Technical Deathcore Techniques

A basic explanation of some of the bells and whistles used in Technical Deathcore.

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If you've clicked this article, then you're probably thinking one of two this: (1. OMFG bro deathcore suckz!! I'ma flame this guy!! (2. Technical Deathcore? Is there such a thing? To answer those questions; 1. Please, get the f--k out. I have no patience for trolls. 2. Yes my fine sir, there is. Bands like Veil of Maya, Within the Ruins, and Beneath the Massacre all fall under this category. They also all implement awesome techniques that give them that "Holy hell! What the hell did he just play?!" sound. Now, don't think that I'm calling my self the world's most technical guitar player because I know I'm not. I'm probably the shittiest guitar player out there, to be honest. 90% of you on this site could more than likely shred circles around me. Anyways, back to the topic at hand. Technical Deathcore guitarists use many different techniques such as: staccato, sweep picking, legato, triplets, and pinch harmonics. Some intervals that they use are minor thirds, minor seconds, and tritones. NOTE: I will be tabbing the following examples on a 7 string, tuned in Drop A (A E A D G B e). All examples are excerpts from my original material in my band, Cadaver. Don't steal it you motherf--kers! Staccato... As we all know, Deathcore is a genre that utilizes breakdowns and Technical Deathcore is no different. The only difference is that Technical Deathcore breakdowns sound a bit more impressive, due to a simple little trick called staccato. Musically defined staccato means "to cut short crisply". Using staccato is something we all do; i.e to silence our guitars when we don't want them to sound. However, in this case, you will use it to craft a sick breakdown. Let's try this breakdown, from my song "Great Terror":
"Great Terror" 
by CADAVER
e|---------------------------------------------------|
B|---------------------------------------------------|
G|--------------------------------------------6h96h9-|
D|-----------------------------------------5h8-------|
A|--------------------------------------4h7----------|
E|--000-000-000-000-000-000-000-000-000--------------|
A|--000-000-000-000-000-000-000-000-000--------------|
As you can see, this implements triplets, which is a picking technique that I'm sure everyone here knows how to do. Just in case though, to do a triplet you have to alternate pick in a down-up-down fashion. Eventually you will get it full speed. Back to staccato; firstly, play this excerpt like you normally would. Don't worry about the last little bit, unless you want to. It's nothing too fancy. Then, play it again, only this time muting the strings with your fretting hand after each triplet. This will cause it to sound much more choked and cut off, and overall more impacting. This is a relatively simple technique, and you'll more than likely have it down within seconds. Simple, effective, and bad ass. Note that you don't have only use staccato with breakdowns. It can be useful in solos, leads and riffing. Use it wherever you see fit, and pump out some bad ass metal. Intervals... In the official musical sense of the word an interval is "the distance between two tones". This difference creates a contrast, and when an interval is split between two guitarists, a harmony occurs. Common intervals in Technical Deathcore (along with most modern metal) include minor thirds, minor seconds and the tritone. Minor Thirds... Leads and solos in modern metal are most commonly harmonized in thirds. To create a minor harmony, let's take the following example:
"Mort Dissection" 
by CADAVER
e|--------------------------------------------------|
B|----------------------4h7-------------------------|
G|-------------------5h8----------------------------|
D|----------------4h7-------------------------------|
A|----2h5------5h8------------2h5-------------------|
E|-1h4------2h5------------1h4------2h5---4h7---5h8-|
A|-------3h6---------------------3h6---4h7---5h8----|
This riff uses a technique known to some as legato, others as hammer-ons and pull-offs. Legato, musically defined, means to "play smoothly together without breaks between tones". Hammer-ons and pull-offs do just that. With legato, you can play much quicker, and it saves your picking hand a lot of grief. It would be a pain in the ass to pick all of those notes, so instead you link them together with a hammer-on, or legato, with a single pluck of the string. Now, to harmonize this riff in a minor third up, you move each note up three semitones, or half steps, or one and a half steps. If you do this, the harmony would look like this:
e|-------------------------------------------------------|
B|--------------------------7h10-------------------------|
G|----------------------8h11-----------------------------|
D|------------------7h10---------------------------------|
A|----5h8-------8h11------------5h8----------------------|
E|-4h7-------5h8------------4h7-------5h8----7h10---8h11-|
A|-------7h10---------------------7h10---7h10---8h11-----|
Played on top of each other, the riff will sound very dissonant as intended. Minor Seconds and Tritones... A tritone is an especially dissonant interval used in many Deathcore riffs and breakdowns. The tritone is identical to an augmented fourth and a dimished fifth in both sound and notation. A tritone is six semitones, or half steps from the root note, or three whole steps. Tritones in Deathcore are usually expressed as chords. To chord out a tritone in simple terms, if you are in a drop tuning a tritone will sound when you play the lowest note, and then the one fret lower on the string below it, and then add the octave of the root. So, tritones in Drop A would look something like this:
e|---|---|---| On the higher strings e|-------| And etc.
B|---|---|---| you would take the    B|-----4-|
G|---|---|---| root, the next fret   G|---3-2-|
D|---|---|---| on the next string,   D|-3-2-1-|
A|-3-|-1-|-2-| and then the octave   A|-2-1---|
E|-2-|-0-|-1-| of the root. So...    E|-1-----|
A|-3-|-1-|-2-|                       A|-------|
The octave is optional, but can be added to add a bit more flavor to your hell on strings. I typically don't add the octave. Minor Seconds... A minor second is an extremely dissonant interval. A minor second occurs when you move a half step up from the root. As a chord, it would look something like this.
e|---|---|---|-1-|---|---|
B|-1-|---|---|-5-|---|---|
G|-4-|-1-|---|---|---|---|
D|---|-5-|-1-|---|---|---|
A|---|---|-5-|---|-1-|---|
E|---|---|---|---|-5-|-0-|
A|---|---|---|---|---|-8-|
The F-E minor second is the only really feasible minor second on the low A, without doing some serious hand stretching. Pinch Harmonics... This technique is probably another one most of you have mastered. You simply angle your pick and lightly graze the string with both your thumb and the pick. The result will be that famous "squeal" sound that Zakk Wylde has so widely overused. Used in moderation, pinch harmonics can be a very useful tool in your Technical Deathcore playing. Another kind of harmonic is the natural harmonic. This is even easier; you hold your finger over a fret and pluck the string without actually fretting the note. The result will be a generally high sounding tone. If you have a Floyd Rose, or any other kind of tremolo system, you can then proceed to manipulate it. Sweep Picking... This technique is one that most guitarists dread, and think they will never be able to pull off. Its actually fairly simple in theory, it just takes a while to get down in practice (I don't even really have it down). Sweeps are actually arpeggios, which are triads that are played note by note. A triad is a stack of three notes that comprise of a major third, a minor third and a fifth. In order to pull one off, you have to pluck the strings in a fluid sweeping motion (hence the name sweep picking), hammer-on, and pull-off the seventh, and then sweep up in the same fluid motion. For example:
e|-----12h15p12-----| This is a "proper" sweep.   e|-12p8------8h12p8-|
B|---13--------13---| However, I play my sweeps   B|-----10--10-------|
G|-14------------14-| in an "upside-down" manner. G|-------12---------|
D|------------------| So I pull off a minor third D|------------------|
A|------------------| and then play the arpeggio. A|------------------|
E|------------------| So...                       E|------------------|
A|------------------|                             A|------------------|
It looks strange, I know. But I like the way it sounds, oddly. Those are just three string sweeps. You can sweep all 7 (or six in most of your cases) strings. I can't but, but I'm sure a lot of you can; Jeff Loomis can. Well I hope this taught someone something somewhere. If you guys like this I'll make a part two. Thank you for reading, and most of all keep it metal. \m/.

58 comments sorted by best / new / date

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    Amuro Jay
    henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal .
    Get out. And don't come back.
    Amuro Jay
    Ali-b912 wrote: It's like light beer.
    Light beer is still beer, though. Availability of other alternatives and the trendy nature of the genre has nothing to do with the actual music.
    Iommianity wrote: As far as the genre not being 'metal', I take it band by band. If you have more hardcore going on in your music than metal, you're not a metal band.
    I think this is a great way to look at it. But it works a lot better with metalcore in general. There's tons of metalcore bands that are hardcore bands. Shai Hulud, Botch, and Converge are a few well known examples that take metal influences but are not metal. But in the modern world, especially in the mainstream, most of these metalcore bands are just watered-down metal bands with repetetive riffs, screaming, and breakdowns. The problem is that a lot of people don't think in the way you've described (and most of these people don't have a clue what hardcore is). Some people look at deathcore/metalcore bands and think, "oh, it has breakdowns and screaming, and it's boring, and the band members have short hair, it's not metal". Even worse is when they say bands like As I Lay Dying are hardcore. Worse than that is when people think bands like JFAC and The Faceless are hardcore. And believe me, I've seen it. There's really only two deathcore bands out there that really incorporate hardcore into their music. Despised Icon and Animosity. Ironically, they're some of the only deathcore bands in the metal forum (which deathcore is allowed in, by the way) to get respect from outsiders. No other deathcore band out there takes anywhere near as much (if at all) influence from hardcore. So if you were to stick deathcore under a certain umbrella genre, it wouldn't straddle the line the way metalcore does. In most cases, it's on one side.
    Sharktoothinlay
    Deathcore is metal. And if it's not then its an extreme form of music very similair to metal. However I do prefer more tradional metal bands, Plus to the above guy, Iron maiden are a good band to listen to, they are nowhere near the most technical or ground breaking band but they have good SONGS which is ALL THAT TRUELY MATTERS.
    sammo_boi
    Zaphod_Beeblebr wrote: sammo_boi wrote: What he's done can also be called a triplet, although it is often referred to as a gallop (started by Iron Maiden i think). Gallops cannot be called triplets with any kind of accuracy. Triplets are three evenly spaced notes in a beat, a gallop is an 8th and then 2 16ths or 2 16ths and an 8th.
    I know what a gallop is. What he's playing is the same structure as a gallop, 2 16ths then an eighth, only the eighth note is split and half of it is a rest. So it is 16th, 16th, 16th, 16th rest.
    Guitar Skater
    i was in a "technical deathcore" band a few years ago and as constructive, these all seem like generic riffs.
    ambivalent615
    sammo_boi wrote: Zaphod_Beeblebr wrote: sammo_boi wrote: What he's done can also be called a triplet, although it is often referred to as a gallop (started by Iron Maiden i think). Gallops cannot be called triplets with any kind of accuracy. Triplets are three evenly spaced notes in a beat, a gallop is an 8th and then 2 16ths or 2 16ths and an 8th. I know what a gallop is. What he's playing is the same structure as a gallop, 2 16ths then an eighth, only the eighth note is split and half of it is a rest. So it is 16th, 16th, 16th, 16th rest.
    that's still a gallop. just because all these kids say "dino cazarez(however you spell his name) uses a lot of triplets" doesn't make it so. a triplet is a group of three notes. 16th +16th +16th +rest is four notes. play guitar pro, jesus.
    Fallen_Seeker
    Wow. Good job on the article bro despite very few mistakes that are really just misinterpretations on the part of the readers. Props to whoever moderates this stuff. You do a great job. Tell those picky, pretentious, semantic-loving a**-holes who's boss. You've obviously got facts on your side. Kudos.
    MatasTeen
    Since opinion's here are very diverged I'll just spill out something to get either everyone pissed or really happy. I love stuff like Deftones, Bjork, Radiohead but I also love the shit out of Veil of Maya, It has the most intense guitar and drum parts, clever lyrics and all in all just a very "In your face sound." Dont tell me that it doesn't have melody or some other shit because I listen to a TON of melodic stuff (read above, I mention Radiohead and Bjork,) and if I say this has melody it truly does. Oh and saying it isn't metal with as argument "Iron Maiden is true metal, this is crap" just say's that you are retarded and ignorant and probably stopped progressing in music after they learned the pentatonic and the power chord. Adios.
    Iommianity
    jetfuel495 wrote: Breakdowns may be overused in deathcore, but that doesn't make them less metal. There's tons of breakdowns in thrash, traditional death metal, melodic death metal, brutal death metal, and slam death. In fact, the original chug chug breakdowns in metalcore were heavily influenced by Slayer and Metallica. Raining Blood and One are two big examples. These breakdowns that were used in metalcore are way different from hardcore breakdowns. In short, breakdowns don't make deathcore unmetal. If you still think deathcore isn't metal, try coming up with a better reason.
    The breakdown in Raining Blood is a great example, but an album like Chaos A.D by Sepultura did far more to merge hardcore and metal. Hardcore wasn't taking so much from metal in the 80s. Besides crossover thrash and early grind/death metal, they were two very distinct scenes. As far as the genre not being 'metal', I take it band by band. If you have more hardcore going on in your music than metal, you're not a metal band. I have no idea why this notion upsets deathcore fans. It's as if you guys are looking for the credibility or something. If you like deathcore, who cares? If you have no other defense for the genre other than crying elitism, you fail. If you have to resort to generalizing everyone who disagrees with you, you don't do the music or the bands justice. Just accept that a lot of deathcore is simply groovy death metal with extremely derivative breakdowns. And the bands I've heard that try to do something different, like Veil of Maya, are nowhere as interesting as the bands they take influence from, like Cynic. It takes more to write interesting metal than slapping together breakdowns, post-hardcore, and blast beats.
    sammo_boi
    screamokid2k wrote: what you describe as triplets are actually just 3 16th or 32nd notes in a row with either a 16th(for 16th chugs) or 32nd(for 32nd note chugs) rest between the groups of 3. triplets are dividing notes into groups of 3 as opposed to groups of 2,4,8,16 ect. so there would be 3 half notes instead of 2 per 4/4 measure 3 quarter notes in the time of a half note and so on but other than that solid article
    What he's done can also be called a triplet, although it is often referred to as a gallop (started by Iron Maiden i think). The section about harmonizing was a bit wrong. Most of the time you don't harmonize using ONLY a major or ONLY a minor third. Usually you would alternate between major and minor thirds according to what key you are in
    Divinephyton
    When there's such a large response from people, who by the way, aren't just "metal elitists", you people need to face facts that death metal had (or has) something which a (large majority over here in Europe and) a lot of people everywhere think Deathcore has not, doesn't even matter what that particular thing is. Just accept it and move on; why would you need to justify deathcore as some form of metal? Because it makes you cooler? Because it means you can produce or rip off of other people's styles and techniques, messages and spirit they invented and people dumbed down or have processed over the years within the genre itself? Because some artists are fan of DM musicians and base a lot off of their work on their idols? Well we don't call Black Sabbath 'blues-music' without raising a few eyebrows either now do we? Or is it to be able to mass-market a concept towards a large group of people?
    Zaphod_Beeblebr
    sammo_boi wrote: What he's done can also be called a triplet, although it is often referred to as a gallop (started by Iron Maiden i think).
    Gallops cannot be called triplets with any kind of accuracy. Triplets are three evenly spaced notes in a beat, a gallop is an 8th and then 2 16ths or 2 16ths and an 8th.
    nico42
    I think he isn't even talking about galloping, but in fact about fast triplets. If he was talking about triplets the picking pattern he mentions would probably be "down down up". As far as the rest of the article goes, it's a nice try and some people might find something useful in it, but generally articles should be written by more experienced players imo.
    Ali-b912
    jetfuel495 wrote: If you still think deathcore isn't metal, try coming up with a better reason.
    It's like light beer. It's weak, watered down, and you can always just get the full strength alternative. It's also trendy. Deal with it. Technical Death Metal>Technical Deathcore.
    rebornmaster9
    interesting lesson, do you have any of your band's stuff online, cause it sounds pretty brutal
    Pitbullz13
    OrganicCage wrote: rob904 wrote: jetfuel495 wrote: 4stringedMetal wrote: jetfuel495 wrote: rob904 wrote: jetfuel495 wrote: henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal. Get out. And don't come back. why? he hit the nail on the head You get out too. I normally don't speak in terms of black and white because I believe most things are open to some sort of interpretation, but you two are completely wrong. I suppose that you're going to try to tell me that deathcore is actually hardcore, or something along those lines. Don't waste your time. no, deathcore just sucks How bad something sucks is irrelevant to whether it's metal or not. Try saying something smarter next time.that is the deciding factor though, deathcore is pretty much death metal the elitist metal community refuses to associate with, because breakdowns are stupid This. The rape, pillage and burning of breakdowns means I can't take Deathcore seriously or call it viable form of metal.
    Seriously, people? Words can't describe how hard I laughed. Youre all gonna sit on your computer and argue about genres of music? You can't just aprreciate it like actual lovers of music?
    NattyBoy
    As you can see, this implements triplets
    Wrong :p triplets are where you play 3 equal notes (eg crotchets) in the time of 4 of the same denominater (crotchets) thats moreso playing 3 notes then resting for 1 of the equivalent notes if played completely staccato haha
    Divinephyton
    MetalMyke wrote: Oh, and stop fighting about genres, its pointless...What makes it so unmetal?
    I'd like to refer to my previous comment and add the following: It's not pointless, to many people metal and their subculture is a lot more than 'just music', there's a community and a network of complex relations that make up said community. Hence subculture. Now as to reasons and what; this can vary and there are numerous reasons stretching from unfounded opinion to more based sentiment. The community is complex and many opinions are held; but the fact is that a large reaction by a big part of the community can't just be swept away by crying elitism. Like I said, why should Deathcore connect itself with metal as if it needed to legitimise itself? Deathcore is deathcore and for a lot of people usually on the far fringes of or outside of the metal community.
    slowlybilly
    You guys spend too much time arguing and not enough playing music. This was a good lesson for anyone who wants to learn a little about deathcore, or metal....Just rock music in general. The differences are so slight between many forms of music these days....why argue about it anyway?
    steve_nevets
    i love how any music forum you look at on the internet has the age old argument of why deathcore sucks or isn't metal! i love metal, death metal, deathcore, black metal, grindcore, blackened death metal, deathened blackgrind, grinding blackcore, technical corecore, death death! who cares what the genre is it's all metal, black metal and thrash were originally influenced heavily by punk bands so you could say theirs jus as many elements of core in their music, so what... it's still metal, so many arguements consist of deathcore bands appearance and the looming presence of breakdowns, ahhh so what?? i just dont get why the musicianship is attacked so much, like just because there labelled as "core" in the genre, automatically not metal, so many bands labeled that just make no sense, Black Dahlia murder get referred to as DC?? the faceless DC?? ahhh well, instead of criticizing, i just enjoy music, id just as gladly have a discussion on Deathcore as i would Black metal, as i would numetal! i just love music really! so keep on hating guys, its a shit way to be!
    Amuro Jay
    crazysam23_Atax wrote: Any (sub)genre that foolishly tries to merge Hardcore and a subgenre of Metal is just not worth your damn time, kids...
    New Wave of British Heavy Metal did it with the hardcore and metal scenes of the 70s and 80s. Thrash did it again in the 80s. So yeah, Iron Maiden and Metallica are pretty foolish and really aren't worth your time at all.
    MetalMyke
    Whoa, flame and praise o.O. I was expecting all flame. I wrote this hastily out of boredom XD. I just figured I'd lend a helping hand to someone who wants to play this. My tabs are pretty bad I admit. And I read through it and I did an awful job of writing it. Thanks for reading tho guys, maybe I'll make a part 2 about song structure and all that crap. BTW...I never said I was a really good guitar player, I'm actually pretty shitty. Oh, and stop fighting about genres, its pointless...What makes it so unmetal? The fact that I like to tune low and chug-a-lug every now and then? I do listen to what you call "true metal", I just like heavy ass breakdowns man. So yeah, **** off. Don't just click my shit cuz you want to make fun of me, I could do that for you.
    khujo1023
    This makes me hate message boards. I don't see why anyone needs to feel validated in this argument...
    Necrolysis
    jetfuel495 wrote: henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal. Get out. And don't come back.
    +1. Damn right.
    NickGiovanni
    I gave this articale a fighting chance, until I got the the first tab. Then I burst into laughter and couldn't take it seriously. Sorry dude. But it appears your just too "br00tz" for us standard tuning players. If you wanna learn technical music, listen to Dream Theater and move on with life.
    crazysam23_Atax
    Any (sub)genre that foolishly tries to merge Hardcore and a subgenre of Metal is just not worth your damn time, kids...
    crazysam23_Atax
    And I just noticed that all of these tabs were written by the author of the lil *ahem* article. Yeah...that doesn't work. No. Next time, come up with examples you didn't write...
    Flight666
    Alright guys, if you really know what you're talking about, you write the damn article! Kudos to MetalMyke for writing the lesson. You did well bro.
    tehREALcaptain
    not a bad article overall, but you made a few mistakes. you seem to imply that all arpeggios are triads, which is not true. Also, your definition of a triad is wrong; a triad is not composed of a major third, minor third, and a fifth. The major and minor third are never both found in the same triad(assuming you are refering to the interval from the root note). A triad is comprised as follows: root note, major or minor third (this determines the tonality of the chord), and fifth (the fifth could be either perfect, augmented or diminished). i think he meant you go up a major third, and then a minor third from the second note (so with C the E is a major third up from C and the G is a minor third from C. for C minor the Eb is a minor third and the G is a major third). not crazy about the article, your grasp most of the concepts seemed tenous (particularly your desire to simplify a genre of music to 3 intervals. im sure if you listen to a death core song you will here more then 3 intervals). however, i'm sure that a simple and straightforward guide like this would really help someone whose knowledge of theory is limited, and doesn't want to committ a textbook to memory before they can start playing what they want to play. (though, later on they may be a bit confused by a few things and want to remedy that). However, how about discussing harmonies used in this style, as well as types of phrasing (though you did mention the staccato during breakdown) typical song structures, and analyzing a few pieces of music beyond your own to demonstrate this stuff?
    rob904
    jetfuel495 wrote: henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal. Get out. And don't come back.
    why? he hit the nail on the head
    SilverSpurs616
    aCloudConnected wrote: Pretty much stopped reading when you called gallops triplets.
    Wish I could say the same. I simply had to read on to see how it could get worse In regards to harmonising in minor thirds, I think it's important that you emphasise that you are NOT harmonizing the minor scale but rather harmonising using ONLY minor third intervals
    Rahguzar
    Goose Catcher wrote: not a bad article overall, but you made a few mistakes. you seem to imply that all arpeggios are triads, which is not true. Also, your definition of a triad is wrong; a triad is not composed of a major third, minor third, and a fifth. The major and minor third are never both found in the same triad(assuming you are refering to the interval from the root note). A triad is comprised as follows: root note, major or minor third (this determines the tonality of the chord), and fifth (the fifth could be either perfect, augmented or diminished).
    A triad can also be formed by thinking in intervals. You're thinking in scale degrees. Which sure enough is indeed another way of looking it as well. However,A triad can also be formed by stacking a major 3rd interval and a minor 3rd interval to make a major chord or in the case of a minor chord stacking a minor 3rd then a major 3rd interval.
    v2a2n2g2
    This is pretty unimpressive, all those riffs are way too easy, but then again deathcore is a pretty unimpressive genre. I do like Veil of Maya and some other Sumerian, but they do so much more than simple diminished hammer on/pull off riffs. Plus there's a shitload of articles on sweeping already.
    Gman400
    Definitely a beginner article, but even then there are mistakes and some things aren't explained properly. I wouldn't bother writing an article on things I couldn't play well, by the way. Some will probably find this useful though.
    Single Foo
    jetfuel495 wrote: henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal. Get out. And don't come back.
    this
    IcanHasBass
    Some of these are pretty obvious to the average *****-core guitar player, but overall good read
    Goose Catcher
    not a bad article overall, but you made a few mistakes. you seem to imply that all arpeggios are triads, which is not true. Also, your definition of a triad is wrong; a triad is not composed of a major third, minor third, and a fifth. The major and minor third are never both found in the same triad(assuming you are refering to the interval from the root note). A triad is comprised as follows: root note, major or minor third (this determines the tonality of the chord), and fifth (the fifth could be either perfect, augmented or diminished).
    jfreyvogel
    A few mistakes, but all in all a very good basic article. For your next one I think you should be a little more thorough and include multiple examples of each concept.
    henkka_potku
    You should learn some basic English; genres are NOT capitalized. Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal.
    Amuro Jay
    rob904 wrote: jetfuel495 wrote: henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal. Get out. And don't come back. why? he hit the nail on the head
    You get out too. I normally don't speak in terms of black and white because I believe most things are open to some sort of interpretation, but you two are completely wrong. I suppose that you're going to try to tell me that deathcore is actually hardcore, or something along those lines. Don't waste your time.
    OrganicCage
    rob904 wrote: jetfuel495 wrote: 4stringedMetal wrote: jetfuel495 wrote: rob904 wrote: jetfuel495 wrote: henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal. Get out. And don't come back. why? he hit the nail on the head You get out too. I normally don't speak in terms of black and white because I believe most things are open to some sort of interpretation, but you two are completely wrong. I suppose that you're going to try to tell me that deathcore is actually hardcore, or something along those lines. Don't waste your time. no, deathcore just sucks How bad something sucks is irrelevant to whether it's metal or not. Try saying something smarter next time.that is the deciding factor though, deathcore is pretty much death metal the elitist metal community refuses to associate with, because breakdowns are stupid
    This. The rape, pillage and burning of breakdowns means I can't take Deathcore seriously or call it viable form of metal.
    rob904
    jetfuel495 wrote: 4stringedMetal wrote: jetfuel495 wrote: rob904 wrote: jetfuel495 wrote: henkka_potku wrote: Also I love it how you end your article considering deathcore with "keep it metal" when deathcore has very little if anything to do with actual metal. Get out. And don't come back. why? he hit the nail on the head You get out too. I normally don't speak in terms of black and white because I believe most things are open to some sort of interpretation, but you two are completely wrong. I suppose that you're going to try to tell me that deathcore is actually hardcore, or something along those lines. Don't waste your time. no, deathcore just sucks How bad something sucks is irrelevant to whether it's metal or not. Try saying something smarter next time.
    that is the deciding factor though, deathcore is pretty much death metal the elitist metal community refuses to associate with, because breakdowns are stupid
    Amuro Jay
    Breakdowns may be overused in deathcore, but that doesn't make them less metal. There's tons of breakdowns in thrash, traditional death metal, melodic death metal, brutal death metal, and slam death. In fact, the original chug chug breakdowns in metalcore were heavily influenced by Slayer and Metallica. Raining Blood and One are two big examples. These breakdowns that were used in metalcore are way different from hardcore breakdowns. In short, breakdowns don't make deathcore unmetal. If you still think deathcore isn't metal, try coming up with a better reason.
    Menegas56
    I thought this would be an article trying to teach somebody to scream lol Awesome article.