post-hardcore

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. Like the term "post-punk", the term "post-hardcore" has been applied to a broad constellation of groups. Initially taking inspiration from post-punk and noise rock, 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 which had established hardcore scenes, such as Fugazi from Washington, D.C. as well as groups such as Big Black, Jawbox, Quicksand, and Shellac who stuck closer to post-hardcore's noise rock roots. Dischord Records became a major nexus of post-hardcore during this period. The genre also began to incorporate more dense, complex, and atmospheric instrumentals with bands like Slint and Unwound, and also experienced some crossover from indie rock with bands like The Dismemberment Plan. In the early- and mid-2000s, post-hardcore achieved mainstream success with the popularity of bands like At the Drive-In, My Chemical Romance, Dance Gavin Dance, AFI, Underoath, Hawthorne Heights, Silverstein, the Used, Saosin, Alexisonfire, and Senses Fail. In the 2010s, bands like Sleeping with Sirens and Pierce the Veil achieved mainstream success under the post-hardcore label.¶

Characteristics

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." Post-hardcore generally incorporates more complex chord shapes and progressions. According to SiriusXM, "tempos could be slow, or as fast as metal, and singing was allowed to be inventive." 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. During the early 2000s it became common for mainstream "melodic" post-hardcore bands to crossover into other related genres like melodic hardcore, metalcore, beatdown hardcore, indie rock, screamo, and emo, straddling experimentation and accessibility.¶

The Washington D.C. scene

During the years 1984 and 1985 in the Washington, D.C. hardcore scene, 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".¶

Expansion (late 1980s and 1990s)

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 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.¶

The San Diego scene

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.¶

Moderate popularity

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 t…¶

The text above is adapted from the Wikipedia article “Post-hardcore”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

post-hardcore is genre of music, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 12 external registers, which can be verified through the citation.¹¶