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Code Orange: Metal’s Rising Stars on Their Grammy Nod, Breakthrough Year

Feb 13 2018

Etymology

The term "metalcore" is a portmanteau of the words "metal" and "hardcore", and was originally tongue-in-cheek.⁴ During the 1980s, Maximumrocknroll had used early variations of the term, referring to Richmond band Black Pyramid as "heavy-metal core" in February 1985;⁵ Oxnard band False Confessions as "metal-core" in December 1985;⁶ Mesa band Desecration as "death metal core" in May 1986;⁷ and Austin band Last Will as "ghoulish metal/core" in December 1986.⁸ When the metalcore genre began in the 1990s, it was largely known as "metallic hardcore".⁹

Phillip Trapp of Loudwire states that Shai Hulud guitarist Matt Fox 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."¹⁰ Alternatively, Jorge Rosado of Merauder claimed in 2014 interview that he and his band coined the term.¹¹

Luke Morton of Metal Hammer 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 Killswitch Engage, Earth Crisis, Asking Alexandria and Parkway Drive.¹²

Characteristics

Stylistic elements

Metalcore fuses elements of hardcore punk and extreme metal, and is known for its use of breakdowns. 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 "New Wave of American Heavy Metal".¹³

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 Botch and Cave In, were stylistically derived from traditional hardcore scenes. Jorge Martins of Ultimate Guitar explained, "some of those bands fused Slayer-based assaulting riffs with Pantera-leaning plummeting breakdowns and punk's ferocity and ethics, and a whole new beast was formed."¹⁴

Some later acts, such as Killswitch Engage, gravitated towards a more accessible heavy metal sound, while also incorporating elements of Swedish melodic death metal and Boston hardcore.^15161718 Many 2000s metalcore bands were heavily influenced by melodic death metal, and extensively incorporated elements of the style into their music.¹⁹ Alternative Press Magazine described metalcore as the "breakdown-heavy counterpart" of melodic death metal, referring to the latter genre as the "founding ancestor" of the former.²⁰ Malcolm Dome of Revolver wrote that without Swedish melodic death metal band At the Gates' 1995 album Slaughter of the Soul, modern North American melodic metalcore acts such as As I Lay Dying and All That Remains "wouldn't even exist."²¹ Graham Hartmann of Loudwire retroactively assessed that the album appeared to be a "Nostradamus-esque prediction of how metal would evolve."²² Jon Weiderhorn of Loudwire said that deathcore and some metalcore bands were influenced by elements of death metal.²³

Genre classification

There is debate as to whether metalcore is a fusion genre, a subgenre, or a genre of its own.²⁴

Metalcore is not universally accepted in some traditional heavy metal and hardcore circles.²⁵ There has been debate and disagreement over whether metalcore is an authentic subgenre of heavy metal, and some in the heavy metal community do not recognize it as a "true" form of metal.²⁶²⁷²⁸ Traditional metalheads tend to view it as an inauthentic imitation of "real" metal, and "a diluted misinterpretation of metal's stylistic codes".²⁹

Instrumentation and vocals

Instrumentally, metalcore bands generally employ heavy, metallic, percussive guitar riffs, and stop-start rhythm guitar.³⁰³¹ Metalcore is known for its emphasis on breakdowns. According to Graham Hartmann of Loudwire, "when a band changes up the mood with some masterful composition, a breakdown can be brilliant as well as devastating."³² Drop guitar tunings are often used in metalcore. Most bands use tuning ranging between Drop D and A, although lower tunings, as well as 7 and 8 string guitars, are not uncommon. Drummers typically employ various techniques common in extreme metal and hardcore, such as double-kick drumming. Author James Giordano explains that metalcore is usually played at slower tempos than some of the styles its artists draw influence from, such as thrash metal.³³

Metalcore vocalists usually perform screaming, a harsh vocal technique that became popular in the underground punk and metal scenes of the 1980s.³⁴ Vocal performances in early metalcore acts were characterized by what has been described as a "raw, scream-meets-shout vocal style."³⁵ Later metalcore bands often alternate between harsh vocals and singing (also known as "clean vocals"), usually during the bridge or chorus of a song.³⁶ Joe Davita of Loudwire explains that many people define modern metalcore by the tradeoff between screaming and clean singing. Although many modern metalcore tracks have choruses that contain hooks, some bands still do omit clean vocals entirely. Other bands use clean vocals very sparingly, done for the purpose of "coloring a mood."³⁷ Modern metalcore clean vocals have drawn comparisons to the mainstream emo and pop-punk music of the 2000s, which some have suggested may have deterred some fans of heavier music styles.³⁸

Lyrics in metalcore are often personal, introspective and emotive.³⁹

Increased commercialism

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".⁴⁰

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 Brooklyn Vegan stated his belief that "the mainstream boom tarnished the word 'metalcore' for a while."⁴¹ Several bands and musicians labelled as metalcore have rejected the term entirely,⁴²⁴³⁴⁴ and even some who accept the term nonetheless insist that the style has become "bastardized" by the influence of commercialism and trends.⁴⁵

Critics and journalists have observed the increased presence of ballads on modern metalcore albums, claiming that the "punk rock spirit [is] long gone" from the genre. Stephen Hill of Metal Hammer assessed, "Killswitch Engage became something akin to the Metallica of metalcore, enjoying continued success whilst others dwindled but, with Howard Jones taking the mic from Jess Leach, becoming more hard rock and ballad-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."⁴⁶ Furthermore, many of the genre's more commercially successful acts, such as All That Remains, Asking Alexandria, Of Mice & Men and Bring Me the Horizon, eventually abandoned their metalcore roots entirely, opting for what has been described as a "more radio-friendly rock- and pop-inclined" approach.⁴⁷⁴⁸ Stephen Hill of Metal Hammer explained: "To onlookers from the outside, metalcore was dead, a one dimensional flash in the pan to go alongside glam and nu-metal in the ‘what were we thinking?’ Fads of alternative culture."⁴⁹

Some practitioners who have expressed disillusionment with the genre's development have attempted to differentiate and constitute acts such as Martyr AD and Poison The Well as representing "what true metalcore is."⁵⁰ Stephen Hill of Metal Hammer suggested that later metalcore bands such as Attila and Blessthefall "[have] more in common with airbrushed, cynically-minded boy bands than the melding of two counter-cultures."⁵¹

History

Precursors: 1980s

Main articles: Hardcore punk and tough guy hardcore

Many of the originators of hardcore punk took influence from the sound of heavy metal, including Black Flag,⁵² the Bad Brains,⁵³ Discharge and the Exploited,⁵⁴ Furthermore, during the 1980s many genres originated merging the two styles, including crust punk, sludge metal and crossover thrash.⁵⁵ Nonetheless, punk and metal cultures and music remained fairly separate through the 1980s.⁵⁶

Bands in the New York hardcore scene in particular put a significant emphasis on the influence of metal, building their own take on hardcore, based around groove-driven, palm muted guitar riffs.⁵⁷ Early on, this scene saw the development of the hardcore breakdown, an amalgamation of Bad Brains' reggae and hardcore backgrounds, which encouraged moshing.⁵⁸ It was this New York-style hardcore that metalcore grew directly out of.⁵⁹⁶⁰⁶¹

Origins: 1990s

One of the earliest metalcore scenes was that of Cleveland, Ohio. Fronted by Integrity and Ringworm, the sound of bands in the scene was distinctly darker than what the genre would become.⁶² 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.⁶³⁶⁴ Revolver magazine writer Elis Enis stated that the album "influenced practically every breakdown that's been recorded since".⁶⁵ Whereas, Ringworm's debut The Promise (1993) made use of a style closer to crossover thrash while also putting a heavy emphasis on breakdowns.⁶⁶ The term "holy terror" refers to this specific style of metalcore which Integrity and Ringworm pioneered.⁶⁷ The style is typified by soaring guitar leads,⁶⁸ gravelly vocals⁶⁹ and lyrics discussing western esotericism.⁷⁰

Philadelphia's Starkweather 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.⁷¹ Rorschach also pioneered a distinctly dissonant and noise-influence niche into this early metalcore sound, which would go on to define noisecore and mathcore.⁷²⁷³

In 1993, Earth Crisis released "Firestorm", a song which became one of the most influential in metalcore.⁷⁴ The band's militant vegan straight edge ethic and emphasis on chug riffs saw them immediately influence a wave of subsequent bands and gained coverage by major media outlets like CNN, CBS and MTV.⁷⁵ The EP the song was a part of was also one of the earliest releases by Victory Records 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.⁷⁶

Boston, Massachusetts too developed an early metalcore scene, led by Overcast who formed in 1990.⁷⁷ Much of this scene were based around Hydra Head Records, which was founded by Aaron Turner after moving to Boston. Converge were one of the earliest and most prominent groups from the city, formed in 1990.⁷⁸ Using Rorschach's music as their sonic template,⁷⁹ the band's experimental attitude, emotional lyrics and attention to dynamics led to them becoming one of the most influential bands in the genre.⁸⁰ Converge, along with Morris Plains, New Jersey's the Dillinger Escape Plan and Tacoma, Washington's Botch were three of the founding acts in the style's mathcore subgenre,⁸¹ with Kansas City, Missouri's Coalesce and New Brunswick, New Jersey's Deadguy being prominent acts transitioning towards the style.⁸² Converge's guitarist Kurt Ballou 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.⁸³

New York City's Merauder released their debut album Master Killer in 1996, merging the sounds of metalcore, earlier New York hardcore and the newly emerged beatdown hardcore style. Of the album, Revolver writer Elis Enis stated "any self-proclaimed 'metallic hardcore' band of the last 25 years is indebted to Master Killer's steel-toed stomp."⁸⁴ Along with All Out War, 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.⁸⁵ Long Island's Vision of Disorder 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 nu metal.⁸⁶ In a 2005 article by Billboard 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".⁸⁷

Bridgeport, Connecticut's Hatebreed released their debut album Satisfaction is the Death of Desire in 1997. The album helped the band achieve underground success, selling 158,000 copies, according to Nielsen SoundScan,⁸⁸ and holds the record for Victory Record's best selling debut album.⁸⁹ The band's style merged classic hardcore with beatdown and metalcore,⁹⁰ while also overtly referencing metal bands like Slayer. In a 2015 Metal Hammer 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."⁹¹ Other influential metalcore bands of the time include Shai Hulud,⁹²⁹³⁹⁴ Zao⁹⁵ and Disembodied.⁹⁶

Orange County, California metalcore band Eighteen Visions contrasted the metalcore scene's usual hyper masculine aesthetic of "army and sports clothes" with "skinny jeans, eyeliner and hairstyles influenced by Orgy and Unbroken".⁹⁷ This visual style led to the band being called "fashioncore".⁹⁸⁹⁹ Jasamine White-Gluz of Exclaim! 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."¹⁰⁰ A scene of bands in Orange County including Bleeding Through, Avenged Sevenfold and Atreyu continued this in Eighteen Visions' wake,^101102103 and influenced emo and scene fashion in the coming decade.¹⁰⁴

As the decade drew to a close, a wave of metalcore bands began incorporating elements of melodic death metal into their sound. This formed an early version of what would become the melodic metalcore genre, with Shadows Fall's Somber Eyes to the Sky (1997), Undying's This Day All Gods Die (1999), Darkest Hour's The Prophecy Fulfilled (1999), Unearth's Above the Fall of Man (1999), Prayer for Cleansing's Rain in Endless Fall (1999) being some of the style's earliest releases.¹⁰⁵ CMJ writer Anthony Delia also credited Florida's Poison the Well and their first two releases The Opposite of December... A Season of Separation (1999) and Tear from the Red (2002) as "design[ing] the template for most of" the melodic metalcore bands to come.¹⁰⁶

Mainstream success: 2000s

Converge's Jane Doe 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 Norma Jean and Misery Signals as well as international acts like Eden Maine, Johnny Truant and Beecher.¹⁰⁷ Blake Butler of Allmusic 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."¹⁰⁸ Terrorizer Magazine named it their 2001 Album of the Year,¹⁰⁹ and it was named the greatest album of the 2000s by Noisecreep,¹¹⁰ Sputnikmusic¹¹¹ and Decibel.¹¹²

Douglasville, Georgia's Norma Jean and the Chariot were both influential artists continuing metalcore's earlier sound into the 2000s.¹¹³¹¹⁴ Norma Jean's O' God, the Aftermath (2005) was Grammy award nominated for Best Recording Package¹¹⁵ and the Chariot's Long Live (2010) was listed as one of Kerrang!'s "21 best U.S. metalcore albums of all time".¹¹⁶ In contrast to these bands' dark approach to the genre, Buffalo, New York's Every Time I Die incorporated Southern rock elements and humor,¹¹⁷ Kerrang! noted them as "shaped the cutting edge of modern metalcore."¹¹⁸

Melodic metalcore

Main article: Melodic metalcore

In 2002, Killswitch Engage's Alive or Just Breathing reached number 37 on the Heatseekers Albums chart.¹¹⁹ In 2004, Killswitch Engage's The End of Heartache,¹²⁰ Shadows Fall's The War Within,¹²¹¹²² and Atreyu's The Curse¹²³ peaked at numbers 21, 20, and 36 on the Billboard 200, respectively. Also, in 2006, Atreyu's third studio album, A Death-Grip On Yesterday peaked at number 9 on the Billboard 200, only to be followed up by 2007's Lead Sails Paper Anchor, which peaked at number 8.¹²⁴ Atreyu's 2002 debut album Suicide Notes and Butterfly Kisses, as of 3 July 2004, has sold 107,000 copies in the United States.¹²⁵ Killswitch Engage's 2004 album The End of Heartache¹²⁶ and 2006 album As Daylight Dies¹²⁷ were both certified gold by the Recording Industry Association of America (RIAA) in 2007 and 2009, respectively. Killswitch Engage's 2002 album Alive or Just Breathing, as of 3 July 2004, has sold 114,000 copies in the United States.¹²⁸ Unearth began to have success among heavy metal fans in 2004 with the release of their second album The Oncoming Storm, which peaked at number 1 on the Heatseekers Albums chart on 17 July 2004.¹²⁹ On that same day, the album peaked at number 105 on the Billboard 200. Unearth's 2006 album III: In the Eyes of Fire peaked at number 35 on the Billboard 200. The band's 2008 album The March peaked at number 45 on the Billboard 200.¹³⁰ Oncoming Storm, III: In the Eyes of Fire', and The March peaked at numbers 6, 2 and 3 on the Independent Albums chart, respectively.¹³¹ Avenged Sevenfold's first two albums Sounding the Seventh Trumpet (2001) and Waking the Fallen (2003) were both metalcore albums. On the band's 2005 album City of Evil, Avenged Sevenfold moved away from metalcore and changed to a traditional heavy metal sound.¹³² On 15 June 2005, Blabbermouth.net reported that Waking the Fallen has sold 172,253 copies in the United States, according to Nielsen SoundScan.¹³³ On 17 July 2009, Waking the Fallen was certified gold by the RIAA.¹³⁴

Trivium also achieved success among heavy metal fans when their 2005 album Ascendancy peaked at number 151 on the Billboard 200. Their albums The Crusade (2006) and Shogun (2008) peaked at numbers 25 and 23 on the Billboard 200, respectively.¹³⁵ Bleeding Through's 2006 album The Truth peaked at number 1 on the Independent Albums chart on 28 January 2006.¹³⁶ On that same day, the album peaked at number 48 on the Billboard 200.¹³⁷ Metalcore band As I Lay Dying also achieved success among heavy metal fans. The band's 2005 album Shadows Are Security peaked at number 35 on the Billboard 200¹³⁸ and sold 263,000 copies, according to Nielsen SoundScan.¹³⁹ As I Lay Dying's 2007 album An Ocean Between Us peaked at number 8 on the Billboard 200 in 2007.¹⁴⁰ As of April 2005, As I Lay Dying's 2003 album Frail Words Collapse sold 118,000 copies in the United States.¹⁴¹ All That Remains achieved success with their 2006 album The Fall of Ideals, which, as of 1 October 2008, sold 175,000 copies in the United States.¹⁴² All That Remains' 2008 album Overcome peaked at number 16 on the Billboard 200.¹⁴³ Overcome's song "Two Weeks" peaked at number 9 on the Mainstream Rock Songs chart on 16 May 2009.¹⁴⁴ Bullet for My Valentine's debut album The Poison 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.¹⁴⁵ On 27 October 2007, Blabbermouth.net reported that The Poison has sold 336,000 copies in the United States.¹⁴⁶ On 3 April 2010, Billboard reported that The Poison sold 573,000 copies in the United States.¹⁴⁷ The Poison was certified gold by the RIAA on 30 January 2009.¹⁴⁸ Bullet for My Valentine's second album Scream Aim Fire, released in 2008, peaked at number 4 on the Billboard 200 and sold 360,000 copies in the United States.¹⁴⁹ Bullet for My Valentine's 2010 album Fever peaked at number 3 on the Billboard 200, selling 71,000 copies in the United States during its first week of release.¹⁵⁰ Fever's song "Your Betrayal" peaked at number 25 on the Bubbling Under Hot 100 chart.¹⁵¹

Diversification

See also: Deathcore and electronicore

As the decade progressed, metalcore became increasingly tied to the social media Myspace, launched in 2003, and the scene subculture that was prominent on the platform.¹⁵² Marketing through Myspace launched the careers of many of the era's most prominent bands including Bring Me the Horizon, Attack Attack!, Black Veil Brides, Bullet for My Valentine, Job For a Cowboy and Suicide Silence. 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 Warped Tour,¹⁵³ and Fearless Records's Punk Goes... cover series.¹⁵⁴

Deathcore is a fusion of metalcore and death metal.^155156157 Deathcore is defined by breakdowns, blast beats and death metal riffs.¹⁵⁸ Bands may also incorporate guitar solos and even riffs that are influenced by metalcore.¹⁵⁹ New York-based death metal group Suffocation 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 Suicide Silence,¹⁶⁰ Whitechapel,¹⁶¹ Knights of the Abyss,¹⁶² Carnifex¹⁶³ and Chelsea Grin.¹⁶⁴

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 No Time to Bleed peaked at number 32 on the Billboard 200, number 12 on the Rock Albums Chart and number 6 on the Hard Rock Albums Chart,¹⁶⁵ while their album The Black Crown peaked at number 28 on the Billboard 200, number 7 on the Rock Albums Chart and number 3 on the Hard Rock Albums Chart.¹⁶⁶ After its release, Whitechapel's album This Is Exile sold 5,900 in copies, which made it enter the Billboard 200 chart at position 118.¹⁶⁷ Their self-titled album peaked at number 65 on the Canadian Albums Chart¹⁶⁸ and also at number 47 on the Billboard 200.¹⁶⁹ Their third album A New Era of Corruption sold about 10,600 copies in the United States in its first week of being released and peaked at position number 43 on the Billboard 200 chart.¹⁷⁰ Furthermore, Bring Me the Horizon won the 2006 Kerrang! Awards for Best British Newcomer after they released their 2006 debut record Count Your Blessings.¹⁷¹ However, Bring Me the Horizon abandoned the deathcore genre after the release of this album.¹⁷² San Diego natives Carnifex, witnessed success with their first album Dead in My Arms, 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 Victory Records.¹⁷³ Lastly, Australian deathcore band Thy Art Is Murder debuted at number 35 on the ARIA Charts with their album Hate (2012)¹⁷⁴ making them the first extreme metal band to ever reach the Top 40 of this chart.¹⁷⁵

Electronicore's merger of metalcore with various electronic music styles emerged in the 2000s. One of the earliest contributors to the sound was St Albans band Enter Shikari.¹⁷⁶ Their debut album Take to the Skies 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.¹⁷⁷ The group received international radio airplay and a substantial number of musical awards, from Kerrang!, NME, Rock Sound and the BT Digital Music Awards.^178179180 Their second album Common Dreads was released in June 2009 and debuted on the UK Albums Chart at 16.¹⁸¹ 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 Someday Came Suddenly (2008) went viral online for its use of autotune and synths, with the members' squatting "crab walk" stance during the music video giving way to the crabcore meme.¹⁸² Warren, Michigan band I See Stars's debut album 3-D debuted at number 176 on the Billboard 200, number 5 on Top Heatseekers, and number 22 on Top Independent Albums.¹⁸³ The Devil Wears Prada's 2011 album Dead Throne (which sold 32,400 in its first week)¹⁸⁴ reached number 10¹⁸⁵ on the Billboard 200 chart. Asking Alexandria also achieved success, with their 2009 song "Final Episode (Let's Change the Channel)" being certified gold by the RIAA.¹⁸⁶ The band's 2011 album Reckless & Relentless peaked at number 9 on the Billboard 200.¹⁸⁷

In the late 2000s, a wave of groups began to gain traction cross-pollinating the metalcore style of bands like Shai Hulud and Misery Signals, with the influence of traditional hardcore and melodic hardcore groups like Killing the Dream. This wave often made use of serious, solemn lyrics and sometimes clean vocals in addition to the commonplace screams. Music commentators including Stuff You Will Hate, Alternative Press and Bradley Zorgdrager of Exclaim! used the name "serious hardcore" or "srscore" to refer to this style.¹⁸⁸¹⁸⁹ Groups in this wave included Hundredth, the Ghost Inside, Counterparts¹⁹⁰ and Stick to Your Guns.¹⁹¹

Continued success: 2010s–present

Architects and Bring Me the Horizon spearheaded the British metalcore scene of the late 2000s and early 2010s.¹⁹² Architects had begun as a mathcore band on Nightmares (2006) before moving into metalcore by the release of Ruin (2007).¹⁹³ 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 Polaris, In Hearts Wake, Void of Vision, Invent Animate, Imminence...the list goes on", as well as popularising the "blegh" adlib, which subsequently became commonplace in the genre.¹⁹⁴ Bring Me the Horizon's third album There Is a Hell Believe Me I've Seen It. There Is a Heaven Let's Keep It a Secret. (2010), saw the band incorporate electronica, classical music and pop music into their metalcore style,¹⁹⁵ a trend then continued further on Sempiternal (2013), which also embraced elements of nu metal.¹⁹⁶ The Latter peaked at number 3 on the UK albums chart,¹⁹⁷ and was one of the earliest releases by a UK metalcore band on a major label, through RCA Records.¹⁹⁸ Following this, many bands in the metalcore scene began to emulate the sound these albums.¹⁹⁹ The band's massive mainstream success led publications such as the Guardian and the Independent to accredit them as "the new Metallica",²⁰⁰²⁰¹ and Metal Hammer writer Stephen Hill to call Sempiternal "this generation's definitive metal album".²⁰²

The nu metal elements present on Sempiternal, as well as Suicide Silence's The Black Crown (2012), led to a wave of bands in the mid-2010s taking influence from nu metal.²⁰³ My Ticket Home's Strangers Only (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 nu metalcore sound.²⁰⁴ Issues' merger of nu metal, metalcore and contemporary R&B gained them significant commercial success, with a number of publications crediting them as ushering a new wave of nu metal.²⁰⁵²⁰⁶ Their debut self-titled album (2014) peaked at number nine on the Billboard 200 chart²⁰⁷ and their second album Headspace (2016) reached number one on the Top Alternative Albums chart.²⁰⁸ Furthermore, Bring Me the Horizon's fifth album That's the Spirit (2015) saw the band fully embrace nu metal,²⁰⁹ which peaked at number 2 in both the UK and US.²¹⁰²¹¹ In the following years Emmure,^212213214 Of Mice & Men,^215216217 Sworn In and DangerKids had all embraced the genre,²¹⁸ and by 2016, nu metalcore had solidified itself as a movement.²¹⁹

Architect's All Our Gods Have Abandoned Us (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 "Doomsday", 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,²²⁰ particularly the song's introduction guitar riff.²²¹

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. Vein.fm,²²² Code Orange, Knocked Loose, Varials, Jesus Piece, Counterparts and Kublai Khan were all notable groups who gained significant success within the genre at the time. Code Orange saw critical acclaim and success with their Roadrunner Records debut Forever in 2017. Forever's title track was also nominated Grammy for Best Metal Performance in 2018.^223224225226 It too embraced the influence of nu metal and according to PopMatters writer Ethan Stewart, led to nu metalcore becoming "one of the most prominent flavors of contemporary metal".²²⁷ Knocked Loose gained significant attention after their song "Counting Worms" from their album Laugh Tracks (2016) became a meme due to its "arf arf" mosh call.²²⁸ The band's 2019 second album A Different Shade of Blue also received critical and commercial success.²²⁹²³⁰

Nu metalcore maintained its prominence into the 2020s with Tetrarch and Tallah gaining notability.²³¹ Loathe's second album I Let It In and It Took Everything (2020) saw critical acclaim, and was consistently praised for expanding the scope of metalcore by incorporating elements of nu metal, shoegaze, emo, post-rock, progressive metal and industrial music.^232233234 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.²³⁵ Publications credited Spiritbox similarly with Metal Hammer calling them "post-metalcore" and "genre-fluid".²³⁶ The band's 2020 single "Holy Roller" reached the Top 40 on the Billboard Mainstream Rock chart,²³⁷ and their debut album Eternal Blue was named the year's best rock or metal album by Loudwire²³⁸ and metalcore album by Metal Hammer.²³⁹

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 Static Dress, SeeYouSpaceCowboy, If I Die First and CrazyEightyEight. This movement grew out of both the hardcore scene and the mainstream success that the emo rap scene gained the late-2010s.²⁴⁰

Formed in 2015, Bad Omens' third album The Death of Peace of Mind (2022) was the band's commercial breakthrough after viral success of the album's second single "Just Pretend" on TikTok²⁴¹ which then topped the Billboard Mainstream Rock chart.²⁴² By March 2023, the album had received 20 million streams on Spotify, leading to Metal Hammer calling them "the biggest metalcore band in a generation."²⁴³ Bring Me the Horizon's Post Human: Survival Horror (2020)²⁴⁴ and Architects' For Those That Wish to Exist (2021) both also reached number one in the UK album charts.²⁴⁵

See also

• List of metalcore bands

Bibliography

• Haenfler, Ross. Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press. ISBN 0-8135-3852-1.
• Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN 1-932595-04-X.
• Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda Books. ISBN 0-9582684-0-1.
• Giordano, James (2016). Maldynia: Multidisciplinary Perspectives on the Illness of Chronic Pain. CRC Press. ISBN 9781439836316.

External links

References

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. ↩

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. /wiki/Cambridge_University_Press ↩

3. Bennett, J (June 2008). "Converge's "Jane Doe"". Revolver. /wiki/Revolver_(magazine) ↩

4. "Who Invented Metalcore?". Loudwire. 28 November 2023. https://loudwire.com/who-invented-metalcore/ ↩

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. https://archive.org/details/mrr_22 ↩

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? https://archive.org/details/mrr_31 ↩

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 https://archive.org/details/mrr_036 ↩

8. "Texas". Maximum Rocknroll. 43: 44. December 1986. Retrieved 16 November 2024. LAST WILL has a ghoulish metal/core cassette out. https://archive.org/details/mrr_43 ↩

9. "Who Invented Metalcore?". Loudwire. 28 November 2023. https://loudwire.com/who-invented-metalcore/ ↩

10. "Who Invented Metalcore?". Loudwire. 28 November 2023. https://loudwire.com/who-invented-metalcore/?utm_source=tsmclip&utm_medium=referral ↩

11. "MERAUDER Interview With Frontman Jorge Rosado". Retrieved 13 October 2024. http://restassuredzine.com/interviews/3581-merauder-interview-with-frontman-jorge-rosado#:~:text=But%20that%20music%20speaks%20for,METALCORE! ↩

12. Morton, Luke (26 July 2018). "The top 10 best metalcore songs". louder. Retrieved 24 March 2025. https://www.loudersound.com/features/the-10-best-metalcore-songs-as-chosen-by-the-agony-scene ↩

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. ↩

14. "Top 10 Best '90s Proto-Metalcore Albums That Shaped the Genre". www.ultimate-guitar.com. Retrieved 24 March 2025. https://www.ultimate-guitar.com/articles/features/top_10_best_90s_proto-metalcore_albums_that_shaped_the_genre-113093 ↩

15. "Top 10 Best '90s Proto-Metalcore Albums That Shaped the Genre". www.ultimate-guitar.com. Retrieved 24 March 2025. https://www.ultimate-guitar.com/articles/features/top_10_best_90s_proto-metalcore_albums_that_shaped_the_genre-113093 ↩

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. 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 ↩

17. "Killswitch Engage > Loudwire". Loudwire. Retrieved 24 March 2025. https://loudwire.com/tags/killswitch-engage/ ↩

18. "Killswitch Engage Songs, Albums, Reviews, Bio ..." AllMusic. Retrieved 24 March 2025. https://www.allmusic.com/artist/killswitch-engage-mn0000771792#biography ↩

19. Crane, Matt (2 September 2014). "12 melodic death-metal songs any self-respecting metalcore fan should like". Alternative Press. Retrieved 30 November 2019. https://www.altpress.com/features/12_melodic_death_metal_songs_any_self_respecting_metalcore_fan_should_like/ ↩

20. Crane, Matt. "12 melodic death-metal songs any self-respecting metalcore fan should like". Alternative Press Magazine. Retrieved 24 March 2025. https://www.altpress.com/12_melodic_death_metal_songs_any_self_respecting_metalcore_fan_should_like/ ↩

21. Dome, Malcolm (14 November 2018). "How At the Gates Changed Metal Forever With 'Slaughter of the Soul'". Revolver. Retrieved 30 November 2019. https://www.revolvermag.com/music/how-gates-changed-metal-forever-slaughter-soul ↩

22. Hartmann, Graham (21 January 2014). "Will At the Gates Release a New Album in 2014?". Loudwire. Retrieved 30 November 2019. https://loudwire.com/at-the-gates-new-album-2014/ ↩

23. "Death Metal 101: The History of Death Metal". Loudwire. 31 August 2017. https://loudwire.com/heavy-metal-101-history-of-death-metal/ ↩

24. "Is Metalcore Metal?". Loudwire. 8 January 2024. https://loudwire.com/is-metalcore-metal/ ↩

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. /wiki/Cambridge_University_Press ↩

26. "The 21 best U.S. Metalcore albums of all time". 9 June 2020. https://www.kerrang.com/the-21-best-us-metalcore-albums-of-all-time ↩

27. "Why do Metalheads Think Metalcore Isn't Real Metal? Reddit Users Answer". Loudwire. 16 April 2024. https://loudwire.com/why-metalheads-dont-like-metalcore-reddit/ ↩

28. Trapp, Philip (28 November 2023). "Who Invented Metalcore?". Loudwire. Retrieved 25 March 2025. https://loudwire.com/who-invented-metalcore/?utm_source=tsmclip&utm_medium=referral ↩

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. /wiki/Cambridge_University_Press ↩

30. "Wristmeetrazor Channel Vintage Metalcore Energy on Misery Never Forgets". MetalSucks. 9 January 2019. Retrieved 8 December 2020. https://www.metalsucks.net/2019/01/09/wristmeetrazor-channel-vintage-metalcore-energy-on-misery-never-forgets/ ↩

31. Bowar, Chad. "What Is Metalcore?". liveabout.com. Retrieved 16 November 2014. https://www.liveabout.com/what-is-metalcore-1756187 ↩

32. Hartmann, Graham (27 July 2017). "10 Sickest Breakdowns of All Time". Loudwire. Retrieved 24 March 2025. https://loudwire.com/10-sickest-breakdowns-of-all-time/?utm_source=tsmclip&utm_medium=referral ↩

33. Giordano 2016, p. 141. - Giordano, James (2016). Maldynia: Multidisciplinary Perspectives on the Illness of Chronic Pain. CRC Press. ISBN 9781439836316. ↩

34. Bowar, Chad. "What Is Metalcore?". liveabout.com. Retrieved 16 November 2014. https://www.liveabout.com/what-is-metalcore-1756187 ↩

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. https://loudwire.com/metalcore-best-clean-singers-bands-barely-use-clean-vocals/?utm_source=tsmclip&utm_medium=referral ↩

36. Bowar, Chad. "What Is Metalcore?". liveabout.com. Retrieved 16 November 2014. https://www.liveabout.com/what-is-metalcore-1756187 ↩

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. https://loudwire.com/metalcore-best-clean-singers-bands-barely-use-clean-vocals/?utm_source=tsmclip&utm_medium=referral ↩

38. "Why do Metalheads Think Metalcore Isn't Real Metal? Reddit Users Answer". Loudwire. 16 April 2024. https://loudwire.com/why-metalheads-dont-like-metalcore-reddit/ ↩

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. /wiki/Cambridge_University_Press ↩

40. Karjalainen, Toni-Matti (2018). Sounds of Origin in Heavy Metal Music. Cambridge Scholars Publishing. pp. 141–142. ↩

41. Sacher, Andrew. "15 '90s metalcore albums that still resonate today". BrooklynVegan. Retrieved 25 February 2025. https://www.brooklynvegan.com/15-90s-metalcore-albums-that-still-resonate-today/ ↩

42. "Top 10 Most Important Moments in the Evolution of Metalcore". https://activloop.com/music/top-10-most-important-moments-in-the-evolution-of-metalcore/ ↩

43. "Who Invented Metalcore?". Loudwire. 28 November 2023. https://loudwire.com/who-invented-metalcore/ ↩

44. "Metalcore Bands are Going Mainstream, and It's Painful". https://www.houstonpress.com/music/metalcore-bands-are-going-mainstream-and-its-painful-7805113 ↩

45. "Renounced: "Death to false metalcore"". https://www.punktastic.com/radar/renounced-death-to-false-metalcore/ ↩

46. Hill, Stephen (29 January 2015). "From Crossover To Metalcore: The Genesis Of A Genre". louder. Retrieved 24 March 2025. https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre ↩

47. "Metalcore Bands are Going Mainstream, and It's Painful". https://www.houstonpress.com/music/metalcore-bands-are-going-mainstream-and-its-painful-7805113 ↩

48. "Fan Poll: 5 Greatest Metalcore Albums". Revolver. Retrieved 25 March 2025. https://www.revolvermag.com/music/fan-poll-5-greatest-metalcore-albums/ ↩

49. Hill, Stephen (29 January 2015). "From Crossover To Metalcore: The Genesis Of A Genre". louder. Retrieved 24 March 2025. https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre ↩

50. "Renounced: "Death to false metalcore"". https://www.punktastic.com/radar/renounced-death-to-false-metalcore/ ↩

51. Hill, Stephen (29 January 2015). "From Crossover To Metalcore: The Genesis Of A Genre". louder. Retrieved 24 March 2025. https://www.loudersound.com/features/from-crossover-to-metalcore-the-genesis-of-a-genre ↩

52. Blush, American Hardcore, part 2, "Thirsty and Miserable", p. 63, 66. ↩

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. /wiki/ISBN_(identifier) ↩

54. Glasper, Ian (2004). Burning Britain: The History of UK Punk 1980–1984. Cherry Red Books. p. 5. ISBN 1-901447-24-3. /wiki/ISBN_(identifier) ↩

55. TARRE, DYLAN. "The Complete A-Z of Heavy Metal Subgenres". Retrieved 13 November 2024. https://lambgoat.com/lists/1/the-complete-a-z-of-heavy-metal-subgenres ↩

56. "Who Invented Metalcore?". Loudwire. 28 November 2023. https://loudwire.com/who-invented-metalcore/ ↩

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. https://www.newyorker.com/magazine/2015/03/09/united-blood ↩

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." /wiki/Snare_drum ↩

59. Sfetcu, Nicolae (7 May 2014). The Music Sound. This idea obviously spread outwards, and although their first real release ("Those Who Fear Tomorrow") wasn't until 1991, Integrity was formed in 1989. Most songwriting by metalcore bands at this time was similar to New York hardcore bands, but differed in their harder sound thanks to use of double bass drums, harder distortion and louder, more gruff vocal shouts. ↩

60. "HARDCORE PUNK". Retrieved 10 November 2024. https://www.metalmusicarchives.com/subgenre/hardcore-punk ↩

61. Enis, Eli. "10 ESSENTIAL NEW YORK HARDCORE ALBUMS". Revolver. Retrieved 10 November 2024. As its very own sub-style of the broader tent genre, NYHC has an instantly recognizable sound and style with its own localized lineage, but it's also transcended its own area code and influenced many of the biggest hardcore bands of the last 30 years — from Hatebreed and No Warning to Power Trip and Turnstile. From the enduring works of metallic hardcore pioneers to the timeless exuberance of straight-edge provocateurs... https://www.revolvermag.com/music/10-essential-new-york-hardcore-albums/ ↩

62. Schafer, Joseph (23 January 2019). "States Of Metal: Ohio Thrives On Grit And Determination". Kerrang!. Retrieved 29 August 2023. https://www.kerrang.com/states-of-metal-ohio-thrives-on-grit-and-determination ↩

63. Young, Simon (9 June 2020). "The 21 best U.S. metalcore albums of all time". Kerrang!. Retrieved 29 August 2023. https://www.kerrang.com/the-21-best-us-metalcore-albums-of-all-time ↩

64. "Who Invented Metalcore?". Loudwire. 28 November 2023. https://loudwire.com/who-invented-metalcore/ ↩

65. Enis, Eli (16 August 2021). "10 MOST INFLUENTIAL METALCORE ALBUMS OF ALL TIME". Revolver. Retrieved 29 August 2023. https://www.revolvermag.com/music/10-most-influential-metalcore-albums-all-time#integrity-those-who-fear-tomorrow ↩

66. "Top 10 Best '90s Proto-Metalcore Albums That Shaped the Genre". www.ultimate-guitar.com. Retrieved 24 March 2025. https://www.ultimate-guitar.com/articles/features/top_10_best_90s_proto-metalcore_albums_that_shaped_the_genre-113093 ↩

67. Yanick, Joseph (22 March 2015). "A Documentary About Ohio Hardcore is Coming: We Interviewed the Director of 'Destroy Cleveland'". Vice Media. Retrieved 3 January 2025. https://www.vice.com/en/article/destroy-cleveland-doc/ ↩

68. Whelan, Kez (5 September 2023). "Columnus Metallicus: Heavy Metal For September Reviewed By Kez Whelan". The Quietus. Retrieved 3 January 2025. https://thequietus.com/quietus-reviews/metal/dying-fetus-incantation-atomck/ ↩

69. Gluck, Michael. "Pulling Teeth Vicious Skin". Retrieved 3 January 2025. https://lambgoat.com/albums/2363/pulling-teeth-vicious-skin/ ↩

70. ADAMS, GREGORY. "Five Unexpected Elements That Shaped Integrity's 'Howling, For the Nightmare Shall Consume'". Exclaim!. Retrieved 3 January 2025. https://exclaim.ca/music/article/five_unexpected_elements_that_shaped_integritys_occult-inspired_new_lp_howling_for_the_nightmare_shall_consume ↩

71. Martins, Jorge. "Top 10 Most Important Moments In the Evolution of Metalcore". Ultimate Guitar. Retrieved 29 August 2023. https://www.ultimate-guitar.com/articles/features/top_10_most_important_moments_in_the_evolution_of_metalcore-107030 ↩

72. McKenty, Finn (7 June 2010). "The History of Metalcore/Screamo". MetalSucks. Retrieved 29 August 2023. /wiki/Finn_McKenty ↩

73. Breiham, Tom (6 June 2022). "Watch Members Of Converge, The Dillinger Escape Plan, & More Cover Botch's Mathcore Classic "To Our Friends In The Great White North"". Stereogum. Retrieved 29 August 2023. https://www.stereogum.com/2188993/watch-members-of-converge-the-dillinger-escape-plan-more-cover-botchs-mathcore-classic-to-our-friends-in-the-great-white-north/news/ ↩

74. Marwood, Lance (5 June 2023). "Earth Crisis: "People really take the bait when it comes to the divide and conquer propaganda."". Retrieved 29 August 2023. https://v13.net/2023/06/earth-crisis-karl-buechner-interview-cover-stoy-firestorm/ ↩

75. Downey, Ryan. "Biography Earth Crisis". AllMusic. Retrieved 29 August 2023. https://www.allmusic.com/artist/earth-crisis-mn0000160870/biography ↩

76. Bellino, Emily (21 October 2019). "Five Times Victory Records Ruled". Decibel. Retrieved 29 August 2023. https://www.decibelmagazine.com/2019/10/21/five-times-victory/ ↩

77. Kennelty, Greg (3 March 2023). "LISTSUNEARTH Names The 11 Best Lesser-Known Metalcore Classics, Announces New Album". Retrieved 29 August 2023. https://metalinjection.net/lists/unearth-names-the-11-best-lesser-known-metalcore-classics-announces-new-album ↩

78. Hill, Stephen (March 2020). "How Boston hardcore changed rock music". Metal Hammer. Retrieved 7 July 2021. https://www.loudersound.com/features/how-boston-hardcore-changed-rock-music ↩

79. Breihan, Tom (7 January 2010). "5-10-15-20: Converge's Kurt Ballou". Pitchfork. Retrieved 29 August 2023. https://pitchfork.com/news/37497-5-10-15-20-converges-kurt-ballou/ ↩

80. Martins, Jorge. "Top 10 Most Important Moments In the Evolution of Metalcore". Ultimate Guitar. Retrieved 29 August 2023. https://www.ultimate-guitar.com/articles/features/top_10_most_important_moments_in_the_evolution_of_metalcore-107030 ↩

81. Luis, Michael (12 June 2019). "A Brief History of Mathcore In Ten Albums". Bandcamp Daily. Retrieved 29 August 2023. https://daily.bandcamp.com/lists/mathcore-guide ↩

82. Smith-Engelhardt, Joe (21 January 2021). "20 mathcore albums that made the genre what it is today". Alternative Press. Retrieved 29 August 2023. https://www.altpress.com/best-mathcore-albums-of-all-time/ ↩

83. Hill, Stephen (March 2020). "How Boston hardcore changed rock music". Metal Hammer. Retrieved 7 July 2021. https://www.loudersound.com/features/how-boston-hardcore-changed-rock-music ↩

84. Enis, Eli (16 August 2021). "10 MOST INFLUENTIAL METALCORE ALBUMS OF ALL TIME". Revolver. Retrieved 29 August 2023. https://www.revolvermag.com/music/10-most-influential-metalcore-albums-all-time#merauder-master-killer ↩

85. Enis, Eli (22 July 2019). "Metal And Hardcore Legends Remember All Out War's For Those Who Were Crucified". Kerrang!. Retrieved 29 August 2023. https://www.kerrang.com/metal-and-hardcore-legends-remember-all-out-wars-for-those-who-were-crucified ↩

86. McKenty, Finn (8 April 2011). "LET'S TALK ABOUT VISION OF DISORDER!". MetalSucks. Retrieved 29 August 2023. https://www.metalsucks.net/2011/04/08/lets-talk-about-vision-of-disorder/ ↩

87. Prato, Greg. "Bloodsimple / Sept. 24, 2005 / Levittown, N.Y. (Club Voltage)". Billboard. Retrieved 29 August 2023. https://www.billboard.com/music/music-news/bloodsimple-sept-24-2005-levittown-ny-club-voltage-61208/ ↩

88. Reesman, Bryan (3 April 2004). "Victory Scores With Indie Grit". Billboard. Vol. 116, no. 14. Nielsen Business Media, Inc. p. 22. ISSN 0006-2510. Retrieved 29 November 2019. https://books.google.com/books?id=FhAEAAAAMBAJ&q=hatebreed+satisfaction+is+death+of+desire+soundscan&pg=PA22 ↩

89. Hill, Stephen (October 2015). "In Praise Of... Hatebreed – Satisfaction Is The Death Of Desire". Metal Hammer. Retrieved 29 August 2023. https://www.loudersound.com/features/in-praise-of-hatebreed-satisfaction-is-the-death-of-desire ↩

90. Richardson, Jake (12 January 2023). "10 Metalcore Bands Who Don't (Or Barely) Use Clean Vocals". Loudwire. Retrieved 24 August 2023. https://loudwire.com/metalcore-bands-little-no-clean-singing/ ↩

91. Hill, Stephen (October 2015). "In Praise Of... Hatebreed – Satisfaction Is The Death Of Desire". Metal Hammer. Retrieved 29 August 2023. https://www.loudersound.com/features/in-praise-of-hatebreed-satisfaction-is-the-death-of-desire ↩

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. https://web.archive.org/web/20120327210110/http://www.killyourstereo.com/reviews/169/shai-hulud-misanthropy-pure/ ↩

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. https://www.sputnikmusic.com/review/14839/Shai-Hulud-Hearts-Once-Nourished/ ↩

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. http://www.iatde.alivewww.co.uk/zombieapocalypse.htm ↩

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.. https://www.loudersound.com/features/the-top-10-best-proto-metalcore-records ↩

96. Sharpe-Young, p. 119 ↩

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. https://www.popmatters.com/scene-subculture-origins-hardcore-harajuku ↩

98. 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. https://www.popmatters.com/scene-subculture-origins-hardcore-harajuku ↩

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. https://www.ocweekly.com/how-eighteen-visions-became-the-oc-metal-band-known-for-inventing-fashioncore-6569812/ ↩

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. https://exclaim.ca/music/article/lamb_of_god_chimaira_eighteen_visions_atreyu-rainbow ↩

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. https://www.altpress.com/features/what_is_emo_history_definition/ ↩

102. Deneau, Max (1 December 2005). "Bleeding Through Wolves Among Sheep". Exclaim!. Archived from the original on 8 June 2021. Retrieved 8 June 2021. https://exclaim.ca/music/article/bleeding_through-wolves_among_sheep ↩

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. http://www.cjlo.com/articles/easy-breezy-brutal-three-major-movements-in-heavy-metal-makeup ↩

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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. ↩

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