The bit about the original inception of metalcore being SotS is quite a bit of revisionist history. The lumping of everything wrong with modern metal into the “metalcore” catch-all sub-genre in order to preserve the integrity of what someone likes isn’t really fair or factual. What AtG did on that record was nothing more than simplifying their style and making it more accessible by emulating the melodic guitar aspects of Iron Maiden while keeping a thrash beat backbone. Deceased did essentially the same thing with Fearless Undead Machines, although you would never call that record metalcore because the tonality of the Swedish melody of AtG and other Gothenburg bands got ripped by the metalcore movement well into its second mutation, and this tonality of the scales used combined with the palm muting of open strings in between the notes of “Swedish” melodic scales under a thrash beat as abused on SotS became the sole melodic idea metalcore sought after when needing to stitch a verse framework around their breakdowns- but this emulation didn’t happen really until a few years into the 21st century- or plenty of time after the dust settled from the Gothenburg scene. The difficulty of pinpointing which bands adopt the breadth of the Swedish death thrash sound rooted in Iron Maiden vs the true metalcore bands ripping Maiden’s peers by proxy should be easily unclouded after a careful listen, but you have to put your presumptions about the progression of the melodic death metal movement being “metalcore” aside to see it. Metalcore started as a marriage of metal and hardcore as shown in bands like Coalesce, but probably goes back to crossover stuff like DRI which is incredibly far removed from the SotS sound. It’s puzzling how this site has essentially declared that there is one real style of death metal but countless styles of metalcore. This isn’t fair to either genre.
I agree the origins of metalcore are simplified in this article, but you should know that the DMU uses a different definition than, say, Metal Archives.
See here: http://www.deathmetal.org/news/what-the-heck-is-metalcore/
I think the DMU definition in that article fits completely with the notion that this Slaughter of the Gates updated “thrash”/speed metal is the origin of metalcore. Actually, it has been explicitly pointed out in more than one occasion, if my memory serves me right.
Even only considering the Metal archives definition of metalcore (ie (Gothenburg and/or “brutal death”) + NYHC, bands like All Shall Perish and Despised Icon), saying SotS was the sole point of origin leaves out the entire -core part of “metalcore”, as well as the Cryptopsy worship seen in bands like the aforementioned Despised Icon.
Using the “expanded” DMU definition, you have bands like Meshuggah whose bona-fide metalcore album “Destroy Erease Improve” was contemporaneous with SotS. You also have bands like Necrophagist whose material only resembles SotS in an extremely general sense (their compositional philosophy) but was almost certainly not directly influenced by it, instead owing more to mathcore as well as the superficial aspects of bands like Suffocation.
Pointing to a single album as the genesis of metalcore is an oversimplification, especially considering metalcore is a grab-bag genre by definition. Has Prozak called SotS the origin of metalcore? Probably, but also keep this in mind: Prozak likes creating memes for his audience to spread, but the information these memes are meant to convey is compressed to facilitate their transmission, much like an MP3. And like an MP3, there are details lost in that compression, sometimes important ones.
Perhaps you are right. I might be oversimplifying.
Just because it is viewed differently here doesn’t mean it is correct. Everyone here knows more than on any other site the importance of genre definition. The things Brett pulled out of the examples he wanted to separate from metal ideology were more grasping at straws to shun questionable bands than rooted in factual techniques. If you are looking at cadence because you want to hear protest, you will. If you want to analyze the narrative aspects of a song and feel contrast rather than synergy and riff salad over linear writing, you will. The blame comes before the proofs.
Btw, between us, I personally like the Dew-Scented album.
Diocletian has ended.
Good, that band sucked. Prozak probably added them to the DLA only so he could have a Kiwi band in the roster.
Woops, I was thinking of Heresiarch. Same shit though.
What AtG did on that record was nothing more than simplifying their style and making it more accessible by emulating the melodic guitar aspects of Iron Maiden while keeping a thrash beat backbone.
Feels right to me. At the Gates was just catching up with the Dissection ripoff bands. Metalcore is just late ’80’s hardcore living on. When hXc lost focus, that’s what happened, now it happens to metal. Record labels are insidious bastards and they never change.
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