Deathcore

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Deathcore, which emerged in the early 2000s, is a sub-genre of metalcore that fuses elements of hardcore punk and death metal. Deathcore is similar to metalcore musically, except it is generally heavier, with a stronger emphasis on blast beats, death metal growling vocals, and more intense breakdowns. The genre has enjoyed moderate popularity in the extreme metal scene.

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deathcore top albums

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VEIL OF MAYA Eclipse Album Cover Eclipse
VEIL OF MAYA
4.21 | 11 ratings
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BORN OF OSIRIS The Discovery Album Cover The Discovery
BORN OF OSIRIS
4.16 | 21 ratings
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VEIL OF MAYA The Common Man's Collapse Album Cover The Common Man's Collapse
VEIL OF MAYA
4.21 | 7 ratings
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THY ART IS MURDER Hate Album Cover Hate
THY ART IS MURDER
4.18 | 7 ratings
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JOB FOR A COWBOY Doom Album Cover Doom
JOB FOR A COWBOY
4.20 | 6 ratings
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WHITECHAPEL Our Endless War Album Cover Our Endless War
WHITECHAPEL
4.33 | 3 ratings
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ATTILA Rage Album Cover Rage
ATTILA
4.33 | 3 ratings
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WHITECHAPEL The Valley Album Cover The Valley
WHITECHAPEL
4.10 | 5 ratings
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WHITECHAPEL Kin Album Cover Kin
WHITECHAPEL
4.12 | 4 ratings
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THE CONTORTIONIST Intrinsic Album Cover Intrinsic
THE CONTORTIONIST
4.00 | 10 ratings
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ATTILA Outlawed Album Cover Outlawed
ATTILA
4.17 | 3 ratings
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WHITECHAPEL Whitechapel Album Cover Whitechapel
WHITECHAPEL
4.17 | 3 ratings
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deathcore Music Reviews

SUICIDE SILENCE You Can't Stop Me

Album · 2014 · Deathcore
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Kev Rowland
Released in 2014, Suicide Silence’s fourth album ‘You Can’t Stop Me” was the first without original lead vocalist Mitch Lucker who was killed in a motoboke crash in 2012, and the first to feature Hernan "Eddie" Hermida of All Shall Perish. Deathcore is a genre which seems to polarise quite a few people, and I note that Encyclopaedia Metallum do not include the genre on their site even though anyone who does not understand the subgenres of metal would think this should be there. For me it is still down to the band themselves and I have enjoyed some deathcore bands, and others not so much. I did once walk out of an event to get a beer when Suicide Silence were playing, not because I disliked the genre, but I disliked the band.

All the lyrics were written by Hermida apart from two (including the title) which were by Lucker, and it is obvious the band had a lot to prove with this album as it is always difficult to keep going when a key member dies, yet it is not unusual for a band to come back with their best ever release (think ‘Back In Black’). The stand out track on this is “Control” which features none other than George "Corpsegrinder" Fisher providing his dulcet tones which is strangely reminiscent on Dom Lawson on the live "Planet Smasher". There is a high energy throughout the album, and a great deal of complexity, but the band were obviously incredible conscious of paying homage to Mitch, and re-recorded "Ending Is the Beginning" from their debut EP with Hermida putting himself out there. I am not a huge fan of Suicide Silence, and am unlikely to change that based on this, but this is the best album of theirs I have come across and if like me you have rapidly passed them by then this may well be the place to start.

FIT FOR AN AUTOPSY Oh What the Future Holds

Album · 2022 · Deathcore
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Kev Rowland
The artwork may look pleasant at first glance, and the opening title cut may lead the unwary into a false sense of security, but we all know what FFAA are all about, and that is deathcore and here they have returned with their sixth album to pummel our senses yet again. What makes these guys stand out from the pack is not so much the powering rhythm section, or the three guitarists which know when to crunch or when to interweave, and not even Joe Badoloto who is such a towering presence on vocals but more with the way they use space within their music. The problem with many heavy bands is they only know how to keep turning it up to 11, not realizing that soon the senses are dulled, and what is the point of playing at 11 if the person at home only plays it on 2? There is a need for contrast which makes the heavy even heavier, the fast even quicker, the threat even more powerful, and on this album, they display an innate understanding of all of that.

It is no surprise to see this is already their most successful album to date, with strong chart success, as this feels just so good on so many levels. The music never stops moving, twisting into new directions, and due to the way they use space and mini breaks not only is one never sure where it is going to go next but the ears just get a chance to relax before being beaten up yet again. They throw in passages which are far more commercial, with normal singing, such as on “Two Towers” but there is always the sense of trepidation as one knows this is going to change dynamically, but as one does not know when the anticipation is always there. Deathcore rarely gets much better than this.

CARNIFEX Graveside Confessions

Album · 2021 · Deathcore
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Kev Rowland
Not long before turning to their eight album, Carnifex lost lead guitarist Jordan Lockrey, and the core quartet decided to continue as they were for the time being, which allowed a little more room in the music for the bass to make it presence felt. Given it was nearly fifteen years since their debut, ‘Dead In My Arms’, they also revisited that and re-recorded three of those songs for inclusion on this album – only bassist Fred Calderon did not play on the originals as he joined just after it was recorded, with the rest of the line-up of course being founder members Shawn Cameron (drums) and Scott Lewis (vocals) with guitarist Cory Arford.

This album was engineered in-house by drummer Shawn Cameron, the band recorded it almost entirely themselves with the help of Mick Kenney for the mixing and mastering, which means they had total control over the whole process. It also allowed them to reacquaint themselves with working as a quartet and what that meant for the music, and while there are overlays it is not to the extent one would expect with a twin guitar attack, and the arrangements are more balanced with Scott often brought back into the band as opposed to being over the top. They have a blackened approach to their deathcore, and the result is polished and exciting, although not quite as menacing as one might expect given the artwork. During the tumultuous year past, a new rawness arose, and examining this rawness ended up being a form of retreat. “It was another set of events that we couldn’t have predicted; sitting home, no alternatives other than to look at your problems, and write some music. In that setting, you get a very visceral version of us,” explains Lewis. “It makes for a very intense album, not just through the writing process, but through the listening journey, as well.”

This is a great place to start with Carnifex, who have a new life and presence with this release, and it will be interesting to see where they go from here. Fans of deathcore certainly need to seek this out.

CARNIFEX Slow Death

Album · 2016 · Deathcore
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Kev Rowland
Carnifex are one of those oddities, in that their core line-up has been incredibly stable pretty much since formation, and they even survived a year-long hiatus intact. At the time of this their sixth album in 2016, they still had founder members Shawn Cameron (drums) and Scott Lewis (vocals) while Fred Calderon (bass) and Cory Arford had both been there since 2007, with just guitarist Jordan Lockrey being relatively new, joining the band in 2013 when they started up again. When looking around at reviews it is interesting to see that this is quite a polarising album in that many people love it, while others feel it should not even be listened to as it is that bad. As for me, I definitely subscribe more to the former view than the latter, as while it may not be the most exciting release out there, it has something which lifts it from many.

This is deathcore, and while we do get a gentle moment or two in “Life Fades To A Funeral”, for the most part this is full on with heavy riffs and a band which are very tight indeed. The first half of “Countess of the Crescent Moon” actually shows a striking departure from the norm as if the whole album was like this then we may well be talking more about Cradle of Filth style Black Metal, but they soon return to form and growls combined with hard-hitting riffs and pummelling drums. Given how long these guys have played together it is no surprise they are tight, and they are certainly not strangers to being out on the road playing with the likes of Cannibal Corpse to the somewhat lighter Parkway Drive, which shows the cross genre appeal they have.

Polished yet still heavy, with finesse here and there, this is an enjoyable romp through the genre.

RINGS OF SATURN Rings Of Saturn

Album · 2022 · Deathcore
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siLLy puPPy
RINGS OF SATURN has been on the SF Bay Area scene since 2009 and has been a leader in the fusion of technical death metal, progressive metal and deathcore along with themes of alien worlds and outer space. The band has referred to its style as aliencore, a term that pretty much describes them without all the extended nomenclature. Having emerged in 2010 with its unique style of proggy deathcore with experimental touches, RINGS OF SATURN has been popular throughout the 2010’s and has released five albums along with three instrumental versions of three of those.

After 2021’s “Embryonic Anomaly Remake” the band began implode after guitarist / bassist / keyboardist Lucas Mann threatened long term record label Nuclear Blast with slanderous assaults on the label’s reputation. What initiated this remains a mystery however the label was having none of Mann’s explosive vitriol and dropped the band like a hot potato. Soon vocalist Ian Bearer jumped ship followed by guitarist Joel Omans and drummer Marco Pitruzzella which pretty much left Lucas Mann as the only founding member. Having no record label MANN decided to release new material independently and completely reinvent the band.

The eponymously released RINGS OF SATURN album has finally risen from the ashes in the middle of 2022 and shockingly takes the project in a completely new world of experimental metal. While the tech death, deathcore and prog metal are still here to be heard, this album deviates significantly from anything from the past in that for a majority of the album’s run it drops the metal completely and dabbles in everything from trap EDM and jazz to trip hop and even symphonic orchestrations. Probably quite a shock for those who follow the band considering this is one band that has always delivered an electrifying energetic delivery of deathcore in full fury with the psychedelic and progressive accouterments serving as contrast as opposed to the majority of the musical style.

Another feature that is completely new is that RINGS OF FIRE is now completely instrumental with no vocals to be heard. The result of all these changes amounts to a very bizarre mishmash effect that isn’t as bad as it sounds given the complexity of the instrumentation and virtuosic performances but isn’t as good as it should be either. Deathcore fans are not known to be the more open-minded and explorative in nature when it comes to the cross-pollinating of disparate musical genres so it comes as no surprise that this one is getting panned big time. Yeah, pretty much everything the band had developed in its career is mostly gone. No more themes of extraterrestrial civilizations and outer space sagas. No more vocals, no more energetic fury. This sounds like a completely new band because it basically is.

Whatever happened between Mann and Nuclear Blast has resulted in Mann getting the raw end of the deal. Was it a dispute over creative license or something more childish? Whatever the case this new direction from RINGS OF SATURN is an interesting one but not well executed in the least. This really sounds like an artist stumbling over itself to find a new direction to head. The music equivalent of throwing spaghetti on the wall to see what will stick. All in all i can’t say this is a totally bad release if taken on its own terms but it’s not really a memorable one either. Even the hardcore death metal and core elements have been neutered. This album really sounds like a lost puppy trying to find its home. Something tells me this one is leading it straight to the humane society. Too bad. A Bay Area cult legend is no more. R.I.P.

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