Metalcore

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Metalcore, a portmanteau of metallic hardcore, is a fusion sub-genre of heavy metal. The genre is a diverse blend of a number of elements, ranging from the genre’s roots in hardcore punk and heavy metal to melodic death metal and thrash metal. The genre saw its beginnings in the late 80s when bands such as Integrity, Earth Crisis, and Converge began to fuse elements of the hardcore punk scene with the heavy metal and thrash metal scene. Metalcore is not the first metal-hardcore hybrid, and a distinction is made between metalcore and crossover thrash, which is a hybrid of thrash metal and hardcore punk, but which, unlike metalcore which is broader in scope, focuses on a number of specific elements from both genres.

These bands began to develop a similar style, with linear compositions with aggressive verses and melodic chorus with an emphasis on breakdowns, where the music slows and becomes much heavier, which is conducive to moshing and head banging. Breakdowns are generally considered as the defining element of metalcore. From 1989 to 1995, this style of music exploded in popularity in the underground metal community. After 1995, numerous bands began to put more emphasis on melody in their metalcore, fusing more melodic death metal, post-hardcore, and occasionally emo elements into their music. By the late 90s and early 2000s, many metalcore bands had attained a very popular status, with bands such as Avenged Sevenfold, Killswitch Engage, and Atreyu enjoying popularity outside of the normal metalcore scene and successful album sales.

Much of the metalcore genre has a similar and distinct style, which is based upon intense vocal work, much of which is either screamed or growled, and some artists combine these with clean melodic vocals in choruses and other passages, heavy and oftentimes technical instrumentation with a heavy emphasis on down-tuned, palm muted guitar and double bass-based drumming, and a heavy emphasis on breakdowns and solos. Although some bands are exceptions to this style, the vast majority of metalcore bands share this similar style.

Two distinct sub-genres of metalcore have emerged over the years: Mathcore and Deathcore.

Mathcore, which emerged in the mid-90s with the work of bands such as Converge, The Dillinger Escape Plan, and Botch, is the fusion of elements of math rock, which is rock based on complex time signatures, rhythms, and instrumentation, and metal genres such as thrash metal, death metal, and metalcore itself. This genre has a heavy emphasis on speed, aggressiveness, and intense instrumentation.

Deathcore, which emerged in the early 2000s, is another sub-genre of metalcore which fuses elements of hardcore punk and death metal. Deathcore is similar to metalcore musically, except it is much heavier, with a heavier emphasis on blast beats, death metal growling vocals, and more intense breakdowns. The genre has enjoyed moderate popularity in the extreme metal scene, although it is often looked down upon by more classic or “pure” metal fans.

Some also operate with melodic metalcore as a subgenre and place acts like Avenged Sevenfold and Killswitch Engaged and other acts who emphasize melody. Another contested subgenre is progressive metalcore, which some include under mathcore, while others distinguish between mathcore and progressive metalcore, with mathcore emphasizing technicality and progressive metalcore displaying progressive traits without necessarily being technical. Recently metalcore bands such as Winds of Plague and Across the Sun have begun to incorporate symphonic elements into their style, suggesting the rise of yet another metalcore subgenre - namely, symphonic metalcore. There are artists who operate at the fringes of the genre, who are sometimes categorized as metalcore acts and sometimes placed in a neighboring genre as in the case of Shadows Fall and God Forbid, both of whom operate within the transition zone between metalcore and thrash metal (on MMA the former are categorized as a metalcore band and the latter as a thrash metal band).

Sub-genre collaborators:
  • Andyman1125
  • Kingcrimsonprog

metalcore top albums

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

SHADOWS FALL Retribution Album Cover Retribution
SHADOWS FALL
4.93 | 3 ratings
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CONVERGE Jane Doe Album Cover Jane Doe
CONVERGE
4.48 | 9 ratings
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DEVILDRIVER Pray for Villains Album Cover Pray for Villains
DEVILDRIVER
4.84 | 3 ratings
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BETWEEN THE BURIED AND ME Colors Album Cover Colors
BETWEEN THE BURIED AND ME
4.26 | 26 ratings
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BORN OF OSIRIS The Discovery Album Cover The Discovery
BORN OF OSIRIS
4.32 | 8 ratings
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BORN OF OSIRIS A Higher Place Album Cover A Higher Place
BORN OF OSIRIS
4.46 | 4 ratings
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BETWEEN THE BURIED AND ME The Parallax: Hypersleep Dialogues Album Cover The Parallax: Hypersleep Dialogues
BETWEEN THE BURIED AND ME
4.16 | 15 ratings
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BETWEEN THE BURIED AND ME The Great Misdirect Album Cover The Great Misdirect
BETWEEN THE BURIED AND ME
4.12 | 24 ratings
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CONVERGE Axe to Fall Album Cover Axe to Fall
CONVERGE
4.20 | 9 ratings
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DEVILDRIVER The Fury of Our Maker's Hand Album Cover The Fury of Our Maker's Hand
DEVILDRIVER
4.31 | 5 ratings
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KILLSWITCH ENGAGE Killswitch Engage (2009) Album Cover Killswitch Engage (2009)
KILLSWITCH ENGAGE
4.37 | 4 ratings
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DEVILDRIVER The Last Kind Words Album Cover The Last Kind Words
DEVILDRIVER
4.45 | 3 ratings
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metalcore Music Reviews

CAVE IN White

Album · 2011 · Metalcore
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arcane-beautiful
Now I’ve been a fan of Cave In for a whilst, but when they disappeared…and then came back, I wasn’t even aware of their reunion. So in their return, I decided to give this album a go, due to the fact it’s a bit of a return to form and…it’s a new Cave In album basically…and I’m a little debated…

The sound these guys make on this album is a bit different to their previous efforts, and is a very dramatic step away from my favourite album of theirs, “Antenna.” There is a very noisy atmosphere to this album, which hasn’t really been heard on their previous albums in this amount of detail. Yes, they are known for using their instruments at times in very interesting ways, but there is a very noisy texture behind all these songs.

I did enjoy this album a good bit, but to be honest, it’s not Cave In’s strongest in my opinion, and I know Cave In fans will slit my throat for this, but I do prefer these guys as a very interesting melodic rock band rather than just a common post hardcore noisy metalcore band. Antenna really had to be one of the most interesting rock albums of the last decade, because the songs where really well put together…but there was something else behind it. This album, has been done before, and it’s been done better.

This album to me is very similar to The Flaming Lips most recent album Embryonic. A big step in the next direction, incorporating a massive experimental side to the band, and bringing noise rock and other influences into the mould, and really experimenting with sound. Now I didn’t get the album when I first album when I first heard it, but now it’s grown on me (maybe this is what this album will do to me).

This album has the exact same formula. There is seeds of their own sound, but now there is a very noisy wall around it. The production is done in a very odd way, where sometimes the noise element can overshadow the songs themselves. Now in The Flaming Lips Embryonic it was interesting to hear this because the noise was rather beautiful at times. But in this album, the noise can at times can be almost overpowering (not too Merzbow, but enough to take away from the actual songs). I also feel that the album seems to get weaker as you listen to it.

Now I’m not going to lampoon this album completely. I did really like it, and would say it’s a great release from the band, and there are some real amazing moments on this album. But I’m afraid that this band that I once loved might end up becoming some obscure hipster feeding machine, where all songwriting ability has been lost in order to entertain the hipsters with beeps and noises rather than actual songs. At times I did feel like I was listening to some pish Pitchfork recommended generic indie band. I do respect this album a lot, because it does have a real album feel to it. The songs run into each other very well and do have grea atmospheres at times. The fact that it’s just over half an hour is a bonus as well.

1. White Silence – I love how this song is almost anthemic in its’ approach. A very odd way to start an album, but great nonetheless. 9/10

2. Serpents – Great riff in this song. Love the hardcore punk feel to it. Great vocals in the song. Best song on the album in my opinion 9/10

3. Sing My Loves – Pretty cool noisy intro. I love the Mastodon feel of the song, reminds me of the song Seabeast. I love the build ups throughout. The only problem I have with this song is that I can barely make out the clean vocals. It’s not that the vocals aren’t there; it’s just that I can’t really make out what Stephen is saying. The song also is a bit too long I feel. I love Calebs vocals in the song though. The noise rock elements are really interesting too. 8/10

4. Vicious Circles – This song does have a pretty killer chorus. The crazy guitar noises in this song are the real marvel to behold in this song. 7/10

5. Centered – The instrumentation and timing of this song is pretty killer. Great vocals and a killer chorus. I also love how the song ends and fades into the next track. 7/10

6. Summit Fever – There is a pretty killer groove in this song. Nice use of vocals. The production really does add to the gigantic sound of the song. 7/10

7. Heartbreaks, Earthquakes – Sounds a bit like a Beatles song on acid and ketamine. The song is pretty trippy, but it does sound like a nightmare of a trip. The only flaw I have with this song is that it does at time sound a bit like a “hipster” indie band trying to be all arty and noisy…but if you consider that it sounds like Panic At The Disco played by Lightning Bolt is a positive thing, then you may enjoy this song just a little more. 7/10

8. Iron Decibels – I do like how minimalistic this song is. Some of the instrumental sections are pretty interesting in the song, but the vocals let it down a bet to be honest. 6/10

9. Reanimation – One of the best songs on the album. I love the nice acoustic sound throughout. I hate how the song (and the album itself) ends with no real warning or care. 8/10

CONCLUSION: All in all, this is a great album. I’m really torn with it at times, and giving the score I’m giving is a bit of a push forward, but to be honest, I do fear these guys might end up embracing a style which really doesn’t belong to them. I love experimentation in music, but that doesn’t mean that your songwriting ability has to suffer due to it. These guys can still write songs, but there are moments on this album which do sound lie

6.9/10

BENEATH Beneath

EP · 2012 · Metalcore
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Time Signature
Tall tales of a prophecy...

Genre: melodic metalcore

Like melody? Well, here's Beneath for ya.

Falling somewhere between melodic death/thrash and melodic metalcore, Beneath's sponymous EP belongs to that branch of modern metal that I quite enjoy because of the combination of thrashy aggression, metalcore breakdowns and the melodic classic metal-inspired elements of melodeath.

The four tracks on this EP are very strong, and all of them are characterized by both a strong sense of melody and an appealing drive. I especially enjoy extensive use of imbedded melody in the guitar riffs, as wells as the use of melodic guitar harmonies - which is something the Beneath excel at. These melodic elements go well together with the more aggressive elements from thrash metal and metalcore, resulting in some fairly well balanced songs. Strength of the EP is the use of more rock and old school metal oriented riffage, which Beneath have managed to blend seamlessly in with the metalcore and thrash elements.

The production is crisp and very professional and manages to bring all the interesting musical details out into the open, thus showcasing the admirable musicianship of the band.

Fans of the likes of Killswitch Engage and Nothing Divine should check out this fine melodic metalcore release.

KELLS Anachromie

Album · 2012 · Metalcore
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Time Signature
Asphalt...

Genre: modern metal

Kells are normally categorized as a symphonic metal band, and perhaps their earlier releases are symphonic (I dont know because this is the first Kells album I've heard), but this one is not symhponic at at all. The style on "Anachromie" falls somewhere between alternative metalb and metalcore with groove and melody being the key components.

And, I think it is a quite good release, fronted by Virginie Goncalves' powerful and expressive vocals, ranging from soft singing over rock belting to harsh screaming - I especially like it when she goes off into oriental territory as in the introduction of 'Illusion D'Une Aire'. The sound is slightly minimalist at times, and also quite unpolished, which I actually think is a plus.

As mentioned above, there is a lot of emphasis on groove, and these guys are very good at coming up with groovy and hard rocking riffs - which go well together with Goncalves vocal lines; the choruses are typically quite melodic, so there is some potential for commercial appeal, too. I also quite like the way that the rhythm section works in terms of groove and dynamics (there really is a tight chemistry between the drums and the bass).

There's lots of groove on this album, and fans of both groovy metal and melodic metal should check it out.

CONVERGE Halo in a Haystack

Album · 1994 · Metalcore
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UMUR
"Halo in a Haystack" is the debut full-length studio album by US post-hardcore act Converge. The album was released in 1994 in a limited number of vinyl copies by Earthmaker Records and is now out of print. However 8 out of the 10 tracks on the 34:00 minutes long album also appear on the "Caring and Killing (1995)" compilation. The compilation is easier to find as it was released on slightly more prolific labels in Lost And Found Records in Europe and Hydra Head Records in the US.

Converge are widely considered a pioneering act in post-hardcore and right off the bat it´s audible why when listening to "Halo in a Haystack". The band play a very unconventional hardcore style where they combine fast-paced and aggressive hardcore punk sections, with heavier groovy sections and atmospheric clean guitar sections. The band obviously aim at twisting conventions and that goes for song structures too. I´d actually go as far as to call some of the tracks on "Halo in a Haystack" progressively structured. Very intriguing indeed. The vocals are even more unconventional though and they are pretty sure to be an aquired taste. High pitched, whiny, distorted, aggressive and melancholic are some of the words I´d use to describe the vocals by Jacob Bannon. His vocal style can be a bit much at times but it´s certainly original.

Besides a few production flaws, "Halo in a Haystack" is a very impressive debut album by Converge. High level musicianship and a songwriting approach that´s adventurous to say the least. They would go on to release more mature albums later on in their career but still a 3 - 3.5 star (65%) rating is deserved.

BORN OF OSIRIS The New Reign

EP · 2007 · Metalcore
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J-Man
Though deathcore is admittedly not one of my favorite genres, American flag-bearers Born of Osiris have been one of my favorite discoveries this year. Their progressive and technical take on this now-tired mix of death metal and metalcore is refreshing, and their gifted capabilities as songwriters and musicians makes them even more noteworthy in my book. Looking back on The New Reign (their first EP under the band name Born of Osiris) from today's lenses shows that they didn't start out as an eye-opening act, however - while the band's distinct sound is somewhat in place, it's much more immature and disjointed than any of their future efforts. The New Reign is a fairly mediocre effort that relies far too heavily on conventional deathcore techniques for my liking, and when it does deviate from this well-trodden formula, the results are hit and miss.

The music you'll find on The New Reign is best described as deathcore with quite a few technical and melodic twists. There are lots of technical nuances in the compositions, especially in the guitar department, and the synthesizer flavorings give Born of Osiris a few unique assets aside from your standard 'chug-chug-breakdown' deathcore album. While this is definitely a positive in my book, Born of Osiris was still far from perfecting their sound on this EP - the synthesizer tones sound cheap and fake, and they tend to awkwardly dance above the rest of the tech-metal madness with no rhyme or reason. To further add to this, the songs themselves often jump from one section to another without any warning; in short, this is an extremely incoherent and jagged release from a compositional standpoint. The musicianship is undoubtedly excellent, with the lightning-fast guitar leads and complex drum patterns often leaving me in amazement, but the songs are just so disjointed that it's difficult to get too excited about The New Reign.

It's also worth noting that the production is not quite up to par either, with the dry and rather muddy sound often detracting from my overall enjoyment. All in all, The New Reign is not an EP I enjoy very much, but there are still plenty of ambitious ideas throughout its duration to save it from being considered a poor effort. I wouldn't recommend this to anyone except those who can't get enough of Born of Osiris, so I guess 2.5 is a pretty fair score. Time would prove that these lads would improve immensely over this disjointed debut within the next few years.

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SHADOWS FALL Madness In Manila: Shadows Fall Live In The Philippines 2009

Movie · 2010 · Metalcore
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Kingcrimsonprog
Madness In Manilla is a live DVD/CD combo released in 2010 by the Massachusetts based American Metalcore band Shadows Fall, which was recorded live at Summerslam Festival in the Philippines back in 2009. The performance features a career spanning sixteen-track setlist that is balanced and which covers all the band’s most well known material as well as a few less expected numbers for variety.

This DVD is a proper full-length concert video of a single concert, as opposed to how either their previous DVD, The Art Of Touring or for example Down’s Diary Of A Mad Band were set out. Luckily for most concert fans, the set isn’t interspersed with home video footage or animations either, just the live performance from beginning to end.

The band play on a large outdoor festival stage along to an incredibly detailed light show, with all sorts of rotating, panning and altering lights, spots and colour changes, as well as lots of dry ice.

The camerawork features lots of movement, with all sorts of cranes and dollys employed along with the usual camera crew, the whole operation is a lot more complex and professional than any of the band’s previously available live videos from bonus discs and such things.

You get a lot of coverage of the instruments being played which is always a plus for viewers who are musicians and a good cover of the band’s famously proficient drummer Jason Bitner. What you also get to see a lot of is singer Brian Fair windmilling his knee-length dreadlocks, which is an interesting sight all things considered.

Whilst there are a lot of positives to be said about the visuals, there are some issues in the shot matching, occasional framing problems and the dry ice can effect the picture quality, it switches from incredibly high resolution shots on cranes and not so great images on handhelds. Furthermore the menus are cheap looking and basic so it isn’t as absolutely perfect as some bigger band’s festival DVDs or equally sized band’s indoor concert DVDs, but is still a strong release overall.

Standout tracks include the furious performance of early classic ‘Crushing Belial,’ which is opened with an enthusiastic yet expletive description of its epic status by Brian, which gives you a good idea of the energy and attitude that then goes into the ensuing performance. Other highlights include the Grammy nominated set closer ‘Redemption’ as well as the newer track ‘War’ which hammers away at a relentless pace.

Additionally; there are bonus features, which include four more live videos for ‘The Light That Blind,’ ‘Redemption,’ ‘Venous’ and ‘Thoughts Without Words,’ from Japan, The Philippines and Korea respectively, although the quality obviously isn’t as high as the main feature.

The sound and mix are great, so judging the product overall; the only real problems with the DVD apart from the previous mentioned visuals are subjective problems with Shadows Fall in general. If for example, you think their material is samey then sixteen tracks in a row may be a bit much for you, and similarly if you are used to their super-polished studio sound, then the live backing vocals or clean sections may well sound odd or strangely out of place.

Otherwise however, Madness In Manilla is a very good release from Shadows Fall that I would definitely recommend to fans. Due to its high sound quality and expansive setlist, it would make a fine introduction to the band for newcomers as well.

LAMB OF GOD Walk With Me In Hell

Movie · 2008 · Metalcore
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Kingcrimsonprog
Walk With Me In Hell is a fantastic DVD for fans of Lamb Of God, full of honest and informative interviews, storming live performances and footage from all around the world.

The DVD features four and a half hours of content; including The main feature, the 117 minute documentary `Walk With Me In Hell ,' as well as six entire live songs from various tours that were featured in the documentary. The Second disc features the fantastic 77 minute `Making of The Sacrament,' documentary,' and an entire 40 minute Set from Download and lastly the music video for Redneck.

The main documentary is brilliant, following the band from just having finished recording their fantastic Sacrament album and embarking on a world tour full of interesting encounters, mishaps and mild adventures. Interviews unravel a tale of ups and downs, of bad luck and of increasing success and really give you an idea of what life is like for a touring metal band. From adjusting to foreign food, being cut of from your family and living in a cramped bus with band and crew members for months on end to photo shoots merch signing sessions and radio interview obligations.

The band are both really candid and entertaining, giving honest impressions of situations and not being afraid to look bad, while also cracking many jokes or playing a few childish pranks that never fail to raise a few laughs. Where some band DVDs may over emphasize the comedy aspects, Walk With Me In Hell is very tasteful and has the balance just right. The whole documentary is full of Lamb of God music, both recorded versions playing over footage of busses or set ups, and snippets of excellently shot concert footage that can last up to a minute or two.

Redneck, Again We Rise, Walk With Me in Hell, Now You've Got Something To Die For, Blacken The Cursed Sun, and Pathetic can be seen in full from these various performances featured in the documentary, a nice way to augment Killadelphia without repeating it.

`Making of The Sacrament,' documentary is of the same very high standard, and features a lot of the decision making processes, actual song writing and much footage of practicing and perfecting songs that would eventually make up the album. The band also talk a lot about their place in the world of metal, their music and how each album differs from the last, very interesting stuff for a fan to watch.

The Download set is a real highlight here, the excellent audio and visual quality and extremely energetic performance by the band make for an amazing show. The track list is: Laid To Rest, Again We Rise, Walk With Me in Hell, Pathetic, Now You've Got Something To Die For, Blacken The Cursed Sun, Redneck, and Black Label.

Overall this DVD is highly recommended to fans of the band, featuring tones of content, really interesting documentaries and very well shot, edited and performed live material focusing heavily on The Sacrament album so as not to just repeat the band's previous two DVDs.

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