From Wikipedia, the free encyclopedia Post-hardcore
Post-hardcore
Post-hardcore Allmusic states that "these newer bands, termed post-
hardcore, often found complex and dynamic ways of
Stylistic Hardcore punk, post-punk, noise rock blowing off steam that generally went outside the strict
origins
hardcore realm of ’loud fast rules’. Additionally, many
Cultural 1980s in the United States of these bands’ vocalists were just as likely to deliver
origins their lyrics with a whispered croon as they were a mani-
Typical Drums, bass guitar, electric guitar, vocals acal yelp."[2] The music database also says that the bands
instruments found creative ways to build and release tension rather
than "airing their dirty laundry in short, sharp, frenetic
Mainstream Low to moderate during the 1980s and
popularity 1990s, moderate to high during the 2000s bursts".[2] Jeff Terich of Treblezine states, "Instead of
sticking to hardcore’s rigid constraints, these artists ex-
Derivative Math rock, emo panded beyond power chords and gang vocals, incorpo-
forms
rating more creative outlets for punk rock energy."[4]
Subgenres British post-punk of the late 1970s and early 1980s has
been seen as influential on the musical development of
Screamo
many of these bands.[2] As the genre progressed some
Fusion genres of these groups also experimented with a wide array of
Melodic metalcore, Nintendocore[1]
influences, including soul, dub, funk, jazz, and dance-
punk. It has also been noted that since some post-hard-
Regional scenes core bands included members that were rooted in the be-
California, Colorado, Florida, Maryland, Midwestern United ginnings of hardcore punk, some of them were able to
States, Northwestern United States, Texas, New York, New expand their sound as they became more skilled musi-
Jersey, Northeastern United States cians.[2]
Local scenes
Champaign, Chicago, Louisville, New York City, Olympia, History
San Diego, Washington D.C.
Other topics
1980s
List of bands, art punk, melodic hardcore Origins
Ryan Cooper of About.com states that the genre began
Post-hardcore is a genre of music that developed from with "the actual hardcore bands themselves",[5] remark-
hardcore punk, itself an offshoot of the broader punk ing how as acts like Black Flag "began to bore with the
rock movement. Like post-punk, post-hardcore is a term formulaic constraints of hardcore, more experimental
for a broad constellation of groups. Many emerged from sounds began to appear in their music".[5] Groups such
the hardcore punk scene, or took inspiration from hard- as Saccharine Trust,[6] Naked Raygun,[7][8][9] and The Ef-
core, while concerning themselves with a wider degree of figies,[9] which were active around the early 1980s, are
expression. considered as forerunners to the post-hardcore genre.
The genre took shape in the mid- to late-1980s with Chicago’s Naked Raygun, formed in 1981, has been seen
releases from bands from the Midwestern United States. as merging post-punk influences of bands such as Wire
Particularly, from the scenes in Washington, D.C. such and Gang of Four with hardcore,[10] while author Steven
as Fugazi[2] as well as slightly different sounding groups Blush notes the band’s use of "oblique lyrics and stark
such as Big Black and Jawbox that stuck closer to the post-punk melodies".[11] Similarly, The Effigies, who also
noise rock roots of post-hardcore.[2] hailed from the Chicago scene, released music influenced
by the hardcore of Minor Threat and the British post-
Characteristics punk of bands like The Stranglers, Killing Joke, and The
Ruts.[9]
Post-hardcore is derived from hardcore punk, which had During the early-to-mid 1980s, the desire to experi-
typically featured very fast tempos, loud volume and ment with hardcore’s basic template expanded to many
heavy bass levels,[3] as well as a "do-it-yourself" ethic.[2]
1
From Wikipedia, the free encyclopedia Post-hardcore
the complete works of Scratch Acid, an act from Austin,
Texas described as post-hardcore,[16] that, according to
Stephen Thomas Erlewine, "laid the groundwork for
much of the distorted, grinding alternative punk rockers
of the ’90s".[16]
Outside the United States, the genre would take shape
in the works of the Canadian group Nomeansno,[17] relat-
ed with Jello Biafra and his independently-run label Al-
ternative Tentacles, and that had been active since 1979.
A reviewer noted that the group’s 1989’s release Wrong
was "one of the most aggressive and powerful opuses in
post-hardcore ever made".[18]
The Washington D.C. scene
During the years 1984 and 1985 in the Washington, D.C.
hardcore scene (also known as "harDCore"[19]), a new
movement appeared and "swept over" the scene.[20] This
movement was led by bands associated with the D.C. in-
dependent record label Dischord Records, home in the
early 80s to seminal hardcore bands such as Minor
Threat, State of Alert, Void and Government Issue.[21][22]
According to the Dischord website: "The violence and ni-
hilism that had become identified with punk rock, large-
ly by the media, had begun to take hold in DC and many
of the older punks suddenly found themselves repelled
and discouraged by their hometown scene",[20] leading
to "a time of redefinition".[20] During these years, a new
wave of bands started to form, these included Rites of
Steve Albini, founder of Big Black, in concert with Shellac
Spring, Lunchmeat (later to become Soulside), Gray Mat-
ter, Mission Impossible, Dag Nasty and Embrace,[23] the
musicians that had been associated with the genre or had
latter featuring former Minor Threat singer and Dischord
strong roots in it.[2] Many of these groups also took inspi-
co-founder Ian MacKaye. This movement has been since
ration from the ’80s noise rock scene pioneered by Son-
widely known as the "Revolution Summer".[20][24] Rites
ic Youth.[4] Some bands signed to the independent label
of Spring has been described as the band that "more than
Homestead Records, including Squirrel Bait[12] (as well
led the change",[20] challenging the "macho posturing
as David Grubbs-related Bastro and Bitch Magnet[13]) and
that had become so prevalent within the punk scene at
Steve Albini’s Big Black (just as his subsequent projects
that point", and "more importantly", defying "musical
Rapeman[8] and Shellac[8][14]) are also associated with
and stylistic rule".[20] Journalist Steve Huey writes that
post-hardcore.[4][9] Big Black, which also featured former
while the band "strayed from hardcore’s typically exter-
Naked Raygun guitarist Santiago Durango,[15] made
nal concerns of the time -- namely, social and political
themselves known for their strict DIY ethic,[4] related to
dissent -- their musical attack was no less blistering, and
practices such as paying for their own recordings, book-
in fact a good deal more challenging and nuanced than
ing their own shows, handling their own management
the average three-chord speed-blur",[25] a sound that, ac-
and publicity, and remaining "stubbornly independent
cording to Huey, mapped out "a new direction for hard-
at a time when many independent bands were eagerly
core that built on the innovations" brought by Hüsker
reaching out for the major-label brass ring".[15] The
Dü’s Zen Arcade.[25] Other bands have been perceived as
band’s music, punctuated by the use of a drum machine,
taking inspiration from genres such as funk (as in the
has also been seen as influential to industrial rock,[15]
case of Beefeater)[26] and 60s pop (such as the example of
while Blush has also described the Albini-fronted project
Gray Matter).[27]
as "an angst-ridden response to the rigid English post-
According to Eric Grubbs, a nickname was developed
punk of Gang of Four".[11] After the issuing of the "Il
for the new sound, with some considering it "post-
Duce" single (and between the release of their only two
harDCore", but another name that floated around the
studio albums, Atomizer and Songs About Fucking), Big
scene was "emo-core".[29] The latter, mentioned in skate-
Black left Homestead for Touch and Go Records,[15]
boarding magazine Thrasher, would came up in discus-
which would later reissue not only their entire discog-
sions around the D.C. area.[29] While some of these bands
raphy, but would also be responsible for the release of
have been considered as contributors to the birth of
2
From Wikipedia, the free encyclopedia Post-hardcore
box had been influenced by "the tradition of Chicago’s
thriving early-’80s scene",[41] while The Nation of Ulysses
are "best remembered for lifting the motor-mouthed
revolutionary rhetoric of the MC5" with the incorpora-
tion of "elements of R&B (as filtered through the MC5)
and avant jazz" combined with "exciting, volatile live
gigs", and being the inspiration for "a new crop of bands
both locally and abroad".[42]
1990s
Craig Wedren from Shudder to Think. While coming from a
hardcore punk background related to their association with
the Dischord label, the band also embraced "pop influences
and a skewed sense of songwriting".[28]
emo,[5][30][31] with Rites of Spring sometimes being
named as the first or one of the earliest emo acts,[4][25]
musicians such as the band’s former frontman Guy Pic-
ciotto and MacKaye himself have voiced their opposition
against the term.[32][33][34] In the nearby state of Mary-
land, similar bands that are categorized now as post-
hardcore would also emerge, these include Moss Icon Fugazi during their last pre-hiatus tour, 2002. The band’s influ-
and The Hated.[31][35] The former’s music contained, ac- ence was summarized by reviewer Andy Kellman with the fol-
cording to Steve Huey, "shifting dynamics, chiming gui- lowing statement: "To many, Fugazi meant as much to them as
tar arpeggios, and screaming, crying vocal climaxes",[36] Bob Dylan did to their parents."[39]
which would prove to be influential to later musicians in
spite of the band’s unstable existence.[36] This group has Expansion
also been considered as one of the earliest emo acts. [36] The late 80s and early 90s saw the formation and rise
The second half of the 80s saw the formation of sev- to prominence of several bands associated with earlier
eral bands in D.C., which included Shudder to Think, Jaw- acts that not only included the examples of Fugazi and
box, The Nation of Ulysses, and Fugazi, as well as Balti- Shellac, but also Girls Against Boys[43] (originally a side-
more’s Lungfish.[23] MacKaye described this period as the project of Brendan Canty and Eli Janney, which would
busiest that the Dischord Records label had ever seen.[23] later incorporate members of Soulside), The Jesus
Most of these acts, along with earlier ones, would con- Lizard[4][44][45] (formed by ex-members of Scratch Acid),
tribute to the 1989 compilation State of the Union,[37] a re- Quicksand[46] (fronted by former Youth of Today and Go-
lease that documented the new sound of the late 80s D.C. rilla Biscuits member Walter Schreifels), Rollins Band[47]
punk scene.[38] Fugazi gained "an extremely loyal and (led by former Black Flag singer Henry Rollins), Tar
numerous global following",[39] with reviewer Andy Kell- (which raised from the ashes of a hardcore outfit named
man summarizing the band’s influence with the state- Blatant Dissent),[45][48] and Slint[49][50] (containing mem-
ment: "To many, Fugazi meant as much to them as Bob bers of Squirrel Bait). Acts such as Shellac and Louisville’s
Dylan did to their parents."[39] It has also been noted Slint have been considered as influential to the develop-
that the group’s "ever-evolving" sound would signal a ment of the genre of math rock,[51] with the former fea-
more experimental turn in hardcore that paved the way turing "awkward time signatures and trademark aggres-
for later Dischord releases.[22] The band, which included sion" that has come to characterize "a certain slant" on
MacKaye, Picciotto, and former Rites of Spring drummer math rock,[51] while the latter presented "instrumental
Brendan Canty along with bassist Joe Lally, issued in 1989 music seeped in dramatic tension but set to rigid systems
13 Songs, a compilation of their earlier self-titled and Mar- of solid-structured guitar patterns and percussive rep-
gin Walker EPs, which is now considered as a landmark al- etition".[51] According to reviewer Jason Arkeny, Slint’s
bum.[40] Similarly, the band’s debut studio album, 1990’s "deft, extremist manipulations of volume, tempo, and
Repeater, has also been "generally" regarded as a clas- structure cast them as clear progenitors of the post-rock
sic.[39] The group also garnered recognition for their ac- movement".[52]
tivism, cheaply-priced shows and CDs, and their resis- Allmusic has noted that younger bands "flowered into
tance to mainstream outlets.[39] On the other hand, Jaw- post-hardcore after cutting their teeth in high school
3
From Wikipedia, the free encyclopedia Post-hardcore
punk bands".[2] In Washington D.C., new bands such as groups,[70] which also included Antioch Arrow and
Hoover (as well as the related The Crownhate Ruin), Cir- Clikatat Ikatowi.[31] The label’s earlier releases are
cus Lupus, Bluetip, and Smart Went Crazy were added to known for the definition of "a new sound in hardcore
the Dischord roster.[53] Hoover has been cited by jour- rooted in tradition but boasting a chaotic sound that
nalist Charles Spano as a band that had "a tremendous showcased a new approach" to the genre.[70] Heroin were
impact on post-hardcore music".[54] In New York City, known for being innovators of early 90s hardcore and
in addition to Quicksand, post-hardcore bands such as for making dynamic landscapes "out of one minute blasts
Helmet,[8] Unsane,[8][45] Chavez[4] and Texas Is the Rea- of noisy vitriol".[71] These bands were influenced by acts
son[55] emerged. Quicksand and Helmet have also been like Fugazi and The Nation of Ulysses, while also helping
associated with alternative metal.[4][56][57] Chicago, propagate an offshoot of hardcore that "grafted spastic
which alongside the Midwestern United States has been intensity to willfully experimental dissonance and dy-
important to the progression of math rock,[51] also saw namics".[72] This movement has been associated to the
the birth of post-hardcore acts such as the examples of development of the sub-genre of screamo, while it also
Shellac, Tar, Trenchmouth,[8] and the Jade Tree-released should be noticed that this term has been, as with the
group Cap’n Jazz[58] (as well as the subsequent related case of emo, the subject of controversy.[72] The label also
project Joan of Arc,[59] which also released their work featured releases by non-San Diego bands that included
through Jade Tree). Steve Huey argues that the release Mohinder[69] (from Cupertino, California), Angel Hair
of Cap’n Jazz’s retrospective compilation album Analpha- and its subsequent related project The VSS[69] (from
betapolothology helped spread the band’s influence "far Boulder, Colorado), groups that have also been associated
beyond their original audience", while also considering with this sound.[72] The VSS was known for their use of
the group as influential for the development of emo in synthesizers "vying with post-hardcore’s rabid atonali-
the independent music scene.[60] Champaign, also in Illi- ty".[72]
nois, was known for an independent scene that would Out of the Gravity roster, another band that played
give way to groups like Hum, Braid and Poster Chil- an important role in the development of the "San Diego
dren.[4] The American Northwest saw the creation of acts sound" was Drive Like Jehu.[69] This group, founded by
such as Karp,[45] Lync[61] and Unwound,[8][45] all hailing former members of Pitchfork, was known, according to
from the Olympia, Washington area. The latter’s music Steve Huey, for their lengthy and multisectioned compo-
has been considered by critic John Bush as a combination sitions based on the innovations brought by the releas-
of "the noise of Sonic Youth’s more raucous passages" es on Dischord, incorporating elements such as "odd time
with a "rare energetic flair which rivals even that of signatures, orchestrated builds and releases", and "ellip-
Fugazi".[62] Texas saw the formation of groups such as tical" melodies, among others that would result in one of
The Jesus Lizard (later to be based in Chicago) and ...And the most "distinctive and ferocious" sounds to come out
You Will Know Us by the Trail of Dead[63] in Austin, and of the post-hardcore movement.[73] Huey also says that
At the Drive-In from El Paso.[4] This last band was known while many critics at the time "lacked the frame of refer-
for their energy in both performances and music, and for ence to place their music in a broader context" and the
their "driving melodic punk riffs, meshed together with term "emo" hadn’t yet come into wider use, Drive Like Je-
quieter interlocking note-picking".[64] hu played an important role on its development in spite
The genre also saw representation outside of the of the band’s music not resembling the sound such term
United States in Refused[65] who emerged from the would later signify.[73]
Umeå, Sweden music scene. The band, which made itself
known earlier in their career for its "massive hardcore Moderate popularity
sound",[66] released in 1998 The Shape of Punk to Come, an According to Ian MacKaye, the sudden interest in un-
album that saw the group take inspiration from The Na- derground and independent music brought by the suc-
tion of Ulysses[67][68] while incorporating elements such cess of Nirvana’s Nevermind attracted the attention of
as "ambient textures, jazz breakdowns",[68] metal and major labels towards the Dischord imprint and many of
electronica[67] to their hardcore sound. its bands.[53] While the label rejected these offers, two
Dischord acts, Jawbox and Shudder to Think, would sign
San Diego
deals with major labels.[53] The former’s signing to At-
The early-to-mid 90s would see the birth of several bands lantic Records would alienate some of the band’s long-
in the San Diego, California music scene, some of which term fanbase,[41] but it would also help with the devel-
would lead a post-hardcore movement associated with opment and recording of the 1994 release For Your Own
the independent label Gravity Records.[31] This move- Special Sweetheart, considered by Andy Kellman as "one
ment would eventually became known as the "San Diego of the best releases to come out of the fertile D.C. scene
sound".[69] Gravity was founded in 1991 by Matt Ander- of the ’80s and ’90s".[41] The subsequent tour for the al-
son, member of the band Heroin, as a mean to release bum and the MTV rotation of some videos would intro-
the music of his band and of other related San Diego duce the band to a handful of new crowds, but ultimately
4
From Wikipedia, the free encyclopedia Post-hardcore
the album would remain "unnoticed outside of the usual signed to redeem himself of "the ’Nu-Metal’ scourge of
indie community".[41] the late ’90s".[79] Robinson recorded At the Drive-In’s Re-
Likewise, out of the Dischord label, Interscope lationship of Command (2000), Glassjaw’s Everything You
Records would sign Helmet after a reportedly "ferocious" Ever Wanted to Know About Silence (2000) and Worship and
bidding war between several major record companies,[74] Tribute (2002), and The Blood Brothers’ ...Burn, Piano Is-
and while MTV would air some videos by the group, land, Burn (2003); four albums that are said to "stand as
which by the time of the release of Meantime, their major- some of the best post-hardcore records produced" during
label debut, was considered then as "the only band close the 2000s.[79] In John Franck’s review of Everything You
to the Seattle grunge sound" on the American East Ever Wanted to Know About Silence for Allmusic, he stated:
Coast[75] and would be hailed as "the next big thing", "Featuring extraordinary ambidextrous drummer Sam-
these expectations would "never be fully realized" in my Siegler (of Gorilla Biscuits/CIV fame), Glassjaw has
spite of the record’s later influence.[74] In another no- paired up with producer/entrepreneur Ross Robinson (a
table case, Hum would sign to RCA in 1994, selling ap- key catalyst in the reinvention of the aggro rock sound)
proximately 250,000 copies of their album You’d Prefer an to take you on a pummeling ride that would make Bad
Astronaut fueled by the success of the album’s lead sin- Brains and Quicksand proud."[80]
gle "Stars",[76] and while the band had established by this Other new bands formed who popularized the style
point a strong underground fanbase, this would prove to formed around this time. These groups include Thurs-
be "the pinnacle of Hum’s media attention", as its follow- day,[81] Thrice[82] and Finch.[83] By 2003, post-hardcore
up, 1998’s Downward is Heavenward would sell poorly, re- had caught the attention of major labels including Island
sulting in the decision of RCA to drop the band from their Records, who signed Thrice and Thursday, Atlantic
roster.[76] Records, who signed Poison the Well, and Geffen Records,
who had absorbed Finch from their former label Drive-
2000s Thru Records. Post-hardcore also began to do well in
sales with Thrice’s The Artist in the Ambulance and Thurs-
day’s War All the Time which charted #16[84] and #7,[85] re-
spectively, on the Billboard 200 in 2003. Across the pond in
the United Kingdom, the Welsh band Funeral for a Friend
gained success with their debut album Casually Dressed
& Deep in Conversation in 2003, charting at 12 in the UK
Charts, and their 2005 sophomore album Hours charting
in the US as well.[86]
Around this time, a new wave of post-hardcore bands
began to emerge onto the scene that incorporated more
pop punk and alternative rock styles into their music. Th-
ese bands include: Scary Kids Scaring Kids, The Used,[87]
Hawthorne Heights,[88] Senses Fail,[89] From First to
Last[90] and Emery[91] in addition to Canadian post-hard-
core bands Silverstein[92] and Alexisonfire.[93] This group
of post-hardcore bands gained mainstream recognition
with the help of MTV and Warped Tour. The Used re-
leased some minor radio hits and later received gold cer-
tifications for their first two studio albums The Used and
In Love and Death from the RIAA.[94] Hawthorne Heights’
debut album The Silence in Black and White was also certi-
fied gold.[94]
Fusion genres
Senses Fail - live in concert
Electronic post-hardcore
Record producer Ross Robinson, who was credited for
Some modern practitioners of post-hardcore have com-
popularizing nu metal with bands like Korn and Limp
bined their music with electronica,[95][96][97] creating
Bizkit in the 1990s, helped welcome the post-hardcore
what has been called electronicore or synthcore.[98][99]
genre into the mainstream in the 2000s.[77][78] Mehan
These groups make use of metalcore-influenced break-
Jayasuriya of PopMatters suggested that Robinson’s sud-
downs, synthesizers, electronically produced sounds,
den focus on post-hardcore was his "pet project" de-
auto-tuned vocals, and screamed vocals.[98][99][100] Such
5
From Wikipedia, the free encyclopedia Post-hardcore
groups have been formed in England,[101][102] The United [9] ^ Huey, Steve. "Effigies - Biography". Allmusic.
States,[95][97], Canada[100], and Hong Kong[103] . Sumerian http://www.allmusic.com/artist/effigies-p23913/
Records notes that "there has been a surplus of ’electron- biography. Retrieved May 12, 2011.
ica/hardcore’ music as of late".[96] I See Stars is often [10] Prato, Greg. "Naked Raygun - Biography". Allmusic.
recognized as a primary contributor of the http://www.allmusic.com/artist/naked-raygun-
style.[95][96][98][99] The group’s debut album, 3-D, was p4989/biography. Retrieved March 18, 2011.
popular "amongst the synthcore scene".[98] Other no- [11] ^ Blush, Steven. American Hardcore: A Tribal History.
table bands that demonstrate a fusion of post-hardcore Feral House: 2001. p. 222.
or metalcore with electronic music include Abandon All [12] Huey, Steve. "Squirrel Bait - Biography". Allmusic.
Ships,[98][100] Attack Attack!,[98][104] Asking Alexan- http://www.allmusic.com/artist/squirrel-bait-
dria,[98][101][102] All For A Vision,[105] Enter p5509/biography. Retrieved March 19, 2011.
Shikari,[106][107] and Sky Eats Airplane.[97] [13] Huey, Steve. "Bitch Magnet - Biography". Allmusic.
http://www.allmusic.com/artist/bitch-magnet-
Nintendocore p12367/biography. Retrieved March 19, 2011.
Main article: Nintendocore [14] Marticorena, Jorge (October 16, 2008). "Shellac: No
Nintendocore, a music genre that fuses elements of mod- Free Lunch, Still". The Skinny.
ern rock with video game music, chiptune, and 8-bit mu- http://www.theskinny.co.uk/article/
sic,[1][108][109] is considered a derivative form of post- 43937-shellac-no-free-lunch-still. Retrieved March
hardcore[1] and metalcore.[110][111] 21, 2011.
[15] ^ Deming, Mark. "Big Black - Biography". Allmusic.
http://www.allmusic.com/artist/big-black-
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6
From Wikipedia, the free encyclopedia Post-hardcore
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