| Post-hardcore | |
|---|---|
| Stylistic origins | Hardcore punk, post-punk, noise rock, experimental rock |
| Cultural origins | Mid-'80s United States[1] |
| Typical instruments | Drums (double bass drumming), bass guitar, electric guitar, vocals |
| Mainstream popularity | Mid in the UK, Canada and parts of the US |
| Derivative forms | Math rock, emo, screamo |
Post-hardcore is a music genre that evolved from hardcore punk, itself an offshoot of the broader punk rock movement. Like post-punk, post-hardcore is a term for a broad constellation of groups who emerged from the hardcore punk scene, or took inspiration from hardcore, while concerning themselves with a wider palette of expression, closer to experimental rock.
The genre took shape in the mid- to late-1980s with releases from the Midwestern United States. These included bands on SST Records,[1] and bands from Washington, D.C. such as Fugazi[2] (see the era's releases on Dischord Records, for example), as well as slightly different sounding groups such as Big Black and Jawbox that stuck closer to the noise rock roots of post-hardcore.[3]
Post-hardcore is typically characterized by its precise rhythms and loud guitar-based instrumentation accompanied by a combination of clean vocals and screams. Allmusic states, "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."[2] The genre has developed a balance of dissonance and melody, in part channeling the loud and fast hardcore ethos into more measured, subtle forms of tension and release. Jeff Terich of Treblezine states, "[I]nstead of sticking to [hardcore's] rigid constraints, these artists expanded beyond power chords and gang vocals, incorporating more creative outlets for punk rock energy."[4]
Contents |
Post-hardcore is an offspring coming from hardcore punk,[2] which had typically featured very fast tempos, loud volume and heavy bass levels.[5]
By the mid-1980s, groups classified as hardcore, or with strong roots in the genre, began to experiment with the basic template. The initial outcropping of these groups typically recorded for SST Records[6] (the Minutemen, Hüsker Dü, the Meat Puppets, Dinosaur Jr., and Gone), and emerged from the increasingly experimental tendencies of Black Flag and Greg Ginn's evolving musical tastes. Many of these groups also took inspiration from the '80s noise rock scene pioneered by Sonic Youth.[4] Steve Albini's group Big Black, and subsequent projects Rapeman and Shellac are also associated with post-hardcore.[4] Critic Steven Blush described Big Black as "an angst-ridden response to the rigid English post-punk of Gang of Four".[7] Naked Raygun also made use of "oblique lyrics and stark post-punk melodies".[7]
Later releases on Dischord Records also extended the post-hardcore style, most famously in the work of Fugazi,[2][4] but also including bands such as Embrace, Rites of Spring, Nation of Ulysses, Jawbox, Shudder to Think, and Lungfish. Dischord groups also experimented with influences from soul music, dub, post-punk, funk, jazz, and dance-punk. Math rock and to some degree riot grrl were offshoots of this movement.
During the 90's a third iteration of post-hardcore took place with the work of musicians who had first come to prominence in the youth crew scene, most famously Fugazi, Unsane, Quicksand,On the Might of Princes.[2][4], Drive Like Jehu, Unwound, Les Savy Fav, Refused, Hot Water Music, Cap'n Jazz and Helmet. Then, the genre experimented a stand by stage when all the major bands in the scene disbanded.
It seemed that the post-hardcore style and it's scene was gone for good. Nevertheless, some bands associated with art punk and alternative rock like Glassjaw, and At the Drive-In[4] who where influenced by many post-hardcore bands, took certain elements of the genre renewing it and avoiding what it seemed to be it's imminent disappearance.
As a consequence of this, post-hardcore began to be listened by other groups of persons foreign to the underground scene. In other words, it passed to the mainstream or popular circuit.
In the late 1990s, new bands formed who popularized the style. These include Thursday,[8] Thrice,[9] Finch,[10] and Poison the Well[11]. By 2003, post-hardcore had caught the attention of major labels including Island Records, who signed Thrice and Thursday, Atlantic Records, who signed Poison the Well, and Geffen Records, who had absorbed Finch from their former label Drive-Thru Records. Post-hardcore also began to do well in sales with Thrice's The Artist in the Ambulance and Thursday's War All the Time which charted #16[12] and #7,[13] respectively, on the Billboard 200 in 2003.
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. These bands include The Used,[14] Hawthorne Heights,[15] Senses Fail,[16] From First to Last,[17] Emery[18] in addition to Canadian post-hardcore bands Silverstein[19] and Alexisonfire.[20] This group of post-hardcore bands gained mainstream recognition with the help of MTV and Warped Tour. The Used released some minor radio hits and later received gold certifications for their first two studio albums The Used and In Love and Death from the RIAA.[21] Hawthorne Heights' debut album The Silence in Black and White was also certified gold.[21]
Post-hardcore has never been as popular in United Kingdom as it has been in the United States or Canada. However, the genre's popularity increased in the early 21st Century, with more British bands and albums breaking into the Official UK Album Charts. Hundred Reasons' debut album, Ideas Above Our Station, reached #6 in the UK chart following its release in 2002. The following year saw Hell is for Heroes reach #16 with their own debut, The Neon Handshake and Funeral for a Friend's debut album Casually Dressed and Deep in Conversation reached #12. Fightstar's debut EP They Liked You Better When You Were Dead gained critical praise allowing their subsequent studio albums (Grand Unification, One Day Son, This Will All Be Yours and Be Human) to obtain top thirty chartings respectively. Enter Shikari's blend of post-hardcore and techno has been successful, with their first album Take To The Skies reaching #4 and their second Common Dreads reached #16.
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| Post-hardcore | |
|---|---|
| Stylistic origins | Hardcore punk, art punk, post-punk, noise rock |
| Cultural origins | Mid-'80s United States[1] |
| Typical instruments | Drums, bass guitar, electric guitar, vocals |
| Mainstream popularity | Some mainstream popularity in the UK, mid in Canada and parts of the US |
| Derivative forms | Math rock, melodic hardcore, emo, screamo |
| Fusion genres | |
| Screamo, electronicore, melodic metalcore | |
Post-hardcore is a genre of music that developed from hardcore punk, itself an offshoot of the broader punk rock movement. Like post-punk, post-hardcore is a term for a broad constellation of groups who emerged from the hardcore punk scene, or took inspiration from hardcore, while concerning themselves with a wider degree of expression.
The genre took shape in the mid- to late-1980s with releases from the Midwestern United States. These included bands on SST Records,[1] and bands from Washington, D.C. such as Fugazi[2] (see the era's releases on Dischord Records, for example), as well as slightly different sounding groups such as Big Black and Jawbox that stuck closer to the noise rock roots of post-hardcore.[3]
Contents |
Post-hardcore is typically characterized by its precise rhythms and loud guitar-based instrumentation accompanied by a combination of clean vocals and screams. Allmusic states, "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."[2] The genre has developed a balance of dissonance and melody, in part channeling the loud and fast hardcore ethos into more measured, subtle forms of tension and release. Jeff Terich of Treblezine states, "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."[4]
Post-hardcore is an offspring coming from hardcore punk,[2] which had typically featured very fast tempos, loud volume and heavy bass levels.[5]
By the mid-1980s, groups classified as hardcore, or with strong roots in the genre, began to experiment with the basic template. The initial outcropping of these groups typically recorded for SST Records[6] (the Minutemen, Hüsker Dü, the Meat Puppets, Dinosaur Jr., and Gone), and emerged from the increasingly experimental tendencies of Black Flag and Greg Ginn's evolving musical tastes. Many of these groups also took inspiration from the '80s noise rock scene pioneered by Sonic Youth.[4] Steve Albini's group Big Black, and subsequent projects Rapeman and Shellac are also associated with post-hardcore.[4] Critic Steven Blush described Big Black as "an angst-ridden response to the rigid English post-punk of Gang of Four".[7] Naked Raygun also made use of "oblique lyrics and stark post-punk melodies".[7]
Later releases on Dischord Records also extended the post-hardcore style, most famously in the work of Fugazi,[2][4] but also including bands such as Embrace, Rites of Spring, Nation of Ulysses, Jawbox, Shudder to Think, and Lungfish. Dischord groups also experimented with influences from soul, dub, post-punk, funk, jazz, and dance-punk. Math rock and to some degree, riot grrl were offshoots of this movement.
During the 90's a third iteration of post-hardcore took place with the work of musicians who had first come to prominence in the youth crew scene, most famously Fugazi, Unsane, Quicksand, On the Might of Princes,[2][4] Drive Like Jehu, Unwound, Les Savy Fav, Refused, Hot Water Music, Cap'n Jazz, Texas Is the Reason and Helmet. The genre then experienced a stand by stage when most of the major bands in the scene disbanded.
It seemed that the post-hardcore style and its scene was gone for good. Nevertheless, some bands associated with art punk and alternative rock like Glassjaw, Idlewild and At the Drive-In[4] who were influenced by many post-hardcore bands, took certain elements of the genre renewing it and avoiding what it seemed to be it's imminent disappearance.
As a consequence of this, post-hardcore began to be listened by other groups of persons foreign to the underground scene. In other words, it passed to the mainstream or popular circuit.
- live in concert]]
In the late 1990s, new bands formed who popularized the style. These include Thursday,[8] Thrice,[9] Finch,[10] and Poison the Well.[11] By 2003, post-hardcore had caught the attention of major labels including Island Records, who signed Thrice and Thursday, Atlantic Records, who signed Poison the Well, and Geffen Records, who had absorbed Finch from their former label Drive-Thru Records. Post-hardcore also began to do well in sales with Thrice's The Artist in the Ambulance and Thursday's War All the Time which charted #16[12] and #7,[13] respectively, on the Billboard 200 in 2003.
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. These bands include The Used,[14] Hawthorne Heights,[15] Senses Fail,[16] From First to Last[17] A Day to Remember, and Emery[18] in addition to Canadian post-hardcore bands Silverstein[19] and Alexisonfire.[20] This group of post-hardcore bands gained mainstream recognition with the help of MTV and Warped Tour. The Used released some minor radio hits and later received gold certifications for their first two studio albums The Used and In Love and Death from the RIAA.[21] Hawthorne Heights' debut album The Silence in Black and White was also certified gold.[21]
Due to this wave's prominent use of screamed vocals, in addition to softer vocals, these bands are often described using the misnomer "screamo." According to Jim Farber of NY Daily News, the band Thursday used the term screamo, "as a goof to describe bands like [theirs], which play a louder version of what is known to music fans as 'emo'."[22] Though it's derived from the same roots, screamo is an entirely different genre of music. Contrasting to post-hardcore, screamo is more aggressive and abrasive genre featuring songs that are almost entirely screamed over "deafeningly loud rocking noise" mixed with "suddenly quiet, melodic guitar lines."[23] Jonathan Dee of The New York Times wrote that the term "tends to bring a scornful laugh from the bands themselves."[24] Many bands of this era have defended that their music is not screamo including Silverstein,[25] Thursday,[22][26] The Hot Lies[27] and The Used.[28]
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In the mid to late 2000s, bands formed that mix elements of post-hardcore "with a hybrid style drawing from both screamo and electronica."[29] This style is frequently termed "electronicore" or "synthcore."[30] I See Stars and Jamie's Elsewhere are recently formed bands that are examples of this fusion.[29][31] Attack Attack! is a significantly more popular example, with their debut album, Someday Came Suddenly, setting a precedent for newer bands of the same style.[32] Sky Eats Airplane is a post-hardcore group that likewise "incorporates touches of electronica."[33]
Enter Shikari is a British post-hardcore band that features fusion of electronica and even trance in their music. Enter Shikari regularly receives air play from major radio stations. Their debut album, Take To The Skies, reached #4 in the UK Album Charts, while their follow up, Common Dreads, reached #16.[34] Members of Enter Shikari state that they "have been abusing worthless music genre boundaries since 2003."[35]
These bands and others have introduced the use of synthesizers and keyboard instruments in post-hardcore music. Auto-tuned singing vocals and synthesized screaming vocals are attributes of this style. These "newer hardcore/electronica hybrid bands" often play songs that contain "dancable beats, with some breakdowns splashed in,"[30] and are known for "mixing... metalcore drums with electro beats, dissonant guitar chords with infectious leads, and poppy synths."[36] In this fusion style of music, it is not unusual to hear a "heavy shout ring out in the middle of a collection of technical guitars and pummeling drums."[37]
Additionally, a new wave of bands are performing in a more artistic vein of post-hardcore with a greater sense of experimentation, trying to revive interest in a genre lately despised by critics. They appeal to their creativity by taking the positive aspects left by representative bands like At The Drive In, Dance Gavin Dance, Saosin, Brand New and Circa Survive to name a few,[38][39] adding to their music some progressive rock elements, as are the constant changes in the tempo and the highly technical instrumentation.[40][41] These bands also give privilege to the melodic harmonies over other aspects which are often considered as "cliche" in this style of music, such as the use of breakdowns, screaming, and heavy guitar riffs. Examples of this "progressive post-hardcore" include bands such as PMtoday,[42][43] Exit Ten,[44] First Signs of Frost,[45] and Devil Sold His Soul.[46]
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| Post-hardcore | |
|---|---|
| Stylistic origins |
Hardcore punk Post-punkExperimental rock |
| Cultural origins | Late 80's, USA's East Coast |
| Typical instruments |
Vocals Electric guitar Bass guitar Drums Synth (occasionally) |
| Mainstream popularity | Large in the UK, Canada and parts of the US |
| Derivative forms |
Emo Screamo Math rock |
Post-hardcore is a musical genre that evolved from hardcore punk, itself a part of the broader punk rock movement. One of the main influences on this genre is the band Fugazi.
Post-hardcore uses elements of hardcore, along with emo, metal, alternative rock or whatever, to create a more experimental sound. It can be more melodic than normal hardcore, but sometimes is heavier.
   | The 90-Minute Guide - Post-Hardcore - Treble : The 90-Minute Guide: Post-Hardcore. |
| | "You Are So Not Scene (1): The Fall of Emo as We (Don't) Know It" - Pastepunk.com: Punk, Hardcore, Metal, Indie, Emo and Lotsa Bears |
| | "Hawthorne Heights - Full Biography" - Hawthorne Heights | Music Videos, News, Photos, Tour Dates, Ringtones, and Lyrics | MTV |
| | "Silverstein - Full Biography" - Silverstein | Music Videos, News, Photos, Tour Dates, Ringtones, and Lyrics | MTV |
| | "RIAA Gold and Platinum Searchable Database" - RIAA - Gold & Platinum - July 12, 2009 |
| | "Poison The Well" - Poison The Well | timeoff.com.au |
| | "The Used - Full Biography" - The Used | Music Videos, News, Photos, Tour Dates, Ringtones, and Lyrics | MTV |
| | "What It Is to Burn - Overview" - allmusic ((( What It Is to Burn > Overview ))) |
| | "AP Exclusive: Senses Fail and Saosin to Tour US This Winter" - // AP: NEWS - AP Exclusive: Senses Fail and Saosin to tour U.S. this winter |
| | "FINCH TAKING 'INDEFINITE BREAK' FROM MUSIC " - // AP: NEWS - Finch taking "indefinite break" from music |
| | "Interview with Alexisonfire" - Alexisonfire — Interviews — AngryApe |
| | "A conversation with United Nations' Geoff Rickly." - // AP: FEATURES - Web Exclusive: A conversation with United Nations' Geoff Rickly |
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