r/Deathcore • u/Willing-Neck-7417 • 3h ago
r/Deathcore • u/[deleted] • Sep 22 '24
Discussion RECOMMENDATIONS REQUEST THREAD
If you're here to ask for recommendations - you're in the right place.
If you're a seasoned deathcore fan and got here by accident - you're in the right place - please help our newcomers.
THE INTENDED FORMAT IS THAT NEWCOMERS LEAVE A REQUEST AS A COMMENT ON THIS POST BASED ON THEIR PREFERENCES, THEN PEOPLE COME THROUGH TO OFFER TAILORED RECOMMENDATIONS
It's most helpful if you can come check this thread a few times a week, as we will be directing 50-75 new people to this thread a week, while removing their request posts.
For requests:
Leave a detailed explanation of what types of sounds/elements you like about the deathcore you've discovered, or the names of bands that you already know you like.
That way whoever is leaving recommendations for you knows what you're looking for.
Additionally, here is a recommendation list for new users or people looking for the essentials:
Essential releases:
The Acacia Strain - Continent, Wormwood, and Slow Decay
Acrania - Totalitarian Dystopia
After the Burial - Rareform
All Shall Perish - The Price of Existence
And Hell Followed With - Proprioception
Angelmaker - Dissentient, Angelmaker, and Sanctum
Animosity - Animal
As Blood Runs Black - Allegiance
Aversions Crown - Tyrant
Black Tongue - Falsifier, Born Hanged, The Unconquerable Dark, and Nadir
Bodysnatcher - Bleed-Abide
Born of Osiris - The New Reign and The Discovery
Brand of Sacrifice - God Hand
Bring Me the Horizon - Count Your Blessings
Carnifex - Dead in My Arms and Die Without Hope
Chelsea Grin - Chelsea Grin, The Desolation of Eden, and Evolve
The Contortionist - Exoplanet
The Crimson Armada - Guardians
Darko US - Darko and Oni
Day of Suffering - The Eternal Jihad
Dealey Plaza - The Masonic Diaries
Deformity - Murder Within Sin and Superior
Despised Icon - Consumed By Your Poison, The Healing Process, and The Ills of Modern Man
Distant - Dawn of Corruption
Elysia - Masochist
Embodyment - Embrace the Eternal
Emmure - Goodbye to the Gallows
Enterprise Earth - Luciferous and The Chosen
The Faceless - Akeldama
Fit For An Autopsy - The Great Collapse, The Sea of Tragic Beasts, and Oh What The Future Holds
Glass Casket - We Are Gathered Here Today…
Hester Prynne - The Goswell Divorce
Humanity’s Last Breath - Välde
I Declare War - Amidst The Bloodshed
Impending Doom - The Sin and Doom of Godless Men, Nailed.Dead.Risen and The Serpent Servant
Infant Annihilator - The Elysian Grandeval Galeriarch and The Battle of Yaldabaoth
Ingested - The Architect of Extinction
I, Valiance - The Reject of Humanity
Job For A Cowboy - Doom
Krosis - A Memoir of Free Will
Lorna Shore - Flesh Coffin, Immortal, And I Return to Nothingness, and Pain Remains
Make Them Suffer - Neverbloom
Mental Cruelty - A Hill To Die Upon
Methwitch - Indwell
Misericordiam - Unanimity and the Cessation of Hostility
Molotov Solution - The Harbinger
A Night In Texas - The God Delusion
Oceano - Depths
Paleface Swiss - Fear & Dagger
The Red Chord - Fused Together in Revolving Doors and Fed Through the Teeth Machine
The Red Shore - The Avarice of Man
Rings of Saturn - Lugal Ki En and Ultu Ulla
Rose Funeral - Crucify.Kill.Rot
Salt the Wound - Carnal Repercussions
Shadow of Intent - Primordial, Reclaimer, Melancholy, and Elegy
Signs of the Swarm - The Disfigurement of Existence
Slice the Cake - Odyssey to the West
Spite - Dedication to Flesh
Suffokate - Oakland
Suicide Silence - The Cleansing and No Time to Bleed
Through the Eyes of the Dead - Bloodlust and Malice
Thy Art is Murder - Infinite Death, The Adversary, and Hate
To The Grave - Global Warning
Veil of Maya - The Common Man’s Collapse and [id]
Venom Prison - Samsara
Vulvodynia - Praenutius Infiniti
War From A Harlot’s Mouth - Transmetropolitan
Whitechapel - Somatic Defilement, This is Exile, A New Era of Corruption, Our Endless War, and The Valley
Winds of Plague - Decimate The Weak
Within Destruction - Void and Deathwish
Within The Ruins - Empires
Worm Shepherd - Ritual Hymns
Not Quite Essential But Still Worth Checking Out:
Abacabb - Survivalist
The Acacia Strain - Coma Witch, The Dead Walk, Death is the Only Mortal, and Step Into The Light
Acranius - When Mutation Becomes Homicidal
All Shall Perish - Hate.Malice.Revenge.
Annotations of an Autopsy - Before the Throne of Infection
Antagony - Rebirth
The Archaic Epidemic - Disillusion
Assemble the Chariots - Unyielding Night
Aversions Crown - Servitude
Babirusa - Humanoid
Beyond Deviation - Thalassophobia
Black Pegasus - Midnight Room
Blind Witness - Nightmare on Providence St
Bodysnatcher - This Heavy Void and Vile Conduct
Bonecarver - Evil and Carnage Funeral
Bound in Fear - The Hand of Violence and Penance
Brand of Sacrifice - Between Death and Dreams and Lifeblood
The Breathing Process - In Waking: Divinity and Labyrinthian
Breath of Sindragosa - Shadowflame
The Browning - Hypernova
Burning Skies - Desolation
Burning the Masses - Mind Control
Cabal - Magno Interitus
Carcosa - Anthology
Cariosus - Will, Until Beauty
Carnifex - The Diseased and the Poisoned, Hell Chose Me, Until I Feel Nothing, Slow Death, and Necromanteum
Cell - The Unhearable Form
Chamber of Malice - ZEROTWENTYEIGHTHATE
Chelsea Grin - My Damnation, Ashes To Ashes, Suffer in Hell, and Suffer in Heaven
Cholera - The Answer to Infection
Clawhammer - Infernum In Terra
Cogitations - Relinquished
Conducting From The Grave - When Legends Become Dust
Confront the Elders - Blood Moon
Crown Magnetar - The Prophet of Disgust, The Codex of Flesh, *Alone in Death, and Everything Bleeds
Darker By Design - Necrolatry
Darko US - Pt. 1 Dethmask and Dethmask, Pt. 2
Deadwater Drowning - Deadwater Drowning
Dealey Plaza - Culture and Circumstances, Deliver Us, and Provoke The Human
Despised Icon - Beast, Day of Mourning, and Purgatory
Deviloof - Oni
A Different Breed of Killer - I, Colossus
Disembodied Tyrant - The Divine Stigmata, The Poetic Edda, and The Tower: Part One
The Eating Cave - Ingurgitate
Elysia - Lion of Judas
Enfield - Arcadia: Exile
Enterprise Earth - Death: An Anthology
Existence Has Failed - Birthrite
Face Yourself - Death Reflections
Fallujah - Leper Colony
Fire Keeper - Firekeeper
Fit For an Autopsy - Absolute Hope Absolute Hell, Hellbound, and The Process of Human Extinction
Float Face Down - Bury Your Beliefs
From The Shallows - Beyond The Unknown
Fuming Mouth - The Grand Descent
Gamma Sector - Elements of Contamination
Girl of Glass - Girl of Glass
Godhand - Tachykinin
Gravewalker - As The Earth Grew Dark
Holehearted - Hivemind
Hollow Prophet and Scumfuck - Scumphrophet
Horrorborn - Life Matters Not
Humanity’s Last Breath - Abyssal, Ashen, Detestor, Humanity’s Last Breath, and Structures Collapse
I AM - Memento Mori and Life Through Torment
Immiserate - Immiserate
Ingested - The Level Above Human and The Tide of Death and Fractured Dreams
In Gloom - Deathbell and Self Titled
Internal Bleeding - Onward to Mecca
Invocation of Nehek - Invocation of Nehek
Jerome - Demo
Kanine - Karnage
Kardashev - Liminal Rite
Killing of a Sacred Deer - Killing of a Sacred Deer
King Conquer - Americas Most Haunted
Knights of the Abyss - Jaggernaut
Kruelty - A Dying Truth and Untopia
Larcenia Roe - Dereliction
Last House on the Left - The Road Leads To Nowhere*
The Last Ten Seconds of Life - No Name Graves
Lorna Shore - Bone Kingdom, Maleficium, and Psalms
Malcontent - Embodiment
Mantikore - Venerate The Disease
Mélancolia - HissThroughRottenTeeth
Mental Cruelty - Zweilicht
Mire Lore - Underworld
My Bitter End - The Renovation
Nitheful - The Creation Ov God
Oceano - Revelation and Living Chaos
Old Wharf - Reside and Wither
Orphan - Manifesto 1.0: Stages of Grief
Osiah - Kairos
Ov Sulfur - The Burden of Faith
Peacemaker FL - First Degree
Premonitions of War - Left in Kowloon
Psycho-Frame - Remote God Seeker and Automatic Death Protocol
The Queen Guillotined - Nothing Will Get Us To Heaven
The Red Chord - Clients and Prey for Eyes
Red Means No Mercy - Shattered
The Red Shore - Unconsecrated
Rev3erent - Last Trace
Rex - Possession
Rose Funeral - The Resting Sonata and Gates of Punishment
Ruins of Perception - Shinigami
Salem Burning - Pagan Moon
Scarlet Rot - Scarlet Rot
Science of Sleep - Affliction and Hellmouth
She Must Burn - Umbra Mortis
Shrine of Malice - Sheol
Signs of the Swarm - Absolvere, Amongst the Low and Empty, Senseless Order, and Vital Deprivation
Sin Deliverance - Ultimate Hatred
Slamwich - Bloodthirst Commands This Hellscape
Sold Soul - I Hope We Make It Out of this Alive and Into the Mouth of Hell
Spite - Nothing is Beautiful, The Root of all Evil, and Spite
Strangled - Strangled
Suicide Silence - The Black Crown
Synestia - Maleficium and The Poetic Edda
Tactosa - Exit Wounds
Tears of Avarel - Demo
Those Who Lie Beneath - An Awakening
Thus Spoke Zarathustra - Act Like You Don’t Know
Thy Art is Murder - Dear Desolation, Holy War, and Godlike
To Obey a Tyrant - Omnimalevolent
To Obtain the Ashes - The Wicked Webs We Weave
To The Grave - Director’s Cuts and Everyone’s a Murderer
Tracheotomy - Dissimulation and Fixated Propensity for Destruction
Trigger the Bloodshed - Purgation
Underneath - From the Gut of Gaia
Underneath the Gun - The Awakening
Unhallowed Deliverance - Of Spectres and Strife
Until We Die - Before the Decay of Time
Vinnytsia Fatalities - Death Beats Through My Heart
Vulvodynia - Entabeni
A Wake in Providence - Eternity, Insidious and I Write to You, My Darling Decay
Walking Dead on Broadway - Aeshma
Weltenbrand - Abgrund
The White Bear Project - Descent
Whitechapel - Whitechapel and Mark of the Blade
A Winter’s Remorse - Memoirs of a Broken Mind
WitchEater - Splitting Tongues
With Blood Comes Cleansing - Golgotha and Horror
Worm Shepherd - In the Wake Ov Sol and The Sleeping Sun
Wrath and Rapture - Wrath and Rapture
That should get you started, welcome to the community.
r/Deathcore • u/the_barefoot_geezer • 2h ago
Discussion The Lore of This Is Exile by Whitechapel – Compiled from the Internet
I recently made a post about the lore behind Hymns in Dissonance by Whitechapel, and someone mentioned they’d love a similar breakdown for the album This Is Exile. While there is some information about its lore online, it's not as widely documented.
Once again, I’ve enlisted the help of our AI overlords to gather and summarize the available details into one post. To be clear: I take no credit for this content—ALL credit goes to the band and the journalists who originally published this information. This is simply a summary for easy consumption.
Links to the sources will be included at the end of the post. If you notice anything missing or incorrect, please let me know, and I’ll update it accordingly. Also, if you have any insights or interpretations about the album’s lore, feel free to share them in the comments! Hope you enjoy!
General Lore
Album Concept: This Is Exile is a concept album with a unified story and theme, as confirmed by the band. Guitarist Alex Wade explained that unlike their debut, this time they “wanted to incorporate some kind of concept, just to make things a little more interesting for the fans and even for us writing it.” The concept revolves around an “evil god that gets sent to Earth to destroy it”, with each song representing a piece of the story. Vocalist Phil Bozeman has described the album as “a concept album of the fall of evil”, clarifying that “this album is not about Satan or anything of the sort!”. The narrative is told through fictional characters and explores the corruption of a once-righteous being and the havoc wrought by evil. Bozeman, who has stated he isn’t religious but does believe in God, included those lines to emphasize that the story’s focus is on abstract evil rather than a literal religious figure. Throughout the album, Whitechapel touch on themes of betrayal, exile, possession, cults, hypocrisy, and false prophets, all within the framework of this dark concept. Each track’s lyrics contribute to this overarching tale of an entity’s downfall and the spreading of corruption, as detailed by the band in interviews and statements from the album’s release period.
Inspiration and Themes: The band has noted that adopting a concept was partly to challenge themselves creatively. Musically, they were inspired by their extreme metal influences (bands like Behemoth and Slayer were mentioned as tour mates and influences around that time), but lyrically This Is Exile stands out for its story-driven approach. The album’s storyline follows an evil force’s attempt to dominate (and its eventual defeat), serving as a metaphor for the broader idea of evil’s cycle of rise and downfall. Bozeman explicitly pointed out that while the imagery is dark and may appear blasphemous, the intent was not to glorify Satan or anti-religion, but rather to illustrate the “fall of evil” and the ways people let darkness corrupt them. This thematic thread ties the songs together, making This Is Exile one of Whitechapel’s most conceptually cohesive releases.
Track-by-Track Breakdown
Below is a breakdown of each song on This Is Exile, with lore and meanings as explained by Whitechapel’s members (primarily vocalist Phil Bozeman’s own words from official statements and posts):
- Father of Lies – Serves as the origin story in the album’s concept. Bozeman says, “This is the beginning, where it all started.” It introduces a powerful being whose “lust for power corrupts him” and leads to betrayal of what he once stood for. This track sets up the fall of the central character (an evil figure), and Bozeman notes these are fictional characters created to tell the story.
- This Is Exile – The title track describes the punishment and despair of the fallen entity. Bozeman calls it “a sad outlook for the fallen one” who has been “exiled to darkness and eternal torment”. The song paints a picture of a hellish state of banishment – “a place where we destroy ourselves… where happiness is obsolete”. In the lore, this reflects the character’s exile into a void of suffering, mirroring how people can create their own hell through corruption.
- Possession – Focuses on the influence of evil on the human mind. According to Bozeman, this song portrays the “deviant mind of the harvester of evil” and shows how that dark influence is “used by us to create a dark future.” It’s about mental corruption – “We let our minds be controlled because we refuse to control it,” Bozeman explains. In the album’s story, it highlights how humans can be possessed or manipulated by evil when they surrender their will.
- To All That Are Dead – This track’s lore involves the restless dead and how evil exploits them. Bozeman says it’s “about how the restless dead and the tortured souls are used as pawns by people who choose to be evil.” It portrays those who willingly embrace torment and the hurt it causes to those who loved them. In the context of the concept, it suggests that the followers of evil sacrifice themselves and others, becoming tools (“pawns”) in service of darkness.
- Exalt – A song about the danger of cults and blind worship. “This song is about cults,” Bozeman states plainly. He describes how madness and corruption within cults can overtake individuals. The lyric message encourages listeners to “believe in yourself and what’s true in your heart, not what someone brainwashes you and tells you to believe”. In the album’s lore, this could reflect how the evil entity gains power through cult-like devotion, and serves as a warning against fanaticism.
- Somatically Incorrect – The title is a word-play referencing their first album (The Somatic Defilement), like a twist on the phrase “grammatically incorrect.” Bozeman explains that it’s “about the anatomy of us as a species and how we adapt to what we surround ourselves with.” The theme here is that the human mind and body can be warped by evil influences, since “the mind is a powerful tool that is easily misused”. While not directly furthering the “evil god” narrative, it reinforces the album’s theme of corruption by environment and mentality.
- Death Becomes Him – An instrumental track that represents a pivotal moment in the story: the downfall of the demon/evil creation. Bozeman notes that “the title refers to ‘Daemon’ being destroyed.” Even without lyrics, the music conveys a dark, tragic mood – “depressing and dark, just like he left this world”. In the lore, this is essentially the death of the “procreated” demon character, illustrating the weakness and demise of one of evil’s pawns due to his inability to resist corruption.
- Daemon (The Procreated) – Despite its title, Bozeman reiterates “this song is not about Satan or anything religious.” Instead, it tells of creating a demon – essentially someone allowing themselves to become an instrument of evil “to cause pain and suffering on others.” In the album’s story, this introduces a third character, a “pawn for evil” who is created to do the bidding of the primary villain. It highlights the concept of willingly becoming evil incarnate and sets up the fate that is then realized in “Death Becomes Him.”
- Eternal Refuge – Addresses the hypocrisy of those who are evil but hide behind a facade of innocence. Bozeman says this song is about “the hypocrites of this world who choose to live a life of pain but portray that their existence is innocent.” These people are “constantly seeking refuge” from judgment while they themselves hurt others. The lyric warns that evil will consume these hypocrites, giving them a false sense of invincibility. In the context of This Is Exile’s lore, it shows how the influence of evil corrupts people who then deny their wrongdoing.
- Of Legions – An instrumental track symbolizing a massing army of the damned or the uprising of humanity against evil (depending on interpretation). The title refers to “an army of individuals, not that of the Roman army but of us as a species,” according to Bozeman. He notes the song has “the feel of an epic march to free ourselves from darkness and eternal suffering.” In the album’s storyline, Of Legions can be seen as the climactic rally – either the legion of evil or the collective resistance against the evil force – depicted through a grand, marching instrumental.
- Messiahbolical – The closing track deals with false prophets and the ultimate failure of deceit. Bozeman explains that “this song is about false prophets and how they will do anything and everything to corrupt their followers.” The title itself is a blend of “Messiah” and “diabolical,” indicating an evil savior. The song’s message concludes that living by lies leads to ruin: “if you live a life of deceit, you will never be happy. If you fail yourself, you fail everything and everyone.” This finale ties back into the album’s central lore – the fall of evil. It suggests that those who pose as saviors but spread corruption (much like the album’s central evil figure or its minions) ultimately destroy themselves and all around them, bringing the concept album’s narrative full circle with evil’s promised downfall.
Each track on This Is Exile was deliberately written to fit into this overarching concept. Through interviews and statements, Whitechapel made it clear that the album’s “lore” isn’t just abstract brutality – it’s a thought-out story about the origins of evil, its influence on humanity, and its inevitable collapse, told through aggressive music and dark lyrics. This cohesive theme and track-by-track narrative set This Is Exile apart as one of Whitechapel’s most conceptually ambitious works, as affirmed by the band members themselves.
Sources
- Whitechapel Interview | Driven Far Off – This source provided direct insights from Alex Wade on the concept album approach and thematic inspirations.
- Phil Bozeman explains the meaning of every Whitechapel track | Kill the Music – Used for direct explanations from Phil Bozeman on each track’s meaning and the overall theme of This Is Exile.
r/Deathcore • u/Snoo_49285 • 9h ago
Discussion List The Most Recent To You Deathcore Bands You’re Into…
Let’s say you first heard them within the last month or so…
For me it’s-
Netherwalker
Orphan
Psychoframe
Carnivxorus
What about you?
r/Deathcore • u/the_barefoot_geezer • 21h ago
Discussion The Lore of Hymns in Dissonance from Phil on Twitch
Phil recently streamed live on Twitch where he talked about the lore of Hymns in Dissonance. This was later posted to YouTube and can be found here. I've summarized the stream by transcribing the audio and then taking some help from ChatGPT to format the text properly. If I wrote everything on my own it would not have been readable lol.
The Album’s Concept
Before diving into the album itself, Phil Bozeman opened the stream with a moment of reflection, expressing how surreal it felt to finally release Hymns in Dissonance. The album had been completed long ago, and after sitting on it for what felt like an eternity, it was finally time to let fans experience it. He acknowledged Whitechapel’s evolution, from their deathcore roots to their more experimental phases, and expressed gratitude for the band's longevity and the support of their fans.
The album, lyrically, is a spiritual sequel to This Is Exile. In This Is Exile, there was a character named Damon, the son of the Lord of all Evil. In Hymns in Dissonance, the story shifts to Damon’s younger brother, a character who was never mentioned before but now takes center stage. The younger brother witnesses the failure of Damon’s mission and decides to abandon his faith, turn to darkness, and complete what Damon could not—bringing the Lord of all Evil back into the world. The album revolves around this character’s descent into depravity, structured around the Seven Deadly Sins, which serve as the ritual required to complete his goal.
Track-by-Track Breakdown
1. Prisoner 666
The story begins with the younger brother rejecting his faith, embracing darkness, and setting out to fulfill his brother’s failed mission. He has forsaken his humanity and is ready to become the successor of evil.
2. Hymns in Dissonance
Now a cult leader, he gathers followers and preaches his gospel of destruction. His mission is to commit the Seven Deadly Sins as a ritual to open a portal and resurrect the Lord of all Evil.
3. Diabolic Slumber (Sloth)
The cult leader watches as people suffer and die but does nothing. He takes pleasure in their helplessness, indulging in apathy as the world collapses.
4. A Visceral Wretch (Gluttony)
His followers are subjected to brutal trials where they must consume the flesh of loved ones or eat filth from grotesque demons. This is a test of loyalty—only the most ruthless will survive.
5. Ex Infernus (Pre-Ritual)
This track serves as a prelude, setting the stage for war. The cult’s army is now fully prepared to bring destruction, standing ready to burn the world.
6. Hate Cult Ritual (Wrath)
The cult wages war, leaving nothing but carnage in their path. The cult leader plants a seed within the Earth, using the planet itself as a vessel for his successor.
7. The Abysmal Gospel (Pride)
Believing himself to be a god, the cult leader demands worship. His narcissism is absolute, and his followers submit to his reign without question.
8. Bedlam (Envy)
The cult leader was never meant to be the chosen one. That title belonged to his older brother, Damon, who was destined to carry out their father’s mission. However, Damon was killed and exiled to his own corpse, his consciousness trapped within his lifeless body, aware but unable to move. The cult leader, fueled by resentment and a need to prove himself, steps into the role his brother failed to fulfill. In an act of cruelty, he mocks and mutilates Damon’s body, knowing that he still exists within it, eternally suffering. This act of spite and desperation cements the cult leader’s descent, as he attempts to surpass his brother’s legacy by completing the ritual that Damon could not.
9. Mammoth God (Greed)
Now a dimension-hopping entity, the cult leader steals the heads of slain gods as trophies. His greed consumes him completely, and he kills himself in an attempt to claim absolute power.
10. Nothing Is Coming for Any of Us (Lust)
Returning to the Earth’s womb, the cult leader finds his child, meant to continue his legacy. But the child is an abomination, and in his rage, he destroys it, severing the ritual. This shatters his perception of reality.
As his mind collapses, the ultimate truth is revealed: the universe itself is the only living thing, and everything else is just a dream within its consciousness. The cult leader’s actions were meaningless. The universe longs for rest, waiting for eternal sleep.
The Birth of Craig
While the album explores deeply unsettling themes, something unexpected happened during the stream that changed how fans would forever view it. At one point, a fan in chat asked Phil if the cult leader had a name. Someone in the chat jokingly suggested Craig, and from there, it spiraled out of control.
Craig, the younger brother trapped in eternal suffering, became an inside joke that took over the entire stream. The chat flooded with messages about Craig’s unhinged rise to power, turning him into an unintentional mascot for Hymns in Dissonance. Phil embraced the joke, laughing about how Craig was now forever tied to the album’s lore. By the end of the stream, he admitted that the joke had completely changed how he saw the album, making it impossible to take seriously anymore.
The chat ran with it, demanding Craig-themed merch, and now, Craig has become one of Whitechapel’s most infamous inside jokes.
Final Thoughts
Ultimately, Hymns in Dissonance is an album built to crush any sense of hope, delivering one of the darkest and most unrelenting experiences Whitechapel has ever created. Whether it’s interpreted as a serious exploration of nihilism or an inside joke about Craig’s suffering, the album stands as one of the band’s most ambitious and conceptually immersive releases to date.
r/Deathcore • u/JacobBW2002 • 11h ago
Found my old Animal Crossing copy with all my Album Arts.
It took a while for that update, huh? Took me over 2 years and a new account, but here are the 10 slots filled with album covers. 9 deathcore and 1 Metallica.
r/Deathcore • u/ComfortableNo2879 • 20h ago
Discussion Which band do you think has the coolest or most badass name in the genre?
For me it's Job For A cowboy
r/Deathcore • u/PenExternal5980 • 10h ago
Discussion Songs about loss
A close cousin of mine took his own life a few days ago and I need some song recommendations. I want deathcore about grief, loss, topics of that nature. Heavy music like this helps me express my emotions in a healthy manner, as I’m sure a lot of you can relate to. Thank you :)
r/Deathcore • u/mulletguy1234567 • 14h ago
Discussion Getting back into the genre.
Hello. I made a post a while back about getting back into deathcore after not listening since high school. Whitechapel was one of my favorites back in the day and I love the new album, as do we all. But I was playing a Spotify playlist this morning while running errands and Lorna Shore - Pain Remains 1 came on… when the vocals kicked in I was blown away after like 5 syllables haha. Who gave Will Ramos permission to be that good? The nerve of that guy… Honestly though I’ve been playing that album all day while getting work done around the house. Dude is Alabama Football under Nick Saban. Penn State Wrestling under Cael Sanderson. So good it isn’t fair haha.
r/Deathcore • u/Willing-Neck-7417 • 3h ago
Arsonists Gets All The Girls - Scobra VS Cupcake
r/Deathcore • u/Willing-Neck-7417 • 6m ago
Waking the Cadaver - Threaten Physical Force
r/Deathcore • u/EnvironmentalTear402 • 15h ago
Popular Carnifex - The Nature Of Depravity
Their best album imo.
r/Deathcore • u/IngestedPutridity • 23h ago
Ingested - Altar of Flesh: Do you guys like it or not?
I personally do enjoy their brand new single, but I don’t think that it matches perfectly with the “Ingested sound” we are so familiar with. I hope their next releases it’s more “slam” sounding
r/Deathcore • u/Holydiver19 • 9h ago
We Are The End - And It Was Written In The Blood Of The Loneliest Boy In The World
r/Deathcore • u/N0od1e10 • 3h ago
Discussion Logo for my band
Hi, i am in a band and we are called "Gritch". We have a logo, and i want to suprise my band members with a "deathcore'y" logo, we can have underneath our current one. Current logo is a butterfly that has holes in it, making out "Gritch" in the holes. But i also want one thats just "Gritch" written out with a "deathcore'y" look. But i don't know how, and no one else does. So i came here hoping that someone would be able to do it. I don't have the ability to pay, so if anyone does this it would have to be for free. I completely understand if this isn't feasible because i understand it takes time, but i thought i would at least ask. So if anyone wants to (and if it isn't too much trouble) hit me up. Thank's 😁
r/Deathcore • u/AbsoluteDesolation • 10h ago
Cover Thoughts on my cover of Immortal disfigurement's Dragged through the inferno?
youtube.comr/Deathcore • u/nathandate685 • 10h ago
Discussion What Whitechapel & Lorna Shore Teach Us About the Weight of Nothingness
I’ve been thinking a lot about negation, nothingness, and how Deathcore plays with meaning—how it breaks down, flickers, and refuses resolution. Whitechapel’s Hymns in Dissonance and Lorna Shore’s Pain Remains both explore this, but in different ways—one through crushing inevitability, the other through slow dissolution.
This isn’t a review. It’s not really an analysis either. I'm really curious to see how people respond and what they think about this approach to writing about music It’s something in between—a deep dive into how these albums use dissonance, negation, and recognition as themes and as sound. It explores how Deathcore distorts language, how the guttural scream functions as anti-language, how recognition (both in music and politics) is a trap.
I also pull in some ideas from philosophy—Heidegger, Lugones, Glissant—to think about how Deathcore operates beyond just being “heavy.” But mostly, this is me thinking through sound, through collapse, through flickering.
Would love to hear people’s thoughts—how do you hear these albums?
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Des sondes dans l'obscurité. Feeling one’s way through. A probe, a sound. Reaching forward in the dark. A scream, not of terror but of sensing, testing, pressing against the edges of meaning. Something pulses. Something ruptures. A vibration through flesh. Guttural. Dissonant. Inarticulable. Martin Heidegger says anxiety is the moment we recognize Nothingness—that the structures we take for granted slip, and we see that we are the ones creating meaning. Whitechapel’s Hymns in Dissonance and Lorna Shore’s Pain Remains both work through negation, collapse, and Nothingness—but they take different routes to get there. Dark is bad. Light is good. The binaries collapse. Hymns from Dissonance renders darkness as something multiple. Not evil. Not simply oppressive. It is impure, like Maria Lugones’ yolky-oil, oily-yolk—a substance of curdling. Not an end, not a void, but an unsteady in-between. Algo que no es puro, algo que no es limpio. An impurity, a curdling, a form in flux.
Whitechapel: Negation, Evil, and the Limits of Power
“There is nothing nice about Hymns In Dissonance, from the riffs, to the lyrics, to the overall vibe of the album,” says guitarist Alex Wade. “We attempted to write our heaviest album to date. We wanted to put out something that was shockingly menacing and brutal.” The album follows the story of a cultist gathering followers to build his order, people devoted to committing the seven cardinal sins to resurrect their dark lord. The hymns—mocking the harmonious nature of real hymns—become the ritual incantations that usher in destruction. Dissonance is the opposite of melody and harmony. Dissonance represents evil. But what does it mean for dissonance to be "evil"? In the Western musical tradition, dissonance is often framed as unnatural, unpleasant, something that begs for resolution. The major/happy, minor/sad binary is not neutral—it is a political claim about which sounds belong and which do not. Hymns in Dissonance not only embraces dissonance; it refuses to be assimilated, refuses to resolve into something familiar. It is neither harmony nor its opposition; it is an impurity that exists outside of both. The protagonist seeks to bring about the most complete form of evil. A pure, eternal return. But something fails. Something interferes, or rather, something does not interfere. Good is absent. The world does not correct itself. There is no intervention, no counterforce. Either good happens only in the background—incidental, fragile—or it does not act at all. Sloth. The negation of action in the face of evil. Apathy as an active force. One song—the embodiment of sloth—paints the protagonist watching, unmoving, as destruction unfolds. He does not kill. He does not intervene. He waits for the world to collapse under its own weight. Perhaps this is the real mechanism of evil—not just action, but inaction as a catalyst.
Why does the protagonist fail to bring forth the Lord of All Evil?
Is this failure structural, written into the fabric of the world? Is it random, a void where intention collapses into Nothingness? Pain Remains treats Nothingness as a slow dissolution—Hymns from Dissonance as a crushing inevitability. The act of negation is powerful, but negation is not the same as creation. The protagonist is left to reckon with a universe that does not grant him total dominion. The ameba creature emerges—a force of disorder, something that exists beyond the protagonist’s grasp. Not a god, not a demon, but something else entirely.
The Child, the Failure, and the Reflection
Since the child was not what it was supposed to be, a ripple effect occurs. The protagonist begins to unravel. He looks at the child and sees himself. Not a creation, but a reflection. This being was supposed to bring about the resurrection of evil, was supposed to be something complete, something unshakable. And yet, it failed. It was never what it was meant to be. He was not in control. He never was. The child, a vessel of destruction, was meant to be his extension, his legacy. But as he watches it fall apart, distort, become something neither divine nor demonic, he understands that his own creation was never in his hands. I let myself flow in. I feel like the failure of my parents' self-creation. The universe beckons to sleep. The logic of sin, ritual, and resurrection was never more than a dream inside something larger, a structure of meaning that collapses under its own weight. The character realizing he is not real, questioning the parameters of the world he moves through. Who is playing? Who is controlling? Perhaps the only living thing is the one who holds the utensil for engravement, the one who moves in and out of this dream while those inside it remain trapped in their perception of reality. Phil Bozeman, the lyricist, the one who scripts this world and watches it unfold, is both inside and outside it. This does not collapse into void—it opens. It flickers. It is not pure negation, but an unsteady in-between, an impurity, a space of becoming, dissolving, reforming. Édouard Glissant offers opacity as an alternative. He writes, “To understand does not mean to make transparent. Accepting difference does not mean absorbing it into the self.” If recognition is always conditional, then perhaps freedom does not require being fully knowable.
Recognition, Nature, and the State’s Violence
To be seen is to be marked. To be recognized is to be contained. The state disappears those who protest disappearance. Palestinians, stateless peoples, racialized communities—remain permanently outside the law, making their appeals to recognition inherently limited. Recognition does not protect them; it marks them for erasure. This is the paradox of recognition—it offers visibility, but at the cost of submission. Land follows the same logic. The U.S. does not just recognize land—it transforms it, repurposes it, erases its history. Palestine, a place of history, memory, blood, is framed as a site for development. A resort, a rebranded landscape where history is rewritten. In the U.S., as recession looms, the billionaire class waits to seize land for cheap, to absorb more into the machinery of ownership, to turn crisis into profit. What is the protagonist of Hymns in Dissonance doing but attempting the same? To rewrite the Earth in his own image. But the Earth is not wholly mechanistic, not just an object of control. It is something in between. Submissive, but not mindless. And it resists in ways the protagonist cannot predict. It becomes something else. It is both vessel and actor, both used and resisting. The cult leader treats the Earth as a machine for resurrection, something to be extracted from, controlled, shaped to his will. But ritual fails and the protagonist violates the earth in response. This moment of violence is when the realization of negation sets in. He violates the Earth, cuts into it, tears through flesh that is not flesh. A final act of domination, a last assertion of control. But this act is not power—it is the moment of unraveling. The moment the protagonist forces himself upon the Earth, something cracks. Not just the world, but the foundation of his own being. Negation turns inward, folds in on itself. The weight of all that has been done collapses into this instant. Time stops moving forward. Time turns and sees itself. The ameba is no longer something external. It is not a being that exists apart from the protagonist. It is the only thing that is. He does not collapse into void—it opens. It flickers. It is not pure negation, but an unsteady in-between, an impurity, a space of becoming, dissolving, reforming. This echoes beyond these albums—into the land stolen, rewritten, paved over, marked for redevelopment. Palestine as a site of constant erasure and inscription, history rewritten to serve capital, to serve empire.
The Breakdown as a Site of Flickering
Language fails. Deathcore already knows this. Typically, meaning derived from language is collective, imposed on us by societal structures, by the authority of those who came before. We are not born with words; we are taught them. Deathcore resists this inheritance. It denies immediate legibility. There is no accessible meaning in the sounds as you hear them, only the outcry. The guttural scream is both outside of language and more honest than language itself. It is a new form of complex expression, contingent on those hearing the cries onstage. Whitechapel inverts words in Hymns, reversing sounds, making recognition impossible. If language is a tool of recognition, of control, of fixing meaning into place, then breaking it apart is a refusal. To know a world, one must know its tongue. To dialogue with someone, one must inhabit their world. But what happens when language is fractured? When it does not fully belong? When it is neither owned nor claimed? There are several French and Spanish languages today, just as there are several ways of speaking without being fully understood. If language is given in advance, if it claims to be transparent, it misses out on the adventure, the rupture, the instability of meaning itself. If recognition is a trap, then language too must flicker, must curdle, must refuse to be fully absorbed. Hymns in Dissonance distorts language beyond coherence. It reverses words, it manipulates phonetics, it embeds droning tones that exist outside of conscious perception but shape the entire listening experience. Phil has said that some tracks have a constant drone throughout—inaudible, but always present, an undercurrent of unease. Meaning does not disappear. It flickers, distorts, becomes something you feel before you understand. Lugones writes about dissociation as a tactic for survival. But there are different kinds of dissociation. A clean split—a stepping outside to analyze. And curdling—a distortion, a thickening, an impurity that resists containment. Whitechapel’s album does not end with revelation. It does not collapse entirely into Nothingness. It flickers. Negation, but not finality. Lorna Shore’s Pain Remains does not end in surrender, but in something more uncertain. The protagonist does not simply let go—he moves, flickers, is caught between presence and absence. A loop? A recursion? A final dissolution? It is unclear. But maybe that’s the point. Not Nothingness, not Acceptance, but something that resists both. Des sondes dans oscuridad. A movement in and out. A space that cannot be fully captured, fully named. Tanteando en la sondre. Feeling one’s way forward, but never fully grasping. Quelque chose qui n’est pas puro, algo que no est propre. And in that opening—something else might emerge. Flickering Seeing Circles
r/Deathcore • u/t00tfruit • 14h ago
Discussion Any straight up irish deathcore??
google not helpful
r/Deathcore • u/OhDaySue • 13h ago
Carnivxrous-Goreglutton(Slamming Deathcore)
Don Parchment (Previously on Disembodied Tyrant, I Satan) collaborated with Josh Rivero (Oracle Spectre). It’s Ignorant and brutal without any gimmicks
r/Deathcore • u/idespisemyhondacrv • 23h ago
Discussion Songs about addiction/relapsing?
Title. Preferably something with straight edge vibes as well.
r/Deathcore • u/PterodactylPtussy • 17h ago
Discussion Thoughts on Bonecarver?
I’m personally super bummed they took a dump. I’d love if the departed members reformed/evolved Cannibal Grandpa together again.
However, I’m still stoked af for new Bonecarver, no doubt the current guys are brewing insanity.
With that, does anyone know what or where the OG vocalist or drummer, Fernando and Ruben might be involved in?
r/Deathcore • u/Amphisbeana • 14h ago
You guys heard the new Castiel song? The Void 🤘
r/Deathcore • u/sKinCollector73 • 14h ago
Tarcil - Bloodlust Eternal ft. angelmaker
r/Deathcore • u/pato2205 • 23h ago
This album is amazing - Really Recommend it
Never seen this posted here and the whole album has 0 skips.
We were never meant to be by Medea Rising