Primary Stylistic Influences:
Secondary Stylistic Influences:
Deathcore is a generic term for music that combines Metalcore
with Death Metal
(usually more of the former than the latter, although there are certainly exceptions to thatnote
). It usually combines blastbeat-led riffing akin to Death Metal with breakdowns influenced by both Metalcore and Brutal Death "slams". Deathcore's prominent vocal style is the growling
of Death Metal, often juxtaposed with Metalcore-derived screams
and high-pitched backing shrieks a la Cannibal Corpse
The most popular subset of Deathcore employs breakdowns, grooves and Melodic Death Metal
-influenced riffs with occasional glimpses of traditional DM. "Pig squeal" vocals, which try to emulate the sound of a pig being slaughtered, are sometimes used (less commonly in recent years thanks to Complaining About Shows You Don't Like
). Brutal Deathcore bands eschew melodic stylings and often invoke Slam Death Metal tropes; some acts (Waking the Cadaver and Ingested being the most famous) essentially run a 50/50 split between the two. Some Deathcore bands add in an overt nod to the genre's Hardcore Punk
roots by including gang vocals. In the genre's more melodic forms, Symphonic Metal
-influenced keys/synths are not uncommon, with melodic, spacey guitar textures and neoclassical or fusion-influenced leadwork also frequently showing up.
Because it borrows heavily from its commercially successful grandparent Metalcore, Deathcore is arguably more viable in the mainstream than Death Metal. It could be seen as a Darker and Edgier
version of the former and, if critics
are to be believed, a Lighter and Softer
descendant of the latter*
. Because It's Popular, Now It Sucks
and the genre's heavy influence from modern Metalcore
supposedly makes it a "bastardization
" of Heavy Metal
, the genre has become a prominent target for contempt
from purists in recent years. The fact that many of the bands frequently make their way onto the bills of well-respected acts and often carry prominence over said acts (relegating them to support roles), as well as the frequently unpleasant
behavior of many of the musicians in the genre and the tendency of fans to have a very limited knowledge of death metal while writing death metal off as "irrelevant" and often behaving poorly at death metal shows with core bands on the bill has not helped its cause one bit.
As with Nu Metal
, the term "deathcore" is rejected by many bands because it's seen as derogatory.
Bands typically described as Deathcore include:
- Abacinate (not a particularly accurate label, but it's probably the easiest and most fitting one for their music.)
- Abigail Williams (first EP was this mixed with Black Metal, later on shifted to a more ambient black metal sound)
- Acrania (has a noticeably prominent brutal death undercurrent)
- Acranius (close enough to slam to essentially blur the lines, but has enough core to qualify for that as well)
- After The Burial (significant overlap with Djent)
- The Agonist (Lullabies for the Dormant Mind onward, earlier material was melodic metalcore)
- All Shall Perish (one of the most loved examples)
- And Hell Followed With
- Animosity (significant overlap with technical death metal, also one of the only bands that is more or less universally liked by metal fans)
- Annotations Of An Autopsy (briefly took a more death metal-influenced direction before returning to their wiggery sound of old)
- Antagony (Ur-Example, albeit a very obscure one)
- Applaud The Impaler
- Arsonists Get All The Girls
- As Blood Runs Black
- Atlantis Chronicles (some overlap with djent)
- Attila (borders on crunkcore with their party heavy lyrics and rap influences)
- Aversions Crown
- Beneath The Massacre
- Black Tongue (heavy overlap with beatdown hardcore)
- Bleeding Through (later material)
- Boris the Blade
- Born Of Osiris (also djent)
- Bring Me The Horizon (first album and EP only; they dropped all elements of it starting with Suicide Season)
- The Browning (mixed with brostep)
- Burning The Masses
- Carnifex (combined with Black Metal and blackened death metal)
- Chelsea Grin
- Conducting From The Grave
- The Contortionist (earlier material, started moving towards djenty Progressive Metal on Intrinsic)
- The Convalescence
- Cryptopsy (formerly Brutal Death/Tech Death - as of 2012 they have returned to their earlier sound)
- Dance Club Massacre
- Dark Sermon (In Tongues)
- Deadwater Drowning (a very little-known Ur-Example along with The Red Chord; to no one's surprise, the two bands were very closely associated with one another)
- Despised Icon (sometimes considered a Trope Maker along with The Red Chord)
- The Devastated
- Dir en grey (Overlaps with Nu Metal and Technical Death Metal, also one of the more respected examples)
- Disfiguring the Goddess (major overlap with slam)
- Divine Heresy
- Dr. Acula (one of the more hated examples)
- Emmure (overlaps with Nu Metal)
- Enterprise Earth
- Eschaton (with a particularly strong tech death undercurrent, but still deathcore as a whole)
- Exotype (overlaps with a slew of Heavy Metal and Electronic Music genres)
- The Faceless (EP and first full-length)
- Fallujah (first few EPs and demos)
- Fit For An Autopsy (some overlap with Groove Metal on Absolute Hope Absolute Hell)
- Glass Casket (overlaps with Technical Death Metal)
- Halo Of Gunfire
- Here Comes The Kraken
- Hester Prynne
- I Declare War
- Impending Doom (Christian goregrind early on.)
- Infant Annihilator
- Ingested (has a particularly noticeable brutal death influence)
- Ion Dissonance (later material; a rare example that overlaps with Mathcore)
- Iwrestledabearonce (with elements of Neoclassical Punk Zydeco Rockabilly akin to Mr. Bungle)
- Job for a Cowboy (Trope Codifier; they were only part of this genre on their debut EP Doom, after which they abandoned the genre and moved onto straightforward Death Metal and Technical Death Metal)
- Kamikabe (first EP)
- King Conquer
- Knights Of The Abyss
- The Last Ten Seconds of Life
- Lord of War
- Lorna Shore
- Make Them Suffer (They have Progressive and Symphonic influences too, and draw the line between this and Metalcore)
- Man Must Die (No Tolerance for Imperfection, mostly, though they've always had core elements)
- Mouth of the Serpent
- A Night in Texas
- Oceano (one of the most Love It or Hate It examples; also notable for having one of the very few African-American death metal vocalists)
- Ovid's Withering (also djent)
- The Partisan Turbine
- The Plasmarifle
- Reaping Asmodeia
- The Red Chord (sometimes considered a Trope Maker along with Despised Icon; overlaps with Technical Death Metal and Grindcore)
- The Red Death
- Rings Of Saturn
- Rose Funeral
- Salt The Wound
- The Schoenberg Automaton
- See You Next Tuesday
- Slaughter to Prevail
- So This Is Suffering
- Success Will Write Apocalypse Across the Sky (also deathgrind)
- Suicide Silence (Trope Codifier)
- Through The Eyes Of The Dead (first two EPs and Bloodlust)
- The Tony Danza Tapdance Extravaganza (significant djent overlap)
- Thy Art Is Murder (one of the most extreme and well-respected examples)
- Underoath (Ur-Example-very early material before lightening up)
- Upon A Burning Body (some overlap with Nu Metal)
- Veil Of Maya (also Djent)
- Vulvodynia (major brutal death/slam overlap)
- Waking The Cadaver (Also Slam/Brutal Death)
- War From A Harlots Mouth (early material, later went in a more djent-oriented direction)
- Whitechapel (started moving towards Groove Metal and Nu Metal with the self-titled, though still deathcore as a whole)
- Winds Of Plague (Symphonic Deathcore, at least for a while; they seem to have become the biggest example of the "Despised-Icon-Meets-Korn" type of deathcore)
- With Blood Comes Cleansing
- Within Destruction
- Within The Ruins (newer material)
Deathcore exhibits the following tropes:
- Christian Metal: Impending Doom, With Blood Comes Cleansing and Underneath the Gun, among many, many others.
- Cluster F-Bomb: One of the more frequent criticisms of deathcore comes from the exceptionally high amounts of profanity in the lyrics, which are generally seen as puerile and overly simplistic. The more of a tough guy aesthetic a band has, the higher the likelihood that profanity is going to comprise a significant portion of the lyrics.
- Dead Artists Are Better: Many are saying this about Suicide Silence since Mitch Lucker passed away in 2012.
- Dead Horse Genre: Many have called it this, including some deathcore bands who later jumped ship and changed their style (such as Job for a Cowboy moving onto tech-death, or Bring Me the Horizon onto straight-up metalcore).
- Early Installment Weirdness: Many of the earliest acts (The Red Chord, Despised Icon, Animosity, Deadwater Drowning, and Antagony in particular), while definitely part of the genre, had few of the established genre tropes in place; most were just grindy death metal with significant metalcore and/or mathcore influences that manifested in different ways. While Despised Icon later wound up incorporating most of the later, more readily recognizable tropes into their sound and aesthetic, there was still a massive difference between their first two albums and The Ills of Modern Man.
- Emo Teen: Many deathcore musicians have an emo-esque look, with Bring Me The Horizon being the primary example. In fact, the band's move away from the genre was accompanied by their shedding of the overhanging fringes. Other bands that once showcased an "emo" aesthetic include Chelsea Grin, Dir en grey and Suicide Silence, though this has faded due to the emo look becoming Deader Than Disco in the 2010s.
- Fandom Rivalry: Death Metal fandom has a deep and abiding hatred of deathcore, which it sees as a creatively bankrupt "bastardization" of its sound. Deathcore fans in turn perceive Death Metal and its fans as being out of touch with modern tastes in extreme music and highly intolerant of experimentation. This rivalry goes double for Slam-influenced Deathcore, due to Slam's own Fandom Rivalry with the rest of the Death Metal community, and backwash from the Deathcore fandom into Slam.
- Follow the Leader: The main reason for the huge amount of deathcore bands around, as well as for the periodic sound shifts. Most of these sound shifts depend on which band gains recognition.
- When Despised Icon got big, bands bumped up the wiggerdom. When Bring Me The Horizon got big, bands started adopting an Emo look. When Veil of Maya got big, bands started adding in lots of Djent. When The Faceless made it big, bands started going tech. When Born of Osiris made it big, bands started infusing atmospheric and electronic elements into their music. When Carnifex got big, bands started adding in blackened death elements. In short, when a band in this genre gets big, a higher-than-normal amount of copycats show up.
- Gorn: It's everywhere, from lyrics to cover art to music videos...though there are some exceptions.
- Harsh Vocals: ...Duh.
- Hatedom: At the moment, it's the metal fandom's favorite target genre-wise.
- It's the Same, so It Sucks: One of the most popular complaints from fans - deathcore is seen as a genre devoid of musical variance and progression, and it is not helped by the fact that bands frequently copy each others' styles.
- Jerkass: There does seem to be an awfully high amount of deathcore musicians known for their rude and unprofessional behavior, but the members of Rose Funeral and Don Campan from Waking the Cadaver are especially infamous for this. The former was made notorious by the Uno incident, while the latter is known for his homophobia-laced rants and aggressively confrontational (often violently so) nature in real life over petty slights.
- This has led to the popular but derogatory "brocore" label due to the said nature of deathcore musicians as well as some fans who see live shows as opportunities for starting fights as opposed to venues for appreciating the music.
- Lyrical Dissonance: As with Nu Metal, there can at times be a rather jarring tonal contrast between the overtly "br00tal, tuff guy" music and the sometimes decidedly introspective, Wangst-y lyrics.
- Memetic Mutation: The various lyrical shoehorns present in some bands' songs.
- A minor one would be the bizarre shot from Job For A Cowboy's "Entombment Of The Machine" video, where all the music stops, the singer gives out a blood-curdling, yet somewhat feminine scream, and the drummer practically flings himself onto the drumset to bring the sticks down. Sometimes referred to as the "WHEEEEEEEEE- WHOPP."
- From the same song comes the Mondegreen "PREHEAT PIZZA ROLLS/BRING ME APPLESAUCE"
- "Knee Deep" seems to have been the song that set off the "Your favorite song, performed by Spongebob's Band" meme.
- Misogyny Song: Like you would not believe. If a deathcore band has gore-based lyrics, there's a very high chance that almost every song is going to be about torturing and murdering women. Frequent gang shouts during breakdowns of "you're fucking dead, bitch" or something akin to it makes it all the more obvious.
- Thy Art Is Murder used to do this so much that they were put at LEVEL 11 in the Mohs Scale of Lyrical Hardness, but this changed when Chris McMahon joined and changed the lyrical focus to horror and standard evil-based themes.
- Even bands with less violent, more introspective lyrics will express negative views of women in their music. Carnifex and Bring Me The Horizon are the biggest offenders.
- This has also extended to the merchandise; to name an example, I Declare War was harshly criticized (even by their fans, to boot) for selling a shirt that read "FUCK YOUR TITS, SHOW ME YOUR CUNT" on the back.
- Mohs Scale of Rock and Metal Hardness: As with most extreme metal, from 9 to 11.
- Never Live It Down: The uno incident for Rose Funeral. It might be too early to tell, however.
- It has more or less died down, but it lasted for a good while and even got the support of members of Nile and Immolation; hell, Karl Sanders even surreptitiously encouraged people to harass and troll them, as none of the other bands on the tour were at all happy about having Rose Funeral on the bill.
- For that matter, there's also Don Campan's childish, poorly-written, and openly homophobic attack email to a metal journalist who jokingly referred to Waking the Cadaver as "wigger slam", which was later put up for the viewing pleasure of the internet and was soon followed by the revelation that Don sold Amway products and used his MySpace page to extol the virtues of said multi-level marketing scheme.
- Old Shame: Lots of bands who started out as deathcore before switching to death metal tend to be embarrassed about their earlier days, with Job for a Cowboy being one of the most prominent examples; while they still play their early material live, it's less because they want to and more because people have come to expect it.
- Pretty Fly for a White Guy: Many of the more hardcore-oriented acts tend to be very wigger-ish from both a lyrical and aesthetic standpoint; Despised Icon parodied this with "MVP", which is ironic because they were one of the worst offenders.
- Religion Rant Song: Very frequent, just like its parent genre.
- Revolving Door Band: A number of bands have this, though many (The Faceless and Job for a Cowboy among them) will retain one key founding member. Rose Funeral are perhaps the most extreme case, having gone through eighteen members since their formation in 2005.
- Scary Musician, Harmless Music: Usually inverted, since deathcore bands often look no different than most young guys, and even kind of preppy at times (usually in the more tech-oriented groups, as the "gauges, Tapout/Affliction, Vans, baggy shorts, and snapback hat" look is still the most common one).
- Screams Like a Little Girl: Deathcore vocalists who use highs tend to have a very shrill, screechy style; Mitch Lucker and Jonny Davy most likely popularized this approach; other well-known purveyors include Scott Lewis, Alex Koehler (Chelsea Grin), Ian Bearer (Rings of Saturn), Dickie Allen (Infant Annihilator), and Ray Jimenez (ex-Abiotic).
- Snark Bait: The entire genre, really, although Bring Me the Horizon, Emmure, Waking the Cadaver and Suicide Silence get the bulk of the snark. Since the uno incident, Rose Funeral is also a prime target for snark (case in point).
- Spiritual Successor: To Nu Metal, at least to it being The Scrappy and the Butt Monkey of the metal world, mainly due to its heavily derivative nature, as well as the tendency of bands to cite nu metal Ensemble Darkhorses as primary influences - many of the genre's bands are openly influenced by, among others Korn and Deftones. Their music sounds little like those two bands though.
- It could also be seen as this to Metalcore, as the fan base is spearheaded by Metalcore fans.
- Surreal Music Video: A fair (and increasing) number of deathcore bands, especially bands with a more technical edge inject loads and loads of Mind Screw in their music videos. Probably copied from Dir en grey, whose music videos (being inspired by the Eroguro art style) are nigh-infamous for both Nightmare Fuel and Sensory Abuse, often with a misogynistic bent.
- They Copied It, So It Sucks: Early Bring Me The Horizon received some bad press for allegedly copying the styles of As Blood Runs Black and The Black Dahlia Murder. Perhaps more notoriously, Emmure is often accused of outright stealing The Acacia Strain's signature sound, despite the fact that Emmure's music is far groovier than TAS ever was. And those are just a couple prime examples; this is a common negative reaction to deathcore bands in general.
- Trope Codifier: Job for a Cowboy, Suicide Silence, Whitechapel, and Bring Me the Horizon are all pretty much equally responsible for popularizing the genre. Of them, only Suicide Silence has stayed a relatively straight example (aside from progressively larger infusions of nu metal with each album), with the others having turned into straight death metal (Job for a Cowboy), melodic metalcore (Bring Me the Horizon) or a hybrid of deathcore, djent, and nu metal (Whitechapel).
- Trope Maker: Either Despised Icon or The Red Chord. Elements of what would become deathcore can be traced back to Brutal and Slam death metal bands such as Suffocation, Dying Fetus, and Internal Bleeding, among others.
- Wangst: A common lyrical preoccupation, particularly among bands with a more overtly "emo" aesthetic.