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===Melodic metalcore (1997–present)===
===Melodic metalcore (1997–present)===
In the late 1990s, a third wave of metalcore groups appeared, who placed significantly greater emphasis on [[melody]]. Such bands as [[Unearth]], [[Bullet for My Valentine]], [[As I Lay Dying (band)|As I Lay Dying]], [[Avenged Sevenfold]], [[Killswitch Engage]], [[Trivium (band)|Trivium]], [[All That Remains]], [[Underoath]], [[Sonic Syndicate]] and [[Atreyu (band)|Atreyu]]<ref name=amg>Allmusic Review, Atreyu, ''Suicide Notes and Butterfly Kisses'' [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0jfpxql0ldae] Access date: June 24, 2008</ref><ref name=ToC>"Taste of Chaos", ''Revolver'', June 2008. p. 110.</ref> are the most commercially successful practitioners of metalcore. Other notable metalcore bands include [[Haste the Day]], [[Darkest Hour (band)|Darkest Hour]], [[Caliban]], [[Parkway Drive]], [[In This Moment]], [[The Devil Wears Prada (band)|The Devil Wears Prada]] and [[Diecast]]<ref name=mi>''Metal Injection'', August 28, 2007 [http://metalinjection.net/reviews/cd-reviews-arch-enemy-black-earth-reissue] Access date: June 24, 2008</ref>. These groups took major influence, cues, and writing styles from [[melodic death metal]] bands, particularly [[In Flames]] and [[At the Gates]].<ref name=mi/><ref name=amg/> Melodic metalcore frequently makes use of [[clean vocals]],<ref name=sn>''Suicide Notes and Butterfly Kisses'' review [http://www.mp3.com/albums/535958/reviews.html]</ref><ref name=mr>''Metalrage'', 12/30/07 [http://www.metalrage.com/reviews/1899] Access date: June 24, 2008</ref><ref>''El Paisano'', 9/12/07 [http://media.www.elpaisanonewspaper.com/media/storage/paper1088/news/2007/09/12/Entertainment/Its-Through.The.Approach-2961653.shtml] Access date: June 24, 2008</ref> and is significantly less dissonant than other metalcore. Some of these groups, such as [[Shadows Fall]], have voiced an affection for '80s [[glam metal]].<ref>Dan Epstein, "The Brewtal Truth", ''Revolver'', Nov. 2004, p. 65</ref> Melodic metalcore groups have been described as "embrac[ing] '80s metal clichés", such as "inordinate amounts of smoke machines, rippin' solos, [and] three bass drums".<ref name=ToC/>
In the late 1990s, a third wave of metalcore groups appeared, who placed significantly greater emphasis on [[melody]]. Such bands as [[Bullet for My Valentine]], [[Sonic Syndicate]], [[Unearth]], [[As I Lay Dying (band)|As I Lay Dying]], [[Avenged Sevenfold]], [[Killswitch Engage]], [[Trivium (band)|Trivium]], [[All That Remains]], [[Underoath]] and [[Atreyu (band)|Atreyu]]<ref name=amg>Allmusic Review, Atreyu, ''Suicide Notes and Butterfly Kisses'' [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0jfpxql0ldae] Access date: June 24, 2008</ref><ref name=ToC>"Taste of Chaos", ''Revolver'', June 2008. p. 110.</ref> are the most commercially successful practitioners of metalcore. Other notable metalcore bands include [[Haste the Day]], [[Darkest Hour (band)|Darkest Hour]], [[Caliban]], [[Parkway Drive]], [[In This Moment]], [[The Devil Wears Prada (band)|The Devil Wears Prada]] and [[Diecast]]<ref name=mi>''Metal Injection'', August 28, 2007 [http://metalinjection.net/reviews/cd-reviews-arch-enemy-black-earth-reissue] Access date: June 24, 2008</ref>. These groups took major influence, cues, and writing styles from [[melodic death metal]] bands, particularly [[In Flames]] and [[At the Gates]].<ref name=mi/><ref name=amg/> Melodic metalcore frequently makes use of [[clean vocals]],<ref name=sn>''Suicide Notes and Butterfly Kisses'' review [http://www.mp3.com/albums/535958/reviews.html]</ref><ref name=mr>''Metalrage'', 12/30/07 [http://www.metalrage.com/reviews/1899] Access date: June 24, 2008</ref><ref>''El Paisano'', 9/12/07 [http://media.www.elpaisanonewspaper.com/media/storage/paper1088/news/2007/09/12/Entertainment/Its-Through.The.Approach-2961653.shtml] Access date: June 24, 2008</ref> and is significantly less dissonant than other metalcore. Some of these groups, such as [[Shadows Fall]], have voiced an affection for '80s [[glam metal]].<ref>Dan Epstein, "The Brewtal Truth", ''Revolver'', Nov. 2004, p. 65</ref> Melodic metalcore groups have been described as "embrac[ing] '80s metal clichés", such as "inordinate amounts of smoke machines, rippin' solos, [and] three bass drums".<ref name=ToC/>


In the mid-2000s, metalcore emerged as a commercial force, with several independent metal labels, including [[Century Media]] and [[Metal Blade Records|Metal Blade]], signing metalcore bands. By 2004, melodic metalcore had become popular enough that Killswitch Engage's ''[[The End of Heartache]]'',<ref>[http://www.billboard.com/bbcom/discography/index.jsp?pid=403514&aid=631229 The End of Heartache] at [[Billboard.com]]</ref> and Shadows Fall's ''[[The War Within (album)|The War Within]]''<ref name="SF">[http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=70442] at [[Blabbermouth.net]]</ref> debuted at numbers 21 and 20, respectively, on the ''Billboard'' album chart. [[All That Remains (band)|All That Remains]]' single "[[Two Weeks]]" peaked at number nine at the Mainstream Rock Tracks chart in the U.S. The song peaked on the Modern Rock Tracks chart at number 38. Welsh metalcore band Bullet for My Valentine's second album, ''[[Scream Aim Fire]]'', went straight to #4 on the ''Billboard 200''.<ref>[http://www.billboard.com/bbcom/discography/index.jsp?pid=690285&aid=1099359 Scream Aim Fire] at [[Billboard.com]]</ref> Underoath's fifth album ''[[Define the Great Line]]'', released in 2006, peaked at #2 on the Billboard 200 charts, selling 98,000 copies in its first week.<ref> [http://www.billboard.com/bbcom/discography/index.jsp?pid=477820&aid=785760] at [[Billboard.com]]</ref> Hatebreed, [[God Forbid]], and As I Lay Dying have also charted.<ref name="hateb1">[http://www.billboard.com/bbcom/discography/index.jsp?aid=787692&pid=246474 Supremacy] at [[Billboard.com]]</ref><ref name="hateb2">[http://www.billboard.com/bbcom/discography/index.jsp?pid=246474&aid=518354 Perseverance] at [[Billboard.com]]</ref><ref name="LOG">[http://www.billboard.com/bbcom/discography/index.jsp?pid=408918&aid=792155 Sacrament] at [[Billboard.com]]</ref> Underoath's most recent album ''[[Lost in the Sound of Separation]]'' has reached #8 on the Billboard 200 and has sold 56,000 copies in its first week of sales in the U.S. alone.
In the mid-2000s, metalcore emerged as a commercial force, with several independent metal labels, including [[Century Media]] and [[Metal Blade Records|Metal Blade]], signing metalcore bands. By 2004, melodic metalcore had become popular enough that Killswitch Engage's ''[[The End of Heartache]]'',<ref>[http://www.billboard.com/bbcom/discography/index.jsp?pid=403514&aid=631229 The End of Heartache] at [[Billboard.com]]</ref> and Shadows Fall's ''[[The War Within (album)|The War Within]]''<ref name="SF">[http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=70442] at [[Blabbermouth.net]]</ref> debuted at numbers 21 and 20, respectively, on the ''Billboard'' album chart. [[All That Remains (band)|All That Remains]]' single "[[Two Weeks]]" peaked at number nine at the Mainstream Rock Tracks chart in the U.S. The song peaked on the Modern Rock Tracks chart at number 38. Welsh metalcore band Bullet for My Valentine's second album, ''[[Scream Aim Fire]]'', went straight to #4 on the ''Billboard 200''.<ref>[http://www.billboard.com/bbcom/discography/index.jsp?pid=690285&aid=1099359 Scream Aim Fire] at [[Billboard.com]]</ref> Underoath's fifth album ''[[Define the Great Line]]'', released in 2006, peaked at #2 on the Billboard 200 charts, selling 98,000 copies in its first week.<ref> [http://www.billboard.com/bbcom/discography/index.jsp?pid=477820&aid=785760] at [[Billboard.com]]</ref> Hatebreed, [[God Forbid]], and As I Lay Dying have also charted.<ref name="hateb1">[http://www.billboard.com/bbcom/discography/index.jsp?aid=787692&pid=246474 Supremacy] at [[Billboard.com]]</ref><ref name="hateb2">[http://www.billboard.com/bbcom/discography/index.jsp?pid=246474&aid=518354 Perseverance] at [[Billboard.com]]</ref><ref name="LOG">[http://www.billboard.com/bbcom/discography/index.jsp?pid=408918&aid=792155 Sacrament] at [[Billboard.com]]</ref> Underoath's most recent album ''[[Lost in the Sound of Separation]]'' has reached #8 on the Billboard 200 and has sold 56,000 copies in its first week of sales in the U.S. alone.

Revision as of 15:38, 30 October 2009

Metalcore
Stylistic originsCrossover thrash[1]
Hardcore punk
Heavy metal
Thrash metal
Youth crew[2]
Cultural originsLate 1980s, United States
Typical instrumentsElectric guitar − Bass guitar − Drums (double kick)
Subgenres
Mathcore
(complete list)
Fusion genres
Melodic metalcore, deathcore
Regional scenes
Massachusetts - New Jersey - New York
Other topics
Breakdown - Punk metal

Metalcore is a fusion genre incorporating elements of hardcore punk and extreme metal. The name is a portmanteau of hardcore punk and heavy metal. The term took on its current meaning in the mid-1990s, describing bands like Earth Crisis, Deadguy and Integrity.[3] The earliest of these groups, Integrity, began performing in 1989.[4] Metalcore is distinguished from other punk metal fusions by its emphasis on breakdowns:[5] slower, intense passages conducive to moshing.[6]

History

Precursors (1977–1984)

Main article: Hardcore punk

Black Flag[7] and Bad Brains,[8] among the originators of hardcore, admired and emulated Black Sabbath. British street punk groups such as Discharge and The Exploited also took inspiration from heavy metal.[9] The Misfits began to borrow from Motörhead, becoming a crucial influence on thrash.[10] Nonetheless, punk and metal cultures and music remained separate through the first half of the 1980s.

Crossover thrash (1984–1988)

Main article: Crossover thrash

Cross-pollination between metal and hardcore eventually birthed the crossover thrash scene, which gestated at a Berkeley club called Ruthie's, in 1984.[11] The term "metalcore" was originally used to refer to these crossover groups.[12] Hardcore punk groups Corrosion of Conformity,[13] Dirty Rotten Imbeciles and Suicidal Tendencies[14] played alongside thrash metal groups like Metallica and Slayer. This scene influenced the skinhead wing of New York hardcore, which also began in 1984, and included groups such as Cro-Mags, Murphy's Law, Agnostic Front[15] and Warzone.[16] The Cro-Mags were among the most influential of these bands, drawing equally from Bad Brains, Motörhead, and Black Sabbath.[17] Cro-Mags also embraced straight edge and, surprisingly enough, Krishna consciousness.[18] Other New York straight edge groups included Gorilla Biscuits, Crumbsuckers, and Youth of Today,[19] who inaugurated the youth crew style.[20] 1985 saw the development of the hardcore breakdown, an amalgamation of Bad Brains' reggae and metal backgrounds,[6] which encouraged moshing. Agnostic Front's 1986 album Cause for Alarm, a collaboration with Peter Steele, was a watershed in the intertwining of hardcore and metal.[21]

Converge at Neumo's in Seattle, Washington, 2008

Metallic hardcore (1989–2000)

Between 1989 and 1995, a new wave of metalcore bands emerged.[22] These included Integrity,[23] Earth Crisis,[23][24] Converge,[24] Starkweather, Judge, Bloodlet,[24] Strife,[23] Rorschach, Cave In,[25] Vision of Disorder,[25] Hatebreed,[23][25] and Candiria.[25] Integrity drew influence primarily from the hardcore of The Cro-Mags and the thrash metal of Slayer, with more subtle elements of Septic Death, Samhain, Motörhead, and Joy Division.[26] Earth Crisis, Converge, and Hatebreed[27] also borrowed from death metal.[28] Earth Crisis's 1995 album Destroy the Machines was particularly influential.[29] In guitarist Scott Crouse's words,

It was a very mixed reaction. I'm often misquoted as saying Earth Crisis was the first hardcore band with a metal sound. Of course we weren't the first, but I think we definitely took it to another level. We heard a lot of, 'These guys are trying to be Pantera,' which we all took as a great compliment![29]

Biohazard, Coalesce,[30] Shai Hulud and Overcast were also important early metalcore groups. These groups are sometimes referred to as "metallic hardcore".[31][32]

Melodic metalcore
Stylistic originsMetalcore (metallic hardcore era)
Melodic death metal
Post-hardcore
Cultural originsLate 1990s, North America and United Kingdom
Typical instrumentsElectric guitar − Bass guitar − Drums (double kick)
Fusion genres
Deathcore
Regional scenes
Australia - Germany - Massachusetts - Russia
Other topics
Breakdown - Punk metal

Melodic metalcore (1997–present)

In the late 1990s, a third wave of metalcore groups appeared, who placed significantly greater emphasis on melody. Such bands as Bullet for My Valentine, Sonic Syndicate, Unearth, As I Lay Dying, Avenged Sevenfold, Killswitch Engage, Trivium, All That Remains, Underoath and Atreyu[33][34] are the most commercially successful practitioners of metalcore. Other notable metalcore bands include Haste the Day, Darkest Hour, Caliban, Parkway Drive, In This Moment, The Devil Wears Prada and Diecast[35]. These groups took major influence, cues, and writing styles from melodic death metal bands, particularly In Flames and At the Gates.[35][33] Melodic metalcore frequently makes use of clean vocals,[36][37][38] and is significantly less dissonant than other metalcore. Some of these groups, such as Shadows Fall, have voiced an affection for '80s glam metal.[39] Melodic metalcore groups have been described as "embrac[ing] '80s metal clichés", such as "inordinate amounts of smoke machines, rippin' solos, [and] three bass drums".[34]

In the mid-2000s, metalcore emerged as a commercial force, with several independent metal labels, including Century Media and Metal Blade, signing metalcore bands. By 2004, melodic metalcore had become popular enough that Killswitch Engage's The End of Heartache,[40] and Shadows Fall's The War Within[41] debuted at numbers 21 and 20, respectively, on the Billboard album chart. All That Remains' single "Two Weeks" peaked at number nine at the Mainstream Rock Tracks chart in the U.S. The song peaked on the Modern Rock Tracks chart at number 38. Welsh metalcore band Bullet for My Valentine's second album, Scream Aim Fire, went straight to #4 on the Billboard 200.[42] Underoath's fifth album Define the Great Line, released in 2006, peaked at #2 on the Billboard 200 charts, selling 98,000 copies in its first week.[43] Hatebreed, God Forbid, and As I Lay Dying have also charted.[44][45][46] Underoath's most recent album Lost in the Sound of Separation has reached #8 on the Billboard 200 and has sold 56,000 copies in its first week of sales in the U.S. alone. Also, Killswitch Engage's newest album "Killswitch Engage" has reached #7 on the Billboard 200.

Characteristics

Instrumentation

Metalcore bands generally feature two lead and rhythm electric guitarists who often play fast riffs with dual leads.[citation needed] The harmonies are usually very simplistic, and the harmony is often just a third played over a very simple root part on the minor scale. Bassists usually follow the rhythm guitar.[citation needed] The drummer usually performs using double-kick or double-bass drums.

Vocals

Vocals in metalcore are often unclean and became common among many 1990s metalcore groups.[citation needed] Today many metalcore groups combine unclean vocals with clean vocals.[36]

Zao, a Christian metalcore group

Ideologies

Metalcore initially emerged from the milieu surrounding youth crew hardcore, with many of the groups adhering to straight edge beliefs (that is to say, abstention from drugs and alcohol), though Integrity was a notable exception.[47] Earth Crisis proselytized for veganism and animal rights, which had an enduring effect on numerous bands, including Veil Of Maya, Converge.[48] Converge was also notable for their focus on personal anguish and experiences of failed romantic love.[49] One Life Crew and other skinhead hardcore groups,[50] were controversial for their right-wing political beliefs.[51] Dwid Hellion, frontman of Integrity, advocated the "Holy Terror Church of Final Judgment", an outlook related to Satanism.[1] Several members of contemporary melodic metalcore groups are practicing Christians: Zao[52], As I Lay Dying,[53],Underoath[54] and Norma Jean.[55]

Subgenres

Mathcore

Main article: Mathcore

Mathcore began with the mid-'90s work of Converge[56], Botch[57][58] and The Dillinger Escape Plan[59]. The term mathcore is suggested by analogy with math rock. Mathcore is characterized by speed technical riffing, and unusual time signatures.[60][61] Bands such as Protest the Hero, Ion Dissonance,[62] and Fear Before,[63] are bands that incorprate metalcore standards along with time signatures and progressive elements.

Deathcore

Main article: Deathcore

Deathcore is an amalgamation of metalcore and death metal[64]. In the early years of the 21st century. While remaining a subgenre of metalcore, deathcore is heavily influenced by death metal in its speed, heaviness, and approach to chromatic, heavily palm muted riffing, dissonance, and frequent key changes[citation needed]. Deathcore often features breakdowns and melodic riffs[64][65].

References

  1. ^ a b "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. p. 110.
  2. ^ Christopher Pearson, "Beer and Loathing in New Jersey: Earth Crisis in Concert", January 20, 1999 [1] Access date: June 20, 2008
  3. ^ "Shai Hulud, interview with Punknews.org - 05/28/08". Retrieved 2008-09-21. As far as coining the term "metalcore" or coining a sound, I don't think we did. 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 than the average hardcore band. My friends and I would always refer to them as "metalcore" because it wasn't purely hardcore and it wasn't purely metal. It was like a heavier hardcore band with hardcore ethics and attitude but clearly a metal influence. So we would joke around and say "Hey, it's metalcore. Cool!" But it was definitely a tongue-in-cheek term.
  4. ^ "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. pp. 110, 118.
  5. ^ "The best part of every metalcore song is the breakdown, the part where the drums drop out and the guitars slow their frantic gallop to a devastating, precise crunch-riff and everyone in the moshpit goes extra nuts." - Tom Breihan. "Status Ain't Hood". "Live: Trivium, the Jackson 5 of Underground Metal". The Village Voice Daily Voice. October 11, 2006. [2] Access date: July 21, 2008.
  6. ^ a b "Mosh style was slower, very tribal – like a Reggae beat adapted to Hardcore. [...] It was an outbreak of dancing with a mid-tempo beat driven by floor tom and snare." - Howie Abrams, Blush, p. 193
  7. ^ Blush, American Hardcore, part 2, "Thirsty and Miserable", p. 63, 66
  8. ^ Andersen, Mark and Mark Jenkins (2003). Dance of Days: Two Decades of Punk in the Nation's Capital. "Postive Mental Attitude". p. 27. Akashic Books. ISBN 1888451440
  9. ^ Glasper, Ian (2004). Burning Britain: The History of UK Punk 1980-1984. Cherry Red Books. p. 5. ISBN 1901447243
  10. ^ Blush, "Hits from Hell", American Hardcore, p. 204
  11. ^ Blush, p. 115
  12. ^ Felix von Havoc, Maximum Rock'n'Roll #198 [3] Access date: June 20, 2008
  13. ^ Blush, p. 193
  14. ^ Christe, Ian: Sound of the Beast: The Complete Headbanging History of Heavy Metal (2003), p. 184
  15. ^ Blush, p. 186
  16. ^ Blush, p. 188
  17. ^ Blush, p. 189
  18. ^ "Cro-Mags were the first band to attract both Skinheads and Metalheads audiences; their music at the point where Hardcore nihilism met Metal power." Blush, p. 189
  19. ^ Blush, p. 194
  20. ^ Alternative Press, July 7, 2008, p. 109
  21. ^ Blush, p. 192
  22. ^ "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. pp. 110, 118.
  23. ^ a b c d "here the term (metalcore) is used in its original context, referencing the likes of Strife, Earth Crisis, and Integrity ...", Ian Glasper, Terrorizer no. 171, June 2008, p. 78
  24. ^ a b c Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN 193259504X. p. 222-223
  25. ^ a b c d Ross Haenfler, Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press. ISBN 0813538521 p. 87-88
  26. ^ "It was this simple formula that's single-handedly responsible for every band you hear combining heavy metal and hardcore today." "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. p. 110.
  27. ^ Hatebreed cites Entombed and Bolt Thrower. Q&A with Jamey Jasta, Miami New Times, May 27, 2008. [4] Access date: June 22, 2008
  28. ^ Karl Buechner of Earth Crisis cites Napalm Death, Bolt Thrower, and Obituary as prime influences. Mudrian also discusses Converge and Bloodlet and their relationship to death metal. See Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN 193259504X. p. 222-223
  29. ^ a b Gabriel Cardenas Salas, "Blasts from the Past," Terrorizer 180, February 2009, p. 96.
  30. ^ The History of Rock Music: 1990-1999
  31. ^ "EXCLUSIVE INTERVIEW WITH SHAI HULUD GUITARIST MATT FOX". Retrieved 2008-10-09. When we used to joke with the term, it was just a clever (or not so clever) way of describing a metallic hardcore, metal-influenced hardcore, or hardcore-influenced metal band.
  32. ^ J. Bennett, "Converge's Jane Doe, Revolver, June 2008
  33. ^ a b Allmusic Review, Atreyu, Suicide Notes and Butterfly Kisses [5] Access date: June 24, 2008
  34. ^ a b "Taste of Chaos", Revolver, June 2008. p. 110.
  35. ^ a b Metal Injection, August 28, 2007 [6] Access date: June 24, 2008
  36. ^ a b Suicide Notes and Butterfly Kisses review [7]
  37. ^ Metalrage, 12/30/07 [8] Access date: June 24, 2008
  38. ^ El Paisano, 9/12/07 [9] Access date: June 24, 2008
  39. ^ Dan Epstein, "The Brewtal Truth", Revolver, Nov. 2004, p. 65
  40. ^ The End of Heartache at Billboard.com
  41. ^ [10] at Blabbermouth.net
  42. ^ Scream Aim Fire at Billboard.com
  43. ^ [11] at Billboard.com
  44. ^ Supremacy at Billboard.com
  45. ^ Perseverance at Billboard.com
  46. ^ Sacrament at Billboard.com
  47. ^ "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. pp. 110, 118.
  48. ^ Kaban, Tyson. "Eat Your Veggies". Vue Weekly. Retrieved June 8 2008. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |dateformat= ignored (help)
  49. ^ Interview with My Penis, Revolver, June 2008. p. 114
  50. ^ Blush, p. 192
  51. ^ Ferris, D.X. "The Godfather of Cleveland Hardcore". Cleveland Scene. Retrieved June 8 2008. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |dateformat= ignored (help)
  52. ^ Cogdale, Russ (2005-01-28). "Zao's music abrasive yet spiritual" (Interview). Retrieved 2008-07-08. {{cite interview}}: Check date values in: |date= (help); Unknown parameter |program= ignored (help)
  53. ^ FAQ - As I Lay Dying
  54. ^ Chamberlain, Spencer; Gillespie, Aaron (2006-07-17). "Interview With Underoath" (Interview). Retrieved 2008-01-28. {{cite interview}}: Check date values in: |date= (help); Unknown parameter |program= ignored (help)
  55. ^ http://www.crossrhythms.co.uk/articles/music/Blessing_the_Martyrs/8026/p1/
  56. ^ "Converge biography". Rockdetector.com. Retrieved 2007-08-23.
  57. ^ Botch - We Are The Romans Review
  58. ^ San Francisco Bay Guardian : Article : The Gap's attack on kids
  59. ^ TV3 > News > Story > Mathcore band the 'Dillinger Escape Plan' visit NZ
  60. ^ Events for this weekend in New York
  61. ^ http://www.thebatt.com/home/index.cfm?event=displayArticle&ustory_id=57c9a7c1-3b7d-4def-97f1-3783659abe8c
  62. ^ http://www.mtv.com/news/articles/1543586/20061019/index.jhtml?headlines=true
  63. ^ "Fear Before The March Of Flames Bio" The Gauntlet. Retrieved on August 3, 2008.
  64. ^ a b lambgoat.com "This is deathcore. This is what happens when death metal and hardcore, along with healthy doses of other heavy music styles, are so smoothly blended..."
  65. ^ Eduardo Rivadavia. "Heaven Shall Burn Biography". Allmusic. Retrieved 2008-05-31.

Bibliography

  • Haenfler, Ross. Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press. ISBN 0813538521
  • Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN 193259504X
  • Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda Books. ISBN 0958268401

See also

Retrieved from "https://en.wikipedia.org/w/index.php?title=Metalcore&oldid=322937025"