Best Metalcore Albums 2024

Sylosis‘ The Path EP is a lean, muscular statement from a band that’s mastered their craft without letting it calcify. Following 2023’s A Sign of Things to Come, these tracks – originally album cuts that apparently didn’t make the sequence – shows why Sylosis remains one of modern metal’s most consistent bands. The title track, featuring Heriot, hits with particular savagery, driven by the notable precision of Josh Middleton’s fretwork and that signature blend of melodic death metal complexity with metalcore aggressive sound. While it doesn’t radically reimagine their formula, The Path demonstrates why evolution isn’t always about reinvention – sometimes it’s about refining what you already do better than most. For a band whose towering Edge of the Earth set such a high bar, this EP proves they’re still finding new angles of attack within their established framework. It’s a signal to their consistency that even their cutting-room-floor material hits harder than most bands’ marquee releases.

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In A Digital Nowhere, Profiler isn’t just updating nu-metalcore’s firmware – they’re rewriting its entire operating system. Their debut full-length hits like a glitch in the matrix where Limp Bizkit’s swagger collides with modern metalcore’s technical precision, creating something that feels both instantly familiar and startlingly fresh. The band weaves rap sections through their metallic assault with the confidence of veterans, while progressive elements add unexpected depth to what could have been pure nostalgia bait. All In Forever exemplifies their approach – hard-hitting yet accessible, complex without losing its swagger. By threading spiritual and philosophical themes through their pop culture nature, Profiler crafts an album that works both in the pit and on headphones.This isn’t just another revival act – it’s proof that nu-metalcore still has untapped potential when wielded by hands that understand both its history and its future. In an age of endless throwbacks, A Digital Nowhere actually remembers to bring something new to the party.

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Deep in the prog-metalcore journey, Cyborg Octopus has found an unexpected path – restraint. Bottom Feeder strips away the manic genre-hopping of their past, revealing something more potent beneath the technical pyrotechnics. Here, Patrick Corona’s saxophone doesn’t just decorate but haunts, weaving through the mathematical precision like a ghost in the machine. Ian Forsythe’s cleaned-up vocals cut new channels through the band’s dense instrumental display, while tracks like “Dreamkiller” prove they can still compress a universe of ideas into sub-three-minute bursts. The real revelation isn’t in what they’ve added, but what they’ve dared to subtract. Each composition feels less like a frantic sprint through their record collection and more like a deliberate excavation of their own DNA. There’s something compelling about watching a band this technically gifted learn to wrestle with two different genres. In an era where progressive metal often mistakes complexity for content, “Bottom Feeder” suggests that true progression might mean knowing exactly when to experiment and launch the refined final product.

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Make Them Suffer’s self-titled release isn’t just a statement of identity – it’s a complete rewiring of their DNA. With Alex Reade’s arrival as co-lead vocalist and keyboardist, the band hasn’t just added new colors to their palette; they’ve fundamentally reimagined what those colors can do. The djent elements that punctuate Make Them Suffer feel like evolutionary steps rather than trend-chasing, each rhythmic stutter landing with seismic impact while preserving the melodic complexity that’s always set them apart. This is electronic integration done right – no cheap synthetic flourishes or formulaic beat drops, but carefully crafted layers that enhance the songs’ architecture. The vocal interplay between Reade’s crystalline cleans and Sean Harmanis’s animal growls creates emotional dynamics that elevate rather than interrupt the flow. In threading the needle between accessibility and ambition, Make Them Suffer proves that metalcore’s boundaries are still elastic when stretched with purpose and vision. It’s that rarest of self-titled albums – one that actually earns its claim to redefinition.

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Death Is Little More finds Boundaries turning Dante’s rings of hell into sonic form. Drawing from the infernal source material, the band crafts their most suffocating atmosphere yet – a 40-minute descent where metalcore collides with hardcore raw nerve endings. “Turning Hate Into Rage” sets the infernal template early, but it’s tracks like “A Pale Light Lingers” where Boundaries truly excels, building ethereal melodies into crushing breakdowns that feel less like cheap catharsis and more like narrative purpose. The compact brutality of “Blood Soaked Salvation” proves they can still deliver concentrated violence, while “Darkness Shared” weaves melodeath influences through their metallic hardcore foundation with surprising grace. When “Inhale The Grief” brings the journey to its close, Death Is Little More reveals itself as more than just another heavy record – it’s grief and rage channeled through technical creativity, where every breakdown and melody serves the descent. In a genre drowning in empty brutality, Boundaries remembers that the heaviest moments hit hardest when they’re carrying actual weight.

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CANDY’s It’s Inside You is a digital virus masquerading as a hardcore / metalcore record. Working with Uniform’s Ben Greenberg and mixed by Kurt Ballou, the band has crafted a mutant strain of aggressive music where industrial machinery collides with hardcore’s raw nerve endings. This isn’t just genre fusion – it’s genre warfare. The cyberpunk-tinged “eXistenZ” sets the template, but it’s tracks like “Dancing to the Infinite Beat” – possibly hardcore’s first legitimate flirtation with trance – that prove CANDY isn’t just experimenting for shock value. Guest spots from Integrity’s Aaron Melnick and Justice Tripp ground the album in hardcore lineage, while the digital elements feel less like accessories and more like necessary evolution. When the title track drops record scratches and nu-metal swagger into the mix, it feels earned rather than ironic. It’s Inside You is what happens when hardcore stops trying to preserve its purity and starts embracing its mutations. While their contemporaries chase hooks, CANDY chases the pure rawness- and that rawness sounds gloriously unhinged.

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In People Watching, 156/Silence plunges into the darkest corners of their sound and emerges with something beautifully grotesque. The Pittsburgh outfit crafts a suffocating atmosphere where sludge-thick riffs and post-hardcore experimenation mixed with metalcore collide, creating a soundscape as unsettling as the funhouse-mirror horror of its album art. Jack Murray’s vocal performance is a masterclass in dynamic contrast – his feral growls tear through the mix like barbed wire, while his clean passages add ghostly depth to the band’s increasingly complex arrangements. Drawing from the mathematical chaos of Botch and the ethereal weight of Deftones, while nodding to modern heavyweights like Alpha Wolf, People Watching stretches hardcore’s DNA into new shapes across its 14-track runtime. This isn’t just heavy for heavy’s sake – it’s weight with purpose, where every ambient passage and noise experiment feels earned. In a genre often stuck between tradition and repeated formulas, 156/Silence finds power in the shadows between.

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On Negative Spaces, Poppy finally writes her own rulebook. Under Jordan Fish’s pristine production, she crafts 42 minutes of chaotic contradiction – industrial metal’s mechanical heart beating beneath layers of ghostly synth-pop. It’s her most focused work yet, trading the shock-value genre shifts of earlier albums for something more nuanced: the raw scream of “The Center’s Falling Out” doesn’t feel like a metal cosplay anymore, but a natural evolution of her increasingly notable musical taste. Fish’s production fingerprints are all over this – that same clinically precise edge he brought to Bring Me The Horizon – but Poppy twists it into darker, more personal territory. “Crystallized” proves she can still conjure perfect pop phantoms when she wants to, but it’s the moments of genuine heaviness that hit hardest, finally matching the weight of her themes of digital-age alienation and deferred growth. This isn’t just Poppy’s best since I Disagree – it’s the first time her music feels less like performance art and more like pure performance, where every genre blend serves the song rather than the concept. In a time filled with countless stereotypes and baseless criticism, Negativer Space acts as a bridge between the mainstream and high-quality accesible music.

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Ten years after Phenomena, Within the Ruins returns to its conceptual playground with Phenomena II, a tech-metal fever dream where comic book mythology meets video game virtuosity. Joe Cocchi’s guitar work remains the star – his signature digital-precision leads carve through tracks like “Castle in the Sky” with the calculated fury of a speedrunner breaking world records. The album’s 50-minute runtime weaves through 11 tracks, including three instrumentals that showcase the band’s progressive evolution beyond their metalcore foundations. “Demon Killer” exemplifies their modern approach, where djent’s mechanical groove provides the framework for melodic experimentation. While some might find the pristine production almost too clinical, it serves the material’s cybernetic nature – this is metal programmed for maximum technical impact. Phenomena II proves Within the Ruins hasn’t lost their hunger for perfectionism, even as they lean harder into their conceptual strengths. It’s the rare sequel that understands what made the original work – precision, power, and just enough pixelated nostalgia to keep the combo counter rising!

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On Perpetual | Terminal, Darkest Hour proves that ten albums in, they can still find new wrinkles in melodic metalcore weathered face. This isn’t just another entry in their catalog – it’s a masterclass in tension between preservation and progression, where Swedish-style guitar harmonies dance with modern metalcore’s muscular production. The title track sets the template early, building from crystalline clean passages into thrash-fueled fury with the kind of confidence that comes from decades of refinement. When they stretch into more atmospheric territory on “One With the Void,” it feels earned rather than obligatory. Again, I must say the title track might be their most ambitious composition since years, even if some purists might I am overrating it. Perpetual | Terminal is what happens when a band stops trying to recapture past glories and starts building on their foundation instead. In 40 minutes of melancholic aggression, Darkest Hour reminds us why they’ve outlasted so many of their peers – they’ve mastered the art of evolution without abandonment.

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