At first glance, it may seem that the world of extreme vocals revolves mainly around fry scream and false chord techniques, but in reality, the topic is far more complex. The larynx consists of many parts that can generate distortion — such as the vestibular folds, arytenoid cartilages, epiglottis, and aryepiglottic folds. Several of these structures can work simultaneously, in different proportions, which affects each vocalist’s sound, making it unique and difficult to imitate.
Not only the inside of the larynx plays a key role, but also its position and the shape of the rest of the vocal tract — including the tongue, soft palate, and lips. All these elements influence the timbre and depth of any vocal style.
If you lower your larynx, as in yawning, your voice becomes deeper and darker — perfect for low growls, screams, and gutturals. If you raise it slightly, your voice becomes brighter and more childlike, which makes high screams easier to achieve. Shaping your mouth as if you’re about to bite something produces a sharper yet clear sound — ideal for singing with distortion, mid screams, and hardcore vocals, or any aggressive but articulate tone. Shaping your lips as in the vowel “oo” gives your voice a deeper, low‑frequency richness, though less clarity — great for low growls and gutturals.
Keeping your tongue behind your lower teeth gives a neutral tone, but curling it into a hook shape and pointing the tip toward the roof of your mouth automatically lowers the larynx and raises the soft palate, deepening your sound — a technique used effectively by Phil Bozeman of Whitechapel. Pointing the tongue tip at your lower gums and arching it into a tunnel shape creates additional overtones, producing the “tunnel throat scream” — an inhuman, resonant effect.
Raising the soft palate often lowers the larynx, resulting in a darker tone. Raising it alone removes nasality, while lowering it opens the nasal cavity, adding a nasal quality — similar to Tom Barber of Chelsea Grin or the highest screams of Will Ramos from Lorna Shore. Of course, these elements can’t always be isolated — adjusting one often affects the others. For example, curling the tongue toward the palate lowers the larynx and raises the soft palate simultaneously.
As you can see, there are many possibilities. But at the very beginning of your vocal journey, don’t focus on them at all. Start with the technique that comes most naturally to you. Observe what pitch, timbre, and volume feel best, master the basics, and only then experiment with different settings — enjoy the process of discovery.
This complexity also explains why it’s sometimes hard to identify the style of your favorite vocalist. We may struggle to determine which technique they use, leading to confusion during practice when we don’t know what to do to achieve the sound we like.
Take Mitch Lucker of Suicide Silence, for example. His studio vocals were mainly false chord screams performed with great intensity and expression (with some addition of rattle from the arytenoids), which made him use more air and include a touch of his natural voice. He also cupped the microphone when recording low growls and gutturals. https://www.youtube.com/watch?v=QVBsE-NKB58 https://www.youtube.com/watch?v=AfYtV9rLG3o
During high screams, his mouth was open wide, the larynx slightly raised, and the soft palate lowered — you can hear a bit of nasality. His tongue position resembled pronouncing “yah”, which sharpened his tone and allowed him to reach and sustain very high pitches without constriction. When we apply these observations in lessons with students aiming for Mitch’s highs, the results are excellent.
Now let’s look at the distinctive features of fry scream and false chord to help you tell them apart. Fry scream is sharp, compressed, and “wet” — a crackling sound rich in high frequencies, even in deep gutturals. False chord, on the other hand, is thicker, rumblier, and richer in low frequencies, often sounding more brutal and airy. False chord screams usually have more punch and are popular in death metal and deathcore, especially for low and mid vocals.
Most beginners find it easier to produce a loud false chord than a fry scream at first, but with practice, the difference evens out. Fry scream may seem quieter initially, but it’s often easier to sustain for several seconds longer.
In studio recordings, these characteristics can be hard to distinguish. If you’re unsure about a singer’s technique, listen to live performances — it’s easier to hear the nuances and determine whether they use fry scream, false chord, hybrid techniques, or a mix depending on pitch.
To learn more about the differences and similarities between extreme vocal techniques, check out these videos — they’re packed with examples and insights to help you decode your favorite vocalists’ styles and avoid confusion during practice:
- Fry Scream or False Cord? – How to Choose the Best Technique for Your Voice and Style
https://youtu.be/6SZSGNgKmz4 - Fry Screaming vs False Chord Scream – Vocal Demonstration
https://youtu.be/xvLPzG3d2vs - False Cord Growl vs Epiglottis
https://youtu.be/Bbd6qrl47C0
