Post by TheCMRecluse on Jan 8, 2024 7:33:25 GMT
Matthew Hasting
Associated Acts: MyChildren MyBride (2004-present)
Vocal Range: G1-D5 (3 octaves, 7 notes)
Vocal Type: Let The Headshot Baritone In
{Vocal Summary}
Metalcore is said to bring a lot of power and attitude in the overall mood as most of their lyrics can be used as personal venting for the singer, a call to action or even made into thematic concepts. Alabama native, Matthew Hasting of the renowned metalcore hooligans, MyChildren MyBride is one to do such things and only got more unique as he went on in my opinion. Unlike most metalcore singers, Hasting’s vocals mostly feels more comfortable around the mid-range area of screaming most of his highs beginning around the almost high fourth octave the the lower second octave. He has been criticized for doing this however around their thread studio release he started to utilize clean vocals however not like most core singers. The majority of melodic singers in metalcore sing high, Hasting doesn’t. Almost all his highs are screamed while most of his singing is low, almost taking cues from people like Jonathan Davis when he wants to sound spooky which is mostly the point especially since Hasting’s lyrics delve into a lot about personal issues, horror and conceptual references. His low register is well adjusted, able to croon as if he was a vampire trying to lure a potential prey with a story while having a bit of cynicism with the use of almost fry vocals which he uses masterfully. Hasting is a weird vocalist for metalcore. One moment he is the generic screamer then he is almost a gothic crooner storyteller but all in all one of the more enjoyable and underrated vocalists in the genre.
Metalcore is said to bring a lot of power and attitude in the overall mood as most of their lyrics can be used as personal venting for the singer, a call to action or even made into thematic concepts. Alabama native, Matthew Hasting of the renowned metalcore hooligans, MyChildren MyBride is one to do such things and only got more unique as he went on in my opinion. Unlike most metalcore singers, Hasting’s vocals mostly feels more comfortable around the mid-range area of screaming most of his highs beginning around the almost high fourth octave the the lower second octave. He has been criticized for doing this however around their thread studio release he started to utilize clean vocals however not like most core singers. The majority of melodic singers in metalcore sing high, Hasting doesn’t. Almost all his highs are screamed while most of his singing is low, almost taking cues from people like Jonathan Davis when he wants to sound spooky which is mostly the point especially since Hasting’s lyrics delve into a lot about personal issues, horror and conceptual references. His low register is well adjusted, able to croon as if he was a vampire trying to lure a potential prey with a story while having a bit of cynicism with the use of almost fry vocals which he uses masterfully. Hasting is a weird vocalist for metalcore. One moment he is the generic screamer then he is almost a gothic crooner storyteller but all in all one of the more enjoyable and underrated vocalists in the genre.
{Discography Checked}
MyChildren MyBride
Genre: Metalcore/hardcore punk/industrial metal
Studio albums
Having The Heart For War (2005) C♯3-C♯5
Unbreakable (2008) N/A-D5
Lost Boy (2010) F♯3-C♯5
MyChildren MyBride (2012) E♭2-E2-D5
Vicious World (2017) G1-D2-D4-A4-D5
MyChildren MyBride
Genre: Metalcore/hardcore punk/industrial metal
Studio albums
Having The Heart For War (2005) C♯3-C♯5
Unbreakable (2008) N/A-D5
Lost Boy (2010) F♯3-C♯5
MyChildren MyBride (2012) E♭2-E2-D5
Vicious World (2017) G1-D2-D4-A4-D5
Significant High Notes:
D5 ("The Acrobat", "Choke", "Dreamcatchers", "God Of Nothing", "Guardian XIII")
C♯5 ("Act II: Sonar", "Anathema", "Crimson Grim", "Boris The Blade", "I.O.U.N.", "King Of The Hopeless", "Love Letter To", "Lungs Full Of Water", "No One Listens, No One Cares", "Nuclear+", "The Acrobat")
C5 ("A Bayonette Doesn't Make You A Hero", "Act I: Elysium 77", "Act II: Sonar", "Catalysts" by Hundredth, "Circle The Sky"", "Close Your Eyes", "Dark Passenger", "Dear Mrs. Grundy" by Social Jet Lag, "Faithless", "Hell Or High Water", "KevIAr", "Observer", "On Wings Of Integrity Pt. II", "SAMCRO", "The Machinist", "THORNS", "Waves Of Oppression")
B4 ("Act III: Wither", "Act IV: The Laughing Coffin", "Black Cloud", "CICVDVS", "Devastator" (Live with For Today, Charlotte 2012), "Digital Rebirth", "Dry The River" (live with Maylene And The Sons Of Disaster, 2016), "In Due Time", "Lost Boys", "Morpheus", "Redeemer", "Severance", "Terra Firma", "The Endless", "XeN0")
B♭4 ("A Spar Too Late", "Circle The Sky" [Demo], "Falling Down" by For The Fallen Dreams, "Gusty Like The Wind" (live with Maylene And The Sons Of Disaster, 2016), "Headshot!", "Hooligans", "Immaculate Murder", "On Wings Of Integrity", "Tough As John Jacobs" (live with Maylene And The Sons Of Disaster, 2016), "Versus")
A4 ("Act III: Wither", "Caution: Dangerous Curves Ahead" (live with Maylene And The Sons Of Disaster, 2016), "Darkness Of Kin" (live with Maylene And The Sons Of Disaster, 2016), "Dry The River" (live with Maylene And The Sons Of Disaster, 2016))
Significant Low Notes:
D3 ("Act III: Wither")
C♯3 ("Immaculate Murder")
C3 ("The Endless")
A2 ("Act II: Sonar", "God Of Nothing", "Guardian XIII", "XeN0")
G♯2 ("Act IV: The Laughing Coffin", "Dreamcatchers")
G2 ("Black Cloud")
F♯2 ("Memories Of The Grove" (live with Maylene And The Sons Of Disaster, 2016))
F2 ("KevIAr")
E2 ("Black Cloud", "The Acrobat")
E♭2 ("God Of Nothing")
D2 ("THORNS")
G1 ("KevIAr")
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Blue marks falsetto or whistle notes.
Green marks harsh, distorted notes.
Grey marks heavily fryish notes that maintain a solid pitch.
Underlines mark notes that are obscured in the song mix.
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.