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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WHITECHAPEL The Valley Album Cover The Valley
WHITECHAPEL
4.38 | 4 ratings
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VEIL OF MAYA Eclipse Album Cover Eclipse
VEIL OF MAYA
4.24 | 9 ratings
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BORN OF OSIRIS The Discovery Album Cover The Discovery
BORN OF OSIRIS
4.12 | 18 ratings
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WHITECHAPEL Our Endless War Album Cover Our Endless War
WHITECHAPEL
4.33 | 3 ratings
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JOB FOR A COWBOY Doom Album Cover Doom
JOB FOR A COWBOY
4.11 | 5 ratings
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RINGS OF SATURN Embryonic Anomaly Album Cover Embryonic Anomaly
RINGS OF SATURN
4.07 | 7 ratings
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WHITECHAPEL Whitechapel Album Cover Whitechapel
WHITECHAPEL
4.17 | 3 ratings
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BORN OF OSIRIS A Higher Place Album Cover A Higher Place
BORN OF OSIRIS
3.95 | 11 ratings
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THY ART IS MURDER Hate Album Cover Hate
THY ART IS MURDER
4.00 | 5 ratings
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VEIL OF MAYA The Common Man's Collapse Album Cover The Common Man's Collapse
VEIL OF MAYA
4.00 | 4 ratings
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THE CONTORTIONIST Intrinsic Album Cover Intrinsic
THE CONTORTIONIST
3.92 | 9 ratings
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ALL SHALL PERISH Awaken the Dreamers Album Cover Awaken the Dreamers
ALL SHALL PERISH
3.88 | 4 ratings
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deathcore Music Reviews

BEYOND DEVIATION Beyond Deviation 400 (400 Vocalist World Record Track)

EP · 2021 · Deathcore
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Vim Fuego
The whole idea of “Beyond Deviation 400” is a mad arsed thing at first sight. It’s a 37 minute deathcore track created by Canadian band Beyond Deviation. In making this epic track, the band pulled in favours from a few friends. Actually, make that a LOT of friends. About 400 friends. See, the 400 in “Beyond Deviation 400” indicates the number of vocalists on this song, which set a new world record for the most solo vocalists on a single track.

Now, deathcore isn’t to everyone’s tastes. A lot of death metal fans treat it like that annoying cousin who wants to borrow your Dying Fetus vinyls, and then scratches them. Yes, well intentioned, but an embarrassment to have around. A lot of gatekeepers and elitists go even further in their disdain for the genre, declaring it “not metal!” Why? Er… hardcore-style breakdowns? Nu-metal style downtuning? Daring to not be straightjacketed by what has come before? Who the fuck can tell. This matters not to the legions of deathcore fans the world over, who just get on with it and create their own glorious noise. And apparently Beyond Deviation play a variety of deathcore called downtempo.

So... 400 vocalists and 37 minutes of downtempo deathcore. What sort of sound do you get? It’s pretty obvious it’s not gonna be bright and breezy uplifting pop music. Nope, you get guttural, bowel-churning doom/death/sludge that’s mostly played on the big fat low strings rather than the twiddly, squeaky high ones. It’s mostly what would be considered breakdowns, except breakdowns are usually brief interludes in a song where the band kicks things into low gear, rather than being the majority of the song like they are here. One of the great benefits of playing so slowly is that it makes the overall sound absolutely fucking massive.

And if there's 400 vocalists, there must be lyrics, right? Yes, there are, and rather a lot of them. They cover weighty philosophical topics like life and existence, reality versus insanity, strength versus weakness, etcetera, etcetera, but are any of them understandable without a lyric sheet? No, not really. And it doesn’t matter. That’s not the point. The voice is an instrument here, a bestial, violent, aggressive roar of an instrument. And despite what you might think, there’s still range for variety in the vocals. It’s hard to tell where one person ends and the next starts, but the grunt/growl/screech flows surprisingly well through this lumbering hulk of a song.

Some metal purists will fucking hate this, but it’s not made for them. This is made for the fans, and by the fans. It also might appeal to the more open-minded and adventurous listeners of funeral doom, doom/death, atmospheric sludge, depressive black metal, or even just the plain curious. This ambitious and slightly crazed project united musicians the world over at a time when it would be easy to feel isolated and alone, and created quite the buzz in a number of extreme music scenes.

Congratulations on the world record Beyond Deviation, and more power to you for conceiving, composing, and executing such a monumental work of dark and deeply satisfying art.

COSMOPHOBE Aberrations

Album · 2020 · Deathcore
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UMUR
"Aberrations" is the debut full-length studio album by US, New Orleans based act Cosmophobe. The album was independently released in December 2020. Cosmophobe released the "Infinite Unreality" EP in October 2020. None of the three tracks from the EP are featured on "Aberrations".

The material on "Aberrations" is instrumental technical death metal/deathcore. With the absence of growling vocals, this probably shouldn´t be called death metal/deathcore, but the instrumental part of the music still points in that direction. It´s both fast-paced and mid-paced and groove laden, featuring heavy chugging riffs and groove heavy rhythms and breakdowns. There are also loads of more melodic moments, leads, and guitar solos, and also some atmospheric moments, so this is not a one-dimensional listen.

Cosmophobe is a one-man project, and that´s unfortunately apparent from the programmed drums. They are decent enough, but a real humam drummer would have made "Aberrations" a better release. There are just some sections on the album where the drums drag the quality of the music down, because it´s too obvious the drums are programmed (listen to the blastbeat section of opening track "Traumatized" about 25 seconds into the track, and tell me that snare drum sound doesn´t bother you just a little bit). The remaining part of the music is very well performed, and well produced too.

The songwriting is intriguing and varied, and there are both some nice brutal and powerful parts as well as some more melodic/atmospheric parts. The riffs and the lead guitar parts are the main attraction here, but if they weren´t placed in well constructed songs, they probably wouldn´t have worked as well as they do here. So the songwriting should be mentioned as an asset here. Upon conclusion "Aberrations" is a good quality debut album by Cosmophobe. A 3.5 star (70%) rating is deserved.

SEED OF SORROW World Impaled

EP · 2017 · Deathcore
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siLLy puPPy
SEED OF SORROW comes from the land of Nessie, yeah the legendary Loch Ness Monster in the city of Inverness, a region not teeming with extreme metal bands. This band that consists of Lewis Goodwin (vocals), Mark Savage (guitar), Nick Laidlaw (guitar), Donald Tolmie (bass) and John Murray (drums) is determined to wake the dead with its savage brutal deathcore sounds that deliver an unrelenting bantering of extreme metal madness.

So far this band has only released this debut EP titled WORLD IMPALED which features five studio tracks and a bonus live closer. The totality is only just shy of 23 minutes but with an orotundity this determined to crank up the volume to the limit, this amount of time is just about right considering there’s not one little iota of breathing room on this one. The band’s style is typical deathcore with bantering twin guitar riffing, a bombastic bass and over-busy drumming workout. Goodwin’s vocal style is the typical frantic metalcore insanity with deathened growly overtones.

Deathcore is one of those subgenera that more often than not reeks of generic performances without much artistic input, a nook in the metal universe where newbie bands can just let off stream and make as much noise as humanly possible without having to focus on things like interesting songwriting structures, instrumental variation or some sort of inviting gimmick that sets the band apart from the legions of similar sounding bands. Unfortunately SEED OF SORROW falls into the generic as fuck section of the deathcore supermarket.

Yep, for every Born of Osiris or Rings of Saturn deathcore style that actually incorporates disparate elements to its bombastic fury, there are a million or more other bands that are content simply to jump on the bandwagon of a particular noisy metal style without adding a personal stamp. While WORLD IMPALED isn’t unlistenable, it’s not very inspired either. The five studio tracks showcase razor sharp musicianship but devoid of creative license. The most interesting track is actually the live one for some reason. OK but nothing special.

VASCULITIS A Monument To Violence

EP · 2018 · Deathcore
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siLLy puPPy
VASCULITIS in medical terms is a group of diseases that destroy blood vessels by inflammation and the perfect moniker for this Australian deathcore band from the far northern Coral Sea coastal city of Mackay in Queensland, Australia. Engaging in a sort of brutalizing slam death metal mixed with core elements, VASCULITIS joins the wave of a never-ending legion of like-minded skull crushers that vie for the extreme jugular of taking metal to its limits.

So far this band has only released this debut EP titled A MONUMENT TO VIOLENCE and except for the snippets of audio samples that begin and end this set of five tracks (reminding me a bit of Pig Destroyer), this EP of 19 minutes playing time certainly does glamorize the pummeling cacophony of sonic violence that will surely please any mosh pit addicts and those who crave a never-ending supply of deathcore fueled adrenaline.

While this style of extreme metal can certainly become generic rather quickly, VASCULITIS stands out in that the three members of vocalist Liam Briggs, guitarist Ben Burrows and drummer Michael Maynard (where’s the bassist?) provide an almost danceable procession of heavy chugs that is part slam death metal, part grindcore and at times employs even a bit of doom metal to build the proper tension but for the most part this band engages in a barbaric onslaught of the innocent and the conquering of the senses with a bombastic display of explosive deliveries of no nonsense metal madness.

What i like about A MOMUMENT TO VIOLENCE is that the band has mastered the art of tempos and dynamics and not relying on an incessant speedfest that never stops. The guitar parts are actually quite varied with some taking on an early Terrorizer style quality as well as developing more modern blitzkrieg techniques. The vocals are well within the world of death m metal with guttural growls and the drums employ blastbeat techniques as well as more varied jazzified gymnastics. While not substantially existing outside the world of deathbed core music, VASCULITIS certainly has embarked on a path that sets them apart slightly by walking that fine line between death metal and grindcore thus blurring the distinctions completely.

XVIA XVIA

Album · 2017 · Deathcore
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siLLy puPPy
One of countless modern core bands out there these days, XVIA originates from San Angelo, Texas and has found a home for its self-titled debut release on the Chugcore International label. This short album of eight tracks that slightly runs over 28 minutes came out in 2017 with the lineup of Jake Madrid (vocals), Matt Radio (guitar), Dan Nguyen (guitar), Steven Sedeno (bass) and Tito Breedlove (drums.)

XVIA plays an aggressive style of deathcore but engages in slower tempos than the average deathcore band. While fast tempos do exist, they are reserved for contrast rather than an incessant bantering throughout the album’s run time. For the most part XVIA implements mid-tempo steadiness which almost sounds like a black metal album however Madrid’s vocal style is clearly in the world of the core genres.

This very well could be one of the mellowest deathcore albums i’ve ever heard. There are many softer parts with arpeggiated clean guitar chords and moments that sound more like a nu metal band than anything with “death” in it but when all is said and done, XVIA can dish out the deathcore goods when they really want to. There are even a few guitar solos but they are quite brief.

While XVIA adds a bit more emotive segments than the average deathcore band and performs the expected core duties admirably, something just seems missing here. Lack of commitment maybe? It seems like XVIA is going for more of an alternative metal album that happens to get all deathcory on us but the softer parts just linger on way to long and for the most part the album comes off as half-assed.

In the end i’m underwhelmed by this release but possibly due to expectations of a more rampaging sound given that the band’s admitted genre of choice is deathcore. “Ataractic” for example sounds more like a post-rock track than anything metal. Nothing wrong with some variety in metal releases but this doesn’t quite scratch that itch. Decent and listenable for sure with many excellent moments but overall doesn’t quite go where i want it to.

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