|Cultural origins||1980s, United States|
Post-hardcore is a punk rock music genre that maintains the aggression and intensity of hardcore punk but emphasizes a greater degree of creative expression initially inspired by post-punk and noise rock. Like post-punk, the term has been applied to a broad constellation of groups. Post-hardcore began in the 1980s with bands like Hüsker Dü and Minutemen. The genre expanded in the 1980s and 1990s with releases by bands from cities that had established hardcore scenes, such as Fugazi from Washington, D.C. post-hardcore achieved mainstream success with the popularity of bands like My Chemical Romance, AFI, Underoath, Hawthorne Heights, The Used, At the Drive-In and Senses Fail. In the 2010s, bands like Sleeping with Sirens and Pierce the Veil , both of which being labeled as post-hardcore, achieved mainstream success. Meanwhile, bands like Title Fight and La Dispute experienced underground popularity.as well as groups such as Big Black and Jawbox that stuck closer to post-hardcore's noise rock roots. In the 2000s,
Hardcore punk typically features very fast tempos, loud volume, and heavy bass levels,as well as a "do-it-yourself" ethic. Music database AllMusic stated "these newer bands, termed post-hardcore, often found complex and dynamic ways of blowing off steam that generally went outside the strict hardcore realm of 'loud fast rules'. Additionally, many of these bands' vocalists were just as likely to deliver their lyrics with a whispered croon as they were a maniacal yelp." Allmusic also claims that post-hardcore bands find creative ways to build and release tension rather than "airing their dirty laundry in short, sharp, frenetic bursts". Jeff Terich of Treblezine stated, "Instead of sticking to hardcore's rigid constraints, these artists expanded beyond power chords and gang vocals, incorporating more creative outlets for punk rock energy." British post-punk of the late 1970s and early 1980s has been seen as influential on the musical development of post-hardcore bands. As the genre progressed, some of these groups also experimented with a wide array of influences, including soul, dub, funk, jazz, and dance-punk. It has also been noted that since some post-hardcore bands included members that were rooted in the beginnings of hardcore punk, some of them were able to expand their sound as they became more skilled musicians.
Groups such as Saccharine Trust,Naked Raygun, and The Effigies, which were active around the early 1980s, are considered to be forerunners to the post-hardcore genre. Chicago's Naked Raygun, formed in 1981, has been seen as merging post-punk influences of bands such as Wire and Gang of Four with hardcore punk, while author Steven Blush notes the band's use of "oblique lyrics and stark post-punk melodies". Similarly, The Effigies, who also hailed from the Chicago scene, released music influenced by the hardcore of Minor Threat and the British post-punk of bands like The Stranglers, Killing Joke, and The Ruts.
During the early to mid-1980s, the desire to experiment with hardcore's basic template expanded to many musicians that had been associated with the genre or had strong roots in it.Many of these groups also took inspiration from the 1980s noise rock scene pioneered by Sonic Youth. Some bands signed to the independent label Homestead Records, including Squirrel Bait (as well as David Grubbs-related Bastro and Bitch Magnet ) and Steve Albini's Big Black (just as his subsequent projects Rapeman and Shellac ) are also associated with post-hardcore. Big Black, which also featured former Naked Raygun guitarist Santiago Durango, made themselves known for their strict DIY ethic, related to practices such as paying for their own recordings, booking their own shows, handling their own management and publicity, and remaining "stubbornly independent at a time when many independent bands were eagerly reaching out for the major-label brass ring". The band's music, punctuated by the use of a drum machine, has also been seen as influential to industrial rock, while Blush has also described the Albini-fronted project as "an angst-ridden response to the rigid English post-punk of Gang of Four". After the issuing of the "Il Duce" single (and between the release of their only two studio albums, Atomizer and Songs About Fucking ), Big Black left Homestead for Touch and Go Records, which would later reissue not only their entire discography, but would also be responsible for the release of the complete works of Scratch Acid, an act from Austin, Texas described as post-hardcore, that, according to Stephen Thomas Erlewine, "laid the groundwork for much of the distorted, grinding alternative punk rockers of the '90s".
According to Ryan Cooper of About.com and author Doyle Greene, 1980s hardcore punk band Black Flag is one of the pioneers of post-hardcore for the experimental style the band started playing later on in the 1980s. Post-hardcore bands Minutemen and Hüsker Dü are prominent 1980s post-hardcore bands. Hüsker Dü's 1984 album Zen Arcade is the band's critical breakthrough. When Zen Arcade was first released, the album received positive critical reception from The New York Times and Rolling Stone . Outside the United States, post-hardcore would take shape in the works of the Canadian group Nomeansno, related with Jello Biafra and his independently run label Alternative Tentacles, and that had been active since 1979. The magazine Dusted noted that the group's 1989's release Wrong was "one of the most aggressive and powerful opuses in post-hardcore ever made".
During the years 1984 and 1985 in the "harDCore" scene, –namely, social and political dissent –their musical attack was no less blistering, and in fact a good deal more challenging and nuanced than the average three-chord speed-blur", a sound that, according to Huey, mapped out "a new direction for hardcore that built on the innovations" brought by Hüsker Dü's Zen Arcade . Other bands have been perceived as taking inspiration from genres such as funk (as in the case of Beefeater) and 1960s pop (such as the example of Gray Matter).a new movement had "swept over". This movement was led by bands associated with the D.C. independent record label Dischord Records, home in the early 1980s to seminal hardcore bands such as Minor Threat, State of Alert, Void and Government Issue. According to the Dischord website: "The violence and nihilism that had become identified with punk rock, largely 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", leading to "a time of redefinition". When The Faith put out the EP Subject to Change in 1983, it marked a critical evolution in the sound of D.C. hardcore and punk music in general. During these years, a new wave of bands started to form, these included Rites of Spring (which featured The Faith former guitarist Eddie Janney), Lunchmeat (later to become Soulside), Gray Matter, Mission Impossible, Dag Nasty and Embrace, the latter featuring former Minor Threat singer and Dischord co-founder Ian MacKaye and former members of The Faith. This movement has been since widely known as the "Revolution Summer". Rites of Spring has been described as the band that "more than led the change", challenging the "macho posturing that had become so prevalent within the punk scene at that point", and "more importantly", defying "musical and stylistic rule". Journalist Steve Huey writes that while the band "strayed from hardcore's typically external concerns of the time
According to Eric Grubbs, a nickname was developed for the new sound, with some considering it "post-harDCore", but another name that floated around the scene was "emo-core".The latter, mentioned in skateboarding magazine Thrasher, would come up in discussions around the D.C. area. While some of these bands have been considered as contributors to the birth of emo, with Rites of Spring sometimes being named as the first or one of the earliest emo acts, musicians such as the band's former frontman Guy Picciotto and MacKaye himself have voiced their opposition against the term. In the nearby state of Maryland, similar bands that are categorized now as post-hardcore would also emerge, these include Moss Icon and The Hated. The former's music contained, according to Steve Huey, "shifting dynamics, chiming guitar arpeggios, and screaming, crying vocal climaxes", which would prove to be influential to later musicians in spite of the band's unstable existence. This group has also been considered as one of the earliest emo acts.
The second half of the 1980s saw the formation of several bands in D.C., which included Shudder to Think, Jawbox, The Nation of Ulysses, and Fugazi, as well as Baltimore's Lungfish.MacKaye described this period as the busiest that the Dischord Records label had ever seen. Most of these acts, along with earlier ones, would contribute to the 1989 compilation State of the Union , a release that documented the new sound of the late 1980s D.C. punk scene. Fugazi gained "an extremely loyal and numerous global following", with reviewer Andy Kellman summarizing the band's influence with the statement: "To many, Fugazi meant as much to them as Bob Dylan did to their parents." It has also been noted that the group's "ever-evolving" sound would signal a more experimental turn in hardcore that paved the way for later Dischord releases. The band, which included MacKaye, Picciotto, and former Rites of Spring drummer Brendan Canty along with bassist Joe Lally, issued in 1989 13 Songs , a compilation of their earlier self-titled and Margin Walker EPs, which is now considered as a landmark album. Similarly, the band's debut studio album, 1990's Repeater , has also been "generally" regarded as a classic. The group also garnered recognition for their activism, cheaply priced shows and CDs, and their resistance to mainstream outlets. On the other hand, Jawbox had been influenced by "the tradition of Chicago's thriving early-'80s scene", while The Nation of Ulysses are "best remembered for lifting the motor-mouthed revolutionary rhetoric of the MC5" with the incorporation 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".
The late 1980s and early 1990s saw the formation and rise to prominence of several bands associated with earlier acts that not only included the examples of Fugazi and Shellac, but also Girls Against Boys(originally a side-project of Brendan Canty and Eli Janney, which would later incorporate members of Soulside), The Jesus Lizard (formed by ex-members of Scratch Acid), Quicksand (fronted by former Youth of Today and Gorilla Biscuits member Walter Schreifels), Rollins Band (led by former Black Flag singer Henry Rollins), Tar (which raised from the ashes of a hardcore outfit named Blatant Dissent), and Slint (containing members of Squirrel Bait). Acts such as Shellac and Louisville's Slint have been considered as influential to the development of the genre of math rock, with the former featuring "awkward time signatures and trademark aggression" that has come to characterize "a certain slant" on math rock, while the latter presented "instrumental music seeped in dramatic tension but set to rigid systems of solid-structured guitar patterns and percussive repetition". According to reviewer Jason Arkeny, Slint's "deft, extremist manipulations of volume, tempo, and structure cast them as clear progenitors of the post-rock movement".
AllMusic has noted that younger bands "flowered into post-hardcore after cutting their teeth in high school punk bands".In Washington D.C., new bands such as Hoover (as well as the related The Crownhate Ruin), Circus Lupus, Bluetip, and Smart Went Crazy were added to the Dischord roster. Hoover has been cited by journalist Charles Spano as a band that had "a tremendous impact on post-hardcore music". In New York City, in addition to Quicksand, post-hardcore bands such as Helmet, Unsane, Chavez and Texas Is the Reason emerged. Chicago, which alongside the Midwestern United States has been important to the progression of math rock, also saw the birth of post-hardcore acts such as the examples of Shellac, Tar, Trenchmouth, and the Jade Tree-released group Cap'n Jazz (as well as the subsequent related project Joan of Arc, which also released their work through Jade Tree). Steve Huey argues that the release of Cap'n Jazz's retrospective compilation album Analphabetapolothology helped spread the band's influence "far beyond their original audience", while also considering the group as influential for the development of emo in the independent music scene. Champaign, also in Illinois, was known for an independent scene that would give way to groups like Hum, Braid and Poster Children. The American Northwest saw the creation of acts such as Karp, Lync and Unwound, all hailing from the Olympia, Washington area. The latter's music has been considered by critic John Bush as a combination of "the noise of Sonic Youth's more raucous passages" with a "rare energetic flair which rivals even that of Fugazi". Texas saw the formation of groups such as The Jesus Lizard (later to be based in Chicago) and ...And You Will Know Us by the Trail of Dead in Austin, and At the Drive-In from El Paso. This last band was known for their energy in both performances and music, and for their "driving melodic punk riffs, meshed together with quieter interlocking note-picking".
The genre also saw representation outside the United States in Refusedwho emerged from the Umeå, Sweden music scene. The band, which made itself known earlier in their career for its "massive hardcore sound", released in 1998 The Shape of Punk to Come , an album that saw the group take inspiration from The Nation of Ulysses while incorporating elements such as "ambient textures, jazz breakdowns", metal and electronica to their hardcore sound.
The early-to-mid 1990s would see the birth of several bands in the San Diego, California music scene, some of which would lead a post-hardcore movement associated with the independent label Gravity Records.This movement would eventually become known as the "San Diego sound". Gravity was founded in 1991 by Matt Anderson, member of the band Heroin, as a means to release the music of his band and of other related San Diego groups, which also included Antioch Arrow and Clikatat Ikatowi. The label's earlier releases are known for the definition of "a new sound in hardcore rooted in tradition but boasting a chaotic sound that showcased a new approach" to the genre. Heroin were known for being innovators of early 1990s hardcore and for making dynamic landscapes "out of one minute blasts of noisy vitriol". These bands were influenced by acts like Fugazi and The Nation of Ulysses, while also helping propagate an offshoot of hardcore that "grafted spastic intensity to willfully experimental dissonance and dynamics". This movement has been associated to the development of the subgenre of screamo, while it also should be noticed that this term has been, as with the case of emo, the subject of controversy. The label also featured releases by non-San Diego bands that included Mohinder (from Cupertino, California), Angel Hair and its subsequent related project The VSS (from Boulder, Colorado), groups that have also been associated with this sound. The VSS was known for their use of synthesizers "vying with post-hardcore's rabid atonality".
Outside the Gravity roster, another band that played an important role in the development of the "San Diego sound" was Drive Like Jehu.This group, founded by former members of Pitchfork, was known, according to Steve Huey, for their lengthy and multisectioned compositions based on the innovations brought by the releases on Dischord, incorporating elements such as "odd time signatures played an important role on its development in spite of the band's music not resembling the sound such term would later signify. In a similar manner, Swing Kids, composed of former members of hardcore bands from the San Diego scene such as Unbroken, Struggle and Spanakorzo, have been described by journalist Zach Baron as the moment in which the "hardcore" sound of bands like Unbroken effectively became "post-hardcore", known for "covering Joy Division songs" and for its sonic "jazz-quoting" and "guitar feedback" experimentation features. They were also one of the first bands released under the independent label Three One G, founded by the band's vocalist Justin Pearson and later known for releasing the works of several other post-hardcore, noise rock, mathcore and grindcore groups.
Bands like At the Drive-In have acknowledged the influence of the post-hardcore sound coming from the San Diego scene, with vocalist Cedric Bixler-Zavala citing elements such as "screaming vocals with over-the-top emotions, calculated, heavy riffs, [...] offbeat rhythms" and an "incredible amount of energy, chaos and melody" put by these groups as crucial in the development of his band's sound.
According to Ian MacKaye, the sudden interest in underground and independent music brought by the success of Nirvana's Nevermind attracted the attention of major labels towards the Dischord imprint and many of its bands.While the label rejected these offers, two Dischord acts, Jawbox and Shudder to Think, would sign deals with major labels. The former's signing to Atlantic Records would alienate some of the band's long-term fanbase, but it would also help with the development and recording of the 1994 release For Your Own Special Sweetheart , considered by Andy Kellman as "one of the best releases to come out of the fertile D.C. scene of the '80s and '90s". The subsequent tour for the album and the MTV rotation of some videos would introduce the band to a handful of new crowds, but ultimately the album would remain "unnoticed outside of the usual indie community".
Likewise, out of the Dischord label, Interscope Records would sign Helmet after a reportedly "ferocious" bidding war between several major record companies,and while MTV would air some videos by the group, which by the time of the release of their major-label debut Meantime , was considered then as "the only band close to the Seattle grunge sound" on the American East Coast and would be hailed as "the next big thing", these expectations would "never be fully realized" in spite of the record's later influence. In another notable case, Hum was signed to RCA in 1994, selling approximately 250,000 copies of their album You'd Prefer an Astronaut fueled by the success of the album's lead single "Stars", and while the band had established by this point a strong underground fanbase, this would prove to be "the pinnacle of Hum's media attention", as its follow-up, 1998's Downward Is Heavenward would sell poorly, resulting in the decision of RCA to drop the band from their roster.
Record producer Ross Robinson, who was credited for popularizing nu metal with bands like Korn, Slipknot, Soulfly and Limp Bizkit in the 1990s, helped post-hardcore achieve popularity during the 2000s.Mehan Jayasuriya of PopMatters suggested that Robinson's sudden focus on post-hardcore was his "pet project" designed to redeem himself of "the 'Nu-Metal' scourge of the late '90s". Robinson recorded At the Drive-In's Relationship of Command (2000), Glassjaw's Everything You Ever Wanted to Know About Silence (2000) and Worship and Tribute (2002), and The Blood Brothers' ...Burn, Piano Island, Burn (2003); four albums that are said to "stand as some of the best post-hardcore records produced" during the 2000s. In John Franck's review of Everything You Ever Wanted to Know About Silence for Allmusic, he stated: "Featuring extraordinary ambidextrous drummer Sammy Siegler (of Gorilla Biscuits/CIV fame), Glassjaw has paired up with producer/entrepreneur Ross Robinson (a key catalyst in the reinvention of the aggro rock sound) to take you on a pummeling ride that would make Bad Brains and Quicksand proud."
These bands allowed the genre to grow and become much more varied with At the Drive-In taking influence from art rock and rock and roll, and Glassjaw using elements of both pop music and heavy metal; furthermore, bands such as Hell Is for Heroes, Hundred Reasons, Hondo Maclean and Funeral for a Friend took significant influence from heavy metal bands like Pantera as well as hardcore bands like The Hope Conspiracy. Post-hardcore achieved mainstream success with the success of emo post-hardcore bands such as My Chemical Romance, Senses Fail, Alexisonfire, Taking Back Sunday, Brand New, Thrice, AFI, The Used, Silverstein, From First To Last, Thursday and Hawthorne Heights. Some bands also began to incorporate progressive elements; with bands such as Chiodos, Scary Kids Scaring Kids, Circa Survive, The Fall of Troy and Dance Gavin Dance gaining significant success, and bands such as Damiera, The Sound of Animals Fighting, The Bled, Norma Jean and The Chariot being left under the wood works; as well as bands taking influence from metalcore like Ice Nine Kills, Blessthefall and Pierce the Veil, inspired by acts such as Killswitch Engage, Avenged Sevenfold and Atreyu.
Later forms of post-hardcore have garnered more mainstream attention with bands such as Sleeping with Sirens, whose third album Feel (2013) debuted at No. 3 on the US Billboard 200 chart, making it one of the highest charting post-hardcore album by any band to date.Pierce the Veil's third album, Collide with the Sky (2012), has also received much attention. While Madness (2015) and Misadventures (2016)—by Sleeping with Sirens and Pierce the Veil respectively—incorporate more elements of pop rock and pop punk, entering territory that many find to be loosely defined as post-hardcore. Seen also is the emergence of independent post-hardcore bands like The Men, Cloud Nothings and METZ, who are described as moving closer to the dynamics and aesthetics of earlier acts, whilst diverging deeper into external influences. Reviewers have also noted the incorporation of a diversity of elements like krautrock, post-rock, sludge metal, shoegaze, power pop and no wave in addition to previous hardcore, noise rock and post-punk sensibilities.
Despite originally being used jokingly, the term "The Wave" began being used to describe a new wave of post-hardcore bands,with bands generally being experimental, heavily emotional, boundary pushing and disregarding of gimmicks. The term was originally only used to describe Touché Amoré, Defeater, La Dispute, Make Do and Mend and Pianos Become the Teeth, however eventually grew to include bands such as Title Fight, Balance and Composure and Casey. It has also been noted that many bands have been influenced by At the Drive-In.
Minor Threat was an American hardcore punk band, formed in 1980 in Washington, D.C. by vocalist Ian MacKaye and drummer Jeff Nelson. MacKaye and Nelson had played in several other bands together, and recruited bassist Brian Baker and guitarist Lyle Preslar to form Minor Threat. They added a fifth member, Steve Hansgen, in 1982, playing bass, while Baker switched to second guitar.
Hardcore punk is a punk rock music genre 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 New York punk rock and early proto-punk. New York punk had a harder-edged sound than its San Francisco counterpart, featuring anti-art expressions of masculine anger, energy, and subversive humor. 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."
Emo is a rock music genre characterized by an emphasis on emotional expression, sometimes through confessional lyrics. It emerged as a style of post-hardcore from the mid-1980s hardcore punk movement in Washington, D.C., where it was known as emotional hardcore or emocore and pioneered by bands such as Rites of Spring and Embrace. In the early–mid 1990s, emo was adopted and reinvented by alternative rock, indie rock and pop punk bands such as Sunny Day Real Estate, Jawbreaker, Weezer and Jimmy Eat World, with Weezer breaking into the mainstream during this time. By the mid-1990s, bands such as Braid, the Promise Ring and the Get Up Kids emerged from the burgeoning Midwest emo scene, and several independent record labels began to specialize in the genre. Meanwhile, screamo, a more aggressive style of emo using screamed vocals, also emerged, pioneered by the San Diego bands Heroin and Antioch Arrow. Screamo achieved mainstream success in the 2000s with bands like Hawthorne Heights, Silverstein, Story of the Year, Thursday, The Used, and Underoath.
Ian Thomas Garner MacKaye is an American singer, musician, songwriter, and record producer. Active since 1979, he is best known as the co-founder and owner of Dischord Records, a Washington, D.C.-based independent record label and the frontman of the influential hardcore punk band Minor Threat and the post-hardcore band Fugazi. MacKaye was also the frontman for the short-lived bands The Teen Idles, Embrace and Pailhead, a collaboration with the band Ministry. MacKaye is a member of The Evens, a two-piece indie rock group he formed with his wife Amy Farina in 2001 and in 2018 formed the band Coriky with Farina and his Fugazi band mate Joe Lally.
Out of Step is the sole studio album by American hardcore punk band Minor Threat. It was released on 45 RPM vinyl in April 1983 through Dischord Records. Although Out of Step has only been released on CD in limited quantities, it has been repressed on vinyl as recently as 2010, and all tracks from the album are available on Minor Threat's 1989 compilation album Complete Discography.
Dischord Records is a Washington, D.C.-based independent record label specializing in punk rock. The label is co-owned by Ian MacKaye and Jeff Nelson, who founded Dischord in 1980 to release Minor Disturbance by The Teen Idles. With other independent American labels such as Twin/Tone, Touch and Go Records, and SST Records, Dischord helped to spearhead the nationwide network of underground bands that formed the 1980s indie-rock scene. These labels presided over the shift from the hardcore punk that then dominated the American underground scene to the more diverse styles of alternative rock that were emerging.
Alternative rock is a category of rock music that emerged from the independent music underground of the 1970s and became widely popular in the 1990s. "Alternative" refers to the genre's distinction from mainstream or commercial rock or pop music. The term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or simply the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music.
Fugazi is an American rock band that formed in Washington, D.C. in 1986. The band consists of guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty. It is noted for its style-transcending music, DIY ethical stance, manner of business practice, and contempt for the music industry.
Rites of Spring was an American post-hardcore band from Washington, D.C., in the mid-1980s, known for their energetic live performances. Along with Embrace, and Beefeater, they were one of the mainstay acts of the 1985 Revolution Summer movement which took place within the Washington, D.C. hardcore punk scene. Musically, Rites of Spring increased the frenetic violence and visceral passion of hardcore while simultaneously experimenting with its compositional rules. Lyrically, they also shifted hardcore into intensely personal realms and, in doing so, are often considered the first emo band but Rites of Spring itself rejected any association between themselves and emo genres.
Embrace were a short-lived hardcore punk band from Washington, D.C., which lasted from the summer of 1985 to the spring of 1986. Along with Rites of Spring, and Beefeater, it was one of the mainstay acts of the 1985 Revolution Summer movement, and was one of the first bands to be dubbed in the press as emotional hardcore, though the members had rejected the term since its creation. The band included lead vocalist Ian MacKaye of the defunct hardcore punk act Minor Threat and three former members of his brother Alec's band, the Faith: guitarist Michael Hampton, drummer Ivor Hanson, and bassist Chris Bald. Hampton and Hanson had also previously played together in S.O.A. The band played their first show on July 28, 1985 at Food for Thought, a former restaurant and music venue located on Washington, D.C.'s Dupont Circle; their ninth and final show was held at the 9:30 Club in March 1986. The only recording released by the quartet was their posthumous 1987 self-titled album, Embrace, being influenced by the Faith EP Subject to Change.
Drive Like Jehu was an American post-hardcore band from San Diego active from 1990 to 1995. Formed by rhythm guitarist and vocalist Rick Froberg and lead guitarist John Reis, ex-members of Pitchfork, along with bassist Mike Kennedy and drummer Mark Trombino, both from Night Soil Man, after their two bands disbanded in 1990. Drive Like Jehu's music was characterized by passionate singing, unusual song structure, indirect melodic themes, intricate guitar playing, and calculated use of tension, resulting in a distinctive sound amongst other post-hardcore acts and helped to catalyze the evolution of hardcore punk into emo.
The Evens are a Washington, D.C. indie-rock duo, formed in the fall of 2001, comprising partners Ian MacKaye and Amy Farina. After Ian MacKaye's band Fugazi entered a hiatus, The Evens began practicing extensively, and eventually played a few shows and recorded a self-titled album, released in March 2005 on MacKaye's label, Dischord Records. The Evens are known for their unusual choices in venues for performances and the stylistic change from what many have dubbed the "D.C." or "Dischord" sound. The Washington Post has described the sound as "what happens when post-hardcore becomes post-post-hardcore."
Red Medicine is the fourth studio album by the American post-hardcore band Fugazi, released on June 12, 1995, by Dischord Records.
Antioch Arrow was an American punk rock band from San Diego, California that formed in 1992. Most of their discography was released through the San Diego independent label Gravity Records. The label was responsible raising San Diego's profile in the underground music scene of the mid-1990s. The band, breaking up in 1994 and releasing one final studio album posthumously in 1995, are now considered to be one of the most influential bands of the early 1990s that shaped emo and post-hardcore music of the late 1990s and early 2000s.
Faraquet is an American post-hardcore band from Washington D.C., United States, sometimes placed in the math rock genre. The trio formed in 1997 and disbanded in 2001 after releasing its debut full-length on Dischord Records. Faraquet were influenced by D.C.-based peers like Fugazi, Jawbox, and Nation of Ulysses as well as progressive rock bands like King Crimson. The band has recently reissued all of the material released prior to their full length and briefly reformed to play shows in support of this project in Brazil and their native Washington, D.C.
The Faith was an early American hardcore punk band, from Washington D.C., with strong connections to the scene centered on the Dischord label. Along with Minor Threat, The Faith were key players in the early development of hardcore, with a (later) melodic approach that would influence not just associated acts like Rites of Spring, Embrace and Fugazi, but also a subsequent generation of bands such as Nirvana, whose Kurt Cobain was a vocal fan.
Emo pop is a fusion genre combining together emo and pop punk. Emo pop features a music style with more concise songs and hook-filled choruses. Emo pop began in the 1990s with bands like Jimmy Eat World, the Get Up Kids, Weezer and the Promise Ring. The genre became mainstream in the early 2000s with Jimmy Eat World's album Bleed American, including the album's song "The Middle". In the 2000s, other emo pop bands that were mainstream included Fall Out Boy, the All-American Rejects, My Chemical Romance, Panic! at the Disco and Paramore. The popularity of emo pop declined in the 2010s, with some prominent artists in the genre either disbanding or abandoning the emo pop style.
Fuel was a short-lived Bay Area post-hardcore musical act that created both personal and political songs, something that was unique during the "first wave" of emo in the 1990s. Fuel had a sound akin to early-Hot Water Music and especially Fugazi with twin guitars and dueling rough post-hardcore vocals. In fact, it is noted that Fuel was often jokingly referred to as "Fuelgazi." Fuel's style resembled the D.C. sound of many Dischord bands.
Enter "blackgaze", the buzz term for a new school of bands taking black metal out of the shadows and melding its blast beats, dungeon wailing and razorwire guitars with the more reflective melodies of post-rock, shoegaze and post-hardcore.
Too early to be post-hardcore but too uncommon for any simple classification, this Southern California quartet doesn't try to create a blizzard of noise — they go at it more artfully, but with equally ear-wrenching results. [...]
Drawing from funk as much as punk, Beefeater cooks up a groovy combination on their debut album.
The recordings, which revealed the influence of early-D.C. punk ('Gray Matter', 'Caffeine Blues'), also warned about the dangers of punk nostalgia ('Retrospect') and featured a surprising cover of the Beatles' 'I Am the Walrus' was the first hint of the band's strong pop streak.
Well, first of all, I don't recognize that attribution. I've never recognized 'emo' as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it's so stupid is that – what, like the Bad Brains weren't emotional? What – they were robots or something? It just doesn't make any sense to me.
[...] Where most punks from the '80s hardcore scene made the transition into hard rock or post hardcore outfits like Rollins Band and Fugazi, it still seems natural that he would make the jump into the acoustic side of things. [...]
[...] But, the second album by the post-hardcore Kentuckians sure didn't 'kick' anything; its influence rather devoid of immediacy. [...]
The Trail of Dead has been known as something of a sprawling band ever since the band's first release in 1998. They've always been able to incorporate elements of noise rock and art rock into a post-hardcore foundation that allows for them to wander sonically not only from song to song but within each song itself and never losing the listener's interest in the song.