Metalcore is a slippery concept. A relatively new genre category, dating from the early 2000s, it provokes wide disagreement about what counts as metalcore and arguments within metal scenes about its legitimacy. This chapter provides an overview of metalcore as an ‘abject genre’, a useful shorthand term for nu metal, screamo, and a variety of core subgenres that have been widely criticised by metal fans. Beginning with commonalities that metalcore shares with other abject genres – some mass popularity, stylistic alterations of traditional metal traits that detractors view as simplified dilutions, quotidian rather than supernatural lyrics, and associations with marginalized categories of identity – I then outline diverse historical accounts by other authors to argue for a more complex view of chronological and conceptual boundaries than an individual narrative might allow. Finally, an analysis of Currents’ ‘Silence’ (2017) provides an example of metalcore as an amalgamation of stylistic qualities from multiple sources. I conclude with thoughts on the utility of abject genres as a concept for reception histories and the potential for metalcore’s complexity as a genre to teach broad lessons about genre in popular music.

This chapter explores the evolution of the djent subgenre from the perspective of the musical, technological and environmental factors that have shaped its identity. The chapter considers the early circumstances of djent’s emergence during the early mid−2000s, with particular reference to the online culture which contributed to its wider transmission and proliferation. Key musical influences are also discussed, including djent’s roots in progressive metal and the work of bands such as Meshuggah and SikTh, as well as the subgenre’s interaction with electronic music aesthetics and popular music. A principal focus of the chapter is on the role of emerging digital technologies, particularly Digital Audio Workstations (DAW) and digital amplifier and drum kit modelling software, in the formation of djent’s musical and sonic characteristics. Finally, the chapter considers djent’s position as a subgenre within modern metal music and evaluates, with reference to the critical reception literature, the debates that persist concerning its legitimacy within metal.