Melodic metalcore

Melodic metalcore is a subgenre of metalcore with a heavy emphasis on melodic instrumentation, blast beats, metalcore-stylized breakdowns and clean singing. The genre has seen commercial success for employing a "more accessible and commercial style" than typical metalcore.[1] Many notable melodic metalcore bands have been influenced by melodic death metal.[2]

Prominent melodic metalcore bands such as In Flames, Killswitch Engage, and Motionless in White have been described as "radio-friendly metalcore."[3][4][5]

History and commercial success

The style began in the early-2000s tracing its roots to melodic death metal groups such as At the Gates.[2] The Amity Affliction formed in 2003, and is a significant contributor to melodic metalcore.[1] By 2004 the genre saw increasing prominence, with Shadows Fall's The War Within debuting at number 20 on the Billboard album chart.[6] In 2008 the All That Remains' single "Two Weeks" peaked at number 9 at the Mainstream Rock Tracks chart in the U.S., and on the Modern Rock Tracks chart at number 38.[7] In 2007, the song "Nothing Left" by As I Lay Dying was 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. Welsh melodic metalcore band Bullet for My Valentine's third album Fever debuted at number 3 selling more than 71,000 copies in its first week in the U.S. and more than 21,000 copies in the UK during 2010 alone.[8]

Characteristics

Melodic metalcore band All That Remains performing at the Ozzfest in 2006.

Melodic metalcore bands often take influence from the guitar riffs and writing styles of Swedish melodic death metal bands, especially At the Gates, Arch Enemy, In Flames and Soilwork.[1][2][9] Practitioners of the genre tend to make use of instrumental melody, and many prominently feature clean singing alongside typical metalcore growls and screams. Melodic metalcore often promotes "very positive lyrical content."[10] The genre can also feature harmonic guitar riffs, tremolo picking, double bass drums and metalcore-stylized breakdowns.[11][12] Some bands include guitar solos.[13] A few of these groups, like Shadows Fall, have some appreciation for 1980s glam metal.[14]

See also

References

  1. 1 2 3 Giffin, Brian (2015). Encyclopaedia of Australian Heavy Metal. Australia: DarkStar. ISBN 9780994320612.
  2. 1 2 3 "At The Gates Albums Ranked". Loudwire. Retrieved 2017-05-29.
  3. ↑ "Here's A New IN FLAMES Song, "The End;" New Album Battles Announced - Metal Injection". Metal Injection. 2016-08-25. Retrieved 2017-05-29.
  4. ↑ "Killswitch Engage - 'Killswitch Engage' CD Review". Metalunderground.com. Retrieved 2017-05-29.
  5. ↑ "MOTIONLESS IN WHITE Reveal New Song "Eternally Yours," But Is It Metal? - Metal Injection". Metal Injection. 2017-01-28. Retrieved 2017-05-29.
  6. ↑ "Shadows Fall - Chart history | Billboard". www.billboard.com. Retrieved 2017-05-29.
  7. ↑ "All That Remains - Chart history | Billboard". www.billboard.com. Retrieved 2017-05-29.
  8. ↑ "Bullet for My Valentine - Chart history | Billboard". www.billboard.com. Retrieved 2017-05-29.
  9. ↑ D. 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.
  10. ↑ "20 albums we can’t believe turn 10 this year - Features - Alternative Press". Alternative Press. Retrieved 2017-05-29.
  11. ↑ "It's Through the Approach". El Paisano. September 12, 2007. Archived from the original on January 14, 2009. Retrieved June 24, 2008.
  12. ↑ "Suicide Notes and Butterfly Kisses review". mp3.com. Archived from the original on February 12, 2009.
  13. ↑ "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 (...)".
  14. ↑ Dan Epstein, "The Brewtal Truth", Revolver, November 2004, p. 65.
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