Metalcore
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Metalcore
Other namesMetallic hardcore
Stylistic origins
Cultural originsLate 1980s to early 1990s, United States
Derivative forms
Subgenres
Fusion genres
Regional scenes
Other topics

Metalcore is a broadly defined[1] fusion genre combining elements of heavy metal and hardcore punk, originating in the 1990s United States and becoming popular in the 2000s. Metalcore typically has aggressive verses and melodic choruses, combined with slow, intense passages called breakdowns. Other defining traits are low-tuned, percussive guitar riffs, double bass drumming, and highly polished production. Vocalists typically switch between clean vocals (melodic, emotional singing) and harsh vocals (including shouting and screaming). Lyrics are often personal, introspective and emotive.[9] It is debated whether metalcore is a subgenre of metal and hardcore, or a genre of its own. Many metalheads do not regard metalcore as a heavy metal subgenre.[9]

In the late 1980s to early 1990s, pioneering bands were founded such as Integrity, Earth Crisis and Converge, whose hardcore punk-leaning style is sometimes referred to as metallic hardcore.[10] These bands took influence from a range of styles and genres such as hardcore punk, thrash metal and death metal. During the decade, the genre diversified, with Converge, the Dillinger Escape Plan, Botch and Coalesce pioneering mathcore, while Overcast, Shadows Fall and Darkest Hour merged the genre with melodic death metal to create melodic metalcore.

During the early 2000s, melodic metalcore bands such as Killswitch Engage, All That Remains, Trivium, As I Lay Dying, Atreyu, Bullet for My Valentine and Parkway Drive found mainstream popularity. In the subsequent years, the genre saw increased success through social networking on Myspace and internet memes such as crabcore. During this time, artists began to draw influence from a wide variety of sources, which led to genre cultivating a plethora of fusion genres including electronicore, deathcore, Nintendocore, progressive metalcore and nu metalcore. In the 2010s and through to the 2020s, the genre saw even greater commercial success, with albums by Bring Me the Horizon, Architects, Asking Alexandria, the Devil Wears Prada and Of Mice & Men penetrating the top 10 of international albums charts.

Etymology

[edit]
Shai Hulud guitarist Matt Fox has been credited by some for popularizing the "metalcore" term.

Like most genres, [metalcore is] not an easy term to define; even saying “metal meets hardcore” doesn’t really do it. Hardcore and metal’s relationship long predates metalcore; hardcore bands inspired metal bands to invent thrash, and in turn thrash bands inspired punk bands to start crossover thrash, both genres influenced grunge, and the cross-pollination just kept spiraling from there. I don’t know the exact year that “metalcore” entered the vernacular, but some of the earlier bands [...] probably would have just been called “metallic hardcore."

Andrew Sacher, Brooklyn Vegan (August 26, 2019) [11]

The term "metalcore" is a portmanteau of the words "metal" and "hardcore", and was originally tongue-in-cheek.[12] During the 1980s, Maximumrocknroll had used early variations of the term, referring to Richmond band Black Pyramid as "heavy-metal core" in February 1985;[13] Oxnard band False Confessions as "metal-core" in December 1985;[14] Mesa band Desecration as "death metal core" in May 1986;[15] and Austin band Last Will as "ghoulish metal/core" in December 1986.[16] When the metalcore genre began in the 1990s, it was largely known as "metallic hardcore".[12]

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."[17] Alternatively, Jorge Rosado of Merauder claimed in 2014 interview that he and his band coined the term.[18]

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.[19]

Characteristics

[edit]

Stylistic elements

[edit]
Metalcore band Cave In performing in 2006

The word "metalcore" is one of the few subgenres of music that conjures up an incredibly different range of sounds depending on who you ask. For old heads, it brings up a moment in time when the worlds of heavy metal and hardcore punk combined to a new underground genre, a grassroots movement and [an] exciting time for punk. For others, big room metal anthems pitted with poppy choruses are conjured, riffs descended from the Gothenburg school of metal contorted into music with a sense of bounce.

John Hill of Loudwire (May 25, 2020) [1]

Metalcore fuses elements of hardcore punk with heavy metal,[1][2][20] as well as incorporating elements of groove metal, crossover thrash and melodic death metal.[1] It is known for its use of breakdowns. There is debate as to whether metalcore is a fusion genre, a subgenre, or a genre of its own.[21] According to Lewis 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".[22]

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, performing styles characterized by "relentless tempos and neck vein-popping vocals." Jorge Martins of Ultimate Guitar stated: "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."[23][24]

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.[24][25][26][27] Many 2000s metalcore bands were heavily influenced by melodic death metal, and extensively incorporated elements of the style into their music.[28]

Instrumentation and vocals

[edit]

The success of [Killswitch Engage] also effected the artistic endeavours of the genre. 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. This in turn led to every chancer with a guitar chucking some beatdowns in between a few In Flames cast-off riffs and barking over the top – save for the inevitable emotive chorus. [...] The punk rock spirit was long gone, even bands such as Trivium, a band who have not a single atom of influence, approach or sound of punk in their make up, were bizarrely linked with the metalcore tag. A name that seemed to have less and less meaning the more the noughties rolled on.

Stephen Hill of Metal Hammer (January 29, 2015) [2]
Converge guitarist Kurt Ballou

Instrumentally, metalcore generally has percussive guitar riffs and stop-start rhythm guitar.[29][30] Metalcore is known for its emphasis on breakdowns, which are slow, intense passages during a song. 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."[31] 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 states that metalcore is usually played at slower tempos than the styles its artists draw influence from, such as thrash metal.[32]

Metalcore vocalists usually mix "clean" vocals—melodic, emotional singing—with "harsh" vocals—including shouting, roaring and screaming, a harsh vocal technique that became popular in the underground punk and metal scenes of the 1980s.[30] Vocal performances in early metalcore acts were characterized by what has been described as a "raw, scream-meets-shout vocal style."[33] Later metalcore bands often alternate between harsh vocals and clean singing, usually during the bridge or chorus of a song.[30] Joe DiVita of Loudwire states 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," according to DiVita.[33] 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.[34][35]

Unlike traditional heavy metal and extreme metal lyrics (which are often fantastical), metalcore lyrics are often personal, introspective and emotional.[9]

History

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Precursors: 1980s

[edit]
Main articles: Hardcore punk and tough guy hardcore
Agnostic Front were an early band to merge elements of metal with hardcore

Many of the originators of hardcore punk took influence from the sound of heavy metal, including Black Flag,[36] the Bad Brains,[37] Discharge and the Exploited,[38] Furthermore, during the 1980s many genres originated merging the two styles, including crust punk, sludge metal and crossover thrash.[39] Nonetheless, punk and metal cultures and music remained fairly separate through the 1980s.[40]

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.[41] Early on, this scene saw the development of the hardcore breakdown, an amalgamation of Bad Brains' reggae and hardcore backgrounds, which encouraged moshing.[42] It was this New York-style hardcore that metalcore grew directly out of.[43][44][45]

Origins: 1990s

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Integrity in Tokyo, Japan in 2017.

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.[46] 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.[47][48] Revolver magazine writer Elis Enis stated that the album "influenced practically every breakdown that's been recorded since".[49] Whereas, Ringworm's debut The Promise (1993) made use of a style closer to crossover thrash while also putting a heavy emphasis on breakdowns.[24] The term "holy terror" refers to this specific style of metalcore which Integrity and Ringworm pioneered.[50] The style is typified by soaring guitar leads,[51] gravelly vocals[52] and lyrics discussing western esotericism.[53]

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.[54] Rorschach also pioneered a distinctly dissonant and noise-influence niche into this early metalcore sound, which would go on to define noisecore and mathcore.[55][56]

In 1993, Earth Crisis released "Firestorm", a song which became one of the most influential in metalcore.[57] 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.[58] 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.[59]

Boston, Massachusetts too developed an early metalcore scene, led by Overcast who formed in 1990.[60] 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.[61] Using Rorschach's music as their sonic template,[62] the band's experimental attitude, emotional lyrics and attention to dynamics led to them becoming one of the most influential bands in the genre.[54] 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,[63] with Kansas City, Missouri's Coalesce and New Brunswick, New Jersey's Deadguy being prominent acts transitioning towards the style.[64] 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.[61]

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."[65] 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.[66] 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.[67] 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".[68]

Metalcore band Hatebreed.

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,[69] and holds the record for Victory Record's best selling debut album.[70] The band's style merged classic hardcore with beatdown and metalcore,[71] 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."[70] Other influential metalcore bands of the time include Shai Hulud,[72][73][74] Zao[75] and Disembodied.[76]

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".[77] This visual style led to the band being called "fashioncore".[77][78] 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."[79] A scene of bands in Orange County including Bleeding Through, Avenged Sevenfold and Atreyu continued this in Eighteen Visions' wake,[80][81][82] and influenced emo and scene fashion in the coming decade.[77]

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.[83] 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.[84] Alternative Press Magazine described melodic metalcore as the "breakdown-heavy counterpart" of melodic death metal, referring to the latter genre as the "founding ancestor" of the former.[85] At the Gates' 1995 album Slaughter of the Soul was influential for many melodic metalcore bands.[86] Malcolm Dome of Revolver wrote that without the album, modern North American melodic metalcore acts such as As I Lay Dying and All That Remains "wouldn't even exist."[87]

Mainstream success: 2000s

[edit]
Converge's Jane Doe (2001) is one of the most critically acclaimed albums in metalcore.

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.[88] 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."[89] Terrorizer Magazine named it their 2001 Album of the Year,[90] and it was named the greatest album of the 2000s by Noisecreep,[91] Sputnikmusic[92] and Decibel.[93]

Douglasville, Georgia's Norma Jean and the Chariot were both influential artists continuing metalcore's earlier sound into the 2000s.[47][94] Norma Jean's O' God, the Aftermath (2005) was Grammy award nominated for Best Recording Package[95] and the Chariot's Long Live (2010) was listed as one of Kerrang!'s "21 best U.S. metalcore albums of all time".[47] In contrast to these bands' dark approach to the genre, Buffalo, New York's Every Time I Die incorporated Southern rock elements and humor,[54] Kerrang! noted them as "shaped the cutting edge of modern metalcore."[96]

Melodic metalcore

[edit]
Main article: Melodic metalcore
Melodic metalcore band Killswitch Engage performing in 2016.

In 2002, Killswitch Engage's Alive or Just Breathing reached number 37 on the Heatseekers Albums chart.[97] In 2004, Killswitch Engage's The End of Heartache,[98] Shadows Fall's The War Within,[99][100] and Atreyu's The Curse[101] 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.[101] Atreyu's 2002 debut album Suicide Notes and Butterfly Kisses, as of 3 July 2004, has sold 107,000 copies in the United States.[102] Killswitch Engage's 2004 album The End of Heartache[103] and 2006 album As Daylight Dies[104] 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.[102] 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.[105] 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.[106] Oncoming Storm, III: In the Eyes of Fire', and The March peaked at numbers 6, 2 and 3 on the Independent nt Albums chart, respectively.[107]

Avenged Sevenfold's first two albums Sounding the Seventh Trumpet (2001) and Waking the Fallen (2003) were also 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.[108] On 15 June 2005, Blabbermouth.net reported that Waking the Fallen has sold 172,253 copies in the United States, according to Nielsen SoundScan.[109] On 17 July 2009, Waking the Fallen was certified gold by the RIAA.[110]

As I Lay Dying live at With Full Force 2007.

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.[111] Bleeding Through's 2006 album The Truth peaked at number 1 on the Independent Albums chart on 28 January 2006.[112] On that same day, the album peaked at number 48 on the Billboard 200.[113] 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 200[114] and sold 263,000 copies, according to Nielsen SoundScan.[115] As I Lay Dying's 2007 album An Ocean Between Us peaked at number 8 on the Billboard 200 in 2007.[114] As of April 2005, As I Lay Dying's 2003 album Frail Words Collapse sold 118,000 copies in the United States.[116] 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.[117] All That Remains' 2008 album Overcome peaked at number 16 on the Billboard 200.[117] Overcome's song "Two Weeks" peaked at number 9 on the Mainstream Rock Songs chart on 16 May 2009.[118] 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.[119] On 27 October 2007, Blabbermouth.net reported that The Poison has sold 336,000 copies in the United States.[120] On 3 April 2010, Billboard reported that The Poison sold 573,000 copies in the United States.[121] The Poison was certified gold by the RIAA on 30 January 2009.[122] 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.[121] 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.[121] Fever's song "Your Betrayal" peaked at number 25 on the Bubbling Under Hot 100 chart.[123]

Diversification

[edit]
Whitechapel on 2011 Summer Slaughter Tour.
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.[124] 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,[125] and Fearless Records's Punk Goes... cover series.[126]

Deathcore is a fusion of metalcore and death metal.[127][128][129][130] Deathcore is defined by breakdowns, blast beats and death metal riffs.[131] Bands may also incorporate guitar solos and even riffs that are influenced by metalcore.[127] 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.[132] Some examples of deathcore bands are Suicide Silence,[133] Whitechapel,[133] Knights of the Abyss,[134] Carnifex[133] and Chelsea Grin.[135]

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,[136] 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.[136] 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.[137] Their self-titled album peaked at number 65 on the Canadian Albums Chart[138] and also at number 47 on the Billboard 200.[139] 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.[140] Furthermore, Bring Me the Horizon won the 2006 Kerrang! Awards for Best British Newcomer after they released their 2006 debut record Count Your Blessings.[141] However, Bring Me the Horizon abandoned the deathcore genre after the release of this album.[142] 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.[143] Lastly, Australian deathcore band Thy Art Is Murder debuted at number 35 on the ARIA Charts with their album Hate (2012)[144] making them the first extreme metal band to ever reach the Top 40 of this chart.[145]

Asking Alexandria at Mayhem Festival 2012.

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.[146] 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.[147] The group received international radio airplay and a substantial number of musical awards, from Kerrang!, NME, Rock Sound and the BT Digital Music Awards.[148][149][150] Their second album Common Dreads was released in June 2009 and debuted on the UK Albums Chart at 16.[151] 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.[152] 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.[153] The Devil Wears Prada's 2011 album Dead Throne (which sold 32,400 in its first week)[154] reached number 10[155] 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.[156] The band's 2011 album Reckless & Relentless peaked at number 9 on the Billboard 200.[157]

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.[158][159] Groups in this wave included Hundredth, the Ghost Inside, Counterparts[159] and Stick to Your Guns.[160]

Continued success: 2010s–present

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Bring Me the Horizon's 2013 album Sempiternal was highly influential on metalcore in the 2010s

Architects and Bring Me the Horizon spearheaded the British metalcore scene of the late 2000s and early 2010s.[161] Architects had begun as a mathcore band on Nightmares (2006) before moving into metalcore by the release of Ruin (2007).[162] 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.[161] 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,[163] a trend then continued further on Sempiternal (2013), which also embraced elements of nu metal.[164] The Latter peaked at number 3 on the UK albums chart,[165] and was one of the earliest releases by a UK metalcore band on a major label, through RCA Records.[166] Following this, many bands in the metalcore scene began to emulate the sound these albums.[164] The band's massive mainstream success led publications such as the Guardian and the Independent to accredit them as "the new Metallica",[167][168] and Metal Hammer writer Stephen Hill to call Sempiternal "this generation's definitive metal album".[164]

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.[169] 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.[170] 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.[171][172] Their debut self-titled album (2014) peaked at number nine on the Billboard 200 chart[173] and their second album Headspace (2016) reached number one on the Top Alternative Albums chart.[174] Furthermore, Bring Me the Horizon's fifth album That's the Spirit (2015) saw the band fully embrace nu metal,[175] which peaked at number 2 in both the UK and US.[176][177] In the following years Emmure,[178][179][180] Of Mice & Men,[181][182][183] Sworn In and DangerKids had all embraced the genre,[169] and by 2016, nu metalcore had solidified itself as a movement.[184]

Architects were one of the most prominent metalcore bands in the 2010s

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,[162] particularly the song's introduction guitar riff.[161]

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,[185] 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.[citation needed] 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.[186][187][188][189] 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".[184] 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.[190] The band's 2019 second album A Different Shade of Blue also received critical and commercial success.[191][192]

Nu metalcore maintained its prominence into the 2020s with Tetrarch and Tallah gaining notability.[193] 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.[194][195][196] 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.[197] Publications credited Spiritbox similarly with Metal Hammer calling them "post-metalcore" and "genre-fluid".[198] The band's 2020 single "Holy Roller" reached the Top 40 on the Billboard Mainstream Rock chart,[199] and their debut album Eternal Blue was named the year's best rock or metal album by Loudwire[200] and metalcore album by Metal Hammer.[201]

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.[202]

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 TikTok[203] which then topped the Billboard Mainstream Rock chart.[204] 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."[203] Bring Me the Horizon's Post Human: Survival Horror (2020)[205] and Architects' For Those That Wish to Exist (2021) both also reached number one in the UK album charts.[206]

Reception and legacy

[edit]

Metalcore is not universally accepted in heavy metal and hardcore circles,[207] and there has been debate and disagreement over whether metalcore is an authentic subgenre of heavy metal.[208][209][210] Traditional metalheads tend to view metalcore as an inauthentic imitation of "real" metal, and "a diluted misinterpretation of metal's stylistic codes" by outsiders.[207] Eli Enis of Stereogum referred to post-2010 metalcore bands who developed a sleeker and poppier style, saying "because of the way those bands dressed ... and the distinct lack of conventional metal elements in their sound (no guitar solos, mindlessly simplistic riffs, plasticky production that eschewed metal's raw power) many metalheads viewed that cadre of metalcore as an abomination that was barely deserving of its 'metal' membership".[211] Extreme metal and metalcore bands often play at the same festivals, but they use conflicting tropes in their lyrics and imagery and attract different types of fans. Metalheads, for example, have expressed frustration with what they call a more overt, macho 'bro' posturing in metalcore scenes.[212] Additionally, metalcore/deathcore is sometimes mistaken for death metal by some unfamiliar listeners, which "borders on sacrilege for the most discerning metalheads".[213]

In the early 2000s, metalcore bands drew criticism for "their increasingly considered images, polished production, and what was seen as appeal to progressively more mainstream audiences".[2] 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 highly polished production. Andrew Sacher of Brooklyn Vegan stated his belief that "the mainstream boom tarnished the word 'metalcore' for a while."[214] 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."[215] Several bands and musicians labelled as metalcore have rejected the term entirely,[216][217][218] and even some who accept the term nonetheless insist that the style has become "bastardized" by the influence of commercialism and trends.[219]

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 said: "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."[215]

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.[220][221] Stephen Hill of Metal Hammer said: "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."[222]

Ultimate Guitar staff writer Jorge Martins contested the notion of metalcore's commercial decline, opining:

"Metalcore became, through its almost three decades of existence, arguably the most popular subgenre of heavy music, finding its way across all styles of metal and influencing an endless number of artists and landmark releases. One of the secrets for its seemingly never-ending vitality is how well it gels with other styles in order to never grow stale and keep its relevance when some of their contemporaries pushed their boundaries as far as they would go and ended up spitting out formulaic albums and falling into oblivion as Metalcore thrived then and now."[223]

See also

[edit]
Look up metalcore in Wiktionary, the free dictionary.
Wikiquote has quotations related to Metalcore.
Wikiversity has learning resources about Metalcore Theory

References

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Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Metalcore

View on Grokipedia
from Grokipedia
Metalcore is a subgenre of heavy metal music defined by its fusion of hardcore punk aggression and extreme metal technicality, originating in the mid-1980s through bands incorporating metallic riffs and structures into punk-derived intensity.[1]
Key characteristics include breakdowns—heavy, rhythmic sections designed for mosh pits—blast beats on drums, drop-tuned guitars with palm-muted riffs, and dual vocal styles alternating between guttural screams and clean melodies.[2][1]
The genre took definitive shape in the 1990s with pioneering acts like Earth Crisis and Converge, whose albums emphasized straight-edge ethics and chaotic energy, before exploding commercially in the 2000s via melodic variants from Killswitch Engage and As I Lay Dying, which blended accessibility with heaviness to achieve chart success and festival dominance.[2]
Subsequent evolutions spawned variants like deathcore and progressive metalcore, reflecting ongoing waves of innovation roughly every decade, while maintaining core appeal through themes of personal struggle, societal critique, and physical catharsis in live performances.[1]
Despite occasional band-specific scandals involving members' legal issues, metalcore's enduring popularity stems from its adaptability and community-driven scene, influencing broader heavy music without reliance on mainstream media narratives.[3]

Terminology and Definition

Etymology

The term "metalcore" is a portmanteau combining "heavy metal" and "hardcore punk," reflecting the genre's fusion of metallic guitar riffs and hardcore aggression.[4] It evolved from earlier descriptors like "metallic hardcore" and "crossover thrash," which described 1980s experiments blending punk speed with metal intensity, such as those by bands incorporating thrash influences into hardcore frameworks.[5] By the early 1990s, "metalcore" emerged in U.S. underground scenes, initially as a tongue-in-cheek label for bands exceeding traditional hardcore heaviness, with fanzines and groups like Integrity applying it to denote punk fury augmented by metallic elements in releases like their 1991 album Those Who Fear Tomorrow.[6] Guitarist Matt Fox of Shai Hulud is often credited with popularizing the term in the mid-1990s, transitioning "metallic hardcore" into broader "metalcore" usage amid bands like Overcast that emphasized thrash-derived structures within hardcore contexts.[6] Regional variations persisted, such as "NYHC metal" in New York scenes, highlighting heavier riffing in straight-edge hardcore acts influenced by local metallic hardcore developments.[5] This nomenclature solidified by the late 1990s as the style gained distinct identity separate from pure crossover precedents.[6]

Distinction from related genres

Metalcore is characterized by its synthesis of hardcore punk's rhythmic breakdowns and mosh-inducing aggression with heavy metal's intricate guitar riffs and occasional solos, setting it apart from the simpler, punk-rooted minimalism of traditional hardcore punk, which prioritizes raw speed and straightforward chord progressions over technical metal flourishes.[7][8] This hybrid approach contrasts with pure heavy metal's greater emphasis on melodic leads, harmonic complexity, and sustained tempos, as metalcore integrates hardcore's staccato rhythms and emphasis on physicality in live settings, often through slow, heavy passages designed for audience participation rather than virtuosic display.[9] Unlike death metal, which relies heavily on blast beats—rapid, double-kick-driven drumming paired with tremolo-picked riffs for unrelenting intensity—metalcore subordinates such elements, favoring breakdowns as structural anchors that build tension through palm-muted chugs and syncopated power chords, creating a groove-oriented heaviness without death metal's pervasive extremity.[10][11] Metalcore also diverges from nu metal by eschewing hip-hop rhythms, downtuned groove riffs fused with rap vocals, and electronic production layers, maintaining instead a focus on guitar-driven aggression rooted in punk-metal fusion rather than crossover accessibility.[12] Distinctive techniques in metalcore include frequent low-string chugging patterns, such as palm-muted sequences emphasizing downstrokes on open notes followed by brief releases (e.g., rhythmic "0001" motifs), which generate a mechanical, pounding texture conducive to breakdowns, unlike the alternate-picked gallops and rapid tremolo runs central to thrash metal's velocity.[11] Gang shouts—call-and-response vocal hooks promoting collective energy—further mark metalcore's hardcore heritage, appearing as hooks rather than the isolated, narrative-driven shouts in post-hardcore or the shred-focused solos in thrash.[8] While subvariants may borrow from adjacent styles, these elements define metalcore's core identity as a balanced extremity prioritizing hybrid dynamics over singular genre purity.[13]

Musical Characteristics

Stylistic and structural elements

Metalcore songs emphasize breakdowns as a core structural element, featuring slow, half-time rhythms with palm-muted guitar chugs that produce a percussive, groove-oriented heaviness derived from hardcore punk influences.[14][9] These sections contrast with faster, metallic verse and chorus progressions, often incorporating thrash-inspired riffing to maintain momentum before shifting to deliberate, syncopated grooves.[15][10] Harmonically, metalcore relies on minor scales, including Aeolian, Phrygian, and harmonic minor modes, which facilitate dissonant intervals and tension-building through chromatic approaches rather than overt melodic resolution.[16][10] Compositional dynamics hinge on abrupt shifts in tempo and intensity, such as accelerating from breakdown lulls to verse aggression, prioritizing visceral impact over extended development.[17] Typical structures revolve around verse-breakdown-chorus formats, eschewing progressive complexity in favor of repetitive, high-energy patterns optimized for audience participation in live settings.[18] This framework supports concise tracks that sustain rhythmic drive without prolonging sections, enabling seamless transitions that amplify breakdown climaxes.[9]

Vocals, lyrics, and themes

Metalcore vocals prominently feature a duality of harsh, screamed or growled delivery in verses contrasted with melodic clean singing in choruses, enabling abrupt shifts that underscore emotional volatility and internal conflict. Harsh elements often employ fry screaming, a technique utilizing vocal fry distortion via false vocal fold vibration to produce low-frequency aggression with minimized true cord strain, as detailed in specialized vocal tutorials tailored to the genre.[19] This approach, evident in pioneering acts like Converge since their 1994 formation, prioritizes visceral intensity over sustained melody, demanding breath support from diaphragmatic expansion to sustain projection without fatigue.[20] Clean vocals, gaining traction in the early 2000s for accessibility, allow for harmonic layering and crowd engagement, as in Killswitch Engage's integration of both styles on their 2000 debut Alive or Just Breathing.[21] Lyrical content in metalcore centers on raw explorations of alienation, personal loss, resilience amid hardship, and introspective turmoil, frequently drawn from autobiographical narratives rather than explicit ideological or political stances. Bands like All That Remains articulate themes of individual struggle and self-examination, eschewing broader societal polemics for intimate catharsis. This focus manifests in visceral, confessional phrasing that aligns with the genre's punk-rooted ethos of authenticity, emphasizing emotional endurance over resolution.[22] Variants incorporating faith-based elements appear in Christian-leaning acts, where themes of redemption and spiritual fortitude frame adversity; Underoath's 2006 album Define the Great Line interweaves biblical allusions with depictions of doubt and renewal, while As I Lay Dying's 2007 release An Ocean Between Us employs lyrics evoking divine sovereignty amid human frailty, such as in tracks confronting inner voids and perseverance.[23] These infusions maintain the genre's emphasis on personal agency and existential grit, substantiated by the bands' stated influences from evangelical backgrounds during their formative years.[24]

Instrumentation and production techniques

Metalcore guitarists typically employ drop tunings such as Drop D or Drop C to achieve the genre's characteristic low-end heaviness and facilitate palm-muted power chord riffs, with Drop C being particularly favored for its balance of tension and playability on standard-scale instruments.[25][26] High-gain amplifiers, including models like the Mesa/Boogie Dual Rectifier or Peavey 6505, are staples for delivering the aggressive, saturated distortion essential to metalcore's dense riffing, often enhanced by fast alternate picking and pinch harmonics to add articulate squeals and harmonic density without sacrificing aggression.[27] Bass guitars in metalcore primarily reinforce the low-frequency foundation during breakdowns, locking into simplified root-note patterns or octave shapes to underscore the rhythmic chug and provide mid-low girth that complements detuned guitars, though their role can be subdued in mixes to avoid muddiness amid high-gain layers.[28][11] Drum kits emphasize punchy, reinforced components like double bass pedals for rapid kick patterns in breakdowns and crisp snare cracks via coated heads or tight tuning, enabling the precise, machine-gun-like double-kick sequences that drive the genre's syncopated grooves; modern productions occasionally incorporate electronic triggers or samples for enhanced consistency in these elements.[29][30] Production techniques in metalcore have shifted from raw, analog-heavy recordings in early iterations—prioritizing natural room ambience and minimal processing—to polished digital mixing in the 2000s, featuring heavy compression and multiband dynamics to achieve uniform loudness suitable for radio and streaming, though this approach has drawn criticism for exacerbating the loudness wars by sacrificing dynamic range for perceived intensity.[31][32] Re-amping and impulse response cab simulations became prevalent for guitars, allowing post-tracking tonal sculpting, while drum replacement or layering addressed the need for separation in dense arrangements without relying solely on live takes.[33]

Historical Development

Precursors in the 1980s

In the 1980s, the New York hardcore (NYHC) scene fused punk aggression with heavy metal riffs, establishing early crossover thrash dynamics that influenced metalcore's rhythmic intensity and breakdown structures. Bands including Agnostic Front, formed in 1980, and Cro-Mags integrated metallic guitar tones and faster tempos into hardcore punk, prioritizing mosh-pit energy over traditional punk simplicity.[5][34] This shift drew from thrash metal's emphasis on speed and precision, as exemplified by Slayer's relentless riffing and double-bass drumming, which heightened the technical demands on hardcore performers.[35][5] Cro-Mags' debut album The Age of Quarrel, released in 1986, showcased palm-muted riffs and mid-tempo grooves that prefigured metalcore breakdowns, enabling synchronized crowd violence in live settings.[36] Agnostic Front's 1986 release Cause for Alarm similarly blended NYHC toughness with contributions from metal musicians, amplifying crossover appeal through denser production.[37] These recordings circulated via cassette tapes and fanzines in underground networks, disseminating metallic hardcore hybrids to scenes beyond New York.[34] By the late 1980s, Integrity—formed in Cleveland in 1988—pioneered "metallic hardcore" by merging grindcore's extremity with hardcore's raw ethos, incorporating dissonant riffs and themes of spiritual warfare.[38] This approach emphasized heavier tonalities and straight-edge militancy, providing a template for metalcore's thematic directness without melodic concessions.[39] Such developments in isolated U.S. hardcore pockets causally linked 1980s aggression to metalcore's foundational brutality, though full genre crystallization awaited the 1990s.[5]

Origins and early scenes in the 1990s

Metalcore began to coalesce as a distinct style in the mid-1990s within the United States, particularly through underground hardcore scenes in the Northeast, where bands integrated metallic riffing and breakdowns with punk-derived aggression and DIY ethos.[40] Pioneering acts emerged from Boston's vibrant hardcore community, emphasizing self-reliant networks of local venues, cassette demos, and independent tape trading that facilitated cross-pollination among regional players.[41] This period marked a shift from 1980s metallic hardcore precursors toward more structured metallic hardcore fusions, driven by bands seeking to expand beyond straight-edge and crossover thrash influences. Overcast, formed in Boston in 1991, exemplified early metalcore by combining thrash-infused guitar work with hardcore's intensity, releasing influential demos and contributing to the genre's foundational sound through vocalist Brian Fair's harsh delivery innovations around 1992-1993.[42] [43] Similarly, Shai Hulud originated in Pompano Beach, Florida, in 1995 before relocating influences northward, with guitarist Matt Fox advancing the style via precise, melody-infused breakdowns that bridged hardcore and European death metal elements.[6] [44] Converge, active in the Massachusetts scene, further propelled complexity with their 1998 album When Forever Comes Crashing, recorded December 1997 to January 1998 and released April 14, 1998, via Equal Vision Records, introducing mathcore-adjacent structures amid the Northeast's tour circuits.[45] Victory Records, established in 1994 in Chicago but distributing Northeast acts, played a key role in amplifying these early efforts through vinyl and CD releases, enabling wider exposure within DIY channels without mainstream intervention.[46] The Northeast's dominance stemmed from interconnected scenes in Boston and surrounding areas, where frequent all-ages shows and label support like Hydra Head fostered experimentation, setting metalcore apart from purist hardcore by incorporating sweep picking and dual-guitar harmonies.[40]

Mainstream breakthrough in the 2000s

Killswitch Engage's Alive or Just Breathing, released on May 21, 2002, via Roadrunner Records, exemplified the shift toward melodic metalcore, incorporating clean singing and harmonized choruses alongside breakdowns, which broadened the genre's appeal beyond underground hardcore scenes.[47] This album's success, with over 114,000 copies sold in the US by July 2004, highlighted growing commercial interest, paving the way for subsequent releases like the band's 2004 effort The End of Heartache, which achieved RIAA gold certification for 500,000 units shipped by November 2007.[48][49] Roadrunner Records' aggressive signings of metalcore acts during the early 2000s, including Killswitch Engage and others, facilitated increased production values and marketing, transitioning bands from independent labels to major distribution networks.[50] Major tours amplified this exposure; metalcore bands secured slots on Ozzfest from 2004 to 2007, with acts like Atreyu, Unearth, and Bleeding Through performing on the second stage in 2004 alongside headliners such as Black Sabbath and Judas Priest, exposing the genre to broader heavy metal audiences and shifting perceptions from niche to viable arena contenders.[51] Similarly, the Vans Warped Tour in the mid-2000s featured metalcore performers like Atreyu in 2005, providing punk and alternative crowds with high-energy sets that cross-pollinated fanbases and boosted ticket sales through shared billing with established acts.[52] These platforms, combined with MTV airplay for melodic tracks, enabled market penetration, as evidenced by UK band Bullet for My Valentine's 2005 debut The Poison, which peaked at number 21 on the UK Albums Chart and achieved gold status for over 100,000 units sold domestically.[53][54] By mid-decade, melodic metalcore's commercialization peaked with strong album sales and tour metrics; for instance, Killswitch Engage's certifications reflected sustained demand, while Ozzfest and Warped Tour appearances correlated with increased visibility, allowing bands to headline larger venues and achieve platinum-level traction in follow-up releases.[47] This era marked metalcore's departure from strictly DIY ethos toward label-backed accessibility, though it drew some criticism for diluting hardcore aggression in favor of radio-friendly elements.[55]

Expansion and subgenre diversification in the 2010s

In the 2010s, metalcore fragmented into diverse hybrids as bands experimented with death metal brutality, electronic textures, and progressive complexity, diverging from the melodic breakdowns dominant in the 2000s. This diversification was propelled by digital platforms like Bandcamp and emerging streaming services such as Spotify, which lowered barriers for independent releases and allowed subgenre variants to cultivate dedicated followings through algorithmic recommendations and direct artist-to-fan sales. Unlike the label-driven mainstream push of prior years, this era emphasized self-sustained growth, with platforms enabling bands to bypass traditional gatekeepers and reach global audiences via user-generated metrics like YouTube views and Bandcamp downloads.[56][57] Bring Me the Horizon marked a pivotal evolution after their 2013 album Sempiternal, incorporating electronic production and death-influenced riffs in That's the Spirit (2015), which shifted toward arena-oriented structures while retaining core aggression. This hybridization expanded metalcore's sonic palette, blending synth layers with harsh vocals to attract listeners beyond heavy music circles. Similarly, UK band Architects advanced progressive variants through albums like Daybreaker (2012) and Lost Forever // Lost Together (2014), integrating ambient interludes and intricate time signatures that prioritized atmospheric builds over straightforward chugs.[58][59] Deathcore-metalcore fusions gained traction, with Suicide Silence sustaining influence via unrelenting breakdowns and guttural vocals that cross-pollinated into broader metalcore acts, as seen in their 2011 self-titled album's emphasis on technical extremity. Mathcore's chaotic persistence, rooted in earlier pioneers, endured through Converge's 2012 release All We Love We Leave Behind, which maintained dissonant riffs and erratic structures amid the decade's trends. These subgenres thrived at festivals like Download, where metalcore-adjacent acts shared bills with headliners from 2015 onward, fostering cross-pollination without dominating mainstream slots.[60][61]

Recent evolutions and trends in the 2020s

In the early 2020s, metalcore bands increasingly incorporated progressive and electronic elements, as exemplified by Spiritbox's 2021 album Eternal Blue, which featured intricate guitar work and atmospheric synth layers alongside traditional breakdowns, influencing a shift toward more expansive song structures.[62] Similarly, Bad Omens advanced this trend on their 2022 release The Death of Peace of Mind, blending metalcore aggression with synthpop and electronic production, achieving over 1 billion streams on platforms like Spotify by mid-decade.[63] These integrations marked a post-pandemic evolution, emphasizing polished, genre-blending production amid rising streaming demands.[64] Nu-metalcore emerged as a prominent substyle, reviving downtuned riffs and groove-oriented rhythms; Tallah's 2023 album The Generation of Danger combined nu-metal's chaotic energy with metalcore's breakdowns and rap-infused vocals, while Loathe's 2021 I Let It In and It Took Everything layered shoegaze textures over heavy, detuned grooves.[65] This revival drew from early 2000s nu-metal but adapted it for modern hardcore audiences, prioritizing visceral, low-end heaviness in live settings.[66] Knocked Loose exemplified a hardcore resurgence with their 2021 EP A Tear in the Fabric of Life, a 21-minute conceptual piece fusing metalcore with death metal blasts and powderkeg breakdowns, depicting grief through sonic intensity and reaching No. 1 on Billboard's Hard Rock Albums chart.[67] Djent influences proliferated in breakdown sections across acts, with polyrhythmic chugs and extended-range tunings becoming staples, as seen in 2024 analyses of emerging bands pushing technical precision.[68] TikTok-driven virality sustained metalcore's momentum, with short-form clips of breakdowns from 2023-2025 releases like Spiritbox's Tsunami Sea garnering millions of views and boosting independent acts via algorithmic exposure.[69] Self-releases and direct-to-fan models adapted to industry shifts, enabling bands to top niche charts; for instance, Lorna Shore's 2024 album I Feel The Everblack Festering Within Me debuted at No. 1 on Billboard's Top Hard Rock Albums amid streaming surges.[70] These trends reflected a decentralized scene, where viral hooks and DIY distribution countered traditional label dependencies.[71]

Notable Bands and Recordings

Pioneering acts

Pioneering metalcore acts in the 1990s fused hardcore punk's raw intensity with metallic riffing and breakdowns, establishing core conventions like mosh-inducing rhythms and screamed vocals within underground DIY networks. These bands prioritized scene cohesion over commercial viability, releasing on independent labels such as Victory Records and Hydra Head, and fostering growth through relentless touring and fanzine support.[72] Integrity, formed in 1988 in Cleveland, Ohio, by vocalist Dwid Hellion, exemplified early metallic hardcore through ominous, thrash-infused anthems that bridged 1980s crossover thrash with punk aggression. Their 1993 album Systems Overload featured grinding riffs and apocalyptic themes, influencing subsequent metalcore by elevating hardcore's speed with metal's dissonance and production heft.[73][74] Earth Crisis, established in 1989 in Syracuse, New York, advanced metalcore's sociopolitical edge with straight-edge vegan militancy, as heard in their 1995 debut Destroy the Machines on Victory Records. Tracks like "Firestorm" introduced palm-muted breakdowns and double-kick drumming to hardcore, emphasizing animal rights and anti-oppression lyrics that galvanized activist subsets of the scene.[75] Converge, founded in 1990 in Salem, Massachusetts, by vocalist Jacob Bannon and guitarist Kurt Ballou, injected mathcore complexity into metalcore via irregular time signatures and emotional ferocity. Early releases such as Halo in a Haystack (1994) and When Forever Comes Crashing (1998) on indie labels showcased blistering guitar work and cathartic breakdowns, shaping the genre's emphasis on technical aggression and personal turmoil.[76][77] Shai Hulud, formed in 1995 in Pompano Beach, Florida, refined melodic elements within metalcore's heaviness on their 1997 debut Hearts Once Nourished with Hope and Compassion, blending straight-edge positivity with progressive riffs and gang shouts. Guitarist Matt Fox's contributions helped codify the term "metalcore" for this hybrid style, impacting bands through its balance of melody and brutality on small-label circuits.[6][78] Cave In, originating in 1995 in Methuen, Massachusetts, pushed metalcore toward progressive experimentation with their 1998 album Until Your Heart Stops on Hydra Head Records. Led by guitarist Stephen Brodsky, the record's angular riffs, atmospheric interludes, and dynamic shifts expanded the genre's structural possibilities, influencing underground heavy music's evolution beyond straightforward aggression.[79][80]

Commercial peak influencers

Killswitch Engage exemplified the commercial ascent of metalcore in the mid-2000s, with the band amassing over 1.8 million album sales worldwide by leveraging melodic hooks alongside aggressive breakdowns.[81] Their 2004 album The End of Heartache propelled them to mainstream visibility, supported by frequent appearances on the Vans Warped Tour, including a prominent slot in 2007 that exposed the band to tens of thousands of attendees across multiple dates.[82] This era's accessibility—blending clean vocals with heavy riffs—drove empirical fan engagement, as evidenced by sustained touring revenue and chart performance on platforms like Billboard's rock albums.[83] As I Lay Dying contributed to the genre's peak by emphasizing technical proficiency, particularly through intricate shred solos that fused metal precision with core breakdowns, as showcased on their 2007 release An Ocean Between Us, which debuted with 39,500 units sold in its first week.[84] The album's chart entry at No. 8 on the Billboard 200 underscored metalcore's broadening appeal, bolstered by Warped Tour performances in years like 2007 that solidified their status as tour staples.[85] Such metrics reflect causal drivers like polished production and breakdown-centric song structures attracting wider audiences beyond underground scenes. Underoath's 2006 album Define the Great Line marked a melodic high point with Christian-inflected themes, achieving over 500,000 copies sold and debuting at No. 2 on the Billboard 200 with 98,000 first-week units.[86][87] This success stemmed from refined production techniques enhancing emotional vocals over chaotic instrumentation, positioning the band as Warped Tour regulars and influencers in accessible metalcore.[88] Parkway Drive, emerging from Australia, exported metalcore's intensity globally in the late 2000s, with early albums like Horizons (2007) laying groundwork for U.S. breakthroughs; their later Ire (2015) sold 14,500 units in its first U.S. week, but 2000s touring built foundational sales exceeding regional expectations.[89] These acts collectively propelled metalcore toward million-unit aggregate sales through Warped Tour exposure and riff-driven compositions prioritizing breakdown efficacy over experimentalism.[88]

Contemporary and innovative groups

Bring Me the Horizon, a UK-based band, advanced metalcore's boundaries in the 2020s by integrating electronic, pop-punk, and hyper-pop elements into their core sound via the Post Human series, with POST HUMAN: NeX GEn surprise-released on May 24, 2024, featuring chaotic blends of metalcore riffs and glitchy production.[90][91] This evolution, building on prior albums like Amo (2019), emphasized rapid EP releases over traditional cycles to experiment freely, resulting in tracks that merge aggressive breakdowns with melodic hooks and digital distortion.[92][93] Knocked Loose, from the US, innovated by fusing metalcore with powerviolence and beatdown styles, delivering short, explosive tracks characterized by relentless pacing, guttural vocals, and metallic riffs that revitalized hardcore-metal hybrids in the late 2010s and 2020s.[94] Their approach, evident in high-energy live sets at festivals like Sick New World in 2024, prioritizes raw intensity over melody, influencing a wave of bands incorporating grindcore brevity into metalcore structures.[95] Spiritbox, a Canadian outfit formed in 2017, introduced progressive metalcore with djent riffs, atmospheric synths, and dynamic female vocals by Courtney LaPlante, as showcased in Eternal Blue (2021) and subsequent releases blending deathcore growls with ethereal cleans.[96] This sound design, emphasizing complex time signatures and electronic textures, distinguishes them in the genre's diversification, appealing to audiences seeking technical depth beyond standard breakdowns.[97] The UK's metalcore scene, bolstered by acts like Bring Me the Horizon, thrives through festivals such as Download, fostering experimental acts amid global tours. In Brazil, underground bands draw from groove and hardcore influences, gaining traction at events like Monsters of Rock in São Paulo, which in 2025 featured international metal lineups promoting regional fusion styles.[98][99]

Reception, Impact, and Criticisms

Commercial success and fanbase dynamics

Metalcore's commercial trajectory peaked in the 2000s alongside broader heavy music mainstreaming, with key albums driving sales in the hundreds of thousands for bands like Killswitch Engage, though formal RIAA certifications remained limited compared to legacy metal acts. By the 2020s, streaming metrics underscored sustained viability, exemplified by Bad Omens' "Just Pretend" accumulating over 345 million Spotify plays since its 2022 release, reflecting algorithmic favor and viral traction within niche playlists.[100] Festival circuits further evidenced market resilience, as 2024 editions of Sonic Temple Art & Music Festival drew 138,000 attendees across four days, headlined by metalcore-adjacent acts amid a lineup blending the genre with hard rock staples.[101] Similarly, Aftershock Festival hosted 160,000 fans, capitalizing on metalcore's draw in multi-genre environments.[102] The genre's fanbase dynamics center on subcultural loyalty, with attendance metrics highlighting communal rituals like mosh pits that channel aggression into collective energy, sustaining live revenue streams. Predominantly young and male-skewed demographics, increasingly incorporating Gen Z entrants, prioritize experiential intensity over passive consumption, evidenced by high per-capita engagement at shows.[103] Merchandise emerges as a cornerstone sustainer, with mid-tier metalcore bands reporting annual revenues in the low hundreds of thousands from apparel and vinyl, often outpacing streaming royalties due to direct fan investment at tours and festivals.[104] This model underscores a working-class ethos, where affordable, tangible goods reinforce identity and fund ongoing operations amid fluctuating digital payouts.

Critical evaluations and artistic debates

Metalcore has garnered praise for its raw emotional authenticity and technical proficiency, with critics highlighting bands like Converge for delivering visceral intensity through intricate guitar work and unrelenting rhythms that capture personal turmoil effectively. Reviewers have noted the genre's ability to blend hardcore's aggression with metal's precision, as exemplified in Killswitch Engage's dual-vocal dynamics that convey cathartic release, earning acclaim for pushing boundaries in the early 2000s. Kerrang! magazine has recognized such innovations, awarding acts like Bring Me the Horizon for evolving the sound with experimental elements while retaining core heaviness. Critics have accused post-2010s metalcore of derivativeness, with many releases relying on repetitive breakdowns and electronic flourishes that echo earlier successes without substantial evolution, leading to perceptions of staleness.[105] Reviews point to overused tropes like chuggy riffs and auto-tuned cleans homogenizing the sound, diminishing the genre's edge compared to its more chaotic origins.[106] Discussions in metal communities, including Reddit threads, frequently lament this formulaic repetition, arguing it prioritizes accessibility over genuine progression.[107] A central debate concerns the balance between melodic elements and brutality, with purists favoring the genre's early emphasis on unyielding aggression—rooted in influences like Hatebreed—over later melodic shifts that incorporate clean vocals and anthemic choruses for broader appeal.[108] Proponents of melody argue it enhances emotional depth, as in Architects' post-2010s work, while detractors view it as diluting the hardcore ethos, sparking divides in fan polls where early 2000s eras often rank higher for raw impact.[109] Community surveys on platforms like Reddit reveal a split, with approximately 60% of respondents in era-comparison threads preferring the 2000s "peak" for its uncompromised ferocity over 2010s polish.[110]

Cultural legacy and influences

Metalcore's adaptability has led to the emergence of subgenres like nu-metalcore, which integrate rap, pop, and alternative elements, facilitating crossovers into mainstream music and sustaining the genre's relevance for over two decades.[111] This evolution traces causally from early 2000s bands incorporating diverse influences, enabling hybrids that influence contemporary pop and hip-hop structures.[112] Artists such as Post Malone, who performed in high school metalcore bands and auditioned for groups like Crown the Empire in 2010, exemplify this bridge, carrying heavy music's intensity into hip-hop's melodic frameworks.[113][114] The genre's lyrical focus on perseverance, personal struggle, and resilience has empowered youth communities, particularly those facing socioeconomic or emotional marginalization, by providing identity formation and social support networks distinct from mainstream pop's escapist narratives.[115] Empirical studies of heavy metal fandoms, encompassing metalcore adherents, document these communities as protective contexts that enhance psychosocial wellbeing through shared musical empowerment and countercultural solidarity.[116] This causal pathway—rooted in hardcore punk's DIY ethos blended with metal's aggression—fosters long-term resilience among listeners, as evidenced by persistent fan engagement and scene longevity.[38] Metalcore's integration into video game soundtracks has amplified its cultural permeation, with tracks from bands like Periphery and The Ghost Inside featured in titles such as Saints Row series expansions, linking the genre to interactive media and broadening its societal footprint beyond live performances.[117] These inclusions, starting from mid-2000s games onward, reflect the genre's rhythmic intensity suiting action-oriented gameplay, thereby embedding metalcore's motifs of confrontation and triumph into digital youth culture.[118] Overall, these influences project metalcore's enduring role in shaping hybrid musical forms and supportive subcultures, driven by its core emphasis on raw emotional catharsis.

Controversies within the scene

One prominent controversy in the metalcore scene involves As I Lay Dying frontman Tim Lambesis, who in May 2013 was arrested for attempting to solicit a hitman to murder his estranged wife.[119] Lambesis pleaded guilty in February 2014 to the charges and was sentenced to six years in prison, serving approximately three years before release in 2016.[120] The incident led to the band's hiatus, with original members citing ethical concerns over resuming activities with Lambesis.[121] Efforts to reform in the early 2020s faced renewed scrutiny; in October 2024, bassist Ryan Neff departed on October 21, stating a "breaking point" in personal morals, followed by guitarist Ken Susi and drummer Nick Pierce quitting on October 24 for similar reasons, resulting in tour cancellations.[122] [123] [124] Sexual misconduct allegations have also plagued several metalcore acts, highlighting tensions over accountability in touring subcultures. In September 2020, Issues dismissed co-vocalist Tyler Carter following multiple accusations of grooming a minor and sexual assault, including an incident where the accuser was reportedly passed out.[125] [126] Carter issued a statement acknowledging mistakes but denying specifics, while the band became inactive until announcing their breakup in November 2023.[127] Similar issues surfaced in March 2025 when Earth Caller's entire lineup quit after frontman Jake Steineckert faced allegations of emotional abuse and sexual assault from former partners.[128] In June 2025, Japanese metalcore band Crossfaith canceled shows after ex-guitarist Daiki Koide was accused of inappropriate contact with a minor fan.[129] These cases underscore a pattern of reported abuses, often linked to power imbalances in band-fan dynamics, prompting calls for stricter industry vetting.[128] Within the scene, debates over artistic integrity have fueled divisions, particularly regarding live performances and genre evolution. Critics within metalcore circles have accused bands of relying on backing tracks for vocals and instruments, undermining authenticity at shows; a 2023 Reddit discussion highlighted demands to "name and shame" offenders to preserve scene standards.[130] Additionally, purists argue that elements like mosh pit breakdowns and melodic clean vocals dilute metal's technical roots, viewing them as concessions to mainstream appeal rather than hardcore aggression.[131] These tensions reflect broader causal pressures from commercialization, where bands balance underground ethos against festival demands, though empirical fan data shows sustained popularity despite such critiques.[132]

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