Shadowdoom9 (Andi)'s metal genre rediscovery Part II - metalcore and its subgenres

I had fun getting back in touch with a couple death metal subgenres via discovering their origins, but now I'm going to continue my rediscovery journey in a much different genre that I know more of and wish to know the most... metalcore! I'm gonna time-travel my way to the 90s when metalcore was created and splitting into different subgenres and discover what I've missed when I was listening to those subgenres, journaling my progress in this thread. It would be great tackling the releases I somehow missed out on. It might take a long time, but I'm up for that challenge while maintaining other plans. Anyone may suggest releases if you'd like, but I'm focusing on the more essential releases to have a more authentic experience. And while I'm at it, I might try discovering a few extra releases from those times to add more year variety in later Revolution playlists.

The first metalcore subgenre I'll explore is... deathcore! I chose that subgenre first because I wanted to make a smooth segue out of the death metal subgenres from the previous part of the journey. Deathcore used to be as problematic as death metal for me, but as I was programming the first few Revolution playlists, I've realized that the subgenre would definitely appeal more to a metalcore fan like myself than most death metal fans, the latter group hating the metalcore characteristics that taint death metal such as hardcore riffing, breakdowns, and pig-squeal vocals. Deathcore can be considered the "death metal Voldemort". Anyway, the two earliest deathcore releases came out in 1995, and one of them is in the Horde clan as well, so I'll start with that one first before the other. I might also try a couple other different bands at that time, with one of them not deathcore but having made an influential impact to the subgenre. Onward!

Well, I checked out the two 1995 "deathcore" releases. Notice how I put "deathcore" in quotes? That's because I generally don't think they sound like deathcore as a primary genre. There are influences that would influential in deathcore, but that's not their sound as a whole. The first of those two is an EP by Australian deathgrinders Damaged, which for that aforementioned reason, I didn't mention in this thread. And now for the second of the two...

My thoughts:

I had not known much of this band before this encounter, and it's quite incredibly strange having come across this album for the first time, as if the cover art and title wasn't enough of a tip-off. Many fans have praised this band, but little did they know the existence of this offering! Some things are quite notable when you catch up with the context of the sonic music. It's quite a bizarre combination that works sometimes. There's also lots of death metal groove here, but is this really enough to create deathcore? Well the style I would say is progressive mathcore, and this album is the first of that style, but is more of a mix with that and technical death metal, along with jazz interludes. The album is also known as their only one without longtime guitarist John LaMacchia. Instead they had the late Chris Puma (RIP) who also wrote some guitar parts for their second album that were performed by LaMacchia. Puma's guitar work was quite impressive in those heavier tracks. Though there are a few progressive jazz interludes in which my enjoyment for them is around 50/50, and when the jazz is mixed with the heaviness of the metal tracks, that's where the progressive metal comes in. I'm sure longtime fans of the band would love this offering to bits and probably finally give it the credit and praise that has been missing all these years. But for someone who has just discovered this today, it would have to take a very long time to get used to it before I like it more. There's more than meets the ears, and you would find a lot more if you're a professional listener of experimental jazz/death metal/mathcore....

3.5/5

Since this was quite a false start on the deathcore part of the journey, with the two early albums I was shooting for not actually part of that genre, I'll postpone that part and focus on the other metalcore subgenres, starting with mathcore which is the more suitable primary genre for that Candiria album. The other first ever mathcore album I shall soon listen and write about...

There's more than meets the ears, and you would find a lot more if you're a professional listener of experimental jazz/death metal/mathcore....

Quoted Shadowdoom9 (Andi)

There are professional listeners of experimental jazz/death metal/mathcore??? Where do I apply for one of these jobs?

(Later...)

Well, Daniel, the mathcore professionals say that even though experimentation is key in mathcore, it's hard for even them to find a band other than Candiria that mixes the genre with influences from as much jazz/death metal as Atheist. But there is one album that is close enough, though it's about two decades later and I don't want it to interfere with what I've planned for this journey, So I'll transfer it to the recommendation thread. Hang on...

Now back to my regular scheduled mathcore journey, where I take on something more standard-sounding and perfect...

My thoughts:

One band to really put the metal in metalcore and the math in mathcore is Deadguy (not to be confused with German power metallers Edguy). There are more popular bands of those genres, but a few of the less active bands would have you keep keep listening. Though I've already experienced Botch and Converge, Deadguy is what's missing for me! For their debut and only album, Fixation on a Coworker, we have the most real metallic hardcore you'll ever witness, with such beauty and chaos to inspire new bands. The production is quite grand yet sharp, as sharp as a razorblade! The angular riffs shred like buzzsaws alongside heavy tom hits. And there's never the need for any recycled emotion, it's just rage all the way through, with fast hardcore riff-wrath, thundering growls, and lots of time changes. With this much technical heaviness, Fixation on a Coworker is the right album for metalcore fans, and it's disappointing that this band ended too soon. Essential metal/mathcore that you can't skip in your life!

5/5

Coming soon: A couple slightly later albums from another essential early mathcore band, and albums from a few bands that are mathcore or helped develop the subgenre.

I gave the first two Coalesce albums a listen, and Give Them Rope is one of the best I've heard so far in this journey, reaching a perfect 5 stars (the other one of the best being that Deadguy album)! It's a terrific early example of metallic mathcore, highly technical with underground production in a decent album length. However, their shorter second album Functioning on Impatience might be good for the impatient but not for those who want a full album, pretty much like the Daughter's Canada Songs of Coalesce in terms of length and quality. Maybe someday I'll keep listening to that band full-time and check out their last two albums, but I have other mathcore albums to look out for in my rediscovery saga. I shall continue it with a few other bands with albums that are mathcore or helped develop the subgenre...

I shall continue with a few other bands with albums that are mathcore or helped develop the subgenre...

One band in the latter category, Cable is not yet added to Metal Academy. While I wait, I'll continue on with that category and the rest of the metalcore journey, starting with...

A progressive-ish mathy metalcore masterpiece from a group of talented musicians, including bassist Caleb Scofield who tragically lost his life a few years before today. RIP. Here are my thoughts:

Their debut Until Your Heart Stops shows what a boundary-breaking band they can be and would make you up for many listens. Instead of going as melodic as Killswitch Engage, expected is the violence of changing rhythms you might also hear in The Dillinger Escape Plan, Coalesce, and Converge, the latter's members Kurt Ballou and Jacob Bannon appearing a few times in the album. Many different elements form the uniqueness in Cave In's mighty sound, for a new underground attitude. The songs range from short hardcore tracks with Slayer-inspired riffing, to longer progressive epics, to one-minute noise interludes. The album is an interesting diverse addition to the metalcore revolution. It's the perfect way to start this band's career that would end up taking a less heavy turn. Don't let their legacy stop!

5/5

RIP bassist Caleb Scofield

A slight step down compared to the debut albums of those 3 metalcore/mathcore bands (Deadguy, Coalesce, Cave In) but very enjoyable nonetheless. Here are my thoughts:

From the shadows of Rock and Roll Killing Machine, Drowningman brought the right tools for the sound of this second album of theirs in a noisy mix of elements from hardcore punk and crossover thrash that formed metalcore. It is shocking to find the lack of appreciation this band gets for their strength. They even had the audacity to write a few long song titles, but the songs themselves are short and don't have to feel long because of the sharp relentless riffing attack and occasional melody. Rock and Roll Killing Machine reaches near-perfection with its caustic blend of melody and dissonance in the vocals and guitars, creating crazy monstrous hooks for noisy hardcore punk songs to morph with math metal into their own subgenre. Drowningman has proven that it's hard to replicate the Killing Machine that they are!

4.5/5

One last glimpse at mathcore for this journey before the next subgenre, and a step forward into sludge territory. RIP Didier Séverin... Here are my thoughts:

Lots of cool stuff you can find from Switzerland including metal bands Coroner, Samael, and Eluveitie, along with Tolberlone's triangular chocolates and Swiss Army Knives. Initially, the band only gained attention in Europe, but they would then be heard of in America thanks to Hydra Head Records releasing their first two releases. Challenger is an album that would challenger the Northern lands with unexpected expectations from their sludgy mathcore sound! Their songs often range from the mathcore groove of Botch and Coalesce to the ambient sludge of Neurosis and Cult of Luna, all guided by tempo changes, complex drums, and elevating intensity. The intensity has evolved into one of the best albums I've heard of sludgy mathcore. This excellent music with catch your ears with this pummeling record. It should really be picked up by fans of that sound, especially Neurosis, Keelhaul, and Cult of Luna. Add some sludge spice into your metallic hardcore with the perfect challenge that is Challenger!

5/5

Coming soon: A trek through the releases that started it all for The Revolution....

So now I'm heading into reviewing the earliest conventional metalcore releases, and what better way to start with the first ever release in The Revolution clan:

Here are my thoughts:

The revolutionary history of metalcore all began with this hardcore quintet from New Jersey. If you enjoy the sound developed and popularized by Converge or the recent noise-grind of Nails, Rorschach is the band to thank! Their debut Remain Sedate would bring a rebellious future to mankind. After the decadent 80s when metal and hardcore were two separate sides, the despondent 90s was when both genres have been united. Rorschach has made the perfect stylistic formula for the most brutal hardcore at that time, transcending into a newly invented sound. This is a relentless D-beat-inspired assault of crushing riffs and tormented screams like nothing before! The slithering bass and jackhammering drums share the stage with the guitars and vocals. This raw formation of a new sound while channeling their own horrors is kind of what Black Sabbath had done when inventing heavy metal. Like Sabbath, Rorschach was a will-testing pioneer of their own new genre. With this perfect offering, metalcore was born!

5/5

What if you can fully establish metalcore as a genre without being highly dependent on hardcore roots, to influence heavier subgenres, a bit like Black Sabbath's way of heavy metal in Masters of Reality? Add that and lyrics of the confusing insanity of life, and you have the violent intensity of Integrity's Those Who Fear Tomorrow! This hardcore juggernaut is the start of the band's over 3-decade legacy. It is one of the first ever metalcore albums, from 1991, though only the second after Rorschach album from a year earlier. It's no secret that Cro-Mags and Corrosion of Conformity where experimenting with crossing metal over into their hardcore, but Integrity helped bring life to a brand new world. Hardcore verses and metallic breakdowns are led by the original metalcore Dwid Hellion! For this album's violent soundscape to work, Dwid was born for this world to unleash his psychotic vocals. This unique approach was for many a complete anomaly. This bizarre delivery was unusual at that time, and somehow it still works greatly, with lyrics tackling every trick in the hardcore book. Those Who Fear Tomorrow is responsible for a metalcore tomorrow....today!

4.5/5

The debut album from a band determined to make a sharp rudimental sound of metallic hardcore and, as a result, sounding ahead of their time! I said that because, it was the year 1992, and they were already introducing new sonic elements into the genre they were helping pioneer. You can hear some alt-metal to remind you of Biohazard, Helmet, and Life of Agony, with a similar approach in the production. Besides often hitting a mid-tempo pace, what's worth noting is the deranged vocals performed by Rennie Resmini; not hardcore, not metal, but in between. With all that said, there's so much to digest, especially for those who have had a hard time finding this album before the reissue. Hope they speed up the pace they've had in releasing albums (3 more in the 30 years after their debut)....

4/5

As a bonus treat before progressing through metalcore's first decade further, I decided to find and listen to Rorschach and Integrity's first ever demos, released in 1989, though Integrity's Harder They Fall demo would be re-released a year later as In Contrast of Sin with two more tracks. They're good but don't reach the greatness as the proper albums. Still I acknowledge the demos as the real birth of metalcore. Here they are:

I gave Earth Crisis' first EP and first two albums a listen, and the Firestorm EP and Destroy the Machines are some of the best I've heard so far in this journey, reaching a perfect 5 stars! They're terrific early examples of metalcore, filled with raging riffs and substance-free lyrics. However, their second album Gomorrah's Season Ends has some slight cliches from their attempts to recreate their success. Still it has a great amount of impressive music, continuing this band's status as an important one in metalcore history! Maybe someday I'll keep listening to that band full-time and check out their later albums, but I have other metalcore albums to look out for in my rediscovery saga. I shall continue it with a few other bands with important early albums. More of the original Revolution awaits me!

Earth Crisis wasn't the only band to add more groove than hardcore into their metalcore, with Vision of Disorder continuing that angry combo in their debut. My thoughts:

With sieges and wars on the rise in different parts of the planet in the 90s, where did some of the witnesses put their rage? In music! Many 90s extreme bands aggressively tackle the world's problems in their sound, whether it's rap metal like Rage Against the Machine, or metalcore like this band Vision of Disorder. This band from Long Island has shaken the world as much as their peers, with the extreme metallic hardcore of their 1996 self-titled debut! Combining melody and heaviness, Vision of Disorder's self-titled debut is another highly essential album of 90s metalcore. The golden age of metal has been considered to be the 80s, but the 90s was in fact the golden age for the earliest metalcore, and this offering is one gem from that era!

5/5

Another astonishing early metalcore release that I can't believe I didn't discover until today. Here are my thoughts:

Shai Hulud's debut Hearts Once Nourished with Hope and Compassion is an important late 90s metalcore record, and many metal/hardcore bands would be taking the aspect of emotional anger from the music and lyrics of Shai Hulud for their own sound. This band certainly isn't emo, but they have emotional passion in their lyrics and music. Hearts Once Nourished with Hope and Compassion consists of 9 amazing songs with the most intensity heard in the genre. Shai Hulud have been a highly significant part of the metalcore league despite the long 5+ year gap between albums and as many lineup changes as Annihilator. Their debut shows how beautiful hardcore can be. The band's strongest lineup has made their ultimate essential album! Now would it surprise you found out that the vocalist at that time is Chad Gilbert, founding guitarist of pop-punkers New Found Glory? Chad has done amazing vocals in this album, screaming out messages of despair, with thoughts better communicated here than elsewhere. There's also excellent guitar intricacy that would make me say the Owen Wilson "WOW." The perfect devastation comes during the breakdowns in contrast to lightning fast rhythms that sear through. Hearts Once Nourished with Hope and Compassion would be a major influence to the hardcore/metalcore world. Shal Hulud is still as influential as they've ever been these past 25 years. Hardcore/metalcore fans would surely be inspired by one of the most original bands of the genre. This is hardcore perfection!

5/5

One more conventional metalcore album I was planning to review was the debut album from Hatebreed, Satisfaction Is the Death of Desire, but it's not yet added to Metal Academy. While I wait, I'll review some more albums including the debut from Cable that's finally added here (thanks Ben!):

My thoughts:

Do you ever wonder if you think there should be something altered in its history without lowering too much of its value? That is a frequent thought, isn't it? When you don't know if what you think would be more suitable for a band that would've caused them to rise higher or fall lower. You can't change the past, but you can live with what's available. That feeling I can have listening to Cable's debut Variable Speed Drive, which is still marked an enjoyable mathy metalcore escapade! Cable evolved through the over 25 years since they've released their debut, and they've made 7 full-length albums and a couple EPs, splits, and compilations. Before switching to sludge in subsequent albums, Variable Speed Drive bashes through 90s noise-metalcore at as much tremendous ease as Deadguy. There's massive discordance along with occasional pleasant melody, and the anger and passion makes up for the slight unpolished mistakes, from doom-ish to hardcore. Variable Speed Drive has intrigued hardcore/metalcore fans by adding elements that barely co-existed before. The thing I would change would be the production to sound more polished, but I know the rawness should be left as is for the "noisecore" trend. Plus, it's balanced out by the then-rare-in-metalcore melody, so it's all good either way....

4/5

Coming soon: Another attempt to get on the deathcore trail in the 1997 era...

Well, I've made another attempt in continuing my early deathcore path, and I have a feeling it might turn out better than my first attempt, with more apparent proto-deathcore elements in this album:

My thoughts:

Deathcore was practically unheard of when this album was released 25 years ago. Back then, very few extreme bands from Australia were known outside their homeland, even Damaged. Anyone who thought groove metal bands like Pantera and White Zombie were the heaviest would have their minds blown away, if they've ever stumbled upon this then-rare token. The album has good loud production, suitable for this deathgrind/proto-deathcore band. Here we have earth-quaking drums, sonic guitar distortion, and incomprehensible screaming vocals. The songs can range from slow boring distortion to fast interesting aggression! It sounds as if the latter was one of Slipknot's heavier influences, with some similar riffing to be found in that band's debut album two years later. The vocals some threaten to reach that level in their weaker songs, particularly in the first half, which really lessens the fun mood. However, track #4 by mixing their deathgrind/deathcore sound with more extreme yet melodic influence than just nu metal. I would suggest just listening to that track, followed by track #7 onwards then stop before the hidden track. There are probably better extreme metal bands out there, for me anyway, but Damaged is as much as I'm up to going into the deathgrind genre, though there's a decent amount of proto-deathcore as well. I can only recommend this to fans of this kind of sound with lots of noise and variety. I probably don't plan to explore the death side of deathcore any time soon, other than one more album from a different band. But at least half of this album is a grand blast....

3.5/5

Well this EP did not have much that I enjoyed. The hardcore-death metal sounded like quite a mess compared to anything in month-long journey so far. This is what should be put down instead of the much better over-hated modern deathcore bands. I have a much better early deathcore album to review later today, but in the meantime, here's the link to my review for this poor attempt at deathcore invention: https://metal.academy/reviews/24416/18004

Now this is more like it! Here we have the band that really kickstarted deathcore, and that is Embodyment! Something interesting is the band's Christian background that was highly unusual in death metal at that time. Whether you're fan of Christian metal or death metal/core, Embrace The Eternal is a must-listen, with influences from Suffocation, Morbid Angel, and for the idea of Christian death metal, Mortification. Kris McCaddon has done great primal vocal work, and there is some melodic yet dissonant riffing that alone would be the big bang for bands like Suicide Silence, Whitechapel, and maybe even Knocked Loose. McCaddon would've made the band more popular and staying in their deathcore sound if he didn't leave the band. Yep, after his departure, their 3 subsequent albums embraced a melodic alt-metal/rock sound, getting softer album after album until they split after the 4th. Members of the original lineup would start a short-lived project, The Famine. Anyway, it's this album that would fully pioneer deathcore and set the stage for bands like Despised Icon and Suicide Silence. An underrated gem for a new deathly beginning!

5/5

Up next, after reviewing their alt-metal second album The Narrow Scope of Things (of course that won't be part of my metalcore journey), I plan to review one more album that isn't deathcore but rather an early example of metalcore mixed with death metal influences, and that would mark the end of this voyage through the early releases of standard metalcore and its subgenres. Though like I said before, I might try discovering a few extra releases from those times to add more year variety in later Revolution playlists. Stay tuned...

Prayer for Cleansing is obviously not deathcore, nor the first ever metalcore band, but they would help in developing metalcore's deathly side, with brutal growls of anger and sorrow, and fast heaviness in the music. A lot of hardcore/metalcore now has more association with the aspects of this band's sound. So if you're looking for the band that started the ongoing Gothenburg-inspired metalcore trend, the answer is right here. You can hear a lot of violent heaviness from the blast-beat sections and breakdowns, along with a decent amount of melody in places. Rain in Endless Fall is pretty much the roots of not only Between the Buried and Me (the band 3 of the Prayer for Cleansing members would form) but also the majority of mixing melodic metalcore with extreme influences. There's barely a single thing to make you disappointed!

5/5

I plan to review their EP The Tragedy (that won't be part of my metalcore journey), but other than that, we've reached the end of my metalcore subgenre voyage. Once again, I'm gonna try discovering a few extra releases from those times to add more year variety in later Revolution playlists, and that would be a different small journey that isn't part of this thread. Anyway...that's all in this thread, folks!

Bonus epilogue part of this journey before really putting it to rest:

With their debut, Satisfaction is the Death of Desire, it amazingly describes the band's lack of satisfaction for life's advantages and disadvantages. In its release year 1997, their former label Victory Records was still focused on hardcore/early metalcore bands that included not just Hatebreed but also Earth Crisis, Integrity, and Strife. If this early debut isn't an honor for the metalcore sound that would stick with Hatebreed, I don't know what is! You can hear a lot of strong guitar, smashing drumming, and rebellious lyrics in this awesome metal/hardcore gem that is quite short, but length doesn't matter here. I'm glad to finally complete my early metalcore rediscovery voyage with this album. Thanks Ben for adding this to the site, and I ever come across some more albums that can top this one, I'm up for that challenge. Bring on the hate for me to love!

5/5