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Mathcore
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<h2 id="characteristics">Characteristics</h2> <h3>Music</h3> <p>According to <a href="/facts/Metal_Hammer/q10rqRll">Metal Hammer</a>, "mathcore [is] the sound of <a href="/facts/Heavy_metal_music/WsIPhM9e">metal</a> being twisted into startling new shapes."<a class="footnote-ref" id="fnref:1" href="#fn:1"><sup>1</sup></a> The genre emphasizes complex and fluctuant rhythms through the use of <a href="/facts/Irregular_time_signatures/kwQcWg1P">irregular time signatures</a>, <a href="/facts/Polymeters/0suDDdHj">polymeters</a>, <a href="/facts/Syncopations/qA2dqkTI">syncopations</a> and tempo changes, while at the same time the drummers play with overall loudness.<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a><a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a><a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a><a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> In the words of <a href="/facts/The_Dillinger_Escape_Plan/f9EFgAlq">The Dillinger Escape Plan</a> bassist <a href="/facts/Liam_Wilson/bDc1uo2Y">Liam Wilson</a>, their "choppy rhythms that people get kind of tongue-twisted on" are "<a href="/facts/Latin_jazz/x94Lglju">Latin rhythms</a>" mixed with the speed and "stamina" of <a href="/facts/Heavy_metal_music/WsIPhM9e">heavy metal</a>, drawing a parallel between them and <a href="/facts/John_McLaughlin_(musician)/3YrUa79f">John McLaughlin</a>'s use of <a href="/facts/Indian_classical_music/u74W31Gw">Eastern</a> sounds within a <a href="/facts/Jazz/lmUzXGq8">jazz</a> context.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a> Most pioneering mathcore drummers had jazz, <a href="/facts/Orchestral_percussion/NCaKJWp3">orchestral</a> or <a href="/facts/Music_theory/BoekvflP">academic</a> backgrounds, including <a href="/facts/Dazzling_Killmen/k3DIut1l">Dazzling Killmen</a>'s <a href="/facts/Blake_Fleming/zY19TH91">Blake Fleming</a>,<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> <a href="/facts/Craw_(band)/WrlWY6gx">Craw</a>'s Neil Chastain,<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> <a href="/facts/Coalesce_(band)/qRCNDS4a">Coalesce</a>'s <a href="/facts/James_Dewees/rlTRRIWu">James Dewees</a>,<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> <a href="/facts/Botch_(band)/vn03yqJm">Botch</a>'s <a href="/facts/Tim_Latona/vn03yqJm">Tim Latona</a>,<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> The Dillinger Escape Plan's <a href="/facts/Chris_Pennie/kCbxoKmf">Chris Pennie</a>,<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> and <a href="/facts/Converge_(band)/1dgs1Q85">Converge</a>'s <a href="/facts/Ben_Koller/8pBfjldb">Ben Koller</a>.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> As with the rhythm section, the guitars perform <a href="/facts/Riff/VgNk7JRt">riffs</a> that constantly change and are seldom repeated after one section. Early bands were almost completely <a href="/facts/Atonal/LToI29Xu">atonal</a> with the guitars or all the instruments playing <a href="/facts/Polyphonic/obub59bA">polyphonic</a> dissonance.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> 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."<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a><a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> </p><p>In a 2016 article, Ian Cory of <i><a href="/facts/Invisible_Oranges/RIMJ3WEw">Invisible Oranges</a></i> described mathcore's emphasis on technical complexity as "the means by which" they attain the aggressiveness of <a href="/facts/Punk_rock/voBjpcpS">punk</a>, "but never the end unto itself", distinguishing it from "the overflowing excess" of <a href="/facts/Progressive_metal/8y6HIRpw">progressive metal</a>.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> Writer <a href="/facts/Keith_Kahn-Harris/8FWw5AQy">Keith Kahn-Harris</a> has described some mathcore bands as a mix between the aggressiveness of <a href="/facts/Grindcore/2EJb4bpy">grindcore</a> and the idioms of <a href="/facts/Free_jazz/kKAnd1kL">free jazz</a>.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> </p> <h3>Lyrics</h3> <p>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.<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a><a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a><a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a><a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a><a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a> Some bands satirized and criticized the militant branches of the <a href="/facts/Hardcore_punk_ideologies/RwFYVzrm">hardcore punk ideologies</a> prominent in the 1990s.<a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a><a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> Others, such as Converge's <a href="/facts/Jacob_Bannon/Ga8K62uk">Jacob Bannon</a> and The Dillinger Escape Plan's <a href="/facts/Dimitri_Minakakis/qrtGJyk8">Dimitri Minakakis</a>, wrote about deeply personal issues.<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a><a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a> </p><p>Although musically rooted in extreme metal, some mathcore artists have shown contempt for extreme metal fictional and horror lyrics.<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a><a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> </p> <h3>Live performances</h3> <p>Some early mathcore bands incorporated light shows synchronized with the music,<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a><a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a> while others were noted for their reckless, chaotic performances that usually ended up with fights and injuries. Guitarists Jes Steineger of Coalesce and <a href="/facts/Ben_Weinman/LcRbAq0w">Ben Weinman</a> of The Dillinger Escape Plan commonly featured erratic and violent behaviors.<a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a><a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a><a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a> In 2001, vocalist <a href="/facts/Greg_Puciato/KE2jeK5C">Greg Puciato</a> joined The Dillinger Escape Plan and starred in the <a href="/facts/The_Dillinger_Escape_Plan/f9EFgAlq">most controversial live performances of the band</a> until their disbandment in 2017, being described by <i>Invisible Oranges</i> as "the perfect physical embodiment of [the band's music]" because of his imposing physique along with destructive behavior.<a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a> </p> <h2 id="etymology">Etymology</h2> <p>Before the term "mathcore", the style had been referred to as "chaotic hardcore" or "noisecore",<a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a><a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a> though the genre's existence before this time is generally recognized. In the 1990s, groups now often described as mathcore were commonly called "noisecore" or "chaotic hardcore". Kevin Stewart-Panko of <i><a href="/facts/Terrorizer_Magazine/pCtu19g3">Terrorizer</a></i> referred to groups such as <a href="/facts/Neurosis_(band)/ozLYk2Ln">Neurosis</a>, <a href="/facts/Deadguy/ezo0laMq">Deadguy</a>, <a href="/facts/Cave_In/sI1wRcXK">Cave In</a>, <a href="/facts/Today_Is_the_Day/NqmJunPM">Today Is the Day</a>, <a href="/facts/The_Dillinger_Escape_Plan/f9EFgAlq">The Dillinger Escape Plan</a>, <a href="/facts/Converge_(band)/1dgs1Q85">Converge</a>, <a href="/facts/Coalesce_(band)/qRCNDS4a">Coalesce</a>, <a href="/facts/Candiria/hQ3jGsKU">Candiria</a>, <a href="/facts/Botch_(band)/vn03yqJm">Botch</a>, and <a href="/facts/Psyopus/nB4q0Met">Psyopus</a> as falling under this label.<a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a> Stewart-Panko described the sound of these bands as a "dynamic, violent, discordant, technical, brutal, off-kilter, no rules mixture of <a href="/facts/Hardcore_punk/eonxzUyP">hardcore</a>, metal, <a href="/facts/Progressive_rock/79MRoIU7">prog</a>, <a href="/facts/Math_rock/lxBhAPKT">math rock</a>, <a href="/facts/Grindcore/2EJb4bpy">grind</a> and <a href="/facts/Jazz/lmUzXGq8">jazz</a>."<a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a> </p><p> The term is generally applied by journalists, rather than by musicians themselves. <a href="/facts/Jacob_Bannon/Ga8K62uk">Jacob Bannon</a> of Converge stated:</p><p>I really don't know what mathcore is. Converge is an aggressive band. We have elements of hardcore, <a href="/facts/Punk_rock/voBjpcpS">punk</a>, and metal for sure. But I think trying to define our efforts and other bands with a generic subgenre name is counter productive. We all have something unique to offer and should be celebrated for those qualities rather than having them generalized for easy consumption.<a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a></p> <h2 id="history">History</h2> <h3>Precedents (1980s to early 1990s)</h3> <p>Early antecedents to mathcore were practiced by <a href="/facts/Post-hardcore/uMMN8pro">post-hardcore</a> 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 <a href="/facts/Black_Flag_(band)/7kW3GV3k">Black Flag</a> incorporated characteristics reminiscent to mathcore during their mid-1980s experimental period, including <a href="/facts/Heavy_metal_music/WsIPhM9e">heavy metal</a> laden riffs and lengthy songs, as well as <a href="/facts/Jazz_fusion/c3Qpywpq">fusion</a>-style time signatures, <a href="/facts/Polyrhythms/l9mf37ah">polyrhythms</a>, instrumental songs and improvisational sections.<a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a><a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a> At that time, their biggest influences were the <a href="/facts/Mahavishnu_Orchestra/uG3wL4Qn">Mahavishnu Orchestra</a> and <a href="/facts/King_Crimson/3HnVf2eP">King Crimson</a> during its <a href="/facts/King_Crimson/3HnVf2eP">1972–1975 lineup</a>.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a> Author <a href="/facts/Steven_Blush/PJ8wWKUR">Steven Blush</a> said that their new direction "proved too much for many fans",<a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a> yet numerous mathcore trailblazers would later credit Black Flag as an inspiration.<a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a><a class="footnote-ref" id="fnref:45" href="#fn:45"><sup>45</sup></a><a class="footnote-ref" id="fnref:46" href="#fn:46"><sup>46</sup></a><a class="footnote-ref" id="fnref:47" href="#fn:47"><sup>47</sup></a><a class="footnote-ref" id="fnref:48" href="#fn:48"><sup>48</sup></a> Among others post-hardcore bands usually credited are <a href="/facts/Minutemen_(band)/rBF9rGa1">Minutemen</a>,<a class="footnote-ref" id="fnref:49" href="#fn:49"><sup>49</sup></a><a class="footnote-ref" id="fnref:50" href="#fn:50"><sup>50</sup></a><a class="footnote-ref" id="fnref:51" href="#fn:51"><sup>51</sup></a> who were heavily influenced by <a href="/facts/Avant-garde_rock/KDFSKuPb">avant-garde rock</a> and <a href="/facts/Jazz/lmUzXGq8">jazz</a>,<a class="footnote-ref" id="fnref:52" href="#fn:52"><sup>52</sup></a> <a href="/facts/The_Jesus_Lizard/hyf0uF2l">The Jesus Lizard</a>,<a class="footnote-ref" id="fnref:53" href="#fn:53"><sup>53</sup></a><a class="footnote-ref" id="fnref:54" href="#fn:54"><sup>54</sup></a><a class="footnote-ref" id="fnref:55" href="#fn:55"><sup>55</sup></a> inspired by progressive rock,<a class="footnote-ref" id="fnref:56" href="#fn:56"><sup>56</sup></a><a class="footnote-ref" id="fnref:57" href="#fn:57"><sup>57</sup></a> <a href="/facts/Fugazi/uHLjn7XA">Fugazi</a>,<a class="footnote-ref" id="fnref:58" href="#fn:58"><sup>58</sup></a><a class="footnote-ref" id="fnref:59" href="#fn:59"><sup>59</sup></a><a class="footnote-ref" id="fnref:60" href="#fn:60"><sup>60</sup></a><a class="footnote-ref" id="fnref:61" href="#fn:61"><sup>61</sup></a> and <a href="/facts/Drive_Like_Jehu/wcGYh4tv">Drive Like Jehu</a>,<a class="footnote-ref" id="fnref:62" href="#fn:62"><sup>62</sup></a><a class="footnote-ref" id="fnref:63" href="#fn:63"><sup>63</sup></a><a class="footnote-ref" id="fnref:64" href="#fn:64"><sup>64</sup></a><a class="footnote-ref" id="fnref:65" href="#fn:65"><sup>65</sup></a> who drew from <a href="/facts/Math_rock/lxBhAPKT">math rock</a> and <a href="/facts/Krautrock/e5GoRdV6">krautrock</a>.<a class="footnote-ref" id="fnref:66" href="#fn:66"><sup>66</sup></a> </p> <h3>Early development (1990–1995)</h3> <p>In the 1990s, the hardcore punk scene started to embrace <a href="/facts/Extreme_metal/U8ovGHSn">extreme metal</a> openly and also was highly ideologized, with most of the popular bands being part of subcultures, religions or political groups.<a class="footnote-ref" id="fnref:67" href="#fn:67"><sup>67</sup></a><a class="footnote-ref" id="fnref:68" href="#fn:68"><sup>68</sup></a><a class="footnote-ref" id="fnref:69" href="#fn:69"><sup>69</sup></a> Some mathcore bands started inspired by <a href="/facts/Straight_edge/fEd0HDsS">straight edge</a> and <a href="/facts/Krishnacore/ftA806PB">Hare Krishna</a> groups, including Converge, Coalesce and Botch.<a class="footnote-ref" id="fnref:70" href="#fn:70"><sup>70</sup></a> On the other hand, the more unorthodox bands that substantially influenced mathcore remained in the <a href="/facts/Underground_music/mAIDxHnU">underground</a>. </p><p>Two bands usually credited as mathcore forerunners are mid-westerners <a href="/facts/Dazzling_Killmen/k3DIut1l">Dazzling Killmen</a> and <a href="/facts/Craw_(band)/WrlWY6gx">Craw</a>, who at the time were considered part of the "<a href="/facts/Noise_music/zzruNzyI">noisier</a>" branch of math rock.<a class="footnote-ref" id="fnref:71" href="#fn:71"><sup>71</sup></a><a class="footnote-ref" id="fnref:72" href="#fn:72"><sup>72</sup></a><a class="footnote-ref" id="fnref:73" href="#fn:73"><sup>73</sup></a> Their debut albums were released in 1992 and 1993 respectively.<a class="footnote-ref" id="fnref:74" href="#fn:74"><sup>74</sup></a><a class="footnote-ref" id="fnref:75" href="#fn:75"><sup>75</sup></a> 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.<a class="footnote-ref" id="fnref:76" href="#fn:76"><sup>76</sup></a> Both were joined by saxophonists on some performances.<a class="footnote-ref" id="fnref:77" href="#fn:77"><sup>77</sup></a><a class="footnote-ref" id="fnref:78" href="#fn:78"><sup>78</sup></a><a class="footnote-ref" id="fnref:79" href="#fn:79"><sup>79</sup></a> </p><p>In 1989, New Jersey band <a href="/facts/Rorschach_(band)/jCnLfcjL">Rorschach</a> was formed within the <a href="/facts/Youth_crew/kYfVv2Tw">youth crew</a> hardcore scene but soon developed a more complex and dissonant <a href="/facts/Metallic_hardcore/aIBE8GeF">metallic hardcore</a> style.<a class="footnote-ref" id="fnref:80" href="#fn:80"><sup>80</sup></a> They were influenced by hardcore punk bands such as <a href="/facts/Die_Kreuzen/R8I8ca4y">Die Kreuzen</a> and <a href="/facts/Black_Flag_(band)/7kW3GV3k">Black Flag</a>, as well as <a href="/facts/Thrash_metal/TJJ0bhAc">thrash metal</a> bands <a href="/facts/Voivod_(band)/6tqCIMjE">Voivod</a> and <a href="/facts/Slayer/tGVSVlNn">Slayer</a>.<a class="footnote-ref" id="fnref:81" href="#fn:81"><sup>81</sup></a> After their disbandment in 1993, their guitarist Keith Huckins joined <a href="/facts/Deadguy/ezo0laMq">Deadguy</a> in 1994 and played on their sole studio album, 1995's <i><a href="/facts/Fixation_on_a_Co-Worker/ca8yrQno">Fixation on a Co-Worker</a></i>.<a class="footnote-ref" id="fnref:82" href="#fn:82"><sup>82</sup></a> The discordant sound of both bands had a profound impact on the first mathcore bands.<a class="footnote-ref" id="fnref:83" href="#fn:83"><sup>83</sup></a><a class="footnote-ref" id="fnref:84" href="#fn:84"><sup>84</sup></a><a class="footnote-ref" id="fnref:85" href="#fn:85"><sup>85</sup></a><a class="footnote-ref" id="fnref:86" href="#fn:86"><sup>86</sup></a><a class="footnote-ref" id="fnref:87" href="#fn:87"><sup>87</sup></a><a class="footnote-ref" id="fnref:88" href="#fn:88"><sup>88</sup></a> </p><p>At this period, several pioneering mathcore bands began to form: <a href="/facts/Botch_(band)/vn03yqJm">Botch</a> from Washington in 1993; <a href="/facts/Coalesce_(band)/qRCNDS4a">Coalesce</a> from Missouri, <a href="/facts/Cable_(American_band)/7chUT2hq">Cable</a> from Connecticut and <a href="/facts/Knut_(band)/1RdrpCE9">Knut</a> from Switzerland in 1994; <a href="/facts/Cave_In/sI1wRcXK">Cave In</a> from Massachusetts and <a href="/facts/Drowningman/DP6g3hhS">Drowningman</a> from Vermont in 1995. In 1990, Massachusetts band <a href="/facts/Converge_(band)/1dgs1Q85">Converge</a> was formed but they started writing and playing what they consider "relevant" music in 1994.<a class="footnote-ref" id="fnref:89" href="#fn:89"><sup>89</sup></a> Referring to the burgeoning mathcore scene, The Dillinger Escape Plan's founder and guitarist <a href="/facts/Ben_Weinman/LcRbAq0w">Ben Weinman</a> said: </p> <p>The [hardcore punk] scene I was in initially was really pretty close-minded... was really revolved around causes: veganism, <a href="/facts/Christian_hardcore/kRGnDvFY">Christianity</a>, 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!"</p>— Ben Weinman, 2011<a class="footnote-ref" id="fnref:90" href="#fn:90"><sup>90</sup></a> <h3>Establishment, milestone albums and first scene (1996–2002)</h3> <p>Converge was formed as an amalgamation of extreme metal, <a href="/facts/Crossover_thrash/esmjNjT7">crossover thrash</a> and <a href="/facts/Hardcore_punk/eonxzUyP">hardcore punk</a>, but in the mid-1990s they were heavily affected by early metalcore and post-hardcore bands, such as Rorschach, <a href="/facts/Universal_Order_of_Armageddon/umSrW30z">Universal Order of Armageddon</a> and <a href="/facts/Starkweather_(band)/etSEu3CR">Starkweather</a>.<a class="footnote-ref" id="fnref:91" href="#fn:91"><sup>91</sup></a><a class="footnote-ref" id="fnref:92" href="#fn:92"><sup>92</sup></a> Their second and third albums, 1996's <i><a href="/facts/Petitioning_the_Empty_Sky/t8VADH10">Petitioning the Empty Sky</a></i> and 1998's <i><a href="/facts/When_Forever_Comes_Crashing/AvcsQNxY">When Forever Comes Crashing</a></i>, developed an increasingly technical and bleak style.<a class="footnote-ref" id="fnref:93" href="#fn:93"><sup>93</sup></a><a class="footnote-ref" id="fnref:94" href="#fn:94"><sup>94</sup></a> </p><p>At their first stages, Coalesce and Botch were influenced by <a href="/facts/Syracuse,_New_York/luD99ChN">Syracuse</a>, New York metalcore and <a href="/facts/Vegan_straight_edge/fEd0HDsS">vegan straight edge</a> pioneers <a href="/facts/Earth_Crisis/Nh9RgNgG">Earth Crisis</a>.<a class="footnote-ref" id="fnref:95" href="#fn:95"><sup>95</sup></a><a class="footnote-ref" id="fnref:96" href="#fn:96"><sup>96</sup></a><a class="footnote-ref" id="fnref:97" href="#fn:97"><sup>97</sup></a> Vocalist <a href="/facts/Sean_Ingram/gNhLez70">Sean Ingram</a> 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 <a href="/facts/Progressive_metal/8y6HIRpw">progressive metal</a> band <a href="/facts/Tool_(band)/Jxujtp5K">Tool</a>, 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".<a class="footnote-ref" id="fnref:98" href="#fn:98"><sup>98</sup></a> Whereas their debut album <i><a href="/facts/Give_Them_Rope/PrAsyuny">Give Them Rope</a></i> (1997) was considered "an underground milestone that helped [further] what was soon [universally] called 'metalcore'",<a class="footnote-ref" id="fnref:99" href="#fn:99"><sup>99</sup></a> their sophomore studio album, <i><a href="/facts/Functioning_on_Impatience/R6RR4qbL">Functioning on Impatience</a></i>, became a landmark of mathcore in 1998.<a class="footnote-ref" id="fnref:100" href="#fn:100"><sup>100</sup></a><a class="footnote-ref" id="fnref:101" href="#fn:101"><sup>101</sup></a> </p><p>Botch initially tried to become a political-straight edge band but got discouraged by the "elitist" and aggressive stance of many of their participants.<a class="footnote-ref" id="fnref:102" href="#fn:102"><sup>102</sup></a> Their second album <i><a href="/facts/We_Are_the_Romans/g8MAtU4m">We Are the Romans</a></i> of November 1999 was influenced by Drive Like Jehu, <a href="/facts/Sepultura/hA4zGWMF">Sepultura</a> and <a href="/facts/Meshuggah/gCyysclz">Meshuggah</a>.<a class="footnote-ref" id="fnref:103" href="#fn:103"><sup>103</sup></a> This album has influenced numerous bands and met high critical acclaim throughout the years, being lauded by <a href="/facts/TeamRock/q10rqRll">TeamRock</a> in 2015 as "one of the greatest albums in the history of heavy music".<a class="footnote-ref" id="fnref:104" href="#fn:104"><sup>104</sup></a><a class="footnote-ref" id="fnref:105" href="#fn:105"><sup>105</sup></a> </p><p>In 1997, The Dillinger Escape Plan evolved from the political-oriented act Arcane because they did not want to become part of "cliques" again.<a class="footnote-ref" id="fnref:106" href="#fn:106"><sup>106</sup></a> They turned around their sound significantly in their second EP, <i><a href="/facts/Under_the_Running_Board/P9nYb17A">Under the Running Board</a></i> of 1998, and their debut album, <i><a href="/facts/Calculating_Infinity/N6t4qzU5">Calculating Infinity</a></i> of September 1999, drawing from <a href="/facts/Progressive_death_metal/arWmSFwo">progressive death metal</a> bands <a href="/facts/Cynic_(band)/29mM9oU5">Cynic</a>, Meshuggah and <a href="/facts/Death_(metal_band)/8m4KvlfM">Death</a>, as well as <a href="/facts/King_Crimson/3HnVf2eP">King Crimson</a> and several <a href="/facts/Jazz_fusion/c3Qpywpq">jazz fusion</a> artists.<a class="footnote-ref" id="fnref:107" href="#fn:107"><sup>107</sup></a><a class="footnote-ref" id="fnref:108" href="#fn:108"><sup>108</sup></a><a class="footnote-ref" id="fnref:109" href="#fn:109"><sup>109</sup></a> 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.<a class="footnote-ref" id="fnref:110" href="#fn:110"><sup>110</sup></a><a class="footnote-ref" id="fnref:111" href="#fn:111"><sup>111</sup></a><a class="footnote-ref" id="fnref:112" href="#fn:112"><sup>112</sup></a> <a href="/facts/Relapse_Records/U7rPabvI">Relapse Records</a> marketed <i>Calculating Infinity</i> as "math metal" because its sound and the album's title "sounded mathematical", yet this was not the band's intent.<a class="footnote-ref" id="fnref:113" href="#fn:113"><sup>113</sup></a><a class="footnote-ref" id="fnref:114" href="#fn:114"><sup>114</sup></a> </p><p>In 1999, Converge released the split album <i><a href="/facts/The_Poacher_Diaries/81QB8ro5">The Poacher Diaries</a></i> expanding drastically their technical elements, but afterwards main songwriter <a href="/facts/Kurt_Ballou/PnJnxQuh">Kurt Ballou</a> called it "a failed experiment".<a class="footnote-ref" id="fnref:115" href="#fn:115"><sup>115</sup></a> This inspired him to change his focus to song structure and the "memorable" elements that initially attracted him to music, birthing their 2001 album <i><a href="/facts/Jane_Doe_(album)/fwwBMqXy">Jane Doe</a></i>. This record was the first with drummer <a href="/facts/Ben_Koller/8pBfjldb">Ben Koller</a> and bassist <a href="/facts/Nate_Newton/PFgIt8xj">Nate Newton</a> who made significant contributions to the songwriting.<a class="footnote-ref" id="fnref:116" href="#fn:116"><sup>116</sup></a><a class="footnote-ref" id="fnref:117" href="#fn:117"><sup>117</sup></a> <i>Jane Doe</i> exerted considerable influence in extreme music circles and attained a cult following.<a class="footnote-ref" id="fnref:118" href="#fn:118"><sup>118</sup></a> </p><p>Other important albums of this period are 1996's <i>Variable Speed Drive</i> by <a href="/facts/Cable_(American_band)/7chUT2hq">Cable</a>,<a class="footnote-ref" id="fnref:119" href="#fn:119"><sup>119</sup></a> 1998's <i><a href="/facts/Until_Your_Heart_Stops/ydo7PNK6">Until Your Heart Stops</a></i> by <a href="/facts/Cave_In/sI1wRcXK">Cave In</a>,<a class="footnote-ref" id="fnref:120" href="#fn:120"><sup>120</sup></a> 2000's <i>Rock and Roll Killing Machine</i> by <a href="/facts/Drowningman/DP6g3hhS">Drowningman</a>,<a class="footnote-ref" id="fnref:121" href="#fn:121"><sup>121</sup></a> and 2002's <i><a href="/facts/Challenger_(Knut_album)/mIef8gYB">Challenger</a></i> by <a href="/facts/Knut_(band)/1RdrpCE9">Knut</a>.<a class="footnote-ref" id="fnref:122" href="#fn:122"><sup>122</sup></a> </p> <h3>Contemporary influence (early 2000s)</h3> <p>In the early 2000s several new mathcore bands started to emerge. <a href="/facts/Norma_Jean_(band)/hv26pJNe">Norma Jean</a>'s earlier records are often compared to Converge and Botch.<a class="footnote-ref" id="fnref:123" href="#fn:123"><sup>123</sup></a><a class="footnote-ref" id="fnref:124" href="#fn:124"><sup>124</sup></a><a class="footnote-ref" id="fnref:125" href="#fn:125"><sup>125</sup></a> Other new mathcore bands that cite older mathcore bands as an influence or are compared to them include <a href="/facts/Car_Bomb_(band)/PGtWQgeU">Car Bomb</a>,<a class="footnote-ref" id="fnref:126" href="#fn:126"><sup>126</sup></a> <a href="/facts/The_Locust/BTvLBMuF">The Locust</a>,<a class="footnote-ref" id="fnref:127" href="#fn:127"><sup>127</sup></a> <a href="/facts/Daughters_(band)/muHjH4pu">Daughters</a>,<a class="footnote-ref" id="fnref:128" href="#fn:128"><sup>128</sup></a> <a href="/facts/Some_Girls_(California_band)/pqcKX1sx">Some Girls</a>,<a class="footnote-ref" id="fnref:129" href="#fn:129"><sup>129</sup></a> <a href="/facts/Look_What_I_Did/uWQWM6vT">Look What I Did</a>,<a class="footnote-ref" id="fnref:130" href="#fn:130"><sup>130</sup></a> <a href="/facts/The_Number_Twelve_Looks_Like_You/PqSJMALy">The Number Twelve Looks Like You</a><a class="footnote-ref" id="fnref:131" href="#fn:131"><sup>131</sup></a> and <a href="/facts/Ion_Dissonance/fYrtVQHy">Ion Dissonance</a>.<a class="footnote-ref" id="fnref:132" href="#fn:132"><sup>132</sup></a> </p> <h3>2010s–present</h3> <p>Bands such as <a href="/facts/Rolo_Tomassi/G58cv2jU">Rolo Tomassi</a>, <a href="/facts/Frontierer_(band)/pBU49gXn">Frontierer</a>, <a href="/facts/The_Armed/jgk6G27D">The Armed</a>, Black Matter Device, <a href="/facts/The_Callous_Daoboys/zGWuBNJ4">The Callous Daoboys</a>, and <a href="/facts/SeeYouSpaceCowboy/t7q0Rhlx">SeeYouSpaceCowboy</a> have been described as modern practitioners of the genre by <a href="/facts/Bandcamp/oP8j4xJd">Bandcamp</a><a class="footnote-ref" id="fnref:133" href="#fn:133"><sup>133</sup></a> and <a href="/facts/Alternative_Press_(magazine)/X1tgPjWb">Alternative Press</a>.<a class="footnote-ref" id="fnref:134" href="#fn:134"><sup>134</sup></a> </p> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/List_of_mathcore_bands/VJbHqDCu">List of mathcore bands</a></li></ul> <h3>Works cited</h3> <ul><li><a href="/facts/Albert_Mudrian/toJvW9UM">Mudrian, Albert</a> (2009). <a href="https://archive.org/details/isbn_9780306818066"><i>Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces</i></a>. <a href="/facts/Da_Capo_Press/0sgNkHx4">Da Capo Press</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0306818066.</li> <li>Interview with Ben Weinman of The Dillinger Escape Plan: Farris, Diane (December 22, 2011). <a href="https://wfmu.org/archiveplayer/?show=43191&archive=74419"><i>Diane's Kamikaze Fun Machine from 12/22/2011</i></a> (radio broadcast). <a href="/facts/WFMU/kI05Xb5C">WFMU</a>. Retrieved February 21, 2018.</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>updated, Metal Hammer last (March 26, 2020). "The 100 best metal albums of the 90s". louder. Retrieved January 18, 2025. <a href="https://www.loudersound.com/features/the-100-best-metal-albums-of-the-90s/5" target="_blank">https://www.loudersound.com/features/the-100-best-metal-albums-of-the-90s/5</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Wang, Angel (October 31, 2014). "Mad for Mathcore: Appreciating a Subgenre of Heavy Metal Rock Music". blogs.cuit.columbia.edu. Columbia University. Archived from the original on April 2, 2016. Retrieved February 17, 2018. <a href="http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/" target="_blank">http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Tadday, Brandon (November 30, 2017). "Shaping Metal: Top 3 Most Influential Mathcore Albums". Overdrive-mag.com. Retrieved February 17, 2018. <a href="https://overdrive-mag.com/2017/11/30/shaping-metal-top-3-influential-mathcore-albums/" target="_blank">https://overdrive-mag.com/2017/11/30/shaping-metal-top-3-influential-mathcore-albums/</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>"Top Ten Songs: "D" Is For The Dillinger Escape Plan". Themonolith.com. June 20, 2013. Archived from the original on March 20, 2018. Retrieved February 17, 2018. <a href="https://web.archive.org/web/20180320034311/http://www.themonolith.com/music/top-ten-songs-d-is-for-the-dillinger-escape-plan/" target="_blank">https://web.archive.org/web/20180320034311/http://www.themonolith.com/music/top-ten-songs-d-is-for-the-dillinger-escape-plan/</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Oliver, Lane (November 11, 2012). "Exclusive Interview: CAR BOMB's Greg Kubacki". Gnartallica.wordpress.com. Archived from the original on February 17, 2018. Retrieved February 17, 2018. <a href="https://gnartallica.wordpress.com/2012/11/11/exclusive-interview-car-bombs-greg-kubacki/" target="_blank">https://gnartallica.wordpress.com/2012/11/11/exclusive-interview-car-bombs-greg-kubacki/</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Beller, Bryan (March 9, 2010). "Liam Wilson of The Dillinger Escape Plan". Bass Player. Archived from the original on August 6, 2015. Retrieved February 18, 2018. <a href="https://www.bassplayer.com/artists/1171/liam-wilson-of-the-dillinger-escape-plan/26050" target="_blank">https://www.bassplayer.com/artists/1171/liam-wilson-of-the-dillinger-escape-plan/26050</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Cohan, Brad (November 29, 2016). "How Dazzling Killmen Merged Avant-Garde Jazz and Punk Fury". Clrvynt.com. Archived from the original on December 2, 2016. Retrieved February 15, 2018. <a href="https://web.archive.org/web/20161202191544/http://clrvynt.com/dazzling-killmen-interview/" target="_blank">https://web.archive.org/web/20161202191544/http://clrvynt.com/dazzling-killmen-interview/</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>"Neil Chastain, Percussionist, Composer, and Music Director". Chastaincentral.com. Archived from the original on October 17, 2006. Retrieved February 18, 2018. <a href="https://www.chastaincentral.com/content/music.html#Neil" target="_blank">https://www.chastaincentral.com/content/music.html#Neil</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Mikula, Sean (January 11, 2012). "Interviews: James Dewees (Reggie and the Full Effect, The Get Up Kids, Coalesce)". Punknews.org. Archived from the original on March 18, 2013. Retrieved February 21, 2018. <a href="https://www.punknews.org/article/45799/interviews-james-dewees-reggie-and-the-full-effect-the-get-up-kids-coalesce" target="_blank">https://www.punknews.org/article/45799/interviews-james-dewees-reggie-and-the-full-effect-the-get-up-kids-coalesce</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Hill, Stephen (September 16, 2015). "Botch could have been bigger than The Dillinger Escape Plan". TeamRock.com. Retrieved February 15, 2018. <a href="http://teamrock.com/feature/2015-09-16/botch-should-have-been-bigger-than-the-dillinger-escape-plan" target="_blank">http://teamrock.com/feature/2015-09-16/botch-should-have-been-bigger-than-the-dillinger-escape-plan</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Rowland, Mark (October 17, 2002). "Dillinger Escape Plan - Interview". Pennyblackmusic.co.uk. Archived from the original on December 25, 2017. Retrieved January 12, 2018. <a href="http://www.pennyblackmusic.co.uk/magsitepages/article/2953/Dillinger-Escape-Plan-Interview" target="_blank">http://www.pennyblackmusic.co.uk/magsitepages/article/2953/Dillinger-Escape-Plan-Interview</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>"Ben Koller". Sickdrummermagazine.com. September 14, 2006. Archived from the original on July 31, 2017. Retrieved February 18, 2018. <a href="http://sickdrummermagazine.com/the-drummers/sick-drummer-hall-of-fame/ben-koller/" target="_blank">http://sickdrummermagazine.com/the-drummers/sick-drummer-hall-of-fame/ben-koller/</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Wang, Angel (October 31, 2014). "Mad for Mathcore: Appreciating a Subgenre of Heavy Metal Rock Music". blogs.cuit.columbia.edu. Columbia University. Archived from the original on April 2, 2016. Retrieved February 17, 2018. <a href="http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/" target="_blank">http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Wang, Angel (October 31, 2014). "Mad for Mathcore: Appreciating a Subgenre of Heavy Metal Rock Music". blogs.cuit.columbia.edu. Columbia University. Archived from the original on April 2, 2016. Retrieved February 17, 2018. <a href="http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/" target="_blank">http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Cory, Ian (November 17, 2016). "The Dillinger Escape Plan: A Body of Work". Invisible Oranges. Archived from the original on November 19, 2016. Retrieved February 17, 2018. <a href="http://www.invisibleoranges.com/the-dillinger-escape-plan-a-body-of-work/" target="_blank">http://www.invisibleoranges.com/the-dillinger-escape-plan-a-body-of-work/</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Cory, Ian (November 17, 2016). "The Dillinger Escape Plan: A Body of Work". Invisible Oranges. Archived from the original on November 19, 2016. Retrieved February 17, 2018. <a href="http://www.invisibleoranges.com/the-dillinger-escape-plan-a-body-of-work/" target="_blank">http://www.invisibleoranges.com/the-dillinger-escape-plan-a-body-of-work/</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>Kahn-Harris, Keith (2007). Extreme Metal. Berg Publishers. p. 4. ISBN 978-1-84520-399-3. Retrieved February 26, 2018. Contemporary grindcore bands such as The Dillinger Escape Plan [...] have developed avant-garde versions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz. <a href="978-1-84520-399-3" target="_blank">978-1-84520-399-3</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Wang, Angel (October 31, 2014). "Mad for Mathcore: Appreciating a Subgenre of Heavy Metal Rock Music". blogs.cuit.columbia.edu. Columbia University. Archived from the original on April 2, 2016. Retrieved February 17, 2018. <a href="http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/" target="_blank">http://blogs.cuit.columbia.edu/breakfastserial/2014/10/31/mad-for-mathcore-appreciating-a-subgenre-of-heavy-metal-rock-music/</a> <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>"Coalesce". Markprindle.com. Archived from the original on June 17, 2008. Retrieved February 24, 2018. <a href="https://web.archive.org/web/20080617141138/http://www.markprindle.com/coalesce.htm" target="_blank">https://web.archive.org/web/20080617141138/http://www.markprindle.com/coalesce.htm</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> <li id="fn:20"><p>Oliver, Lane (March 1, 2017). "March Madness: COALESCE – "Functioning on Impatience"". Svbterranean.net. Archived from the original on March 2, 2017. Retrieved February 25, 2018. <a href="https://svbterranean.net/2017/03/01/march-madness-coalesce-functioning-on-impatience/" target="_blank">https://svbterranean.net/2017/03/01/march-madness-coalesce-functioning-on-impatience/</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></p></li> <li id="fn:21"><p>Mudrian 2009, p. 322. What were the lyrical influences?Dave Verellen: [...] stuff that I witnessed was usually what had an impact on me. I'd look at a social situation or whatever was going on in the world, and then just try to be creative with it. [...] I was a Joan of Arc fan, [...] and half the reason was because the guy Tim Kinsella had such weird lyrics. I've always been attracted to abstract stuff like that, so I think that's where I drew most of my lyrics from. - Mudrian, Albert (2009). Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. Da Capo Press. ISBN 978-0306818066. <a href="https://archive.org/details/isbn_9780306818066" target="_blank">https://archive.org/details/isbn_9780306818066</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></p></li> <li id="fn:22"><p>Butterworth, Scott (December 23, 2014). "The Brilliance Behind Converge's Unintelligible Lyrics". Noisey. Archived from the original on February 26, 2018. Retrieved February 26, 2018. Jacob Bannon loves to wax poetic, so when his opaque elegies suddenly turn to simple, direct metaphors, it's almost like your parents calling you by your full name: you stop, you notice, you listen. <a href="https://noisey.vice.com/en_ca/article/65zzbd/the-brilliance-behind-converges-unintelligible-lyrics" target="_blank">https://noisey.vice.com/en_ca/article/65zzbd/the-brilliance-behind-converges-unintelligible-lyrics</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></p></li> <li id="fn:23"><p>Ryan J. Downey (September 2007). "History". Alternative Press. www.crashandbang.com. Archived from the original on April 18, 2008. Retrieved February 15, 2018. <a href="http://www.crashandbang.com/?page_id=3" target="_blank">http://www.crashandbang.com/?page_id=3</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></p></li> <li id="fn:24"><p>Mudrian 2009, p. 321-322, 323. - Mudrian, Albert (2009). Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. 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It's just all for shock value. <a href="http://veilsofteeth.com/jacob-bannon/" target="_blank">http://veilsofteeth.com/jacob-bannon/</a> <a href="#fnref:27" class="footnote-back-ref">↩</a></p></li> <li id="fn:28"><p>"Dillinger Escape Plan Guitarist Talks New Album And Papa Roach". Rock Sound. April 24, 2009. Archived from the original on April 13, 2015. Retrieved February 23, 2018. Ben Weinman: When I was growing up I discovered metal and it interested me, I liked that it was dark and talked about the fact that the world is not all puppy dogs and ice cream cones. But then it just got ridiculous, humorous, I look at black metal bands and they are supposed to be so evil. But it's not real. It's about fiction. 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ISBN 978-0306818066. <a href="https://archive.org/details/isbn_9780306818066" target="_blank">https://archive.org/details/isbn_9780306818066</a> <a href="#fnref:117" class="footnote-back-ref">↩</a></p></li> <li id="fn:118"><p>Mudrian 2009, p. 331. - Mudrian, Albert (2009). Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. Da Capo Press. ISBN 978-0306818066. <a href="https://archive.org/details/isbn_9780306818066" target="_blank">https://archive.org/details/isbn_9780306818066</a> <a href="#fnref:118" class="footnote-back-ref">↩</a></p></li> <li id="fn:119"><p>Shickler, Jadd (February 6, 2008). "Cable | Brilliance meets resilience". Unrestrained!. No. 27. p. 61. 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