Chicago hardcore is the hardcore punk scene of Chicago and its surrounding area. Beginning in the 1980s with post-hardcore bands Naked Raygun, Big Black and the Effigies. By the 1990s, the scene had developed two separate sizable scenes: a straight edge metalcore scene including Arma Angelus and Racetraitor; and a thrashcore scene based on the South Side, including Los Crudos and Charles Bronson. During this time Victory Records was founded in the city, which go on to be one of the most prominent record labels in hardcore, releasing albums by seminal metalcore bands Integrity, Hatebreed and All Out War, and then emo and pop-punk groups including Taking Back Sunday, Hawthorne Heights and A Day to Remember. Chicago hardcore experienced a mainstream crossover in the 2000s, when bands originating from the scene, including Rise Against, Fall Out Boy and the Lawrence Arms, received international success.
Naked Raygun, Big Black and the Effigies were popular at the emerging of the hardcore scene. These acts have also been seen as important to the development of the post-hardcore genre, [1] as well as for fusing the hardcore sound with influences from the late 1970s and early 1980s British post-punk scene [1] [2]
During the 1980s, the majority of Chicago hardcore shows were held at Medusa's, at 3275 North Sheffield Avenue. Many of these events were organized by promoter Sean Duffy, who employed physically abusive security and inflated prices. At a Duffy organised event headlined by a number of Revelation Records in the Summer of 1989, the bands were paid insufficiently. After word spread of this, many touring bands refrained from playing the city. In reaction, Ben Weasel started booking shows at Durty Nelly's in Palatine which instead became the centre of the local scene. By the end of the decade, touring bands began playing the area again, instead playing Mcgregor's in Elmhurst. [3]
In 1989, Tony Brummel opened the venue Club Blitz at 417 North Cass Avenue in Westmont. At the time, Brummel was the vocalist of Chicago's first straight edge band Only the Strong, who quickly became prominent figures in the scene and his venue became of the main locations for local bands. Only the Strong soon morphed into Even Score, and Brummel founded Victory Records. [4] The number of straight edge bands increased significantly by the early 1990s. These bands originally played fast punk-leaning hardcore, however in the following years, this scene became increasingly influenced by Integrity from Cleveland, leading to the embrace of slower tempos and influence from heavy metal by bands including Even Score and Bloodthirst. Perceiving the Brummel and Victory Records scene as unwelcoming, a younger group of bands dissociated themselves from them, however continued playing their metal-influenced style, forming bands including Icepick, Restraint, Corner Stone and Silence. [5]
By the mid-1990s, Chicago's hardcore scene had waned. The band's most popular band at the time was Everlast, who would often only play to twenty people, and there would sometimes be six months between shows in general. Because of this, Jim Grimes, vocalist for Extinction, and Carey Housen began booking. [6] By the end of the decade, bands including Arma Angelus, Racetraitor, the Killing Tree and Extinction were fronting this scene and touring nationally, [7] [8]
Running parallel to the straight edge scene, but totally disconnected was bands on the South Side of Chicago including Los Crudos, Charles Bronson, Mob Action and Insult to Injury, who continued the faster, punk-leaning style of hardcore. [9] One of the few crossovers between this scene and the straight edge metalcore scene was MK-Ultra, who were a prominent metalcore band in their own right and included multiple members of Silence. By mid-1990s, they had seen Los Crudos live, which led them to view the politics of the straight edge scene as shallow. Subsequently, MK-Ultra embraced the influence of the bands from the South Side and begun to play fast, punk-leaning hardcore. [10]
Rise Against was founded, under the name Transistor Revolt, by former members of Arma Angelus, Yellow Road Priest, Baxter and 88 Fingers Louie, pursuing a more melodic take on hardcore. [11] Fall Out Boy was formed in 2001 by members of Chicago hardcore groups such as Arma Angelus, Racetraitor, Extinction, and Yellow Road Priest wishing to pursue a more pop-centric and radio friendly sound. Around this same time, former Racetraitor and Killtheslavemaster and future-Fall Out Boy drummer Andy Hurley, along with members of 7 Angels 7 Plagues and Vegan Reich, formed Project Rocket, a similar departure into more accessible music. [7]
In recent years, the scene has had a wave of heavy, down-tuned hardcore bands come into the national and international spotlight. Harm's Way, No Zodiac, and Weekend Nachos hail from Chicago. Harm's Way is signed to Deathwish Inc., [12] and has toured with Backtrack, Expire, and Suburban Scum. [13] Weekend Nachos, with their powerviolence sound, has been signed to Relapse Records. [14]
Hardcore punk is a punk rock subgenre and subculture that originated in the late 1970s. It is generally faster, harder, and more aggressive than other forms of punk rock. Its roots can be traced to earlier punk scenes in San Francisco and Southern California which arose as a reaction against the still predominant hippie cultural climate of the time. It was also inspired by Washington, D.C., and New York punk rock and early proto-punk. Hardcore punk generally disavows commercialism, the established music industry and "anything similar to the characteristics of mainstream rock" and often addresses social and political topics with "confrontational, politically charged lyrics".
Earth Crisis is an American metallic hardcore band from Syracuse, New York, active from 1989 until 2001, reuniting in 2007. Since 1993, the band's longest-tenured members include vocalist Karl Buechner, lead guitarist Scott Crouse, bassist Ian Edwards, and drummer Dennis Merrick. Their third and current rhythm guitarist Erick Edwards joined the band in 1998.
Metalcore is a fusion genre combining elements of extreme metal and hardcore punk, that originated in the late 1980s. Metalcore is noted for its use of breakdowns, which are slow, intense passages conducive to moshing, while other defining instrumentation includes heavy guitar riffs often utilizing percussive pedal tones and double bass drumming. Vocalists in the genre typically perform screaming; more popular bands often combine this with the use of standard singing, usually during the bridge or chorus of a song. However, the death growl is also a popular technique within the genre.
Youth crew is a music subculture of hardcore punk, which was particularly prominent during the New York hardcore scene of the late 1980s. Youth crew is distinguished from other punk styles by its optimism and moralistic outlook. The original youth crew bands and fans were predominantly straight edge and vegetarian.
Mathcore is a subgenre of hardcore punk and metalcore influenced by post-hardcore, extreme metal and math rock that developed during the 1990s. Bands in the genre emphasize complex and fluctuant rhythms through the use of irregular time signatures, polymeters, syncopations and tempo changes. Early mathcore lyrics were addressed from a realistic worldview and with a pessimistic, defiant, resentful or sarcastic point of view.
New York hardcore is both the hardcore punk music created in New York City and the subculture and lifestyle associated with that music. The scene established many aspects that are fixtures of hardcore punk today, including its simplified name "hardcore", its hardcore skinhead and youth crew subcultures, the moshing style hardcore dancing, its association with street gangs and its prominent influence of heavy metal.
Boston hardcore is the hardcore punk scene of Boston. Beginning the early 1980s, bands such as SSD, DYS, Jerry's Kids and Negative FX formed a hardcore nascent scene in the city that was notably captured on the compilation This Is Boston, Not L.A. (1982). By 1986, many of these bands had either disbanded or departed from the hardcore genre, instead beginning to play heavy metal. During the 1990s, the influence of extreme metal became prominent in the scene with Overcast, Converge, Cave In and Shadows Fall becoming prominent figures in the metalcore genre. However, a reaction against this metal influence quickly took place, which led to the mid-1990s youth crew revival of In My Eyes, Bane and Ten Yard Fight. By 2000, the youth crew revival had declined, and in response to its lyrical positivity, bands including American Nightmare, the Suicide File and the Hope Conspiracy began making music influenced by its music but centred on darker and nihilistic lyrics. In the following years, a reaction also took place against this lyrical style, which led to the rise of positive hardcore bands Mental and Have Heart. The 2000s also saw mainstream successful of Boston melodic metalcore bands including Killswitch Engage, All That Remains and Shadows Fall.
Take This to Your Grave is the debut studio album by American rock band Fall Out Boy, released on May 6, 2003, by Fueled by Ramen. When the band was signed to Island Records, the label employed an unusual strategy that allowed them to sign with independent label Fueled by Ramen for their debut and later move to Island for their second album. Sean O'Keefe had helped with the band's demo, and they returned to Smart Studios in Madison, Wisconsin to record the bulk of their first album with him. Living on a stranger's floor for part of the time and running out of money halfway through, the band recorded seven songs in nine days, bringing them together with the additional three from the demo.
Los Crudos is an American hardcore punk band from Chicago, Illinois active from 1991 to 1998 and from 2006 onward. Comprising all Latino members, the band paved the way for later Spanish-speaking punk bands in the United States and helped to increase the presence of Latinos in the country's predominantly white punk subculture. They have been described as "one of '90s punk's truly great bands" and "one of the greatest hardcore bands...ever." Paul Kennedy additionally describes them as "very popular in both the 'crusty' scenes in North America."
Melodic hardcore is a broadly defined subgenre of hardcore punk with a strong emphasis on melody in its guitar work. It generally incorporates fast rhythms, melodic and often distorted guitar riffs, and vocal styles tending towards shouting and screaming. Nevertheless, the genre has been very diverse, with different bands showcasing very different styles. Many pioneering melodic hardcore bands, have proven influential across the spectrum of punk rock, as well as rock music more generally.
Andrew John Hurley is an American musician. He is the drummer for the rock band Fall Out Boy. Prior to Fall Out Boy, Hurley played in several hardcore punk bands. He joined Fall Out Boy as the full-time drummer in 2003 and was in the band's lineup until its hiatus in 2009. Following that, he formed the heavy metal supergroup The Damned Things with Fall Out Boy guitarist Joe Trohman; the group went on hiatus after its debut album, Ironiclast (2010), due to band members focusing on their original bands' new album cycles. Hurley moved on to hardcore punk band Enabler which released a debut album and toured in 2012.
Racetraitor is an American hardcore punk and metal band originally from Chicago, Illinois. The band attracted controversy in the late 1990s, before any releases, as a result of their radical take on racial politics, which focused on ideas like systemic racism and white privilege before they were widely discussed topics in popular or underground culture. Racetraitor was also a key proto-metalcore act, one of the first few bands to incorporate extreme metal influences, such as death metal, grindcore, and doom metal, into hardcore.
Arma Angelus was a metalcore band from Chicago, Illinois. The band was formed in 1998 and disbanded in 2002. Members of the band were Pete Wentz, Tim McIlrath, Jay Jancetic, Daniel Binaei, Adam Bishop and Timothy Miller.
Since the mid-1970s, California has had thriving regional punk rock movements. It primarily consists of bands from the Los Angeles, Orange County, Ventura County, San Diego, San Fernando Valley, San Francisco, Fresno, Bakersfield, Alameda County, Sacramento, Lake Tahoe, Oakland and Berkeley areas.
Martin Sorrondeguy is the singer of American hardcore punk bands Los Crudos and Limp Wrist, the founder of the DIY record label Lengua Armada Discos, and a prominent figure in both the straight edge scene and the queercore scene. He currently does vocals in the band Needles.
Crossover thrash is a fusion genre of thrash metal and hardcore punk. The genre emerged in the mid–1980s, when hardcore punk bands, such as Suicidal Tendencies, Cryptic Slaughter, Corrosion of Conformity and Dirty Rotten Imbeciles, began to incorporate the influence of thrash metal. At this time, the genre was particularly prominent in the New York hardcore scene, where groups including Agnostic Front, Leeway, Cro-Mags and Stormtroopers of Death were widely influential.
Straight edge is a subculture of hardcore punk whose adherents refrain from using alcohol, tobacco, and recreational drugs in reaction to the punk subculture's excesses. Some adherents refrain from engaging in promiscuous or casual sex, follow a vegetarian or vegan diet and do not consume caffeine or prescription drugs. The term "straight edge" was adopted from the 1981 song "Straight Edge" by the hardcore punk band Minor Threat.
Mas alla de los Gritos is a 1999 documentary film featuring the Latino/Chicano punk movement from the late 1970s up until the early 1990s. Producer Martin Sorrondeguy singer of hardcore punk bands Los Crudos and Limp Wrist, also founder of record label, Lengua Armada Discos, documentary film director and a prominent figure in both the straight edge scene and the queercore scene, illustrates the repurposing and remixing of punk music in the major Latino cities on the U.S. This one of a kind documentary sheds light on the political D.I.Y. philosophy which aims to empower youth to emancipate themselves from society's oppression. The film is composed of interviews and live performances. The film focuses on the struggle of Latino/Chicano against globalization, poverty, and identity.
Hardcore punk in the United Kingdom began in the late 1970s and early 1980s with the second wave of punk rock in the country. The scene produced many successful and influential hardcore punk bands throughout the 1980s such as Discharge, GBH and the Exploited and led to the pioneering of genres such as grindcore, street punk, crust punk and D-beat.
Pat Kelley: In the 1980s, I know Sean Duffy from Last Rites, he put together a lot a lot a lot of the big shows.
Jeff Jelen: That was when Jam Security started working a lot of the shows, the Medusa shows, a lot of those were Jam productions. Anyone gets out of control dancing, they're okay to just start grabbing kids and beating them up and throwing them out.
Clint Billington: There was a flight of stairs you had to walk up to get into the club, and as I'm walking in, a bouncer's literally throwing a kid down the stairs.
Martin Sorrondeguy: Sean Duffy was the guy booking all the shows, and I just got fed up of all the prices getting kind of high for shows...
Jim Grimes: At that time, the promoters were still thinking of it as like "I'm rock and roll. I'm making money. I'm doing this." It wasn't a community thing it was like "show up to my show, I'm taking your money, get out when you're done." The Revelation [Records] bands would not play here anymore because they were ripped off that summer.
Brian Quarles: It spread like wildfire, they were like "don't play Chicago, you'll get ripped off."
Pat Kelley: We wanted a place where local bands could play and it wasn't the hierarchy of who was friends with the promoter to do the shows, we wanted more openess...
Martin Sorrondeguy: Ben Weasel started booking all the shows at Dirty Nelly's and that was the new scene.
Erik Funk: Then after Durty Nelly's, there was Mcgregor's, you'd go see Slapshot there, you'd go see Green Day there.
I definitely think Only the Strong was kinda a breakout point for Chicago, it felt like we had a band that kinda rivaled some of the stuff that was happening in New York. They instantly became Chicago's answer to straight edge, they were the straight edge band, they were the only band doing it. They used the name Only the Strong for a while, after that dissolved they started Even Score... Tony [Brummel] was a hardcore singer, you know, he was micing up the crowd and he was stage diving. He was the catalyst that made stuff kinda happen. You know, starting his house and Club Blitz and doing shows there and that became the real focal point, we have our own club... Club Blitz was basically Tony's house in the western suburbs of Chicago. There wasn't really a network of small time promoters that would do smaller shows so he was one of the first that did that. He made quite a name for himself just doing that, it's where he started his record label Victory Records
All of us, every single band who were used to playing fast, punk rock hardcore like cut those time signatures in half and everyone went slow. We definitely had more the metal influence starting to coming and a lot of kids worshipped the ground that Integrity walked on. That band in general really changed the way a lot of people saw the sound of hardcore... Now, Bloodthirst ripped them off to a T... by probably '91 it had already grown so much, there were already so many hardcore and straight edge kids all of a sudden that they had already started, sort of, eating their own. When I [Neeraj Kane] first started going to shows I felt like people in the scene were very Aryan, not really accepting of new people coming in, it was really cliquey. Just a lot of petty gossip I feel like in the straight edge scene especially. A lot of people filtered of those cliques and those people stayed bandied together to all become friends with each other. All the kids that were my [Chris Gutierrez] age started bands, that were of course looked down upon by Tony and his crew, but we wanted our own thing... A lot of those bands from that time [like Icepick], you play a couple shows and that was it or maybe you had a demo... Couple of the guys from Weedeater went and started Silence, they took what they were doing in Weedeater and made it a little more heavier, kind of what hardcore was turning into... Silence would play, there was another and I remember from that sort of moment was Restraint... My [Neeraj Kane] first band was called Cornerstone. It was generic straight edge friendship.
Everlast would be sort of the flagship band at that point for the Chicago straight edge scene. You would find about twenty people at an Everlast show and that was the Chicago straight edge scene and that was it, that would be considered a good show... There was a huge low where there was nothing going on here. We travelled to go see shows because there was a drought in Chicago. I would literally have a four, five, six month stretch with nothing... That's where Jim [Grimes] picked up the torch and started doing his own shows. I mean he was responsible with booking a lot of the shows that weren't involved with Victory and big promoters, you know. Carey Housen helped us a lot with that as well.
A lot of the bands on the south side, I [Bill Smiles] was friends with lots of them, it was a little bit scarier, it was a little bit more real. Los Crudos was around, and Mob Action and Critical Beatdown, who later became Insult to Injury. The scenes were really separate. It seemed ridiculous to me that someone twenty miles away from someone else wouldn't know what the entire scene was, it would be completely different scene there. We had subscenes, in Chicago, you had like this Charles Bronson, Los Crudos scene, you had the vegan straight edge or hardcore scene and they never came together.
Frank Hanney: Martin and Los Crudos were like a key that opened up a whole new world for me.
Kirk Syrek: All of these things that I thought I was really into, like, doesn't even matter that much, because this band [Los Crudos] is the real thing.
Jeff Jelen: The whole silence thing, and the whole early MK-Ultra thing, I just think that it wasn't being our true selves.
Frank Hanney: There was absolutely no substance to any of this bull shit, and I was like "We don't want to be a part of any of that anymore" and it just become more about, they play slow, so we're gonna play fast, as fast as we can.