Test your Web browser and fonts for the ability to display the Unicode Runic range of characters. Part of Alan Wood’s Unicode Resources. Runic – Test for Unicode support in Web browsers. VIKING is a false-historical font evolving from Elder Futhark Runes. This runic typeface is based upon the ancient Germanic symbols later adapted by the Goths, Anglo-Saxons, Vikings, The Third Reich, and within Fantasy genera, depicted as Dwarven Runes.
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- RunicStyleRegularAuthorDmitry Dervenjov (drawing) & Nikolay Dubina (created)TrademarkRunic is a trademark of the Dmitry Dervenjov (drawing) & Nikolay Dubina (created).CopyrightCopyright (c) Dmitry Dervenjov (drawing) & Nikolay Dubina (created), 2001. All rights reserved.RegularDmitry Dervenjov (drawing) & Nikolay Dubina (created)
- Runic AltStyleRegularAuthorDmitry Dervenjov (drawing) & Nikolay Dubina (created)TrademarkRunic Alt is a trademark of the Dmitry Dervenjov (drawing) & Nikolay Dubina (created).CopyrightCopyright (c) Dmitry Dervenjov (drawing) & Nikolay Dubina (created), 2001. All rights reserved.RegularDmitry Dervenjov (drawing) & Nikolay Dubina (created)
- Graip RunicStyleRegularCompanyDavid KerkhoffTrademarkGraip Runic is a trademark of David Kerkhoff.CopyrightCopyright (c) 2010 by David Kerkhoff. All rights reserved.DescriptionCopyright (c) 2010 by David Kerkhoff. All rights reserved. Please read the ReadMe file for instructions and FAQ. Graip was one of the three sons of Elvar, the mythical founder of Gotland. This script is a variation of Elder Futhark, which features on a stone found in Gotland.LicenseDonationware. Please read the ReadMe file for instructions and FAQ.RegularDavid Kerkhoff
- Runic AltNoStyleRegularAuthorDmitry Dervenjov (drawing) & Nikolay Dubina (created)TrademarkRunic AltNo is a trademark of the Dmitry Dervenjov (drawing) & Nikolay Dubina (created).CopyrightCopyright (c) Dmitry Dervenjov (drawing) & Nikolay Dubina (created), 2001. All rights reserved.RegularDmitry Dervenjov (drawing) & Nikolay Dubina (created)
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- Modern RunicStyleRegularVersion1.500;PS 001.500;hotconv 1.0.70;makeotf.lib2.5.58329RegularPeter S. Baker and Grt Havregrynsson
- Tjelvar RunicStyleRegularCompanyDavid KerkhoffTrademarkTjelvar Runic is a trademark of David Kerkhoff.CopyrightCopyright (c) 2010 by David Kerkhoff. All rights reserved.DescriptionCopyright (c) 2010 by David Kerkhoff. All rights reserved. Please read the ReadMe file for instructions and FAQ. Tjelvar Runic is a variant of Elder Futhark, as found in Gotland.LicenseDonationware. Please read the ReadMe file for instructions and FAQ.RegularDavid Kerkhoff
- English RunicStyleRegularAuthorTDLDescriptionThe Englisc Fuorc plus four late Northumbrian additions & some variants from the Seax of Beagnoth & the Franks CasketRegularTDL
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- Runic MT CondensedStyleRegularTrademarkRunic(TM) Trademark of The Monotype Corporation.CopyrightTypeface data Copyright 1992-94 The Monotype Corporation. Copyright 1994 Microsoft Corporation. All rights reserved.RegularDavid Kerkhoff
- Runic MT W01 CondensedStyleRegularCompanyMonotype Imaging Inc.TrademarkRunic is a trademark of The Monotype Corporation and may be registered in certain jurisdictions.CopyrightCopyright 1991, 2002 Adobe Systems Incorporated. All Rights Reserved. Copyright 1991, 2002 The Monotype Corporation Plc. All Rights Reserved.LicenseNOTIFICATION OF LICENSE AGREEMENTThis typeface is the property of Monotype Imaging Inc. and its use by you is covered under the terms of a license agreement. You have obtained this typeface software either directly from Monotype Imaging or together with software distributed by one of the licencees of Monotype Imaging.This software is a valuable asset of Monotype Imaging. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to use on up to five (5) workstation for your own publishing use. You may not copy or distribute this software.If you have any questions concerning your rights you should review the license agreement you received with the software or contact Monotype Imaging for a copy of the license agreement.General information:www.fonts.comFor license terms and usage rights, please visit our web site at:www.monotypeimaging.com/html/type/license.htmlLizenzbedingungen und Nutzungsrechte finden Sie auf unserer Webseite:www.monotypeimaging.com/html/type/license.htmlPour plus d'informations concernant les droits d'utilisation et les questions contractuelles, veuillez consultez notre site:www.monotypeimaging.com/html/type/license.htmlPara obtener informacin acerca de los trminos de licencia y los derechos de uso, visite nuestro sitio en el Web en:www.monotypeimaging.com/html/type/license.htmlPer le condizioni contrattuali ed i diritti d'uso, visitate il nostro sito web all'indirizzo:www.monotypeimaging.com/html/type/license.htmlRegularMonotype Design Studio
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- Rogue Sans Cond W00 Light ItStyleRegularCompanyRian Hughes / Device FontsTrademarkRogue Sans Condensed Light Italic is a trademark of Rian Hughes / Device Fonts.CopyrightCopyright (c) 2004 by / Device Fonts. All rights reserved.DescriptionCopyright (c) 2004 by / Device Fonts. All rights reserved.
- Avondale SC InlineStyleRegularAuthorDerek VogelpohlTrademarkAvondale SC - Inline is a trademark of Apostrophic Laboratories.CopyrightCopyright (c) Derek Vogelpohl, 2001. All rights reserved.DescriptionCopyright (c) Derek Vogelpohl, 2001. All rights reserved. Avondale SC - Inline is a trademark of Apostrophic Laboratories.
- LancelotStyleRegularCompanyMarion Kadi, Anton KoovitTrademarkLancelot is a trademark of Marion Kadi, 2011.CopyrightCopyright (c) 2011 by Marion Kadi. All rights reserved. Licenced under SIL OFL v1.1DescriptionCopyright (c) 2011 by Marion Kadi. All rights reserved under SIL openfont License 1.1
- P22 Undergnd W15 Lt P CpStyle : RegularStyleRegularAuthorEdward Johnston, Richard Kegler, Paul HuntTrademarkP22 Underground is a trademark of P22 type foundry.Copyright2007 by P22 type foundry. All rights reserved.DescriptionOriginally commissioned in 1916 for use in the London Transport system, Edward Johnston's typeface immediately became an icon in graphic design and typography. Commissioned by first Chief Executive of London Transport Frank Pick to create a typeface belonging unmistakably to the twentieth century, Johnston's design was intended to be distinctly legible and, most importantly, functional. The true testament to Johnston's legacy of design is its continued modern usage and the scores of imitations which developed from Johnston's work. Johnston's original typeface became the model and inspiration for such modern sans-serif typefaces as Futura and Gill Sans. P22 Underground Pro expands on the historical design by Edward Johnston, licensed exclusively to P22 from the London Transport Museum.
- RoughWeekendNormalStyleRegularAuthorPieter van Rosmalen. Published by GarageFonts USA - -CopyrightCopyright (c) 1999 Pieter van Rosmalen. Published by GarageFonts USA 301-879-6955License---------------------GARAGEFONTS---------------------Phil's Fonts/GarageFonts End User License AgreementSoftware means the computer program contained in this package (which may include digitally encoded, machine readable, scalable outline font data as encoded in special format), together with all codes, techniques, software tools, formats, designs, concepts, methods and ideas associated with the computer program and all documentation related thereto.Phil's Fonts, Inc./GarageFonts (Phil's), hereby grants you, and you agree to accept a non-exclusive, non-transferable, limited license (the License) to use the Software solely for your own customary business or personal purposes. 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- PromenadenmischungStyleRegularCompanyDavid KerkhoffTrademarkPromenadenmischung is a trademark of David Kerkhoff.CopyrightCopyright (c) 2010 by David Kerkhoff. All rights reserved.DescriptionCopyright (c) 2010 by David Kerkhoff. All rights reserved. Please read the 'ReadMe' file for instructions and FAQ.LicenseDonationware. Please read the 'ReadMe' file for instructions and FAQ.
Metalcore | |
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Other names | Metallic hardcore |
Stylistic origins | |
Cultural origins | Late 1980s and early 1990s, United States |
Typical instruments |
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Derivative forms |
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Subgenres | |
Fusion genres | |
Regional scenes | |
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Other topics |
Metalcore is a fusion genre combining elements of extreme metal and hardcore punk, that originated in the late 1980s. Among other styles blending metal and hardcore, such as crust punk and grindcore, metalcore is noted for its use of breakdowns, which are slow, intense passages conducive to moshing. Other defining instrumentation includes heavy guitar riffs often utilizing percussivepedal tones and double bass drumming. Vocalists in the genre typically perform screaming, more popular bands often combine this with the use of standard singing, usually during the bridge or chorus of a song. However the death growl is also a popular technique within the genre.
In the late 1980s to early 1990s pioneering bands such as Integrity, Earth Crisis and Converge, whose hardcore punk-leaning style is sometimes referred to as 'metallic hardcore',[2] were founded. These pioneering bands took influence from a range of styles and genres such as hardcore punk, thrash metal and death metal. Journalists have dubbed records by The Dillinger Escape Plan, Botch and Coalesce to be milestones in the genre. During the early 2000s, metalcore started to gain more prominence, with several independent metal labels signing metalcore bands. This lead to bands such as Killswitch Engage, All That Remains, Trivium, As I Lay Dying, Bullet for My Valentine, and Parkway Drive all rising to popularity.
- 1History
- 3Subgenres
History[edit]
Precursors[edit]
1980s hardcore band Agnostic Front
Black Flag[3] and Bad Brains,[4] among the originators of hardcore, admired and emulated Black Sabbath. British punk rock groups such as Discharge and the Exploited also took inspiration from heavy metal.[5] The Misfits put out the Earth A.D. album, becoming a crucial influence on thrash.[6] Nonetheless, punk and metal cultures and music remained fairly separate through the first half of the 1980s. Cross-pollination between metal and hardcore eventually birthed the crossover thrash scene, which gestated at a Berkeley club called Ruthie's, in 1984.[7] The term 'metalcore' was originally used to refer to these crossover groups.[8] Hardcore punk groups Corrosion of Conformity,[9]D.R.I. and Suicidal Tendencies[10] 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[11] and Warzone.[12] The Cro-Mags were among the most influential of these bands, drawing equally from Bad Brains, Motörhead and Black Sabbath.[13] Cro-Mags also embraced some aspects of straight edge and Krishna consciousness.[14] Another New York metal-influenced straight edge group of this time period is the Crumbsuckers. 1985 saw the development of the hardcore breakdown, an amalgamation of Bad Brains' reggae and metal backgrounds,[15] 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.[16]
Origins (1980s and 1990s)[edit]
1980s metallic hardcore band Hogan's Heroes
Between 1984 and 1995, a wave of metallic hardcore bands emerged,[17] including Hogan's Heroes,[18]Integrity,[19]Earth Crisis,[19][20]Converge,[20]Shai Hulud,[21][22][23]Judge,[20]Strife,[19]Rorschach,[24]Vision of Disorder[24]Hatebreed,[19][24] and Disembodied.[25]
Integrity drew influence from the hardcore band G.I.S.M. and the thrash metal band Slayer, with others like Septic Death, Samhain, Motörhead and Joy Division. Earth Crisis, Converge and Hatebreed[26] borrowed from hardcore punk and death metal.[27] Earth Crisis's albums Firestorm, Destroy the Machines and Gomorrah's Season Ends were particularly influential to the (further) development of the genre.[28][29][30]Biohazard, Coalesce and Overcast were also important early metalcore groups.[31] Journalist Lars Gotrich wrote, 'Along with key records by The Dillinger Escape Plan and Botch, Give Them Rope (1997) is an underground milestone that helped [further] what was soon [universally] called 'metalcore'. At the risk of sounding too reductive—metalcore was the natural progression where extreme metal and hardcore met, but with spiraling time signatures that somehow felt more aggressive.'[32] Shai Hulud's 1997 album Hearts Once Nourished with Hope and Compassion became especially influential in the latter part of the decade.[21][22][23]
2000s–present[edit]
Killswitch Engage are considered one of the breakthrough bands to bring metalcore to the spotlight.
In the early 2000s, metalcore started to gain more prominence, with several independent metal labels, including Century Media and Metal Blade, signing metalcore bands. A new subgenre, melodic metalcore, strongly influenced by Swedish melodic death metal, has formed and quickly came to the forefront of metalcore's rise to popularity. By 2002, Killswitch Engage's Alive or Just Breathing,[33] was the prominent album that thrust metalcore into the spotlight. In 2004 into Shadows Fall's The War Within,[34] and Atreyu's The Curse debuted at numbers 21, 20, and 36, respectively, on the Billboard album chart. Also, in 2006, Atreyu's third studio album, A Death-Grip on Yesterday debuted at Number 9 on the Billboard 200, only to be followed up by 2007's Lead Sails Paper Anchor, which debuted at Number 8. All That Remains' single 'Two Weeks' peaked at number 9 at the Mainstream Rock Tracks chart in the U.S. The song peaked on the Modern Rock Tracks chart at number 38. In 2007, the songs 'Nothing Left' by As I Lay Dying and 'Redemption' by Shadows Fall were nominated for a Grammy award in the 'Best Metal Performance' category. An Ocean Between Us (the album that included 'Nothing Left') itself was a commercial success, debuting at number 8 on the 'Billboard 200'.
Metalcore band Bullet for My Valentine performing in 2006
In 2008 Welsh metalcore band Bullet for My Valentine's second album, Scream Aim Fire, went straight to number 4 on the Billboard 200,[35] which was later surpassed in 2010 by their third album Fever, which debuted at number 3 selling more than 71,000 copies in its first week in the United States and more than 21,000 in the United Kingdom. Bullet for My Valentine's 2006 album The Poison was certified gold by the Recording Industry Association of America (RIAA).[36]Underoath's fifth album Define the Great Line, released in 2006, peaked at number 2 on the Billboard 200 charts, selling 98,000 copies in its first week.[37]
Metalcore band Trivium live in 2012
Trivium have met with success, making the top 25 positions on charts in several countries, including the United States, and top 10 positions in both Australia and the United Kingdom (where it even achieved Gold status). Hatebreed, God Forbid, and As I Lay Dying have also charted.[38][39][40]The Devil Wears Prada achieved some commercial success with their album, With Roots Above and Branches Below, peaking at number 11 on the Billboard 200 upon its release.[41] Underoath's album Lost in the Sound of Separation reached number 8 on the Billboard 200 and sold 56,000 copies in its first week of sales in the United States alone,[42] with Killswitch Engage's self-titled fifth album reaching number 7 on the same chart and selling 58,000 copies.[43]
By the early 2010s, metalcore was evolving to more frequently incorporate synthesizers and elements from genres beyond rock and metal. The Devil Wears Prada's 2011 album Dead Throne (which sold 32,400 in its first week)[44] reached number 10,[45] on the Billboard 200 chart. In 2013, British band Bring Me the Horizon released their fourth studio album Sempiternal to critical acclaim. The album debuted at number 3 on the UK Album Chart and at number 1 in Australia. The album sold 27,522 copies in the US, and charted at number 11 on the US Billboard Chart, making it their highest charting release in America until their follow-up album That's the Spirit, on which they abandoned metalcore, debuted at no. 2 in 2015.
Characteristics[edit]
Metalcore band Hatebreed
Metalcore is known for its use of breakdowns, in which it was preceded by heavy hardcore.[46] Metalcore singers typically perform screaming,[47] a vocal technique developed in the 1980s and characteristic of 1990s metalcore. More recent bands often combine this with the use of standard singing, usually during the bridge or chorus of a song.[47] The death growl technique is also popular.
The instrumentation of metalcore includes heavy guitar riffs often utilizing percussive pedal tones, double bass drumming, and breakdowns.[47] Drop guitar tunings are often used. Most bands use tuning ranging between Drop D and A, although lower tunings, as well as 7 and 8 string guitars are not uncommon. Drummers typically use a lot of double bass technique and general drumming styles across the board. Blast beats are also heard at times. According to author James Giordano, 'tempos in metalcore tend to be slower than those found in thrash metal'.[48]
Subgenres[edit]
Melodic metalcore[edit]
The early 2000s included a wave of metalcore bands who placed significantly greater emphasis on melody. Melodic metalcore bands include Avenged Sevenfold, As I Lay Dying, Trivium, Dead by April,[49]All That Remains,[50]Atreyu,[51][52]Bullet for My Valentine,[53]Bury Tomorrow,[54]Darkest Hour,[51]Shadows Fall, and August Burns Red.[55][56][57] These groups took major influence, cues, and writing styles from Swedish melodic death metal bands, particularly At the Gates,[51]In Flames, Arch Enemy and Soilwork.[58] Melodic metalcore often employs clean vocals.[59][60]
Mathcore[edit]
Mathcore began with the mid-1990s work of Converge,[61] Botch[62][63]Eso-Charis[64] and The Dillinger Escape Plan.[65] The term mathcore is meant to suggest an analogy with math rock. Mathcore is characterized by increased speed, technical riffing, and unusual time signatures.[66][67] Bands such as Fear Before also combine the metalcore sound with odd time signatures, as well as progressive elements.[68]
Deathcore[edit]
Deathcore band Carnifex
Deathcore is a fusion of metalcore and death metal.[69][70][71] Deathcore is defined by breakdowns, blast beats and death metal riffs.[72][73] Bands may also incorporate guitar solos and even riffs that are influenced by metalcore.[69] New York-based death metal group Suffocation is credited as one of the main influences for the emergence of deathcore.[74] Some examples of deathcore bands are Suicide Silence,[75]Whitechapel,[75]Knights of the Abyss,[76]Carnifex[75]Chelsea Grin,[77]Impending Doom,[78] and Emmure.[75]
Electronicore[edit]
Electronicore describes a stylistic fusion of electronic music and metalcore.[79] Notable artists of this genre have originated from the United Kingdom, the United States,[80][81] Australia,[82] Canada,[83] France,[84] Hong Kong[85] and Japan.[86]
Progressive metalcore[edit]
Progressive metalcore is a fusion of progressive metal and metalcore characterized by highly technical lead guitar and djent-influenced breakdowns.[87][88][89][90] Practitioners of the genre often rely heavily on 'atmospheric' elements and complex instrumentation.[90][91]
Nu metalcore[edit]
Nu metalcore is the musical fusion of nu metal and metalcore originating in the 2010s.[92] Many notable groups take influence from deathcore, R&B,[92]post-hardcore[93] and industrial metal.[94] Metalcore and deathcore groups[95] such as Emmure,[96][97][98]Of Mice & Men,[99][100][101]Suicide Silence,[102][103] and Issues[104][105] all gained moderate popularity drawing influence from nu metal and metalcore.
See also[edit]
References[edit]
- ^ROA, RAY. 'WTF is sasscore, and why is SeeYouSpaceCowboy bringing it to St. Petersburg's Lucky You Tattoo?'. Creative Loafing. Retrieved 9 February 2019.
- ^Bennett, J (June 2008). 'Converge's 'Jane Doe''. Revolver (magazine).
- ^Blush, American Hardcore, part 2, 'Thirsty and Miserable', p. 63, 66.
- ^Andersen, Mark and Mark Jenkins (2003). Dance of Days: Two Decades of Punk in the Nation's Capital. 'Positive Mental Attitude'. p. 27. Akashic Books. ISBN1-888451-44-0.
- ^Glasper, Ian (2004). Burning Britain: The History of UK Punk 1980–1984. Cherry Red Books. p. 5. ISBN1-901447-24-3.
- ^Blush, 'Hits from Hell', American Hardcore, p. 204.
- ^Blush, p. 115.
- ^Felix von Havoc, Maximum Rock'n'Roll #198Archived June 5, 2008, at the Wayback Machine. Access date: June 20, 2008.
- ^Blush, p. 193.
- ^Christe, Ian: Sound of the Beast: The Complete Headbanging History of Heavy Metal (2003), p. 184.
- ^Blush, p. 186.
- ^Blush, p. 188.
- ^Blush, p. 189.
- ^Blush, p. 189. '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. 193. 'Howie Abrams (NYHC scene): 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.'
- ^Blush, p. 192.
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- ^McClard, Kent. Record Reviews. No Answers, November 1988, p. 13.
- ^ abcdIan Glasper, Terrorizer no. 171, June 2008, p. 78, 'here the term (metalcore) is used in its original context, referencing the likes of Strife, Earth Crisis, and Integrity (...)'.
- ^ abcMudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN1-932595-04-X. p. 222-223.
- ^ ab'Kill Your Stereo – Reviews: Shai Hulud – Misanthropy Pure'.
Shai Hulud, a name that is synonymous (in heavy music circles at least) with intelligent, provocative and most importantly unique metallic hardcore. The band's earliest release is widely credited with influencing an entire generation of musicians
. - ^ ab'Shai Hulud – Hearts Once Nourished with Hope and Compassion Review'. Sputnikmusic. Retrieved July 11, 2012.
Hearts Once Nourished with Hope and Compassion is pretty much the prime in early melodic metalcore. So many bands in both the modern metalcore and hardcore scene have drawn vast influence from them, because of how perfect they blend hardcore and metal.
- ^ ab'In at the Deep End Records'.
Regardless of whether or not you liked Shai Hulud, it is undeniable that Hearts Once Nourished with Hope and Compassion was an oft-imitated and highly influential release in the mid-to-late nineties.
- ^ abcRoss Haenfler, Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change. Rutgers University Press. ISBN0-8135-3852-1. p. 87-88.
- ^Sharpe-Young, p. 119
- ^Hatebreed cites Entombed and Bolt Thrower. Q&A with Jamey Jasta, Miami New Times, May 27, 2008. Access date: June 22, 2008.
- ^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. ISBN1-932595-04-X. p. 222-223.
- ^Gabriel Cardenas Salas, 'Blasts from the Past', Terrorizer 180, February 2009, p. 96.
- ^Deneau, Max (April 15, 2009). 'Scott Crouse of Earth Crisis'. Exclaim!. Archived from the original on July 4, 2017. Retrieved October 15, 2017.
Earth Crisis started it all, pretty much. Opening the door for countless metal/hardcore hybrids and setting the bar for politically motivated heavy music, Earth Crisis trailblazed their way through the '90s with a series of landmark releases, particularly the Firestorm EP and Destroy the Machines.
- ^Ernst, Tobias (June–July 2007). 'EARTH CRISIS | ZURÜCK ZU DEN WURZELN' [EARTH CRISIS | BACK TO THE ROOTS]. Ox-Fanzine (in German). No. 72. Archived from the original on June 20, 2009. Retrieved October 15, 2017.
EARTH CRISIS waren Mitte der 1990er Jahre nicht nur eine der vehementesten Vertreter des Veganismus und der Straight Edge-Bewegung, sondern auch musikalisch auf dem Höhepunkt ihrer Karriere. Mit ihrem Album 'Gomorrah's Season Ends' bereiteten sie den Weg für einen Musikstil, der heute allgemein als Metalcore bezeichnet wird, und waren zusammen mit INTEGRITY ein maßgeblicher Einfluss für unzählige Metalcore-Bands der letzten Jahre. (In the mid-1990s, EARTH CRISIS was not only one of the most vehement representatives of veganism and the straight-edge movement, but also were musically at the peak of their career. With their album Gomorrah's Season Ends they paved the way for a musical style that is now generally known as Metalcore, and together with INTEGRITY they have been a major influence for countless metalcore bands of recent years.)
- ^J. Bennett, 'Converge's Jane Doe', Revolver, June 2008.
- ^Lars Gotrich, 'Coalesce: A Tale of Two Ropes', All Songs Considered, 25 October 2011.
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- ^ abcBowar, Chad. 'What Is Metalcore?'. About.com. Retrieved November 16, 2014.
- ^Giordano 2016, p. 141.
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- ^Rivadavia, Eduardo. 'Overcome review'. AllMusic. Retrieved 17 February 2012.
Overcome offers very dependable melodic metalcore in the spirit of All That Remains' albums past, without succumbing to outright stagnation.
- ^ abcD. Taylor, Jason. 'Suicide Notes and Butterfly Kisses review'. AllMusic. Retrieved June 24, 2008.
Atreyu's debut album, Suicide Notes and Butterfly Kisses, is an invigorating foray into melodic metalcore in the vein of Darkest Hour, Poison the Well, and Eighteen Visions.
- ^'Taste of Chaos', Revolver, June 2008, p. 110. 'This is the Rockstar Taste of Chaos Tour, a night when heavier melodic-metalcore bands like Atreyu and Avenged Sevenfold intend to position themselves as the next generation of bands to actually pack arenas (...)'.
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If you're wondering whether they bring anything unique or unexpected to the table, the answer is no. Is Portraits a pleasurable enough melodic metalcore album while it's playing? Absolutely.
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Drawing inspiration from the intricacies of Converge, the varied time signatures of Botch and the temperament of the Blood Brothers, they produced a distinctive combination of hardcore, metal and indie rock that was eclectic, fresh and frenetic.
- ^ ab'lambgoat.com'. Retrieved July 11, 2012.
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...
- ^Lee, Cosmo. 'metalinjection.net'. Retrieved November 11, 2008.
...All Shall Perish... Alienacja (Poland), Despised Icon (Montreal) and Whitechapel (Knoxville, TN)... They're all textbook 'deathcore', fusing death metal and hardcore punk.
- ^Rivadavia, Eduardo. 'Heaven Shall Burn'. AllMusic. Retrieved May 31, 2008.
Munich, Germany's Heaven Shall Burn specialize in highly controversial and politicized death metal fused with hardcore; a hybrid style often referred to as death-core.
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- ^Lee, Cosmo (September 2009). 'Suffocation reclaim their rightful place as kings of death metal'. Decibel Magazine. No. 059.
One of Suffocation's trademarks, breakdowns, has spawned an entire metal subgenre: deathcore
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- ^Heaney, George. 'Ghost Town – The After Party'. AllMusic. Retrieved 22 October 2015.
most electronicore is essentially metalcore with some synths tacked on for good measure
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Bibliography[edit]
- Haenfler, Ross. Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press. ISBN0-8135-3852-1.
- Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN1-932595-04-X.
- Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda Books. ISBN0-9582684-0-1.
- Giordano, James (2016). Maldynia: Multidisciplinary Perspectives on the Illness of Chronic Pain. CRC Press. ISBN9781439836316.
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