal bands like <a href="/facts/Slayer/tGVSVlNn">Slayer</a>. In a 2015 <a href="/facts/Metal_Hammer/q10rqRll">Metal Hammer</a> article, writer Stephen Hill stated "The difference between Hatebreed and many of their influences is that where a band like Madball were happy to co-exist with metal bands without feeling like they were part of the same scene, Hatebreed actively went out of their way to become the hardcore band metal fans listen to."<a class="footnote-ref" id="fnref:91" href="#fn:91">91</a> Other influential metalcore bands of the time include <a href="/facts/Shai_Hulud_(band)/QboFTBSr">Shai Hulud</a>,<a class="footnote-ref" id="fnref:92" href="#fn:92">92</a><a class="footnote-ref" id="fnref:93" href="#fn:93">93</a><a class="footnote-ref" id="fnref:94" href="#fn:94">94</a> <a href="/facts/Zao_(American_band)/Buj4Ysdn">Zao</a><a class="footnote-ref" id="fnref:95" href="#fn:95">95</a> and <a href="/facts/Disembodied_(band)/l6LTINIo">Disembodied</a>.<a class="footnote-ref" id="fnref:96" href="#fn:96">96</a>
<a href="/facts/Orange_County%2c_California/bQkv6Uxf">Orange County, California</a> metalcore band <a href="/facts/Eighteen_Visions/TUPsnxoT">Eighteen Visions</a> contrasted the metalcore scene's usual hyper masculine aesthetic of "army and sports clothes" with "skinny jeans, <a href="/facts/Eyeliner/dpEq8Ttz">eyeliner</a> and hairstyles influenced by <a href="/facts/Orgy_(band)/ACnzPP1H">Orgy</a> and <a href="/facts/Unbroken_(band)/D2QMdtgY">Unbroken</a>".<a class="footnote-ref" id="fnref:97" href="#fn:97">97</a> This visual style led to the band being called "fashioncore".<a class="footnote-ref" id="fnref:98" href="#fn:98">98</a><a class="footnote-ref" id="fnref:99" href="#fn:99">99</a> Jasamine White-Gluz of <a href="/facts/Exclaim!/5824dS1d">Exclaim!</a> wrote that Eighteen Visions look "more like a boy band than a popular hardcore group. Critics tag the band for putting fashion at the centre of their music, but it adds a playful and interesting touch to a band that sounds much tougher than it looks."<a class="footnote-ref" id="fnref:100" href="#fn:100">100</a> A scene of bands in Orange County including <a href="/facts/Bleeding_Through/3B6V9zh5">Bleeding Through</a>, <a href="/facts/Avenged_Sevenfold/KQH5bQMu">Avenged Sevenfold</a> and <a href="/facts/Atreyu/gTqGrGVK">Atreyu</a> continued this in Eighteen Visions' wake,<a class="footnote-ref" id="fnref:101" href="#fn:101">101</a><a class="footnote-ref" id="fnref:102" href="#fn:102">102</a><a class="footnote-ref" id="fnref:103" href="#fn:103">103</a> and influenced <a href="/facts/Emo/SdGNr7kG">emo</a> and <a href="/facts/Scene_(subculture)/vQ2taN6b">scene</a> fashion in the coming decade.<a class="footnote-ref" id="fnref:104" href="#fn:104">104</a>
As the decade drew to a close, a wave of metalcore bands began incorporating elements of <a href="/facts/Melodic_death_metal/JfKJB0I0">melodic death metal</a> into their sound. This formed an early version of what would become the <a href="/facts/Melodic_metalcore/ulxNIUBs">melodic metalcore</a> genre, with <a href="/facts/Shadows_Fall/lYxd7MRr">Shadows Fall</a>'s <a href="/facts/Somber_Eyes_to_the_Sky/9xE7cPv7">Somber Eyes to the Sky</a> (1997), Undying's This Day All Gods Die (1999), <a href="/facts/Darkest_Hour_(band)/j9ydyave">Darkest Hour</a>'s The Prophecy Fulfilled (1999), <a href="/facts/Unearth/ABwItpBG">Unearth</a>'s <a href="/facts/Above_the_Fall_of_Man/wpnPURUo">Above the Fall of Man</a> (1999), <a href="/facts/Prayer_for_Cleansing/IuzXc4ux">Prayer for Cleansing</a>'s Rain in Endless Fall (1999) being some of the style's earliest releases.<a class="footnote-ref" id="fnref:105" href="#fn:105">105</a> <a href="/facts/CMJ/Pa5xMtoC">CMJ</a> writer Anthony Delia also credited Florida's <a href="/facts/Poison_the_Well_(band)/fPW73H0L">Poison the Well</a> and their first two releases <a href="/facts/The_Opposite_of_December..._A_Season_of_Separation/kztmFUKY">The Opposite of December... A Season of Separation</a> (1999) and <a href="/facts/Tear_from_the_Red/evy7EaQp">Tear from the Red</a> (2002) as "design[ing] the template for most of" the melodic metalcore bands to come.<a class="footnote-ref" id="fnref:106" href="#fn:106">106</a>

<h3>Mainstream success: 2000s</h3>

Converge's <a href="/facts/Jane_Doe_(album)/fwwBMqXy">Jane Doe</a> was released on 4 September 2001 to universal critical and fan acclaim. The album influenced the development of the sound of other U.S. bands like <a href="/facts/Norma_Jean_(band)/hv26pJNe">Norma Jean</a> and <a href="/facts/Misery_Signals/jDrpN8LQ">Misery Signals</a> as well as international acts like <a href="/facts/Eden_Maine/6thkoTL1">Eden Maine</a>, <a href="/facts/Johnny_Truant/r6qtV1oA">Johnny Truant</a> and <a href="/facts/Beecher_(band)/bTaqkBoW">Beecher</a>.<a class="footnote-ref" id="fnref:107" href="#fn:107">107</a>
Blake Butler of <a href="/facts/Allmusic/Hb8cU8Fb">Allmusic</a> stated that Converge "put the final sealing blow on their status as a legend in the world of metallic hardcore" with the album, calling it "an experience -- an encyclopedic envelopment of so much at once."<a class="footnote-ref" id="fnref:108" href="#fn:108">108</a> <a href="/facts/Terrorizer_Magazine/pCtu19g3">Terrorizer Magazine</a> named it their 2001 Album of the Year,<a class="footnote-ref" id="fnref:109" href="#fn:109">109</a> and it was named the greatest album of the 2000s by <a href="/facts/Noisecreep/xbaq5Wmm">Noisecreep</a>,<a class="footnote-ref" id="fnref:110" href="#fn:110">110</a> Sputnikmusic<a class="footnote-ref" id="fnref:111" href="#fn:111">111</a> and <a href="/facts/Decibel_(magazine)/toJvW9UM">Decibel</a>.<a class="footnote-ref" id="fnref:112" href="#fn:112">112</a>
<a href="/facts/Douglasville%2c_Georgia/WDPnQDxk">Douglasville, Georgia</a>'s Norma Jean and <a href="/facts/The_Chariot_(band)/6f2EJFxI">the Chariot</a> were both influential artists continuing metalcore's earlier sound into the 2000s.<a class="footnote-ref" id="fnref:113" href="#fn:113">113</a><a class="footnote-ref" id="fnref:114" href="#fn:114">114</a> Norma Jean's <a href="/facts/O%2527_God%2c_the_Aftermath/4ozEuAk7">O' God, the Aftermath</a> (2005) was <a href="/facts/Grammy_award/2bxYJjPV">Grammy award</a> nominated for <a href="/facts/Grammy_Award_for_Best_Recording_Package/2b5ak4y7">Best Recording Package</a><a class="footnote-ref" id="fnref:115" href="#fn:115">115</a> and the Chariot's <a href="/facts/Long_Live_(The_Chariot_album)/DrPlq9Rp">Long Live</a> (2010) was listed as one of <a href="/facts/Kerrang!/d82ygpbJ">Kerrang!</a>'s "21 best U.S. metalcore albums of all time".<a class="footnote-ref" id="fnref:116" href="#fn:116">116</a> In contrast to these bands' dark approach to the genre, <a href="/facts/Buffalo%2c_New_York/PVfdkYft">Buffalo, New York</a>'s <a href="/facts/Every_Time_I_Die/ov1dwT2j">Every Time I Die</a> incorporated <a href="/facts/Southern_rock/KCsuonJt">Southern rock</a> elements and humor,<a class="footnote-ref" id="fnref:117" href="#fn:117">117</a> Kerrang! noted them as "shaped the cutting edge of modern metalcore."<a class="footnote-ref" id="fnref:118" href="#fn:118">118</a>

<h4>Melodic metalcore</h4>
Main article: <a href="/facts/Melodic_metalcore/ulxNIUBs">Melodic metalcore</a>

In 2002, Killswitch Engage's <a href="/facts/Alive_or_Just_Breathing/l9MbnVa6">Alive or Just Breathing</a> reached number 37 on the <a href="/facts/Heatseekers_Albums/hSXJX01n">Heatseekers Albums</a> chart.<a class="footnote-ref" id="fnref:119" href="#fn:119">119</a> In 2004, Killswitch Engage's <a href="/facts/The_End_of_Heartache/fcb7GJXk">The End of Heartache</a>,<a class="footnote-ref" id="fnref:120" href="#fn:120">120</a> Shadows Fall's <a href="/facts/The_War_Within_(Shadows_Fall_album)/mxA84mjF">The War Within</a>,<a class="footnote-ref" id="fnref:121" href="#fn:121">121</a><a class="footnote-ref" id="fnref:122" href="#fn:122">122</a> and Atreyu's <a href="/facts/The_Curse_(Atreyu_album)/j5yR7RWz">The Curse</a><a class="footnote-ref" id="fnref:123" href="#fn:123">123</a> peaked at numbers 21, 20, and 36 on the Billboard 200, respectively. Also, in 2006, Atreyu's third studio album, <a href="/facts/A_Death-Grip_On_Yesterday/uLcWoTYz">A Death-Grip On Yesterday</a> peaked at number 9 on the Billboard 200, only to be followed up by 2007's <a href="/facts/Lead_Sails_Paper_Anchor/l8ok5ex6">Lead Sails Paper Anchor</a>, which peaked at number 8.<a class="footnote-ref" id="fnref:124" href="#fn:124">124</a> Atreyu's 2002 debut album <a href="/facts/Suicide_Notes_and_Butterfly_Kisses/NUNg2sPv">Suicide Notes and Butterfly Kisses</a>, as of 3 July 2004, has sold 107,000 copies in the United States.<a class="footnote-ref" id="fnref:125" href="#fn:125">125</a> Killswitch Engage's 2004 album The End of Heartache<a class="footnote-ref" id="fnref:126" href="#fn:126">126</a> and 2006 album <a href="/facts/As_Daylight_Dies/ttNGb8fJ">As Daylight Dies</a><a class="footnote-ref" id="fnref:127" href="#fn:127">127</a> were both certified gold by the <a href="/facts/Recording_Industry_Association_of_America/8a7K0Ubf">Recording Industry Association of America</a> (RIAA) in 2007 and 2009, respectively. Killswitch Engage's 2002 album <a href="/facts/Alive_or_Just_Breathing/l9MbnVa6">Alive or Just Breathing</a>, as of 3 July 2004, has sold 114,000 copies in the United States.<a class="footnote-ref" id="fnref:128" href="#fn:128">128</a> <a href="/facts/Unearth/ABwItpBG">Unearth</a> began to have success among heavy metal fans in 2004 with the release of their second album <a href="/facts/The_Oncoming_Storm/QcILlefo">The Oncoming Storm</a>, which peaked at number 1 on the <a href="/facts/Heatseekers_Albums/hSXJX01n">Heatseekers Albums</a> chart on 17 July 2004.<a class="footnote-ref" id="fnref:129" href="#fn:129">129</a> On that same day, the album peaked at number 105 on the Billboard 200. Unearth's 2006 album <a href="/facts/III%3a_In_the_Eyes_of_Fire/9dzNH4BS">III: In the Eyes of Fire</a> peaked at number 35 on the Billboard 200. The band's 2008 album <a href="/facts/The_March_(album)/LC96FKVm">The March</a> peaked at number 45 on the Billboard 200.<a class="footnote-ref" id="fnref:130" href="#fn:130">130</a> Oncoming Storm, III: In the Eyes of Fire', and The March peaked at numbers 6, 2 and 3 on the <a href="/facts/Independent_Albums/l7ee7IeP">Independent Albums</a> chart, respectively.<a class="footnote-ref" id="fnref:131" href="#fn:131">131</a> <a href="/facts/Avenged_Sevenfold/KQH5bQMu">Avenged Sevenfold</a>'s first two albums <a href="/facts/Sounding_the_Seventh_Trumpet/A16veENs">Sounding the Seventh Trumpet</a> (2001) and <a href="/facts/Waking_the_Fallen/X6PkS0zx">Waking the Fallen</a> (2003) were both metalcore albums. On the band's 2005 album <a href="/facts/City_of_Evil/o0Ww3byE">City of Evil</a>, Avenged Sevenfold moved away from metalcore and changed to a traditional heavy metal sound.<a class="footnote-ref" id="fnref:132" href="#fn:132">132</a> On 15 June 2005, <a href="/facts/Blabbermouth.net/Dd8nyqHp">Blabbermouth.net</a> reported that Waking the Fallen has sold 172,253 copies in the United States, according to <a href="/facts/Nielsen_SoundScan/vnNMy1at">Nielsen SoundScan</a>.<a class="footnote-ref" id="fnref:133" href="#fn:133">133</a> On 17 July 2009, Waking the Fallen was certified gold by the RIAA.<a class="footnote-ref" id="fnref:134" href="#fn:134">134</a>

Trivium also achieved success among heavy metal fans when their 2005 album <a href="/facts/Ascendancy_(album)/y9be0ve7">Ascendancy</a> peaked at number 151 on the Billboard 200. Their albums <a href="/facts/The_Crusade_(album)/GguYz0Fp">The Crusade</a> (2006) and <a href="/facts/Shogun_(Trivium_album)/tzvfQ5xf">Shogun</a> (2008) peaked at numbers 25 and 23 on the Billboard 200, respectively.<a class="footnote-ref" id="fnref:135" href="#fn:135">135</a> Bleeding Through's 2006 album <a href="/facts/The_Truth_(Bleeding_Through_album)/eDcVqjUE">The Truth</a> peaked at number 1 on the <a href="/facts/Independent_Albums/l7ee7IeP">Independent Albums</a> chart on 28 January 2006.<a class="footnote-ref" id="fnref:136" href="#fn:136">136</a> On that same day, the album peaked at number 48 on the Billboard 200.<a class="footnote-ref" id="fnref:137" href="#fn:137">137</a> Metalcore band <a href="/facts/As_I_Lay_Dying_(band)/2V0FkuDI">As I Lay Dying</a> also achieved success among heavy metal fans. The band's 2005 album <a href="/facts/Shadows_Are_Security/qYmL9h7L">Shadows Are Security</a> peaked at number 35 on the Billboard 200<a class="footnote-ref" id="fnref:138" href="#fn:138">138</a> and sold 263,000 copies, according to <a href="/facts/Nielsen_SoundScan/vnNMy1at">Nielsen SoundScan</a>.<a class="footnote-ref" id="fnref:139" href="#fn:139">139</a> As I Lay Dying's 2007 album <a href="/facts/An_Ocean_Between_Us/2B5KvBWv">An Ocean Between Us</a> peaked at number 8 on the Billboard 200 in 2007.<a class="footnote-ref" id="fnref:140" href="#fn:140">140</a> As of April 2005, As I Lay Dying's 2003 album <a href="/facts/Frail_Words_Collapse/dRLPA8fv">Frail Words Collapse</a> sold 118,000 copies in the United States.<a class="footnote-ref" id="fnref:141" href="#fn:141">141</a> All That Remains achieved success with their 2006 album <a href="/facts/The_Fall_of_Ideals/f25HIY8A">The Fall of Ideals</a>, which, as of 1 October 2008, sold 175,000 copies in the United States.<a class="footnote-ref" id="fnref:142" href="#fn:142">142</a> All That Remains' 2008 album <a href="/facts/Overcome_(All_That_Remains_album)/1HUfmwu9">Overcome</a> peaked at number 16 on the Billboard 200.<a class="footnote-ref" id="fnref:143" href="#fn:143">143</a> Overcome's song "Two Weeks" peaked at number 9 on the <a href="/facts/Mainstream_Rock_Songs/QXgSAYuB">Mainstream Rock Songs</a> chart on 16 May 2009.<a class="footnote-ref" id="fnref:144" href="#fn:144">144</a> <a href="/facts/Bullet_for_My_Valentine/T9efXFC2">Bullet for My Valentine</a>'s debut album <a href="/facts/The_Poison/DwzcyG6c">The Poison</a> was released in October 2005 in Europe and was released in February 2006 in the United States. On 26 July 2006, Blabbermouth.net reported that The Poison has sold 72,000 copies in the United States.<a class="footnote-ref" id="fnref:145" href="#fn:145">145</a> On 27 October 2007, Blabbermouth.net reported that The Poison has sold 336,000 copies in the United States.<a class="footnote-ref" id="fnref:146" href="#fn:146">146</a> On 3 April 2010, <a href="/facts/Billboard_(magazine)/CVruQGq5">Billboard</a> reported that The Poison sold 573,000 copies in the United States.<a class="footnote-ref" id="fnref:147" href="#fn:147">147</a> The Poison was certified gold by the RIAA on 30 January 2009.<a class="footnote-ref" id="fnref:148" href="#fn:148">148</a> Bullet for My Valentine's second album <a href="/facts/Scream_Aim_Fire/y1KkmnGS">Scream Aim Fire</a>, released in 2008, peaked at number 4 on the Billboard 200 and sold 360,000 copies in the United States.<a class="footnote-ref" id="fnref:149" href="#fn:149">149</a> Bullet for My Valentine's 2010 album <a href="/facts/Fever_(Bullet_for_My_Valentine_album)/lJHPcPC1">Fever</a> peaked at number 3 on the Billboard 200, selling 71,000 copies in the United States during its first week of release.<a class="footnote-ref" id="fnref:150" href="#fn:150">150</a> Fever's song "<a href="/facts/Your_Betrayal/s0dnntEI">Your Betrayal</a>" peaked at number 25 on the <a href="/facts/Bubbling_Under_Hot_100/7S7f2QAY">Bubbling Under Hot 100</a> chart.<a class="footnote-ref" id="fnref:151" href="#fn:151">151</a>

<h4>Diversification</h4>

See also: <a href="/facts/Deathcore/CvGruH54">Deathcore</a> and <a href="/facts/Electronicore/XbWKkIRe">electronicore</a>
As the decade progressed, metalcore became increasingly tied to the social media <a href="/facts/Myspace/dES860Ro">Myspace</a>, launched in 2003, and the <a href="/facts/Scene_(subculture)/vQ2taN6b">scene subculture</a> that was prominent on the platform.<a class="footnote-ref" id="fnref:152" href="#fn:152">152</a> Marketing through Myspace launched the careers of many of the era's most prominent bands including <a href="/facts/Bring_Me_the_Horizon/zwK5ay8M">Bring Me the Horizon</a>, <a href="/facts/Attack_Attack!_(American_band)/7LVgMgKe">Attack Attack!</a>, <a href="/facts/Black_Veil_Brides/Uymvqp8W">Black Veil Brides</a>, Bullet for My Valentine, <a href="/facts/Job_For_a_Cowboy/AkkHbNtc">Job For a Cowboy</a> and <a href="/facts/Suicide_Silence/TCmLaPl2">Suicide Silence</a>. Despite the stylistic distinctness between many of these groups' sounds they became encompassed by the terms "myspace-core" and "scene-core". Many went on to become fixtures at <a href="/facts/Warped_Tour/TxFpUQ69">Warped Tour</a>,<a class="footnote-ref" id="fnref:153" href="#fn:153">153</a> and <a href="/facts/Fearless_Records/PKyMyIPa">Fearless Records</a>'s <a href="/facts/Punk_Goes.../xBlERSt5">Punk Goes...</a> cover series.<a class="footnote-ref" id="fnref:154" href="#fn:154">154</a>
<a href="/facts/Deathcore/CvGruH54">Deathcore</a> is a fusion of metalcore and death metal.<a class="footnote-ref" id="fnref:155" href="#fn:155">155</a><a class="footnote-ref" id="fnref:156" href="#fn:156">156</a><a class="footnote-ref" id="fnref:157" href="#fn:157">157</a> Deathcore is defined by <a href="/facts/Breakdown_(music)/NJ08hky1">breakdowns</a>, blast beats and death metal <a href="/facts/Ostinato/NEw7V2JM">riffs</a>.<a class="footnote-ref" id="fnref:158" href="#fn:158">158</a> Bands may also incorporate guitar solos and even riffs that are influenced by metalcore.<a class="footnote-ref" id="fnref:159" href="#fn:159">159</a> New York-based death metal group <a href="/facts/Suffocation_(band)/U4rzQ2Qp">Suffocation</a> is credited as one of the main influences for the emergence of deathcore. Embodyments album "Embrace The Eternal" is a foundation for the modern Deathcore sound.[139] Some examples of deathcore bands are <a href="/facts/Suicide_Silence/TCmLaPl2">Suicide Silence</a>,<a class="footnote-ref" id="fnref:160" href="#fn:160">160</a> <a href="/facts/Whitechapel_(band)/4F57QhgN">Whitechapel</a>,<a class="footnote-ref" id="fnref:161" href="#fn:161">161</a> <a href="/facts/Knights_of_the_Abyss/KCfEfxtY">Knights of the Abyss</a>,<a class="footnote-ref" id="fnref:162" href="#fn:162">162</a> <a href="/facts/Carnifex_(band)/u55lDJJc">Carnifex</a><a class="footnote-ref" id="fnref:163" href="#fn:163">163</a> and <a href="/facts/Chelsea_Grin_(band)/8d6wq6MK">Chelsea Grin</a>.<a class="footnote-ref" id="fnref:164" href="#fn:164">164</a>
In 2006 and 2007, a wave of metalcore bands strongly influenced by death metal dubbed deathcore gained moderate popularity. Notable bands that brought the genre to the fore include Bring Me the Horizon and Suicide Silence. Suicide Silence's <a href="/facts/No_Time_to_Bleed/w9eM30l5">No Time to Bleed</a> 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:165" href="#fn:165">165</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:166" href="#fn:166">166</a> After its release, <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:167" href="#fn:167">167</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:168" href="#fn:168">168</a> and also at number 47 on the Billboard 200.<a class="footnote-ref" id="fnref:169" href="#fn:169">169</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 <a href="/facts/United_States/P0sCdLe5">United States</a> in its first week of being released and peaked at position number 43 on the Billboard 200 chart.<a class="footnote-ref" id="fnref:170" href="#fn:170">170</a> Furthermore, Bring Me the Horizon won the <a href="/facts/Kerrang!_Awards/EjFRo5yt">2006 Kerrang! Awards</a> for Best British Newcomer after they released their 2006 debut record <a href="/facts/Count_Your_Blessings_(Bring_Me_the_Horizon_album)/7PUKPYJ1">Count Your Blessings</a>.<a class="footnote-ref" id="fnref:171" href="#fn:171">171</a> However, Bring Me the Horizon abandoned the deathcore genre after the release of this album.<a class="footnote-ref" id="fnref:172" href="#fn:172">172</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>, selling 5,000 copies with little publicity. On top of their non-stop touring and 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:173" href="#fn:173">173</a> Lastly, 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:174" href="#fn:174">174</a> making them the first extreme metal band to ever reach the Top 40 of this chart.<a class="footnote-ref" id="fnref:175" href="#fn:175">175</a>

<a href="/facts/Electronicore/XbWKkIRe">Electronicore</a>'s merger of metalcore with various <a href="/facts/Electronic_music/zfGNfUvR">electronic music</a> styles emerged in the 2000s. One of the earliest contributors to the sound was <a href="/facts/St_Albans/bI9qJMIr">St Albans</a> band <a href="/facts/Enter_Shikari/lWvgX6BP">Enter Shikari</a>.<a class="footnote-ref" id="fnref:176" href="#fn:176">176</a> Their debut album <a href="/facts/Take_to_the_Skies/vJrgAQAl">Take to the Skies</a> peaked at number on the Official UK Album Chart selling 28,000 copies in its first week and was certified Gold in the UK after selling over 100,000 copies. It was also the first album to achieve a significant chart success for a new act operating outside the traditional label system.<a class="footnote-ref" id="fnref:177" href="#fn:177">177</a> The group received international <a href="/facts/Radio/XFr909M2">radio</a> <a href="/facts/Airplay/ndx0rbhA">airplay</a> and a substantial number of musical awards, from Kerrang!, <a href="/facts/NME/EAscmwXq">NME</a>, <a href="/facts/Rock_Sound/Mq7rAsqU">Rock Sound</a> and the <a href="/facts/BT_Digital_Music_Awards/bEG1SDva">BT Digital Music Awards</a>.<a class="footnote-ref" id="fnref:178" href="#fn:178">178</a><a class="footnote-ref" id="fnref:179" href="#fn:179">179</a><a class="footnote-ref" id="fnref:180" href="#fn:180">180</a> Their second album <a href="/facts/Common_Dreads/noIKsssl">Common Dreads</a> was released in June 2009 and debuted on the <a href="/facts/UK_Albums_Chart/h1hyzP13">UK Albums Chart</a> at 16.<a class="footnote-ref" id="fnref:181" href="#fn:181">181</a> Columbus, Ohio's Attack Attack! gained significant notoriety with their Enter Shikari-influenced sound. The band's song for "Stick Stickly", the lead single from <a href="/facts/Someday_Came_Suddenly/TImhloGR">Someday Came Suddenly</a> (2008) went viral online for its use of <a href="/facts/Autotune/AEeQmhaY">autotune</a> and synths, with the members' squatting "crab walk" stance during the music video giving way to the <a href="/facts/Crabcore/MvUDJnAm">crabcore</a> <a href="/facts/Meme/65Qsyhak">meme</a>.<a class="footnote-ref" id="fnref:182" href="#fn:182">182</a> <a href="/facts/Warren%2c_Michigan/KoutQXI2">Warren, Michigan</a> band <a href="/facts/I_See_Stars/I4NL7MXc">I See Stars</a>'s debut album <a href="/facts/3-D_(I_See_Stars_album)/hPsv9Qgw">3-D</a> debuted at number 176 on the <a href="/facts/Billboard_200/XtbnoFSM">Billboard 200</a>, number 5 on <a href="/facts/Top_Heatseekers/hSXJX01n">Top Heatseekers</a>, and number 22 on <a href="/facts/Top_Independent_Albums/l7ee7IeP">Top Independent Albums</a>.<a class="footnote-ref" id="fnref:183" href="#fn:183">183</a> <a href="/facts/The_Devil_Wears_Prada_(band)/hABJMgzk">The Devil Wears Prada</a>'s 2011 album <a href="/facts/Dead_Throne/DGdUR3Kq">Dead Throne</a> (which sold 32,400 in its first week)<a class="footnote-ref" id="fnref:184" href="#fn:184">184</a> reached number 10<a class="footnote-ref" id="fnref:185" href="#fn:185">185</a> on the Billboard 200 chart. <a href="/facts/Asking_Alexandria/FDIlman9">Asking Alexandria</a> also achieved success, with their 2009 song "<a href="/facts/Final_Episode_(Let%2527s_Change_the_Channel)/oK1aWkEj">Final Episode (Let's Change the Channel)</a>" being certified gold by the RIAA.<a class="footnote-ref" id="fnref:186" href="#fn:186">186</a> The band's 2011 album <a href="/facts/Reckless_%2526_Relentless/46Bf7XJN">Reckless & Relentless</a> peaked at number 9 on the Billboard 200.<a class="footnote-ref" id="fnref:187" href="#fn:187">187</a>
In the late 2000s, a wave of groups began to gain traction cross-pollinating the metalcore style of bands like <a href="/facts/Shai_Hulud_(band)/QboFTBSr">Shai Hulud</a> and <a href="/facts/Misery_Signals/jDrpN8LQ">Misery Signals</a>, with the influence of traditional hardcore and <a href="/facts/Melodic_hardcore/pxC31jCE">melodic hardcore</a> groups like <a href="/facts/Killing_the_Dream/2yRtrkfy">Killing the Dream</a>. This wave often made use of serious, solemn lyrics and sometimes clean vocals in addition to the commonplace screams. Music commentators including <a href="/facts/Finn_McKenty/s7ynbhLh">Stuff You Will Hate</a>, Alternative Press and Bradley Zorgdrager of <a href="/facts/Exclaim!/5824dS1d">Exclaim!</a> used the name "serious hardcore" or "srscore" to refer to this style.<a class="footnote-ref" id="fnref:188" href="#fn:188">188</a><a class="footnote-ref" id="fnref:189" href="#fn:189">189</a> Groups in this wave included <a href="/facts/Hundredth_(band)/PorYyvwF">Hundredth</a>, <a href="/facts/The_Ghost_Inside_(band)/ev1StN0w">the Ghost Inside</a>, <a href="/facts/Counterparts_(band)/5fM2PjaS">Counterparts</a><a class="footnote-ref" id="fnref:190" href="#fn:190">190</a> and <a href="/facts/Stick_to_Your_Guns_(band)/5rgMgq28">Stick to Your Guns</a>.<a class="footnote-ref" id="fnref:191" href="#fn:191">191</a>

<h3>Continued success: 2010s–present</h3>

<a href="/facts/Architects_(British_band)/pwWD1Ddt">Architects</a> and Bring Me the Horizon spearheaded the British metalcore scene of the late 2000s and early 2010s.<a class="footnote-ref" id="fnref:192" href="#fn:192">192</a> Architects had begun as a mathcore band on <a href="/facts/Nightmares_(Architects_album)/Af92rHFj">Nightmares</a> (2006) before moving into metalcore by the release of <a href="/facts/Ruin_(album)/A2lPhcyC">Ruin</a> (2007).<a class="footnote-ref" id="fnref:193" href="#fn:193">193</a> Hysteria magazine credited the band's long time vocalist Sam Carter with reviving high pitched screamed vocals in metalcore and "influencing an entire generation of acts such as <a href="/facts/Polaris_(Australian_band)/gXyengNo">Polaris</a>, <a href="/facts/In_Hearts_Wake/zEd009XA">In Hearts Wake</a>, <a href="/facts/Void_of_Vision/9UwFTNYn">Void of Vision</a>, <a href="/facts/Invent_Animate/NlQUrz1b">Invent Animate</a>, <a href="/facts/Imminence_(band)/ElV1jC1x">Imminence</a>...the list goes on", as well as popularising the "blegh" adlib, which subsequently became commonplace in the genre.<a class="footnote-ref" id="fnref:194" href="#fn:194">194</a> Bring Me the Horizon's third album <a href="/facts/There_Is_a_Hell_Believe_Me_I%2527ve_Seen_It._There_Is_a_Heaven_Let%2527s_Keep_It_a_Secret./m66XueHH">There Is a Hell Believe Me I've Seen It. There Is a Heaven Let's Keep It a Secret.</a> (2010), saw the band incorporate electronica, classical music and pop music into their metalcore style,<a class="footnote-ref" id="fnref:195" href="#fn:195">195</a> a trend then continued further on <a href="/facts/Sempiternal_(album)/QhnJn27a">Sempiternal</a> (2013), which also embraced elements of <a href="/facts/Nu_metal/7vNyq9rB">nu metal</a>.<a class="footnote-ref" id="fnref:196" href="#fn:196">196</a> The Latter peaked at number 3 on the UK albums chart,<a class="footnote-ref" id="fnref:197" href="#fn:197">197</a> and was one of the earliest releases by a UK metalcore band on a major label, through <a href="/facts/RCA_Records/bp1jLxvU">RCA Records</a>.<a class="footnote-ref" id="fnref:198" href="#fn:198">198</a> Following this, many bands in the metalcore scene began to emulate the sound these albums.<a class="footnote-ref" id="fnref:199" href="#fn:199">199</a> The band's massive mainstream success led publications such as <a href="/facts/The_Guardian/H84wwJYM">the Guardian</a> and <a href="/facts/The_Independent/g1P75Mfz">the Independent</a> to accredit them as "the new Metallica",<a class="footnote-ref" id="fnref:200" href="#fn:200">200</a><a class="footnote-ref" id="fnref:201" href="#fn:201">201</a> and <a href="/facts/Metal_Hammer/q10rqRll">Metal Hammer</a> writer Stephen Hill to call Sempiternal "this generation's definitive metal album".<a class="footnote-ref" id="fnref:202" href="#fn:202">202</a>
The nu metal elements present on Sempiternal, as well as Suicide Silence's <a href="/facts/The_Black_Crown/MVv85yy6">The Black Crown</a> (2012), led to a wave of bands in the mid-2010s taking influence from nu metal.<a class="footnote-ref" id="fnref:203" href="#fn:203">203</a> <a href="/facts/My_Ticket_Home/4N3yy9tS">My Ticket Home</a>'s <a href="/facts/Strangers_Only/mLxPkwFA">Strangers Only</a> (2013) was a notable precedent of this wave, seeing a previously established metalcore act merge their style with dark, nu metal influence to help establish the coming <a href="/facts/Nu_metalcore/7vNyq9rB">nu metalcore</a> sound.<a class="footnote-ref" id="fnref:204" href="#fn:204">204</a> <a href="/facts/Issues_(band)/vhUVUSch">Issues</a>' merger of nu metal, metalcore and <a href="/facts/Contemporary_R%2526B/rsafQLga">contemporary R&B</a> gained them significant commercial success, with a number of publications crediting them as ushering a new wave of nu metal.<a class="footnote-ref" id="fnref:205" href="#fn:205">205</a><a class="footnote-ref" id="fnref:206" href="#fn:206">206</a> Their debut <a href="/facts/Issues_(Issues_album)/2oFPhRmL">self-titled album</a> (2014) peaked at number nine on the Billboard 200 chart<a class="footnote-ref" id="fnref:207" href="#fn:207">207</a> and their second album <a href="/facts/Headspace_(Issues_album)/s5cGXoPV">Headspace</a> (2016) reached number one on the Top Alternative Albums chart.<a class="footnote-ref" id="fnref:208" href="#fn:208">208</a>
Furthermore, Bring Me the Horizon's fifth album <a href="/facts/That%2527s_the_Spirit/Sd4pd7SM">That's the Spirit</a> (2015) saw the band fully embrace nu metal,<a class="footnote-ref" id="fnref:209" href="#fn:209">209</a> which peaked at number 2 in both the UK and US.<a class="footnote-ref" id="fnref:210" href="#fn:210">210</a><a class="footnote-ref" id="fnref:211" href="#fn:211">211</a> In the following years <a href="/facts/Emmure/wyLDAdGu">Emmure</a>,<a class="footnote-ref" id="fnref:212" href="#fn:212">212</a><a class="footnote-ref" id="fnref:213" href="#fn:213">213</a><a class="footnote-ref" id="fnref:214" href="#fn:214">214</a> <a href="/facts/Of_Mice_%2526_Men_(band)/XkA5TbKz">Of Mice & Men</a>,<a class="footnote-ref" id="fnref:215" href="#fn:215">215</a><a class="footnote-ref" id="fnref:216" href="#fn:216">216</a><a class="footnote-ref" id="fnref:217" href="#fn:217">217</a> <a href="/facts/Sworn_In_(band)/9IrTpdE3">Sworn In</a> and <a href="/facts/DangerKids/kbCaxwrr">DangerKids</a> had all embraced the genre,<a class="footnote-ref" id="fnref:218" href="#fn:218">218</a> and by 2016, nu metalcore had solidified itself as a movement.<a class="footnote-ref" id="fnref:219" href="#fn:219">219</a>

Architect's <a href="/facts/All_Our_Gods_Have_Abandoned_Us/DEEs2G9l">All Our Gods Have Abandoned Us</a> (2016) was released to critical acclaim, with Metal Hammer writer Stephen Hill called it "as close to a perfect metal record as one can imagine". The following year, they released the single "<a href="/facts/Doomsday_(Architects_song)/p1o7d9jx">Doomsday</a>", their first release since the death of the band's founding guitarist Tom Searle. In the years following the single's release, the song's sound became widely imitated within the metalcore scene,<a class="footnote-ref" id="fnref:220" href="#fn:220">220</a> particularly the song's introduction guitar riff.<a class="footnote-ref" id="fnref:221" href="#fn:221">221</a>
As the decade drew to a close, a new wave of bands in the genre emerged who harkened back to the metallic hardcore sound of bands from the 1990s. <a href="/facts/Vein.fm/rm6t0Kkr">Vein.fm</a>,<a class="footnote-ref" id="fnref:222" href="#fn:222">222</a> <a href="/facts/Code_Orange_(band)/b6adg2kl">Code Orange</a>, <a href="/facts/Knocked_Loose/DfNAUgua">Knocked Loose</a>, <a href="/facts/Varials/96IGzCTP">Varials</a>, <a href="/facts/Jesus_Piece_(band)/6Vbz9VPQ">Jesus Piece</a>, <a href="/facts/Counterparts_(band)/5fM2PjaS">Counterparts</a> and <a href="/facts/Kublai_Khan_(band)/ejuSNuhe">Kublai Khan</a> were all notable groups who gained significant success within the genre at the time. Code Orange saw critical acclaim and success with their <a href="/facts/Roadrunner_Records/kW0MIRhs">Roadrunner Records</a> debut <a href="/facts/Forever_(Code_Orange_album)/fPn5LRBz">Forever</a> in 2017. Forever's title track was also nominated Grammy for Best Metal Performance in 2018.<a class="footnote-ref" id="fnref:223" href="#fn:223">223</a><a class="footnote-ref" id="fnref:224" href="#fn:224">224</a><a class="footnote-ref" id="fnref:225" href="#fn:225">225</a><a class="footnote-ref" id="fnref:226" href="#fn:226">226</a> It too embraced the influence of nu metal and according to <a href="/facts/PopMatters/AJeW11gx">PopMatters</a> writer Ethan Stewart, led to nu metalcore becoming "one of the most prominent flavors of contemporary metal".<a class="footnote-ref" id="fnref:227" href="#fn:227">227</a> Knocked Loose gained significant attention after their song "Counting Worms" from their album <a href="/facts/Laugh_Tracks_(Knocked_Loose_album)/3FyFwc2H">Laugh Tracks</a> (2016) became a meme due to its "arf arf" mosh call.<a class="footnote-ref" id="fnref:228" href="#fn:228">228</a> The band's 2019 second album <a href="/facts/A_Different_Shade_of_Blue/oMq4uQ07">A Different Shade of Blue</a> also received critical and commercial success.<a class="footnote-ref" id="fnref:229" href="#fn:229">229</a><a class="footnote-ref" id="fnref:230" href="#fn:230">230</a>
Nu metalcore maintained its prominence into the 2020s with <a href="/facts/Tetrarch_(band)/I5sJl1j4">Tetrarch</a> and <a href="/facts/Tallah/EmjuRWNp">Tallah</a> gaining notability.<a class="footnote-ref" id="fnref:231" href="#fn:231">231</a> <a href="/facts/Loathe_(band)/KKTDPa6j">Loathe</a>'s second album <a href="/facts/I_Let_It_In_and_It_Took_Everything/37Duw1pm">I Let It In and It Took Everything</a> (2020) saw critical acclaim, and was consistently praised for expanding the scope of metalcore by incorporating elements of nu metal, <a href="/facts/Shoegaze/nGdAGr8K">shoegaze</a>, <a href="/facts/Emo/SdGNr7kG">emo</a>, <a href="/facts/Post-rock/LUKX5EeN">post-rock</a>, <a href="/facts/Progressive_metal/8y6HIRpw">progressive metal</a> and <a href="/facts/Industrial_music/Ua77gRPB">industrial music</a>.<a class="footnote-ref" id="fnref:232" href="#fn:232">232</a><a class="footnote-ref" id="fnref:233" href="#fn:233">233</a><a class="footnote-ref" id="fnref:234" href="#fn:234">234</a> The band's use of the Fender Bass VI guitar, which tunes to an octave below a standard tuning guitar, became widely sought after following the album's release.<a class="footnote-ref" id="fnref:235" href="#fn:235">235</a> Publications credited <a href="/facts/Spiritbox/m7ljVX6X">Spiritbox</a> similarly with Metal Hammer calling them "post-metalcore" and "genre-fluid".<a class="footnote-ref" id="fnref:236" href="#fn:236">236</a> The band's 2020 single "Holy Roller" reached the Top 40 on the Billboard Mainstream Rock chart,<a class="footnote-ref" id="fnref:237" href="#fn:237">237</a> and their debut album <a href="/facts/Eternal_Blue_(album)/UVdxTqzP">Eternal Blue</a> was named the year's best rock or metal album by <a href="/facts/Loudwire/2XAavf9m">Loudwire</a><a class="footnote-ref" id="fnref:238" href="#fn:238">238</a> and metalcore album by Metal Hammer.<a class="footnote-ref" id="fnref:239" href="#fn:239">239</a>
Around the same time, a number of bands gained prominence in the scene that revived the sound of groups from the mid-to-late-2000s, fronted by <a href="/facts/Static_Dress/XNrYDjUa">Static Dress</a>, <a href="/facts/SeeYouSpaceCowboy/t7q0Rhlx">SeeYouSpaceCowboy</a>, <a href="/facts/If_I_Die_First/IwNaJGlf">If I Die First</a> and <a href="/facts/Jarrod_Alonge/h2xrFpll">CrazyEightyEight</a>. This movement grew out of both the hardcore scene and the mainstream success that the <a href="/facts/Emo_rap/AUEYBkey">emo rap</a> scene gained the late-2010s.<a class="footnote-ref" id="fnref:240" href="#fn:240">240</a>
Formed in 2015, <a href="/facts/Bad_Omens/H0UffK5j">Bad Omens</a>' third album <a href="/facts/The_Death_of_Peace_of_Mind/23BvLcBF">The Death of Peace of Mind</a> (2022) was the band's commercial breakthrough after viral success of the album's second single "<a href="/facts/Just_Pretend_(Bad_Omens_song)/qumpUKFB">Just Pretend</a>" on TikTok<a class="footnote-ref" id="fnref:241" href="#fn:241">241</a> which then topped the Billboard Mainstream Rock chart.<a class="footnote-ref" id="fnref:242" href="#fn:242">242</a> By March 2023, the album had received 20 million streams on <a href="/facts/Spotify/wsTSvDD8">Spotify</a>, leading to Metal Hammer calling them "the biggest metalcore band in a generation."<a class="footnote-ref" id="fnref:243" href="#fn:243">243</a> Bring Me the Horizon's <a href="/facts/Post_Human%3a_Survival_Horror/ISwFD8ue">Post Human: Survival Horror</a> (2020)<a class="footnote-ref" id="fnref:244" href="#fn:244">244</a> and Architects' <a href="/facts/For_Those_That_Wish_to_Exist/8bgvYpSc">For Those That Wish to Exist</a> (2021) both also reached number one in the UK album charts.<a class="footnote-ref" id="fnref:245" href="#fn:245">245</a>

<h2 id="see-also">See also</h2>

Look up metalcore in Wiktionary, the free dictionary.

Wikiquote has quotations related to Metalcore.

Wikiversity has learning resources about Metalcore Theory

<ul><li><a href="/facts/List_of_metalcore_bands/V22L7WRY">List of metalcore bands</a></li></ul>

<h2 id="bibliography">Bibliography</h2>
<ul><li>Haenfler, Ross. Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-8135-3852-1.</li>
<li>Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 1-932595-04-X.</li>
<li>Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda Books. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-9582684-0-1.</li>
<li>Giordano, James (2016). Maldynia: Multidisciplinary Perspectives on the Illness of Chronic Pain. <a href="/facts/CRC_Press/duTuH4hz">CRC Press</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 9781439836316.</li></ul>
<h2 id="external-links">External links</h2>

Wikiquote has quotations related to Metalcore.

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

<ol>
<li id="fn:1">Kennedy, Scott (January 2018). Functions of Genre in Metal and Hardcore Music. University of Hull. pp. 56–57. The consciously hybrid nature of metalcore resulted initially in a somewhat amorphous version of the genre. Commentary on metalcore of the 1990s tends to construct the genre as stylistically indistinct, referring to a general mixing of metal and hardcore that variously incorporates elements of hardcore, crossover, thrash metal, groove metal, and death metal. Berelian's wideranging conception of metalcore includes artists as dissimilar as Sick of It All, The Dillinger Escape Plan, and Mastodon (2005, p. 223), grouped as such primarily (it would seem) as a result of each artist mixing elements drawn from various metal/hardcore genres. A more stable interpretation of metalcore emerged during the New Wave of American Heavy Metal period that codified metalcore into a recognisable form (the subject of chapter six) with identifiable style characteristics. A product of metal/hardcore symbiosis, metalcore's overt hybridity is also conspicuous in the related genres of mathcore and deathcore, both of which amalgamate aspects of diverse metal/hardcore genres. <a href="#fnref:1" class="footnote-back-ref">↩</a></li>
<li id="fn:2">Smialek, Eric (2023). "Contempt-of-Core: A reception history of Metalcore". In Herbst, Jan-Peter (ed.). The Cambridge Companion to Metal Music. Cambridge University Press. pp. 282–290. <a href="/wiki/Cambridge_University_Press" target="_blank">/wiki/Cambridge_University_Press</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></li>
<li id="fn:3">Bennett, J (June 2008). "Converge's "Jane Doe"". Revolver. <a href="/wiki/Revolver_(magazine)" target="_blank">/wiki/Revolver_(magazine)</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></li>
<li id="fn:4">"Who Invented Metalcore?". Loudwire. 28 November 2023. <a href="https://loudwire.com/who-invented-metalcore/" target="_blank">https://loudwire.com/who-invented-metalcore/</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></li>
<li id="fn:5">"Virginia". Maximum Rocknroll. 22: 32. February 1985. Retrieved 16 November 2024. BLACK PYRAMID is a heavy-metal core outfit debuting recently, plus a sorta thrash group called DAMAGE REPORT. TOOLINC FOR ANUS also did a first show, but unfortunately I missed it. <a href="https://archive.org/details/mrr_22" target="_blank">https://archive.org/details/mrr_22</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></li>
<li id="fn:6">"Questions remain in aftermath of Vets hall riot". Maximum Rocknroll. 31: 22. December 1985. Retrieved 16 November 2024. FALSE CONFESSIONS kicked out Ishinael and now Scott (ex-bassist) is singing, and the band is looking for a bassist. They have a much talked about new direction, leaning into the BAUHAUS/SPECIMEN style of punk (or so I've heard). While I applaud their decision to change, I wonder if they'll alienate some of their audience who were used to their old metal-core style, or is it true at all? <a href="https://archive.org/details/mrr_31" target="_blank">https://archive.org/details/mrr_31</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></li>
<li id="fn:7">"Desecration, Arizona thrash". Maximum Rocknroll. 36: 26. May 1986. Retrieved 16 November 2024. DESECRATION - "Damaged by Decibels" cassette A 4-song "death metal core band" that zips along at a frantic pace, isn't as metal as it is thrash, ana avoids lame lyrics and sticks to political/social subjects. A pretty hot debut <a href="https://archive.org/details/mrr_036" target="_blank">https://archive.org/details/mrr_036</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></li>
<li id="fn:8">"Texas". Maximum Rocknroll. 43: 44. December 1986. Retrieved 16 November 2024. LAST WILL has a ghoulish metal/core cassette out. <a href="https://archive.org/details/mrr_43" target="_blank">https://archive.org/details/mrr_43</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></li>
<li id="fn:9">"Who Invented Metalcore?". Loudwire. 28 November 2023. <a href="https://loudwire.com/who-invented-metalcore/" target="_blank">https://loudwire.com/who-invented-metalcore/</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></li>
<li id="fn:10">"Who Invented Metalcore?". Loudwire. 28 November 2023. <a href="https://loudwire.com/who-invented-metalcore/?utm_source=tsmclip&utm_medium=referral" target="_blank">https://loudwire.com/who-invented-metalcore/?utm_source=tsmclip&utm_medium=referral</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></li>
<li id="fn:11">"MERAUDER Interview With Frontman Jorge Rosado". Retrieved 13 October 2024. <a href="http://restassuredzine.com/interviews/3581-merauder-interview-with-frontman-jorge-rosado#:~:text=But%20that%20music%20speaks%20for,METALCORE!" target="_blank">http://restassuredzine.com/interviews/3581-merauder-interview-with-frontman-jorge-rosado#:~:text=But%20that%20music%20speaks%20for,METALCORE!</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></li>
<li id="fn:12">Morton, Luke (26 July 2018). "The top 10 best metalcore songs". louder. Retrieved 24 March 2025. <a href="https://www.loudersound.com/features/the-10-best-metalcore-songs-as-chosen-by-the-agony-scene" target="_blank">https://www.loudersound.com/features/the-10-best-metalcore-songs-as-chosen-by-the-agony-scene</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></li>
<li id="fn:13">Kennedy, Scott (January 2018). Functions of Genre in Metal and Hardcore Music. University of Hull. pp. 237–238. NWOAHM marks an identifiable period during which 'metalcore' became widely understood to refer to a particular genre with a relatively specific set of stylistic traits. NWOAHM codification demarcated metalcore as a genre unto itself, distinguishing it from closely related subgenres like metallic hardcore. ... after the NWOAHM period ended, metalcore still commonly refers to elements of style introduced during this codification, notably the combination of clean and distorted vocals, high-fidelity, polished production, and a clear influence from melodic death metal. ... Despite metalcore existing in some form or another for around a decade prior to NWOAHM, it was only during the first few years of the twenty-first century that the genre became codified. <a href="#fnref:13" class="footnote-back-ref">↩</a></li>
<li id="fn:14">"Top 10 Best '90s Proto-Metalcore Albums That Shaped the Genre". www.ultimate-guitar.com. Retrieved 24 March 2025. <a href="https://www.ultimate-guitar.com/articles/features/top_10_best_90s_proto-metalcore_albums_that_shaped_the_genre-113093" target="_blank">https://www.ultimate-guitar.com/articles/features/top_10_best_90s_proto-metalcore_albums_that_shaped_the_genre-113093</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></li>
<li id="fn:15">"Top 10 Best '90s Proto-Metalcore Albums That Shaped the Genre". www.ultimate-guitar.com. Retrieved 24 March 2025. <a href="https://www.ultimate-guitar.com/articles/features/top_10_best_90s_proto-metalcore_albums_that_shaped_the_genre-113093" target="_blank">https://www.ultimate-guitar.com/articles/features/top_10_best_90s_proto-metalcore_albums_that_shaped_the_genre-113093</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></li>
<li id="fn:16">"20 Years Ago, This Underground Classic Changed the Game for Metal and Punk (But It's Not the One You Think)". www.ultimate-guitar.com. Retrieved 25 February 2025. <a href="https://www.ultimate-guitar.com/articles/features/20_years_ago_this_underground_classic_changed_the_game_for_metal_and_punk_but_its_not_the_one_you_think-169512" target="_blank">https://www.ultimate-guitar.com/articles/features/20_years_ago_this_underground_classic_changed_the_game_for_metal_and_punk_but_its_not_the_one_you_think-169512</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></li>
<li id="fn:17">"Killswitch Engage > Loudwire". Loudwire. Retrieved 24 March 2025. <a href="https://loudwire.com/tags/killswitch-engage/" target="_blank">https://loudwire.com/tags/killswitch-engage/</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></li>
<li id="fn:18">"Killswitch Engage Songs, Albums, Reviews, Bio ..." AllMusic. Retrieved 24 March 2025. <a href="https://www.allmusic.com/artist/killswitch-engage-mn0000771792#biography" target="_blank">https://www.allmusic.com/artist/killswitch-engage-mn0000771792#biography</a> <a href="#fnref:18" class="footnote-back-ref">↩</a></li>
<li id="fn:19">Crane, Matt (2 September 2014). "12 melodic death-metal songs any self-respecting metalcore fan should like". Alternative Press. Retrieved 30 November 2019. <a href="https://www.altpress.com/features/12_melodic_death_metal_songs_any_self_respecting_metalcore_fan_should_like/" target="_blank">https://www.altpress.com/features/12_melodic_death_metal_songs_any_self_respecting_metalcore_fan_should_like/</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></li>
<li id="fn:20">Crane, Matt. "12 melodic death-metal songs any self-respecting metalcore fan should like". Alternative Press Magazine. Retrieved 24 March 2025. <a href="https://www.altpress.com/12_melodic_death_metal_songs_any_self_respecting_metalcore_fan_should_like/" target="_blank">https://www.altpress.com/12_melodic_death_metal_songs_any_self_respecting_metalcore_fan_should_like/</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></li>
<li id="fn:21">Dome, Malcolm (14 November 2018). "How At the Gates Changed Metal Forever With 'Slaughter of the Soul'". Revolver. Retrieved 30 November 2019. <a href="https://www.revolvermag.com/music/how-gates-changed-metal-forever-slaughter-soul" target="_blank">https://www.revolvermag.com/music/how-gates-changed-metal-forever-slaughter-soul</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></li>
<li id="fn:22">Hartmann, Graham (21 January 2014). "Will At the Gates Release a New Album in 2014?". Loudwire. Retrieved 30 November 2019. <a href="https://loudwire.com/at-the-gates-new-album-2014/" target="_blank">https://loudwire.com/at-the-gates-new-album-2014/</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></li>
<li id="fn:23">"Death Metal 101: The History of Death Metal". Loudwire. 31 August 2017. <a href="https://loudwire.com/heavy-metal-101-history-of-death-metal/" target="_blank">https://loudwire.com/heavy-metal-101-history-of-death-metal/</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></li>
<li id="fn:24">"Is Metalcore Metal?". Loudwire. 8 January 2024. <a href="https://loudwire.com/is-metalcore-metal/" target="_blank">https://loudwire.com/is-metalcore-metal/</a> <a href="#fnref:24" class="footnote-back-ref">↩</a></li>
<li id="fn:25">Smialek, Eric (2023). "Contempt-of-Core: A reception history of Metalcore". In Herbst, Jan-Peter (ed.). The Cambridge Companion to Metal Music. Cambridge University Press. pp. 282–290. <a href="/wiki/Cambridge_University_Press" target="_blank">/wiki/Cambridge_University_Press</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></li>
<li id="fn:26">"The 21 best U.S. Metalcore albums of all time". 9 June 2020. <a href="https://www.kerrang.com/the-21-best-us-metalcore-albums-of-all-time" target="_blank">https://www.kerrang.com/the-21-best-us-metalcore-albums-of-all-time</a> <a href="#fnref:26" class="footnote-back-ref">↩</a></li>
<li id="fn:27">"Why do Metalheads Think Metalcore Isn't Real Metal? Reddit Users Answer". Loudwire. 16 April 2024. <a href="https://loudwire.com/why-metalheads-dont-like-metalcore-reddit/" target="_blank">https://loudwire.com/why-metalheads-dont-like-metalcore-reddit/</a> <a href="#fnref:27" class="footnote-back-ref">↩</a></li>
<li id="fn:28">Trapp, Philip (28 November 2023). "Who Invented Metalcore?". Loudwire. Retrieved 25 March 2025. <a href="https://loudwire.com/who-invented-metalcore/?utm_source=tsmclip&utm_medium=referral" target="_blank">https://loudwire.com/who-invented-metalcore/?utm_source=tsmclip&utm_medium=referral</a> <a href="#fnref:28" class="footnote-back-ref">↩</a></li>
<li id="fn:29">Smialek, Eric (2023). "Contempt-of-Core: A reception history of Metalcore". In Herbst, Jan-Peter (ed.). The Cambridge Companion to Metal Music. Cambridge University Press. pp. 282–290. <a href="/wiki/Cambridge_University_Press" target="_blank">/wiki/Cambridge_University_Press</a> <a href="#fnref:29" class="footnote-back-ref">↩</a></li>
<li id="fn:30">"Wristmeetrazor Channel Vintage Metalcore Energy on Misery Never Forgets". MetalSucks. 9 January 2019. Retrieved 8 December 2020. <a href="https://www.metalsucks.net/2019/01/09/wristmeetrazor-channel-vintage-metalcore-energy-on-misery-never-forgets/" target="_blank">https://www.metalsucks.net/2019/01/09/wristmeetrazor-channel-vintage-metalcore-energy-on-misery-never-forgets/</a> <a href="#fnref:30" class="footnote-back-ref">↩</a></li>
<li id="fn:31">Bowar, Chad. "What Is Metalcore?". liveabout.com. Retrieved 16 November 2014. <a href="https://www.liveabout.com/what-is-metalcore-1756187" target="_blank">https://www.liveabout.com/what-is-metalcore-1756187</a> <a href="#fnref:31" class="footnote-back-ref">↩</a></li>
<li id="fn:32">Hartmann, Graham (27 July 2017). "10 Sickest Breakdowns of All Time". Loudwire. Retrieved 24 March 2025. <a href="https://loudwire.com/10-sickest-breakdowns-of-all-time/?utm_source=tsmclip&utm_medium=referral" target="_blank">https://loudwire.com/10-sickest-breakdowns-of-all-time/?utm_source=tsmclip&utm_medium=referral</a> <a href="#fnref:32" class="footnote-back-ref">↩</a></li>
<li id="fn:33">Giordano 2016, p. 141. - Giordano, James (2016). Maldynia: Multidisciplinary Perspectives on the Illness of Chronic Pain. CRC Press. ISBN 9781439836316. <a href="#fnref:33" class="footnote-back-ref">↩</a></li>
<li id="fn:34">Bowar, Chad. "What Is Metalcore?". liveabout.com. Retrieved 16 November 2014. <a href="https://www.liveabout.com/what-is-metalcore-1756187" target="_blank">https://www.liveabout.com/what-is-metalcore-1756187</a> <a href="#fnref:34" class="footnote-back-ref">↩</a></li>
<li id="fn:35">DiVita, Joe (2 November 2023). "Metalcore's 10 Best Clean Singers + 10 Best Bands Who Don't (or Barely) Use Clean Vocals". Loudwire. Retrieved 25 March 2025. <a href="https://loudwire.com/metalcore-best-clean-singers-bands-barely-use-clean-vocals/?utm_source=tsmclip&utm_medium=referral" target="_blank">https://loudwire.com/metalcore-best-clean-singers-bands-barely-use-clean-vocals/?utm_source=tsmclip&utm_medium=referral</a> <a href="#fnref:35" class="footnote-back-ref">↩</a></li>
<li id="fn:36">Bowar, Chad. "What Is Metalcore?". liveabout.com. Retrieved 16 November 2014. <a href="https://www.liveabout.com/what-is-metalcore-1756187" target="_blank">https://www.liveabout.com/what-is-metalcore-1756187</a> <a href="#fnref:36" class="footnote-back-ref">↩</a></li>
<li id="fn:37">DiVita, Joe (2 November 2023). "Metalcore's 10 Best Clean Singers + 10 Best Bands Who Don't (or Barely) Use Clean Vocals". Loudwire. Retrieved 25 March 2025. <a href="https://loudwire.com/metalcore-best-clean-singers-bands-barely-use-clean-vocals/?utm_source=tsmclip&utm_medium=referral" target="_blank">https://loudwire.com/metalcore-best-clean-singers-bands-barely-use-clean-vocals/?utm_source=tsmclip&utm_medium=referral</a> <a href="#fnref:37" class="footnote-back-ref">↩</a></li>
<li id="fn:38">"Why do Metalheads Think Metalcore Isn't Real Metal? Reddit Users Answer". Loudwire. 16 April 2024. <a href="https://loudwire.com/why-metalheads-dont-like-metalcore-reddit/" target="_blank">https://loudwire.com/why-metalheads-dont-like-metalcore-reddit/</a> <a href="#fnref:38" class="footnote-back-ref">↩</a></li>
<li id="fn:39">Smialek, Eric (2023). "Contempt-of-Core: A reception history of Metalcore". In Herbst, Jan-Peter (ed.). The Cambridge Companion to Metal Music. Cambridge University Press. pp. 282–290. <a href="/wiki/Cambridge_University_Press" target="_blank">/wiki/Cambridge_University_Press</a> <a href="#fnref:39" class="footnote-back-ref">↩</a></li>
<li id="fn:40">Karjalainen, Toni-Matti (2018). Sounds of Origin in Heavy Metal Music. Cambridge Scholars Publishing. pp. 141–142. <a href="#fnref:40" class="footnote-back-ref">↩</a></li>
<li id="fn:41">Sacher, Andrew. "15 '90s metalcore albums that still resonate today". BrooklynVegan. Retrieved 25 February 2025. <a href="https://www.brooklynvegan.com/15-90s-metalcore-albums-that-still-resonate-today/" target="_blank">https://www.brooklynvegan.com/15-90s-metalcore-albums-that-still-resonate-today/</a> <a href="#fnref:41" class="footnote-back-ref">↩</a></li>
<li id="fn:42">"Top 10 Most Important Moments in the Evolution of Metalcore". <a href="https://activloop.com/music/top-10-most-important-moments-in-the-evolution-of-metalcore/" target="_blank">https://activloop.com/music/top-10-most-important-moments-in-the-evolution-of-metalcore/</a> <a href="#fnref:42" class="footnote-back-ref">↩</a></li>
<li id="fn:43">"Who Invented Metalcore?". Loudwire. 28 November 2023. <a href="https://loudwire.com/who-invented-metalcore/" target="_blank">https://loudwire.com/who-invented-metalcore/</a> <a href="#fnref:43" class="footnote-back-ref">↩</a></li>
<li id="fn:44">"Metalcore Bands are Going Mainstream, and It's Painful". <a href="https://www.houstonpress.com/music/metalcore-bands-are-going-mainstream-and-its-painful-7805113" target="_blank">https://www.houstonpress.com/music/metalcore-bands-are-going-mainstream-and-its-painful-7805113</a> <a href="#fnref:44" class="footnote-back-ref">↩</a></li>
<li id="fn:45">"Renounced: "Death to false metalcore"". <a href="https://www.punktastic.com/radar/renounced-death-to-false-metalcore/" target="_blank">https://www.punktastic.com/radar/renounced-death-to-false-metalcore/</a> <a href="#fnref:45" class="footnote-back-ref">↩</a></li>
<li id="fn:46">Hill, Stephen (29 January 2015). "From Crossover To Metalcore: The Genesis Of A Genre". louder. Retrieved 24 March 2025. <a href="https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre" target="_blank">https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre</a> <a href="#fnref:46" class="footnote-back-ref">↩</a></li>
<li id="fn:47">"Metalcore Bands are Going Mainstream, and It's Painful". <a href="https://www.houstonpress.com/music/metalcore-bands-are-going-mainstream-and-its-painful-7805113" target="_blank">https://www.houstonpress.com/music/metalcore-bands-are-going-mainstream-and-its-painful-7805113</a> <a href="#fnref:47" class="footnote-back-ref">↩</a></li>
<li id="fn:48">"Fan Poll: 5 Greatest Metalcore Albums". Revolver. Retrieved 25 March 2025. <a href="https://www.revolvermag.com/music/fan-poll-5-greatest-metalcore-albums/" target="_blank">https://www.revolvermag.com/music/fan-poll-5-greatest-metalcore-albums/</a> <a href="#fnref:48" class="footnote-back-ref">↩</a></li>
<li id="fn:49">Hill, Stephen (29 January 2015). "From Crossover To Metalcore: The Genesis Of A Genre". louder. Retrieved 24 March 2025. <a href="https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre" target="_blank">https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre</a> <a href="#fnref:49" class="footnote-back-ref">↩</a></li>
<li id="fn:50">"Renounced: "Death to false metalcore"". <a href="https://www.punktastic.com/radar/renounced-death-to-false-metalcore/" target="_blank">https://www.punktastic.com/radar/renounced-death-to-false-metalcore/</a> <a href="#fnref:50" class="footnote-back-ref">↩</a></li>
<li id="fn:51">Hill, Stephen (29 January 2015). "From Crossover To Metalcore: The Genesis Of A Genre". louder. Retrieved 24 March 2025. <a href="https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre" target="_blank">https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre</a> <a href="#fnref:51" class="footnote-back-ref">↩</a></li>
<li id="fn:52">Blush, American Hardcore, part 2, "Thirsty and Miserable", p. 63, 66. <a href="#fnref:52" class="footnote-back-ref">↩</a></li>
<li id="fn:53">Andersen, Mark and Mark Jenkins (2003). Dance of Days: Two Decades of Punk in the Nation's Capital. "Positive Mental Attitude". p. 27. Akashic Books. ISBN 1-888451-44-0. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:53" class="footnote-back-ref">↩</a></li>
<li id="fn:54">Glasper, Ian (2004). Burning Britain: The History of UK Punk 1980–1984. Cherry Red Books. p. 5. ISBN 1-901447-24-3. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:54" class="footnote-back-ref">↩</a></li>
<li id="fn:55">TARRE, DYLAN. "The Complete A-Z of Heavy Metal Subgenres". Retrieved 13 November 2024. <a href="https://lambgoat.com/lists/1/the-complete-a-z-of-heavy-metal-subgenres" target="_blank">https://lambgoat.com/lists/1/the-complete-a-z-of-heavy-metal-subgenres</a> <a href="#fnref:55" class="footnote-back-ref">↩</a></li>
<li id="fn:56">"Who Invented Metalcore?". Loudwire. 28 November 2023. <a href="https://loudwire.com/who-invented-metalcore/" target="_blank">https://loudwire.com/who-invented-metalcore/</a> <a href="#fnref:56" class="footnote-back-ref">↩</a></li>
<li id="fn:57">Sanneh, Kelefa (9 March 2015). "How Hardcore Conquered New York". The New Yorker. Archived from the original on 4 January 2019. Retrieved 7 June 2021. <a href="https://www.newyorker.com/magazine/2015/03/09/united-blood" target="_blank">https://www.newyorker.com/magazine/2015/03/09/united-blood</a> <a href="#fnref:57" class="footnote-back-ref">↩</a></li>
<li id="fn:58">Blush, p. 193. "Howie Abrams (NYHC scene): Mosh style was slower, very tribal – like a Reggae beat adapted to Hardcore. (...) It was an outbreak of dancing with a mid-tempo beat driven by floor tom and snare." <a href="/wiki/Snare_drum" target="_blank">/wiki/Snare_drum</a> <a href="#fnref:58" class="footnote-back-ref">↩</a></li>
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<li id="fn:82">Smith-Engelhardt, Joe (21 January 2021). "20 mathcore albums that made the genre what it is today". Alternative Press. Retrieved 29 August 2023. <a href="https://www.altpress.com/best-mathcore-albums-of-all-time/" target="_blank">https://www.altpress.com/best-mathcore-albums-of-all-time/</a> <a href="#fnref:82" class="footnote-back-ref">↩</a></li>
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<li id="fn:92">"Kill Your Stereo – Reviews: Shai Hulud – Misanthropy Pure". Archived from the original on 27 March 2012. Retrieved 13 November 2009. Shai Hulud, a name that is synonymous (in heavy music circles at least) with intelligent, provocative and most importantly unique metallic hardcore. The band's earliest release is widely credited with influencing an entire generation of musicians. <a href="https://web.archive.org/web/20120327210110/http://www.killyourstereo.com/reviews/169/shai-hulud-misanthropy-pure/" target="_blank">https://web.archive.org/web/20120327210110/http://www.killyourstereo.com/reviews/169/shai-hulud-misanthropy-pure/</a> <a href="#fnref:92" class="footnote-back-ref">↩</a></li>
<li id="fn:93">"Shai Hulud – Hearts Once Nourished with Hope and Compassion Review". Sputnikmusic. Retrieved 11 July 2012. Hearts Once Nourished with Hope and Compassion is pretty much the prime in early melodic metalcore. So many bands in both the modern metalcore and hardcore scene have drawn vast influence from them, because of how perfect they blend hardcore and metal. <a href="https://www.sputnikmusic.com/review/14839/Shai-Hulud-Hearts-Once-Nourished/" target="_blank">https://www.sputnikmusic.com/review/14839/Shai-Hulud-Hearts-Once-Nourished/</a> <a href="#fnref:93" class="footnote-back-ref">↩</a></li>
<li id="fn:94">"In at the Deep End Records". Regardless of whether or not you liked Shai Hulud, it is undeniable that Hearts Once Nourished with Hope and Compassion was an oft-imitated and highly influential release in the mid-to-late nineties. <a href="http://www.iatde.alivewww.co.uk/zombieapocalypse.htm" target="_blank">http://www.iatde.alivewww.co.uk/zombieapocalypse.htm</a> <a href="#fnref:94" class="footnote-back-ref">↩</a></li>
<li id="fn:95">"Metal Hammer – The Top 10 best proto-metalcore records". 22 July 2020. Zao is one of the best examples of early metalcore, and their influence on the genre is undeniable. The guitar work, the high throaty style of the vocals, and the band aesthetics are all pieces that would have great influence on bands down the road.. <a href="https://www.loudersound.com/features/the-top-10-best-proto-metalcore-records" target="_blank">https://www.loudersound.com/features/the-top-10-best-proto-metalcore-records</a> <a href="#fnref:95" class="footnote-back-ref">↩</a></li>
<li id="fn:96">Sharpe-Young, p. 119 <a href="#fnref:96" class="footnote-back-ref">↩</a></li>
<li id="fn:97">Stewart, Ethan (25 May 2021). "From Hardcore to Harajuku: The Origins of Scene Subculture". PopMatters. Archived from the original on 25 May 2021. Retrieved 8 June 2021. <a href="https://www.popmatters.com/scene-subculture-origins-hardcore-harajuku" target="_blank">https://www.popmatters.com/scene-subculture-origins-hardcore-harajuku</a> <a href="#fnref:97" class="footnote-back-ref">↩</a></li>
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<li id="fn:99">Wiederhorn, Jon; Turman, Katherine (17 July 2013). "How Eighteen Visions Became The OC Metal Band Known For Inventing "Fashioncore"". OC Weekly. Archived from the original on 4 June 2021. Retrieved 8 June 2021. <a href="https://www.ocweekly.com/how-eighteen-visions-became-the-oc-metal-band-known-for-inventing-fashioncore-6569812/" target="_blank">https://www.ocweekly.com/how-eighteen-visions-became-the-oc-metal-band-known-for-inventing-fashioncore-6569812/</a> <a href="#fnref:99" class="footnote-back-ref">↩</a></li>
<li id="fn:100">White-Gluz, Jasamine (1 June 2003). "Lamb of God / Chimaira / Eighteen Visions / Atreyu Rainbow Montreal QC - May 16, 2003". Exclaim!. Archived from the original on 8 June 2021. Retrieved 8 June 2021. <a href="https://exclaim.ca/music/article/lamb_of_god_chimaira_eighteen_visions_atreyu-rainbow" target="_blank">https://exclaim.ca/music/article/lamb_of_god_chimaira_eighteen_visions_atreyu-rainbow</a> <a href="#fnref:100" class="footnote-back-ref">↩</a></li>
<li id="fn:101">Richman, Jesse (24 January 2018). "What is Emo, Anyway? We Look at History to Define a Genre". Alternative Press. Archived from the original on 8 June 2021. Retrieved 8 June 2021. <a href="https://www.altpress.com/features/what_is_emo_history_definition/" target="_blank">https://www.altpress.com/features/what_is_emo_history_definition/</a> <a href="#fnref:101" class="footnote-back-ref">↩</a></li>
<li id="fn:102">Deneau, Max (1 December 2005). "Bleeding Through Wolves Among Sheep". Exclaim!. Archived from the original on 8 June 2021. Retrieved 8 June 2021. <a href="https://exclaim.ca/music/article/bleeding_through-wolves_among_sheep" target="_blank">https://exclaim.ca/music/article/bleeding_through-wolves_among_sheep</a> <a href="#fnref:102" class="footnote-back-ref">↩</a></li>
<li id="fn:103">"Easy, Breezy, Brutal: Three Major Movements in Heavy Metal Makeup". Cjlo. 10 February 2014. Archived from the original on 8 June 2021. Retrieved 8 June 2021. <a href="http://www.cjlo.com/articles/easy-breezy-brutal-three-major-movements-in-heavy-metal-makeup" target="_blank">http://www.cjlo.com/articles/easy-breezy-brutal-three-major-movements-in-heavy-metal-makeup</a> <a href="#fnref:103" class="footnote-back-ref">↩</a></li>
<li id="fn:104">Stewart, Ethan (25 May 2021). "From Hardcore to Harajuku: The Origins of Scene Subculture". PopMatters. Archived from the original on 25 May 2021. Retrieved 8 June 2021. <a href="https://www.popmatters.com/scene-subculture-origins-hardcore-harajuku" target="_blank">https://www.popmatters.com/scene-subculture-origins-hardcore-harajuku</a> <a href="#fnref:104" class="footnote-back-ref">↩</a></li>
<li id="fn:105">Sfetcu, Nicolae (7 May 2014). The Music Sound. While death metal and hardcore had always intermingled to an extent, the first clearly identifiable instances of melodic Swedish metal being combined with hardcore seem to have sprung almost simultaneously, with Undying's This Day All Gods Die, Darkest Hour's The Prophecy Fulfilled, Prayer for Cleansing's The Rain in Endless Fall, Shadows Fall's With Somber Eyes to the Sky, and Unearth's Above the Fall of Man all being released within a year of each other (1998-99). It is unclear who first got the idea to combine the two styles. Darkest Hour had released an EP called The Misanthrope in 1996 which arguably contained elements of their later sound but was for the most part aggro-hardcore in the vein of Damnation a.d. On the other hand, Day of Suffering's 1997 album The Eternal Jihad is cited as an influence for many of the North Carolina bands that followed, such as Undying and Overcast is seen as having started the genre in Massachusetts. <a href="#fnref:105" class="footnote-back-ref">↩</a></li>
<li id="fn:106">Delia, Anthony (7 July 2003). "CMJ Magazine". No. 821. CMJ. Retrieved 27 April 2018. Poison The Well designed the template for most of today's melodic metalcore acts, spawning countless copycats in the process. The band's last two efforts, 1999's The Opposite Of December...A Season Of Separation and 2002's Tear From The Red, are genre essentials, but no one is going to argue that those albums were constructed of memorable parts, rather than complete, efficiently executed songs; you knew when to rock out and when to sing along. <a href="https://books.google.com/books?id=XY5HXiUDbskC" target="_blank">https://books.google.com/books?id=XY5HXiUDbskC</a> <a href="#fnref:106" class="footnote-back-ref">↩</a></li>
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<li id="fn:155">"lambgoat.com". Retrieved 11 July 2012. This is deathcore. This is what happens when death metal and hardcore, along with healthy doses of other heavy music styles, are so smoothly blended... <a href="http://www.lambgoat.com/albums/view.aspx?id=2517" target="_blank">http://www.lambgoat.com/albums/view.aspx?id=2517</a> <a href="#fnref:155" class="footnote-back-ref">↩</a></li>
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<li id="fn:159">"lambgoat.com". Retrieved 11 July 2012. This is deathcore. This is what happens when death metal and hardcore, along with healthy doses of other heavy music styles, are so smoothly blended... <a href="http://www.lambgoat.com/albums/view.aspx?id=2517" target="_blank">http://www.lambgoat.com/albums/view.aspx?id=2517</a> <a href="#fnref:159" class="footnote-back-ref">↩</a></li>
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</ol>

Metalcore open-in-new

Metalcore