Mathcore

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Mathcore is a subgenre of hardcore punk and metalcore influenced by post-hardcore, extreme metal and math rock that developed during the 1990s. Bands in the genre emphasize complex and fluctuant rhythms through the use of irregular time signatures, polymeters, syncopations and tempo changes. Early mathcore lyrics were addressed from a realistic worldview and with a pessimistic, defiant, resentful or sarcastic point of view.

In the 1990s, the hardcore punk scene started to embrace extreme metal openly. It also started to become highly ideologically driven,Template:Clarify with most of the popular bands being part of subcultures. Bands such as Converge, Botch, Coalesce and The Dillinger Escape Plan helped to establish the genre.

Characteristics

Music

According to Metal Hammer, "mathcore [is] the sound of metal being twisted into startling new shapes."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The genre emphasizes complex and fluctuant rhythms through the use of irregular time signatures, polymeters, syncopations and tempo changes, while at the same time the drummers play with overall loudness.<ref name=wang>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=overdrive>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the words of The Dillinger Escape Plan bassist Liam Wilson, their "choppy rhythms that people get kind of tongue-twisted on" are "Latin rhythms" mixed with the speed and "stamina" of heavy metal, drawing a parallel between them and John McLaughlin's use of Eastern sounds within a jazz context.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Most pioneering mathcore drummers had jazz, orchestral or academic backgrounds, including Dazzling Killmen's Blake Fleming,<ref name=dazzling>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Craw's Neil Chastain,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Coalesce's James Dewees,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Botch's Tim Latona,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Dillinger Escape Plan's Chris Pennie,<ref name=pennyblack2002>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Converge's Ben Koller.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> As with the rhythm section, the guitars perform riffs that constantly change and are seldom repeated after one section. Early bands were almost completely atonal with the guitars or all the instruments playing polyphonic dissonance.<ref name=wang/> After the first The Dillinger Escape Plan records, the guitar work of most bands became extremely technical as well and "not only musically challenging, but physically demanding."<ref name=wang/><ref name=cory>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In a 2016 article, Ian Cory of Invisible Oranges described mathcore's emphasis on technical complexity as "the means by which" they attain the aggressiveness of punk, "but never the end unto itself", distinguishing it from "the overflowing excess" of progressive metal.<ref name=cory/> Writer Keith Kahn-Harris has described some mathcore bands as a mix between the aggressiveness of grindcore and the idioms of free jazz.<ref name=":2">Template:Cite book</ref>

Lyrics

Early mathcore lyrics were addressed from a realistic worldview and with a pessimistic, defiant, resentful or sarcastic point of view. They have been singled out for their philosophical and poetic elements.<ref name=wang/><ref name=coalesce_prindle>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=coalesce_svbterranean>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Some bands satirized and criticized the militant branches of the hardcore punk ideologies prominent in the 1990s.<ref name=coalesce>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn Others, such as Converge's Jacob Bannon and The Dillinger Escape Plan's Dimitri Minakakis, wrote about deeply personal issues.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn

Although musically rooted in extreme metal, some mathcore artists have shown contempt for extreme metal fictional and horror lyrics.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

File:The Dillinger Escape Plan-1.jpg

Greg Puciato singing while hanging head down from the ceiling in 2008

Live performances

Some early mathcore bands incorporated light shows synchronized with the music,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> while others were noted for their reckless, chaotic performances that usually ended up with fights and injuries. Guitarists Jes Steineger of Coalesce and Ben Weinman of The Dillinger Escape Plan commonly featured erratic and violent behaviors.<ref name=coalesce/><ref name=noisefull>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=sing365>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2001, vocalist Greg Puciato joined The Dillinger Escape Plan and starred in the most controversial live performances of the band until their disbandment in 2017, being described by Invisible Oranges as "the perfect physical embodiment of [the band's music]" because of his imposing physique along with destructive behavior.<ref name=cory/>

Etymology

Before the term "mathcore" was coined, mainly in the 1990s, the style had been referred to as "chaotic hardcore" or "noisecore",<ref name="greenway2">Whitney Strub, "Behind the Key Club: An Interview with Mark "Barney" Greenway of Napalm Death ", PopMatters, May 11, 2006. [1] Access date: September 17, 2008.</ref><ref name=":3">"Botch ... a noisecore pioneer", 'Terrorizer, "Grindcore Special", #180, Feb. 2009, p. 63.</ref> though the genre's existence before this time is generally recognized. Kevin Stewart-Panko of Terrorizer referred to groups such as Neurosis, Deadguy, Cave In, Today Is the Day, The Dillinger Escape Plan, Converge, Coalesce, Candiria, Botch, and Psyopus as falling under this label.<ref name="ksp">Kevin Stewart-Panko, "The Decade in Noisecore", Terrorizer no. 75, Feb 2000, p. 22-23.</ref> Stewart-Panko described the sound of these bands as a "dynamic, violent, discordant, technical, brutal, off-kilter, no rules mixture of hardcore, metal, prog, math rock, grind and jazz."<ref name="ksp" />

The term is generally applied by journalists, rather than by musicians themselves. Jacob Bannon of Converge stated:Template:Cquote

History

Precedents (1980s to early 1990s)

Early antecedents to mathcore were practiced by post-hardcore bands of the 1980s and early 1990s. Post-hardcore is a broad term to define bands that maintain the aggressiveness and intensity of hardcore punk but emphasizes a greater degree of creative expression. Hardcore punk pioneers Black Flag incorporated characteristics reminiscent to mathcore during their mid-1980s experimental period, including heavy metal laden riffs and lengthy songs, as well as fusion-style time signatures, polyrhythms, instrumental songs and improvisational sections.<ref name="American Hardcore 2001, p. 66">Steven Blush, American Hardcore: A Tribal History, "Thirsty and Miserable", Los Angeles: Feral House, 2001, p. 66</ref><ref name=ginn>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> At that time, their biggest influences were the Mahavishnu Orchestra and King Crimson during its 1972–1975 lineup.<ref name=ginn/> Author Steven Blush said that their new direction "proved too much for many fans",<ref name="American Hardcore 2001, p. 66"/> yet numerous mathcore trailblazers would later credit Black Flag as an inspiration.<ref name=dazzling/><ref name=coalesce/><ref name=rorschach2>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Among others post-hardcore bands usually credited are Minutemen,<ref name=dazzling/><ref name=rorschach2/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> who were heavily influenced by avant-garde rock and jazz,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Jesus Lizard,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=cook>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> inspired by progressive rock,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Fugazi,<ref name=coalesce/><ref name=cook_influences>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Drive Like Jehu,<ref name=coalesce/><ref name=cook/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn who drew from math rock and krautrock.<ref>Template:Cite podcast</ref>

Early development (1990–1995)

In the 1990s, the hardcore punk scene started to embrace extreme metal openly and also was highly ideologized, with most of the popular bands being part of subcultures, religions or political groups.<ref name=coalesce/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn Some mathcore bands started inspired by straight edge and Hare Krishna groups, including Converge, Coalesce and Botch.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On the other hand, the more unorthodox bands that substantially influenced mathcore remained in the underground.

Two bands usually credited as mathcore forerunners are mid-westerners Dazzling Killmen and Craw, who at the time were considered part of the "noisier" branch of math rock.<ref name=dangerous>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=noisey_craw>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=fecking>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Their debut albums were released in 1992 and 1993 respectively.<ref name=dazzling/><ref name=noisey_craw/> They were characterized by a "metallic post-hardcore" sound but with constant time signature changes and vocals with an "animalistic sound of a man losing his mind". Three out of four members of Dazzling Killmen knew each other from jazz school, while Craw had a classical percussionist and a jazz bassist.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Both were joined by saxophonists on some performances.<ref name=dangerous/><ref name=noisey_craw/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1989, New Jersey band Rorschach was formed within the youth crew hardcore scene but soon developed a more complex and dissonant metallic hardcore style.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They were influenced by hardcore punk bands such as Die Kreuzen and Black Flag, as well as thrash metal bands Voivod and Slayer.<ref name=rorschach2/> After their disbandment in 1993, their guitarist Keith Huckins joined Deadguy in 1994 and played on their sole studio album, 1995's Fixation on a Co-Worker.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The discordant sound of both bands had a profound impact on the first mathcore bands.<ref name=coalesce/><ref name=cook_influences/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn

At this period, several pioneering mathcore bands began to form: Botch from Washington in 1993; Coalesce from Missouri, Cable from Connecticut and Knut from Switzerland in 1994; Cave In from Massachusetts and Drowningman from Vermont in 1995. In 1990, Massachusetts band Converge was formed but they started writing and playing what they consider "relevant" music in 1994.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Referring to the burgeoning mathcore scene, The Dillinger Escape Plan's founder and guitarist Ben Weinman said:

The [hardcore punk] scene I was in initially was really pretty close-minded... was really revolved around causes: veganism, Christianity, Krishna, straight edge, all that stuff was a huge part of all the bands that were playing ... it became just kind of this clique and this popularity contest. [They] weren't concerned with music, they weren't great musicians, they weren't pushing themselves, they were writing music that just sounded like the bands from before but without that passion and innovation. ... And it was great to see bands like [Dazzling Killmen and Deadguy] who were just music and just killing it, and had so many different influences, were underground, but still musically-driven. ... And I was like: "That's what I want to do!"{{#if:Ben Weinman, 2011Template:Sfn|{{#if:|}}

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Establishment, milestone albums and first scene (1996–2002)

Converge was formed as an amalgamation of extreme metal, crossover thrash and hardcore punk, but in the mid-1990s they were heavily affected by early metalcore and post-hardcore bands, such as Rorschach, Universal Order of Armageddon and Starkweather.<ref name=converge>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=converge_rorschach>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Their second and third albums, 1996's Petitioning the Empty Sky and 1998's When Forever Comes Crashing, developed an increasingly technical and bleak style.<ref name=converge_rorschach/><ref name=converge_evolution>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

At their first stages, Coalesce and Botch were influenced by Syracuse, New York metalcore and vegan straight edge pioneers Earth Crisis.<ref name=coalesce/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=oral_history_incomplete>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Vocalist Sean Ingram relocated to Syracuse to be nearer to its scene, but ended up disillusioned with their ostracizing attitude and on his return to Missouri formed Coalesce. They incorporated influences from progressive metal band Tool, with founding drummer Jim Redd stating that they "wanted to be" them "with none of the quiet parts", but only using their "heavy guitars, heavy drums, wacky time signatures, and loud-quiet dynamics".<ref name=coalesce/> Whereas their debut album Give Them Rope (1997) was considered "an underground milestone that helped [further] what was soon [universally] called 'metalcore'",<ref>Lars Gotrich, "Coalesce: A Tale of Two Ropes" Template:Webarchive, All Songs Considered, October 25, 2011.</ref> their sophomore studio album, Functioning on Impatience, became a landmark of mathcore in 1998.<ref name=coalesce_svbterranean/><ref name=coalesce/>

Botch initially tried to become a political-straight edge band but got discouraged by the "elitist" and aggressive stance of many of their participants.Template:Sfn Their second album We Are the Romans of November 1999 was influenced by Drive Like Jehu, Sepultura and Meshuggah.Template:Sfn This album has influenced numerous bands and met high critical acclaim throughout the years, being lauded by TeamRock in 2015 as "one of the greatest albums in the history of heavy music".<ref name=coalesce_svbterranean/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1997, The Dillinger Escape Plan evolved from the political-oriented act Arcane because they did not want to become part of "cliques" again.<ref name=ug_weinman>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They turned around their sound significantly in their second EP, Under the Running Board of 1998, and their debut album, Calculating Infinity of September 1999, drawing from progressive death metal bands Cynic, Meshuggah and Death, as well as King Crimson and several jazz fusion artists.<ref name=noisefull/><ref name=ug_weinman/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Both records created an extremely technical and fast brand of mathcore, which "launched an arms race in the metallic hardcore scene" and went on to define the subgenre substantially.<ref name=cory/>Template:Sfn<ref>Template:Cite magazine</ref> Relapse Records marketed Calculating Infinity as "math metal" because its sound and the album's title "sounded mathematical", yet this was not the band's intent.Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1999, Converge released the split album The Poacher Diaries expanding drastically their technical elements, but afterwards main songwriter Kurt Ballou called it "a failed experiment".<ref name=jane_doe>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This inspired him to change his focus to song structure and the "memorable" elements that initially attracted him to music, birthing their 2001 album Jane Doe. This record was the first with drummer Ben Koller and bassist Nate Newton who made significant contributions to the songwriting.<ref name=jane_doe/>Template:Sfn Jane Doe exerted considerable influence in extreme music circles and attained a cult following.Template:Sfn

Other important albums of this period are 1996's Variable Speed Drive by Cable,<ref name=cable>Template:Cite magazine</ref> 1998's Until Your Heart Stops by Cave In,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 2000's Rock and Roll Killing Machine by Drowningman,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and 2002's Challenger by Knut.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Contemporary influence (early 2000s)

In the early 2000s several new mathcore bands started to emerge. Norma Jean's earlier records are often compared to Converge and Botch.<ref>Bosler, Shawn. Christian metalcore heavyweights Norma Jean make new believers with O' God, the Aftermath." Template:Webarchive Decibel Magazine. Retrieved on August 3, 2008.</ref><ref>Bansal, Vik. "Norma Jean - O God The Aftermath (Abacus)" Template:Webarchive musicOMH.com. Retrieved on August 3, 2008.</ref><ref>Heisel, Scott. "Listening Station" Alternative Press. Issue 242 Page 168.</ref> Other new mathcore bands that cite older mathcore bands as an influence or are compared to them include Car Bomb,<ref>Template:Cite book Template:Dead link</ref> The Locust,<ref name="bray">Ken McGrath. "Destruction and Chaos are Never Far Behind". Interview with Bobby Bray. Sorted Magazine. 2003. [1] Access date: October 4, 2008.</ref> Daughters,<ref>Steve Carlson, Hell Songs review, "Blog Critics", October 19, 2006. {{#invoke:citation/CS1|citation |CitationClass=web }} Access date: September 13, 2008.</ref> Some Girls,<ref>"San Diego Reader"[2] Access date: September 13, 2008.</ref> Look What I Did,<ref>Harris, Chris. "Look What I Did Name Upcoming LP 'Atlas Drugged'"Noisecreep</ref> The Number Twelve Looks Like You<ref>Miller, Kirk. "The Number Twelve Looks Like You: Put on Your Rosy Red Glasses - You know, the kind Bootsy Collins wears..." Template:Webarchive Decibel Magazine. Retrieved on August 3, 2008.</ref> and Ion Dissonance.<ref>Ion Dissonance - Minus The Herd review Minus the Herd represents a new direction and sound for the band... ...the changes aren't just from a vocal perspective; as the chaotic elements of Ion Dissonance's metalcore/mathcore sound has been toned down to make way for a groovier and more accessible feel throughout.</ref>

2010s–present

Bands such as Rolo Tomassi, Frontierer, The Armed, Black Matter Device, The Callous Daoboys, and SeeYouSpaceCowboy have been described as modern practitioners of the genre by Bandcamp<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Alternative Press.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

See also

• List of mathcore bands

References

Works cited

• Template:Cite book
• Interview with Ben Weinman of The Dillinger Escape Plan: Template:Cite AV media

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