Post-Metalcore:
The Little Engine That Could

A four-part series by MarsKid

[Part I] || [Part II] || [Part III] || [Part IV]

Part IV: Changing the Game

On paper, detractors that remained in the metalcore scene had plenty of ammunition in 2016. After years of providing the most chaotic brand of the genre to hit a mainstream audience, The Dillinger Escape Plan announced that they were terminating the band, concluding an enviable career with their swan song Dissociation. Their counterparts in Converge, though not absent from the scene, had not released new material since 2012, creating a subtle sense of doubt over whether or not there would be more to come. In the prog-core circle, proceedings apparently reached a grinding halt once key groups began to falter late in their career, in part due to personnel alterations. Erra presented Drift, which was caught in the shadow of Augment — a tall task to defeat such an influential record, in fairness — while Northlane began a steady decline in quality. Younger acts that took up the mantle were similarly faltering; Invent, Animate disappeared following Stillworld and lost a critical component when vocalist Ben English decided to depart from the band. For those that desired another surge in the creativity of the underground or the progress metal crossover realm, the classification seemed to have launched headfirst into a brick wall and shattered, with little assistance from rising stars that seemed to be content mimicking the greats. Anyone that considered themselves faithful to the “metalcore is dead” argument found themselves feeling validated.

Just as observed previously, however, the health of the sonic environment was not nearly as dire as had been so often portrayed. It was true that Dillinger were bowing out, but fans of old-school stalwarts could rest easy come 2017; Converge stormed back with The Dusk in Us, a disc that reaffirmed their incredible consistency in quality. Prior to that mark, Zao — who had dropped off the map — suddenly strung together an EP and an amazing comeback in A Well-Intentioned Virus, eclipsing even their ’90s material in the eyes of some evaluators. While their identity had developed different than their front catalogue, Norma Jean continued to ascend into the ranks of top-name players, delivering Polar Similar and receiving considerable success off of it. It was not at the explosive level of productivity that had been observed over a decade ago, but at this juncture, metalcore had settled in from its ‘gold rush’ sort of beginning. The roots were firmly established alongside the supposed ‘classic’ records that should be experienced by those endeavoring to comprehend the genre. Those that had survived the 2000s were the cream of the crop — the elite players of the league. Their presence was pronounced enough to attain a spotlight, permeating a lasting relevance that continued to incentivize acts to try their hand at earning a spot amongst the ranks of the upper echelon. The diversity of these releases also meant that creativity was permitted; an audience was available for all sorts of interpretations. Spazzy maestros like Frontierer coexisted with the comparatively straightforward August Burns Red, and adoration was awarded to both.

Most importantly to the realm of post-metalcore, the underground — once consistently relegated to watch from the bleachers and witness the victories of others — had slowly started to peel away the curtain that had concealed it for so long. It began with The Hirsch Effekt invading international spectators courtesy of The Dillinger Escape Plan, and it continued with the unveiling of Grievances by the then-somewhat-obscure Rolo Tomassi. At the time, it was seen as the peak of the U.K. collective’s sound; contrary to first-time visitors to the crew, Grievances was not a flash in the pan, and nor were their later accomplishments. Despite not yet garnering widespread praise, Rolo Tomassi had been active for over a decade, constructing a sturdy discography, performing admirably in the underground as they slowly established themselves as a British powerhouse. What their fourth release demonstrated was a culmination of an ongoing evolution: one that was firmly entrenched in the world of post-metalcore. Anyone salivating for an atmospheric approach was able to find themselves lost in the opulent soundscapes crafted with gradual crescendos, melancholic key arrangements, and outstanding melodies. Balanced in between were some of the more aggressive, violent cuts metalcore could offer, diversifying the emotional contents of the disc, cementing its dynamic methodology and the evocative payoffs it delivered.

If Rolo Tomassi called it quits in 2015, it would surely be a disappointment, but understandable; conquering expectations founded by Grievances would be a mighty order to ask from a set that had seemingly blossomed into a final form. Yet, the band refused and forged ahead towards reaching that difficult goal. Those aware of the journey knew that Rolo Tomassi were certainly capable, and in a way, what they eventually concocted was an inevitability. None could foresee, however, that such an ambiguous and covert progression as post-metalcore would be risen to the forefront along with them. Even more surprising, however, was the absolute flood of post-metalcore albums that would terrorize the globe come the year 2018. At long last, the steps taken by forgotten acts were coming to fruition. Even if they weren’t around to enjoy it, a new audience was ready for it, ultimately offering the splinter movement the adoration that seemed so elusive.

Two separate phenomena characterized what would become regarded as a landmark year for metalcore, and one that unquestionably deconstructed any lingering “Metalcore is dead!” arguments once and for all. For one, the United Kingdom — an old-school powerhouse region that birthed Eden Maine, Beecher, and Johnny Truant, among others — would come out swinging, assaulting the scene with a cavalcade of LPs that reasserted the country’s position as a metalcore stronghold. Secondly, post-metalcore would not be the cheerleaders of the genre. For the first time, the plethora of efforts created under the label would be the ones championed about in the central focus of the scene, smashing the mainstream barrier, and reinforcing the tangible influence the movement had on metalcore as a whole.

Rolo Tomassi

This entire exercise was destined to end where Rolo Tomassi’s reign began. The impact of this record requires no introduction; it was earth shattering for fans of music regardless of their preferences. Those that never gave a second glance to metal music in general suddenly found themselves ensnared by the quintet’s unique interpretation. It was the unlikely hero to completely overtake expectations and deconstruct music listening leanings, crossing over into a massive amalgamation of influences that appealed to anyone and everyone. Somehow, a post-metalcore record topped Album of the Year charts on multiple websites, accruing enough accolades to become Metacritic’s second-highest-rated record of 2018. Prominence was placed upon the subgenre like never before, switching its position from a hub of inspirations to the inspiration itself — an album that could guide another wave of post-metalcore well past the 2020-decade marker, ensuring its longevity and triumphant emergence from the caverns it had resided in. This was the hidden power of the U.K. gang; their stylistic progression was one that had the potential to act as a template, which is a marvel that can already be observed in the current calendar year. Mathiness and attractive soundscapes began to rule the day in perfect harmony.

How exactly did the Sheffield collective pull off such an ambitious project, and one that stole center stage? Much like Amia Venera Landscape before them, the group made what could be best described as a complete experience of the genre. That is to say that its hallmarks — bedlam, ambiance, emotion, post-structured crescendos, colossal tracks — are all present and accounted for. Dominating the duration of the disc are three numbers in particular that demonstrate Rolo Tomassi’s advanced compositional capabilities, crafting incredible journeys that balanced technicality with stunning atmosphere. As evidenced on the one-two punch of “Towards Dawn” and “Aftermath”, the gang have drunk deep from the well of -gazey tunes, infusing their output with a dreamy aesthetic, lending itself to absurdly gorgeous soundscapes that are heavily aided by the presence of a dedicated keyboard player. In the case of the introductory number, little movement occurs; ambient noise dominates, much like how Harlots soaked their debut in a mysterious, captivating aura so long ago, delicately establishing an immersive endeavor from the very start. These traits are magnified on the aforementioned trio, all of which stretch beyond the 7-minute limit. The first of these, “The Hollow Hour”, slowly advances at the push of restrained cymbal work, eventually exploding into resonating guitars and a prominent synth line. Ebbing and flowing a la a post-rock construction, the tune dips into a quieter, piano-led portion before allowing harsh motifs to reign supreme once more — only to abruptly cut off their approach with the reappearance of the keys, melancholic in their tone as soulful female vocals edge their way into the setting. Not one second of the 7:28 length feels motionless.

Far from being an unbreakable high watermark, Rolo Tomassi replicate their victory here on the latter “A Flood of Light”, a dazzling synth line punching through the crunch of the guitars. Characterized by a particularly striking break midway through guided by gorgeous synth waves, the track flowers into a destructive force, its intense, emotional climax matched only by the third titan, “Contretemps”. Whereas the former had a sort of chaos to it, its successor come across as resigned to a despairing conclusion, fading into the distance with no hope to cling to. For a record absorbed by an omnipresent misery, detailing the trials and tribulations of affection, the finale feels appropriate; there’s no more anger to spit out or agony to speak of. By unleashing Time Will Die and Love Will Bury It, the collective behind it emptied out the entirety of their creative reserves, arguably defeating the triumph that was Grievances, portraying a sincere, relatable set of struggles not often depicted in such a beautiful manner. It’s true that the band didn’t forfeit their mathcore roots — placing “Rituals” following “Aftermath” feels like the group saying, “Oh, did you think we still couldn’t be heavy?” — yet their appearance alone is not what makes the effort shine. Their cooperation with the blissful atmosphere is a combination for the ages, the product equaling to perhaps post-metalcore’s prettiest version of itself. Dark as it may be, Rolo Tomassi’s sound was one that thrived on its less abrasive tactics. It was an identity plenty of fans, regardless of their typical persuasions, were able to pick up easily.

Conjurer

No such beauty is to be uncovered in the caverns that Conjurer, another aspiring U.K. act, call their personal abode. Expect no forgiveness from these gents; their characteristics trend heavily towards the works of sludgecore past. Whereas post-rock had more in common with Rolo Tomassi, Conjurer followed in the footsteps of Swarm of the Lotus, an emphasis being placed upon the crushing potential of post-metal. When aspects of Converge are brought into the fold for whenever the band decides to run amok, the result is a menacing force hellbent on slamming a listener’s face into the pavement. Propped up by a powerful percussion performance and fearsome harsh vocals, vicious guitars begin to assault whoever dares to be the audience, their brutality only occasionally receding as a lurking crescendo amasses momentum. Each composition is structured carefully such that this weight is never flaunted about aimlessly, as sufficient differentiation is committed to recording. Thunderous passages are abounding in any conceivable manner possible, but never are they one and the same. If technicality was to be the driving factor, then so be it. If the purpose was that of an agonizing slow procession through a hallway of Thwomps, then so be it. Despite their young existence, Conjurer could balance many different elements with ease as if already seasoned veterans.

Conjurer’s impressive debut, Mire, excels at all things destructive and violent. The -core aspects are not as prominent as fellow acts, which makes their rarer inclusion all the more thrilling, making for an experience that cannot be predicted so easily. Tucked into a sturdy post-metal structure are sludgy variables, instances of black metal tremolos and blast beats, and unadulterated metalcore pandemonium. A massive tune such as “Thankless” bridges the gap between all of these separate categories, binding them into an absolute monster of a song that refuses to lift off the gas pedal. Bombastic drumming leads the charge, straight out of a black metal release, before chronicles take a decidedly heavier turn, a desolate refrain — the voices are almost drowned out in the cacophony — barely peaking over the edges. Sparse moments of gentle strumming separate these massive peaks in this case, but no such interval appears in the subsequent “Retch”, as string instruments race around each other, the echoing bellow of the bass providing a foundation for a rocking entry that flexes the metalcore might of Conjurer. Barging into the second half of the duration is a seemingly endless breakdown that pummels the audience like a gigantic hammer blow. The only escape offered is when the 43-minute album exits speakers. Considering how addicting its ominous atmosphere is, swallowing up all nearby light, it’s not long until it returns, dutifully carrying the torch of sludge brethren.

Zapruder

Living in the same country as Comity was doubtlessly an aid in Zapruder’s development. However, no entertaining gimmick would endear them to enthusiasts like … As Everything Is A Tragedy would, and they did not have an expansive career to show for yet. When these fellow Frenchmen dropped their debut in 2014, the press was quiet, mainstream and underground alike. It was a shame; Fall in Line had as much, if not more, to offer than any other active artists in metalcore as a whole. Wielding the hardcore strengths of Botch and merging it into the post-metal framework of Comity’s catalog, the quintet put to disc a series of tunes that relished in noise, tidal waves of static, uncompromising riffs, and careful culminations. There was something spectacular about a song such as “Monkey On My Back”, where the central guitar, marching onwards at a slow tempo, has such a catchy quality to it while approaching the listener with intimidating authority. Manic vocals poured on top of such a mixture only enhance the delirium. Having the second half of the song then dissolve into a state of total bedlam is even more compelling, discordant guitars clashing as the bass roars amidst a shower of dissonance. There’s no direction to it; just utter devastating noise. More than being a promising start, Fall in Line was an act of war, announcing to the underground that an invasion was nigh, and Zapruder were to be at the helm of it.

Four years into the future, this statement of intent manifested into reality as the Poitiers collective resurfaced in their self-titled sophomore LP. Instead of attempting to surpass what their prior work accomplished by advancing it, Zapruder decided to turn towards a much more carefree direction, bound less by the more serious air that encapsulated Fall in Line. If there were to be any clear sign of this shift, it’d be the opener; “I Lost My Appendix In NYC” is dressed up as a blues number, its chorus more of a Trophy Scars hallmark than what would be expected out of a metalcore album. This is where Zapruder inevitably succeed, for in diminishing the somberness of the debut, they have freed themselves up to innovative arrangements that liberally toy with mood and how it is presented. Daughters-esque grind facets crop up in the zany “Tongue Twister”, whereas Comity’s influence continues to ring true on the expansive “Martin Bell”. There’s no telling wherever the group will end up, because their untamed desire to explore knows no bounds. Those that desire a straightforward metalcore romp are in the right territory, with numbers like “Dracula Love Hotel” fitting the bill more than adequately. The musicianship on display lends itself to entertaining riffs that are more than just party flavor. When their addicting nature is assisted by those same crazy vocals — even crazier now, if such a thing were possible — the result is a surefire winner.

An additional variable at the band’s disposal is one that’d make Ephel Duath proud. For whatever reason, Zapruder wanted to bring a saxophone player into their ranks, and they became a key part of the outfit’s identity. Their presence was rather muted on Fall in Line, but on the self-titled, the contributions offered by the distinctive woodwind are magnified. Rather than being an unnecessary stunt, the instrument is an ideal pairing for disc’s loose disposition. Consider, for example, the insanity of “Piss Soaked”, where the sax is harmonizing with the lead guitar until running off on its own solo, a whistle chirping in the background. A disaster on paper turns into one of the most infectious entries metalcore has seen in recent memory, and it came about due to not giving a flying fuck about tradition. Grind sections intertwine with rock ‘n roll; that’s just the reality of it. A breakdown could pop up, the bass yelling at the audience as squealing guitars lead the charge, or a pensive creation may enter to disrupt the flow. The saxophone is present through it all, though its appearance in the latter setting — the beautifully understated “Leaving Montreal” — is principally redolent. Clocking in at a comfortable 38-minute runtime, Zapruder’s 2018 opus is possibly the first post-metalcore record to possess not one iota of seriousness in its tone. Their dedication to their craft is evident in their mostly unmatched songwriting capabilities, though it shines through methodology that runs contrary to the scene, concentrating on achieving peak fun while plopping post-metal along for the ride. Few modern records in this vein are so plainly enjoyable in every regard.

Noise Trail Immersion

November releases tend to risk falling to obscurity. As the new year approaches and the holiday season nears, collectives and individual artists usually relax, declining to unveil new material outside of the stray Christmas special. For those daring to enter this terrain, a double-edged sword awaits; audiences are generally concerned with their year-end lists, but if a record is noteworthy enough, it will most likely not have much competition to speak of. Enter Noise Trail Immersion, who decided to unleash their sophomore LP at the start of the wintry month. At first, nothing happened. Then, ever so slightly, an audience began to arrive as the word spread, reviews appeared, and discussion was circulated. It became apparent over time that Symbology of Shelter was not only the real deal, but it was a mammoth of an album that towered above peers, sprouting unpredictably from the underground to snag accolades. Post-metalcore had decided to revisit the mean streak it once adopted, forming a product that was entirely soaked in depression, self-hatred, and all other volatile human emotions that plague the soul. Rather than being developed as a collection of separate numbers, Noise Trail Immersion crafted their latest within the concept of it being a singular song, each track a different section of a larger whole. Regardless of length or genre, this sort of idea is always difficult to pull off. A random assembly of musicians, only one effort deep into their careers, managed to do so.

The sound that emerges on Symbology of Shelter can only be described as hellish. In their reading of the post-metalcore story, Noise Trail Immersion attempted to blacken the entire tale, infusing their incredibly technicality and coordination with terrifying post-metal and ominous atmosphere. Taking into account their Italian heritage, it’s somewhat understandable; metalcore legends The Secret, famous in the underground for their black metal aesthetic, hail from the same country. Nearby in France, the dizzying musicianship and horrific environments of Deathspell Omega make themselves known. What occurs on opening song “Mirroring” is a conglomerate of inspirations demonstrated in a journey that feels imperceptible. The ferocity — the incontestable ire the band exhibits in every note — is startling, not yielding for a moment once the first drum hit is heard. It’s a sensation that endures whether or not the listener is hearing the record for the first of fiftieth time. Placed in between these immaculate journeys into lunacy is a two-part suite, “The Empty Earth”, where the technicality disappears, replaced instead by a threatening ambiance that growls at the audience, a beast that is sneaking out of its chains. When it finally comes loose in the titular conclusion, the vehement ending is a memorable experience that cannot be described, lest it be spoiled. It is a defining moment in post-metalcore, and any fan yet to hear of it should feel required to listen.

What Does the Future Hold?

The story doesn’t end here; all that has been described previously endures, in some form or another, in the current year or the one just past. Forging ahead into 2021, there remains plenty of promise in post-metalcore, most especially due to the fact that many of these modern acts are continuing to perform, thankfully surviving the unfortunate circumstances imposed by the pandemic. Rolo Tomassi, for instance, is still active, as well as the entirety of the U.K. crew that released albums alongside them. Noise Trail Immersion are not only still together, but have approached a final master of an upcoming third LP, the contents of which are guaranteed to supply boundless intrigue. Plenty of contemporaries are slugging away, be it for underground acts or more established groups. For some, the sound of collectives past rules the day. For others, the influence of the 2018 crowd is immense. Here are some key players involved:

Minors unleashed their sophomore effort, Abject Bodies, in 2019, emerging from Ontario with a style that felt like the second coming of Bleak. The sole Canadian representative to be included in this exercise, their output relishes in all things dark, foreboding, noisy, and dissonant. Sludge is available in droves, with its shadowy tendrils pairing off excellently with a pension for explosive technicality. They currently have no plans regarding a follow-up, leaving their current body of work available to enjoy in the interim. It’s as delightfully mean and unforgiving as could ever be hoped for.

Svalbard were among those that assaulted the -core scene in 2018, charging out of the U.K. with blisteringly fast tunes, hardcore riffs driving home provocative lyricism as intense drumming thundered underneath. Where the story becomes more engaging, however, is in 2020; the group have changed tactics, incorporating elements of blackgaze into third record If I Die, Will I Get Better? Comparisons to Rolo Tomassi, while not too defined, are perhaps inevitable due to the similarities to be perceived in their atmospheric leanings. It’s an incredibly concise, emotional disc that features stunning melodies around every bend. Beyond that, it may very well be one of the best of this calendar year.

Palm Reader always had an attraction towards crafting a mood. However, it wasn’t until Sleepless, also released this year, did the group decide to completely commit themselves to a total turn in direction. Whereas prior LP Braille demonstrated the group’s captivating metalcore at its peak, its successor diminishes the presence of such moments, substituting instead an incredibly heightened post-metal element. This genre dominates the duration of Palm Reader’s newest work, paying close attention to the progression of tunes and the timbre of the guitars, focusing more on their pleasanter tones than their jagged edges. It makes for something new in the band’s growing discography, and a worthy addition to the post-metalcore catalog.

Yashira will have unleashed their sophomore opus, Fail To Be, two days after this post is made public. The Floridian crew are the most unexpected members of this paper, but their presence is a welcome sight. Despite losing their friend and drummer, they have forged ahead to create a second album. Known for a split with Zao, the Jacksonville gents present a sound not far removed from Minors, forcing upon their listeners a threateningly hefty form of sludgy post-metalcore. The singles that have been released in anticipation of Fail To Be showcase the talents of the young quartet and how much they’ve evolved after just one record under their belts. If you made an Album of the Year list already, you’re a fool.

Closing Remarks

First of all, I’d like to thank all who brought up bands to me throughout the formation of this paper. Tracing a lot of separate influences made it difficult to create a definite story, especially when discussing acts that have little information to uncover due to their underground nature. It was valuable to have other people in my life that were willing to share their knowledge so that this could go from being a passing concept and something more concrete. I was also able to get welcome support in terms of editing and fine-tuning portions of the exercise.

Second, it is also important to note that, yes, there are most likely bands that are not included here. This was sometimes intentional and sometimes due to gaps in my knowledge; there are simply groups I am not aware of, and I always like learning more! Certain others were omitted because of either 1) length concerns, as I didn’t want this to endure for too long, keeping time in mind, or 2) the sound of the band was more of a stretch, in my eyes, to include. If there are collectives you’d like to let me know about, feel free! I was well aware going into this that I was an energetic enthusiast at best, not an expert, so this is not a definitive answer to the topic at hand. Hopefully, however, it is robust enough to make a case for the existence of this category while also being entertaining.

Lastly, I’d love to thank anyone that read this. I had a lot of fun making this and sharing it, so anyone that decided to venture down through these pages is a welcome visitor. If you liked it enough, perhaps you’ll take a gander at the Spotify playlist^^^ I’ve made to commemorate the conclusion of this blog special: The Post-Metalcore Experience. In it, you will hear every single artist on here — those available on Spotify, that is — and their influences, as well as other bands that were forgotten or didn’t make the cut for this exercise.

Once again, thank you for your time, and have yourself a good day!

^^^ Click on the Spotify icon at the upper-right of the embedded playlist to view the entire set; embeds are capped at 100 songs

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