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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, melding the genre’s roots in hardcore punk with death metal and 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 often at times 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.
A number of distinct sub-genres of metalcore have emerged over the years, the most prominent being deathcore, mathcore, melodic metalcore and electronicore / trancecore. All have their own child-subs on MMA.
Mathcore 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.
Melodic Metalcore can also be called out as a subgenre with acts like Avenged Sevenfold and Killswitch Engage and other acts who mix hardcore punk with melodic death metal.
Electronicore / Trancecore / Synthcore emerged in the 2000s, melding metalcore and post-hardcore with electronic elements. The style was made popular by bands such as Attack Attack!, Crossfaith, Enter Shikari and The Browning.
Another electronic / metalcore hybrid that has gained some recognition is
Nintendocore. Nintendocore fuses chiptune and video game music with modern hardcore punk and heavy metal and was pioneered by groups such as Horse the Band. Increasingly non-Nintendocore bands are utilising the style too as it has become more maintream.
Progressive Metalcore can also be called out as a distinct style, which some include under mathcore, while others distinguish between mathcore and progressive metalcore, with mathcore emphasising technicality and progressive metalcore displaying progressive traits without necessarily being technical. Many progressive metalcore bands describe their music as "djent".
A small but increasingly common style of metalcore is a combination with nu-metal, often called
Nu-Metalcore. These bands will be found under metalcore or nu-metal, depending on which style they are closer to.
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 (with its corresponding symphonic deathcore).
Metalcore Inclusive Genres:
deathcore electronicore mathcore melodic-metalcore nintendocore Written by Andyman1125 with embellishment from the Metal Music Archives admin team.
Sub-genre collaborators (+ child sub-genres & shared with Hardcore Punk):
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Album · 1999 ·
Mathcore
Necrotica
Calculating Infinity is the perfect example of an album that takes the rulebook of its genre(s) and throws it out completely. It’s the flawless melding of brutality and sophistication, of anger and despair, of hardcore euphoria and jazz-driven mathematics. And the members of The Dillinger Escape Plan were certainly aware of what they were doing too. Guitarist and figurehead Ben Weinman was once quoted as saying on The Independent:
"Calculating Infinity was us effectively ripping up the music theory book; if someone said 'don't harmonise with a second, it just sounds out of tune', then every single lead we did, we'd harmonise with a second. It sounded disgusting, but we did it".
This music is controlled rage, but just because it’s controlled doesn’t mean it’s sterile or edgeless. The complex, labyrinthine arrangements are given plenty of vocal ammunition through Dimitri Minakakis’ tortured, chilling screams. And I’ll certainly give the band credit: they don’t mess around when it comes to storming the gate early. “Sugar Coated Sour” is both a phenomenal thesis statement of the album’s sound and practically a war cry for any listener interested in joining the band for this unique event. The dissonant guitar harmonies, impossibly precise drumkit grinding, and furious wailing are incredible markers of what you’ll be hearing throughout this brief experience. About 90% of Calculating Infinity is a mixture of blinding speeds, jaw-dropping technical prowess, and the rare moment of unsettling reflection. Those calmer sections are a great way for the band to show their vast range of influences as well, such as the incredible polyrhythmic prog-oriented bridge of “43% Burnt” or the avant-jazz chord progressions of the slow melodic (?) section of “The Running Board.” Even more curious are the few interludes that mark the record, leaning more on the avant-garde side of its identity. The title track and “*#..” are enjoyable Meshuggah-esque ditties that rely on strange rhythms and little diminished guitar “pops,” while “Weekend Sex Change” combines sampling, depressive guitar melodies, and incredible drum soloing into one fascinating fusion.
The most impressive thing about Calculating Infinity is that both sides of its bipolar personality are so natural and well-represented. Many of us are aware of the various rumors surrounding the album’s recording, most famously the decision to roll dice to determine each time signature. But it’s strange to think that for something so, ahem, “calculated,” that every bit of hardcore aggression and raw emotion can still come out in full force. Just listen to that utterly insane intro to “Jim Fear.” It doesn’t give us a moment’s notice to prepare for the full-on assault of scorching fretwork and deranged screams, but everything manages to be very planned and pre-staged all the same. That whole song really comes together when you reach the next section and hear the complex runs across the fretboard in unison with the rabid drums, and that concept of “controlled anarchy” comes into play. Wanna know why it all works? Because the insane technicality and the angular “prog-meets-punk” riffing ensure that each emotional catharsis is earned. The Dillinger Escape Plan somehow have the ability to turn technical prowess into atmosphere, weaving in and out of disturbing musical passages; Dimitri is simply icing on the cake with the chaos he spews over it all. But each emotional release works because the band members are incredibly skilled at building us up to those moments. Much like Converge’s Jane Doe, there’s a respect and care that’s given to each weird transition and tempo shift despite the hell being unleashed on top of the songwriting.
At the end of the day, Calculating Infinity is simply a mesmerizing paradox; it combines mathcore, hardcore punk, free jazz, avant-garde metal, and progressive metal, and somehow manages to treat them all as equals. If you want sophisticated songwriting and complex instrumentals, this album is essential. And if you just want to fuck everyone up in the moshpit, then it’s still essential.
Movie · 2010 ·
Melodic Metalcore
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.