Hardcore punk: Difference between revisions
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During the same period, there was a parallel development in the [[United Kingdom]] of a British form of hardcore punk or [[street punk]].<ref>[http://www.uk82.com/ UK82.com]</ref> British hardcore bands such as [[Discharge (band)|Discharge]] and [[Chaos UK]] took the existing late 1970s punk sound and added the incessant, heavy drumbeats and distorted guitar sound of [[New Wave of British Heavy Metal]] (NWOBHM) bands such as [[Motörhead]] and [[Iron Maiden]]. This contributed to the development of the [[thrash metal]] sound of the 1980s but also the [[crust punk]]/[[d-beat]] sound. |
During the same period, there was a parallel development in the [[United Kingdom]] of a British form of hardcore punk or [[street punk]].<ref>[http://www.uk82.com/ UK82.com]</ref> British hardcore bands such as [[Discharge (band)|Discharge]] and [[Chaos UK]] took the existing late 1970s punk sound and added the incessant, heavy drumbeats and distorted guitar sound of [[New Wave of British Heavy Metal]] (NWOBHM) bands such as [[Motörhead]] and [[Iron Maiden]]. This contributed to the development of the [[thrash metal]] sound of the 1980s but also the [[crust punk]]/[[d-beat]] sound. |
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==History== |
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Hardcore punk is basically Emo (Emotionally Unstable) and Punk thorwn together. |
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===Pioneers=== |
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The roots from punk came from Liverpool,England it all basically started off with few people wearing black and florensic colours together. |
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[[Michael Azerrad]]'s book ''[[Our Band Could Be Your Life]]'' and Steven Blush's book and documentary film ''American Hardcore'' describe three bands — [[Black Flag (band)|Black Flag]], [[Bad Brains]], and [[Minor Threat]] — as the most important and influential in the genre. A major influence on hardcore punk was [[The Damned]]'s album ''[[Damned Damned Damned]]'' because of its fast tempos and strange timing and riffs. Azerrad calls Black Flag the genre’s "godfathers"; credits Bad Brains, formed in [[Washington, D.C.]] in 1977, with introducing "light speed [[tempo]]s" to hardcore; and describes [[Minor Threat]] as the "definitive" hardcore punk band. |
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Punk Started in the early 60's |
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Emo Are people who are emotionally unstable mostly because They are or hav had a bad childhood, because Emo's Tend to be dark people nthey try to hurt them selves by cuttin/slitting their wrists . |
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Black Flag, formed by [[guitarist]] and [[songwriter]] [[Greg Ginn]] in [[Los Angeles]] in 1976, had a major impact on the Los Angeles scene – and later the wider [[North America]]n scene – with their raw, confrontational sound and DIY approach. Tours in 1980 and 1981 brought Black Flag in contact with developing hardcore scenes in many parts of North America, and blazed trails followed by other touring bands.<ref>[http://www.punknews.org/bands/blackflag Black Flag]</ref><ref>[http://www.britannica.com/eb/article-9105869/Black-Flag Britannica.com]</ref><ref>[http://www.vh1.com/artists/az/black_flag/bio.jhtml VH1 - Black Flag]</ref> [[Bad Brains]], formed in [[Washington, DC]] in 1977, incorporated elements of heavy metal and [[reggae]], and their early work often emphasized some of the fastest tempos in [[rock music]].<ref>[http://homepages.nyu.edu/~cch223/usa/badbrains_main.html Bad Brains]</ref> . [[Minor Threat]], formed in Washington D.C. in 1980, played an aggressive, fast style directly influenced by Bad Brains. The band inspired the [[straight edge]] movement with their song, "Straight Edge". |
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Emo;s Mostly wear Black wich joins in with punk . |
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with hardcore punk also come variouse music styles such as Rock, Metal and Reggae. |
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Other bands in scenes across the country were developing and experimenting with the "hardcore" sound before these pioneers. An example is [[The Germs]] crossover appeal between old school punk rock and hardcore punk. |
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===Other early notable bands=== |
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{{Listen |
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|filename= Pay to Cum.ogg |
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|title="Pay to Cum" |
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|description= Sample of "Pay to Cum" by the [[Bad Brains]] from ''[[Pay to Cum]]'' single (1980)|format=[[Ogg]]}} |
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According to [[Brendan Mullen]], founder of the [[Los Angeles]] punk club [[The Masque]], the first U.S. tour of [[The Damned (band)|The Damned]] in 1977 found them favoring very fast tempos, causing a "sensation" among fans and musicians, and helping inspire the first wave of U.S. west coast hardcore punk.<ref>see Mullen's comments in the [[Don Letts]] directed documentary ''Punk: Attitude''.</ref> |
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[[San Francisco]]'s [[Dead Kennedys]] formed in 1978 and released their first single "[[California Über Alles]]" in 1979. By the time they released the ''[[In God We Trust, Inc.]]'' EP in 1981, Dead Kennedys were playing very fast tempos. [[Misfits (band)|The Misfits]] (of New Jersey) were a 1977-style punk band involved in New York’s [[Max's Kansas City]] scene. Their [[horror film]] aesthetic was popular among early hardcore fans. In 1981, the Misfits integrated high-speed thrash songs into their set. [[Hüsker Dü]] was formed in [[Saint Paul, Minnesota]] in 1979 as a [[post-punk]]/[[New Wave (music)|New Wave]] band, but soon became a loud and fast hard punk band. Hüsker Dü released the 1982 live album ''[[Land Speed Record (album)|Land Speed Record]]'', which has been called a "breakneck force like no other... Not for the faint of heart."<ref>[http://allmusic.com/cg/amg.dll?p=amg&sql=10:fbfexqw5ldae allmusic (((Everything Falls Apart and More > Overview)))<!-- Bot generated title -->]</ref> By 1985, the band morphed into one of the seminal [[alternative rock]] bands.<ref>http://www.deadkennedys.com][http://www.deadkennedys.com/history.htm</ref> In 1982, [[Bad Religion]] released ''[[How Could Hell Be Any Worse?]]'', which is considered a benchmark hardcore album, and which secured them as one of the most enduring outfits of the early 1980s hardcore scene. |
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By 1981, many more hardcore punk bands began to perform and release recordings, including [[7 Seconds]] of [[Reno, Nevada]] who formed in 1979; [[M.I.A]] of [[Las Vegas metropolitan area|Las Vegas]], [[Nevada]]; [[Negative Approach]]<ref name="Rettman 2008">{{cite news | first=Tony | last=Rettman | title=Michigan hardcore pioneers Violent Apathy reunite for shows | date=2008 | publisher = Swindle (issue 12) | url= http://swindlemagazine.com/issue12/detroit-hardcore/| accessdate = }}</ref> and [[Degenerates]]<ref>Nelson, Jason.[http://www.stereokiller.com/bands/Degenerates "Degenerates (Online Band Profile / Biography)"]. ''stereokiller.com'' (website).</ref> of [[Detroit]]; [[The Meatmen]] of Lansing, Michigan; The [[Necros]] of [[Maumee, Ohio]]; [[The Effigies]] of [[Chicago]]; [[SSD (band)|SS Decontrol]], [[DYS (band)|DYS]], [[Negative FX]], [[Jerry's Kids]], and [[Gang Green]] of Boston; [[The Mob]] and [[Agnostic Front]] of New York City. The [[Beastie Boys]], more widely known for their later [[hip hop music]], were one of the first recorded hardcore bands in New York City. Negative FX, perhaps the most popular hardcore band in Boston around early 1982, did not appear on record while they were together. They were largely unknown outside their own area until a posthumous album was released in 1984. In Honolulu, the skater surfer fueled community juxtaposed well in the tropical tourist city. Bands like Super Rad Ohana, The Sharx, and Devil Dog thrived from '81 -'87.<ref>David Carr: [http://www.comrademotopu.com/hawaiirelatedtop.htm Hawaii 70s-80s Punk Museum]. Retrieved on February 17, 2009.</ref> Devil Dog frontman Raoul Vehill recreated the dayglo thrash scene in his autobiographical novel, Hawaii Punk, published by Enlightened Pyramid.<ref>Vehill, Raoul: "Hawaii Punk" (Bangor, Wales, [http://www.enlightened-pyramid.com/ Enlightened Pyramid Publications], 2009) Retrieved on 2009-2-17</ref> |
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Notable early hardcore punk records include The [[Angry Samoans]]’ first LP, the [[Big Boys (band)|Big Boys]]/[[The Dicks]] ''[[Live at Raul's Club]]'' split LP, the Boston-area compilation ''[[This Is Boston, Not L.A.]]'', Minor Threat's 7" EPs, [[JFA (band)|JFA]]'s ''Blatant Localism'' EP, the New York–area compilations ''[[New York Thrash]]'' and ''[[The Big Apple Rotten To The Core]]'', [[Agnostic Front]]'s United Blood 7", [[Negative Approach]]'s eponymous EP and the DC-area compilation record ''[[Flex Your Head]]''.<ref name="Rettman 2008"/> |
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===Early media support and criticism=== |
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An influential radio show in the [[Los Angeles]] area was ''Rodney on the ROQ'', which started airing on the commercial station [[KROQ]] in 1976. DJ [[Rodney Bingenheimer]] played many styles of music and helped popularize what was called ''Beach Punk'', a rowdy [[suburb]]an style played by mostly teenage bands in the [[Huntington Beach]] area and in [[Conservatism|conservative]] [[Orange County, California|Orange County]]. Early radio support in [[New Jersey]] came from Pat Duncan, who hosted live punk and hardcore bands weekly on [[WFMU]] since 1979.<ref>{{cite web | author= | year= | title="Playlists and Archives for Pat Duncan" | work=WFMU | url=http://www.wfmu.org/playlists/PD | accessdate = 2006-12-22}}</ref> In [[New York City]], Tim Sommer hosted ''Noise The Show'' on [[WNYU]].<ref>{{cite web | author= | year= | title="Tim Sommer" | work=Beastiemania.com | url=http://www.beastiemania.com/whois/sommer_tim/ | accessdate = 2006-12-22}}</ref> In 1982 and 1983, [[MTV]] put the hardcore punk band Kraut on mild rotation.<ref>{{cite web | author= | year= | title="A short history of Kraut" | work=Liner Notes from Complete Studio Recordings 1982–1986 |
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| url=http://homepages.nyu.edu/~cch223/usa/info/kraut_liner.html | accessdate = 2006-12-22}}</ref> |
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College radio was the main media outlet for hardcore punk in most of [[North America]]. The [[Berkeley, California]] [[Public broadcasting|public radio]] station [[KPFA]] featured the ''[[Maximum RocknRoll]]'' radio show with DJs [[Tim Yohannan]] and Jeff Bale, who played the younger [[Northern California]] bands. Several [[zine]]s, such as ''[[Flipside (fanzine)|Flipside]]'' and ''Maximum RocknRoll'', also helped spread the new punk style. A few college stations faced FCC action due to the broadcasting of indecent lyrics associated with hardcore songs. |
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Concerts in the early hardcore scene increasingly became sites of violent battles between police and concertgoers, especially in Los Angeles. Reputed violence at hardcore concerts was featured in episodes of the popular television shows ''[[CHiPs]]'' and ''[[Quincy, M.E.]]'', in which Los Angeles hardcore punks were depicted as being involved in murder and mayhem.<ref>[http://www.chips-tv.com/wiki/index.php?title=Battle_of_the_Bands Battle of the Bands - CHiPs Wiki<!-- Bot generated title -->]</ref> |
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The hardcore punk scene in [[Los Angeles]] was the subject of a 1981 documentary featuring interviews of musicians and fans by [[Penelope Spheeris]] entitled "[[The Decline of Western Civilization]]".<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fcfoxqlgld6e Allmusic The Decline of Western Civilization]</ref> |
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===Early history in Europe=== |
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{{Unreferenced|section| date=April 2009}} |
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The [[Netherlands]], [[Finland]], [[Sweden]], and [[Germany]] have had notably active hardcore scenes. In the [[United Kingdom]], [[street punk]] (also known as UK hardcore or UK82) bands occupied the cultural space that American-style hardcore did elsewhere. These UK bands at times showed a musical similarity to American hardcore, often including quick tempos and chord changes, and they generally had similar political and social sensibilities. However, they represented a case of parallel evolution, having been musically inspired by [[oi!]] bands and the [[speed metal]] band [[Motörhead]]. UK band [[Discharge (band)|Discharge]] played a huge role in influencing early Swedish hardcore bands, and many hardcore bands from that region still have a strong Discharge and Motörhead influence. British [[anarcho-punk]] bands shared an uncompromising political philosophy and an abrasive aesthetic with American hardcore. |
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American hardcore bands that visited the UK (such as [[Black Flag (band)|Black Flag]] and [[U.S. Chaos]] in 1981–1982) encountered ambivalent attitudes, but European hardcore bands suffered no such prejudice in the United States. |
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In the more underground part of the UK punk scene, a new hardcore sound and scene developed, inspired by continental European, [[Scandinavia]]n, Japanese and American bands. Their sound – only heard at concerts and on demo tapes and compilations in the mid 1980s – evolved into metal bands such as [[Heresy (band)|Heresy]], [[Napalm Death]] and [[Extreme Noise Terror]]. There were many 1980s bands that could be described as sounding like something in between the styles of the dominating UK and US bands. [[The Stupids]] (a UK band influenced by US hardcore) gained brief but widespread college-radio airplay in the US. Examples of European bands that continued to play the original style of hardcore in the 1990s include [[Voorhees (band)|Voorhees]], [[Totalitär]], [[Disfear]] and [[Sin Dios]]. |
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After the fall of the [[Iron Curtain]] in [[eastern Europe]], many hardcore bands were created or became more publicly known (after hiding in garages and being known only by small circles of underground fans). |
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===Mid 1980s=== |
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By 1985, most of the early hardcore bands had broken up or were on their way out. The [[New York hardcore]] scene became an epicenter for the hardcore movement, and was the birthplace of the [[youth crew]] subgenre. Young bands formed by teenagers in New York City between 1986 and 1987 found huge followings in hardcore scenes around the world. |
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===1990s=== |
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By the end of the 1980s, hardcore became more diverse, branching off into two sounds: one traditionally punk-based, referred to as old school hardcore and the other evolving into something heavier, slower, more technical and more intense, influenced by heavy metal, known as new school hardcore, [[metalcore]] or metallic hardcore.<ref>{{cite web|title= EXCLUSIVE INTERVIEW WITH SHAI HULUD GUITARIST MATT FOX |url= http://www.metalsucks.net/?p=5504|accessdate= 2008-10-09|quote="When we used to joke with the term, it was just a clever (or not so clever) way of describing a metallic hardcore, metal-influenced hardcore, or hardcore-influenced metal band."}}</ref><ref>J. Bennett, "Converge's ''Jane Doe''," ''Revolver'', June 2008</ref> [[Sick of It All]]'s second studio album, ''Just Look Around'' (1991) is illustrative of this style. [[Earth Crisis]], [[Biohazard (band)|Biohazard]], [[Hatebreed]], [[Snapcase]], [[108 (band)|108]], [[Strife]], [[Integrity (band)|Integrity]], [[Damnation A.D.]] and World's Collide were some of the earliest bands to feature an amalgamation of deep, hoarse vocals (though rarely as deep or guttural as [[death metal]]); downtuned guitars and thrashy drum rhythms inspired by earlier hardcore bands; and slow, [[staccato]] low-end musical breaks, known as ''breakdowns''. [[Thrash metal]] and [[melodic death metal]] elements are common in [[melodic metalcore]].<ref name=amg>Allmusic Review, Atreyu, ''Suicide Notes and Butterfly Kisses'' [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0jfpxql0ldae] Access date: June 24, 2008</ref><ref name=mi>''Metal Injection'', August 28, 2007 [http://metalinjection.net/reviews/cd-reviews-arch-enemy-black-earth-reissue] Access date: June 24, 2008</ref> |
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By the middle of the 90's, a new found interest in old school and [[youth crew]] hardcore had developed and the scene experienced a major revival of these styles with many bands adopting the sound of late 80's [[New York hardcore]] bands such as [[Gorilla Biscuits]] and [[Youth of Today]]. For this reason, many of these bands were credited as playing "'88 style hardcore" or being part of the "'88 hardcore revival" <ref>Ink 19. Music Reviews: Speak 714, "The Scum Also Rises".[http://www.ink19.com/issues_F/99_07/wet_ink/music_s/221_speak_714.shtml]Retrieved 2009-08-30</ref>. Bands that were an integral and prominent part of this movement were [[Battery (band)|Battery]] <ref>Revelation Records. Bands: Battery.[http://www.revelationrecords.com/bands/show/99] Retrieved 2009-08-30</ref>, [[Better Than A Thousand]] <ref name="epitaph.com">Epitaph Records. Artist Info: Better Than A Thousand.[http://www.epitaph.com/artists/artist/13/Better_Than_A_Thousand]Retrieved 2009-08-30</ref>, [[Ten Yard Fight]]<ref>Insound. MP3: Ten Yard Fight, "Hardcore Pride".[http://www.insound.com/Ten_Yard_Fight_Hardcore_Pride_MP3/productmain/p/INS61343/]Retrieved 2009-08-30</ref>, |
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[[In My Eyes]]<ref>Last FM. Artist: In My Eyes.[http://www.last.fm/music/In+My+Eyes] Retrieved 2009-08-30</ref>, |
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Speak 714 <ref>Ink 19. Music Reviews: Speak 714, "The Scum Also Rises".[http://www.ink19.com/issues_F/99_07/wet_ink/music_s/221_speak_714.shtml] Retrieved 2009-08-30</ref>, |
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Floorpunch<ref>Sputnik Music. Punk: Floorpunch, "Fast Times At The Jersey Shore".[http://www.sputnikmusic.com/album.php?reviewid=14987] Retrieved 2009-08-30</ref> and Good Clean Fun<ref>SAVEYOURSCENE.COM. Interviews: Good Clean Fun.[http://www.saveyourscene.com/web/view.php?table=interviews&show=39] Retrieved 2009-08-30</ref>. |
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An important aspect of the this old school revival was its stripped down and back to basics sound which stood in stark comparison to the more technical and complex style of new school hardcore and [[metalcore]] that had developed earlier in the decade. [[Ray Cappo]], the singer of [[Better Than A Thousand]], who had sung originally with [[Youth of Today]] in the late 80's but then founded the new school style krishna core band [[Shelter (band)|Shelter]] in the early 90's, explained in an interview his return to the rudimentaries of hardcore in the late 90's. |
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"I was sick of going into the studio for 3 months to record a CD. With Better Than A Thousand we wanted to capture something spontaneous and raw on tape. Get rid of all the flashiness and gloss of expensive studios and just get in there and pour out your heart. We erected a studio in [[Battery (band)|Ken Olden's]] bedroom and whipped off a completely crunchy and emotional CD that completely captured the essence of what this band was about." |
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<ref name="epitaph.com"/> |
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Towards the end of the 90's and into the beginning of the next century many hardcore bands, such as Botch <ref>[http://fr-fr.facebook.com/pages/Botch/19575213545?v=info&viewas=0&ref=mf Facebook. Fan Page: Botch]</ref> and [[Dillinger Escape Plan]]<ref name="blistering">{{cite web|url=http://www.blistering.com/fastpage/fpengine.php/link/1/templateid/6841/tempidx/5/menuid/3|title=The Dillinger Escape Plan Feature Interview|last=Donnelly|first=Justin |publisher=''[[Blistering]]''|pages=2|accessdate=8 September 2009}}</ref> began incorporating elements of [[power violence]] and [[grindcore]] into their style such as blast beats, extremely fast and chaotic guitar riffs and unintelligible vocals that were either shrill and screamed or deep and guttural. This style is generally referred to as a form of [[metalcore]] entitled [[mathcore]]. |
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==Influence on other genres== |
==Influence on other genres== |
Revision as of 17:41, 22 February 2010
Hardcore punk | |
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Stylistic origins | Punk rock |
Cultural origins | Late 1970s, United States, United Kingdom |
Typical instruments | vocals - guitar - bass - drums |
Derivative forms | Alternative rock, post-hardcore |
Subgenres | |
Christian hardcore - D-beat - Emo - Melodic hardcore - Nardcore - Powerviolence - Skate punk - Thrashcore - Youth crew (complete list) | |
Fusion genres | |
Crossover thrash - Deathcore - Grindcore - Crust punk - Digital Hardcore - Funkcore - Punk jazz - Horror punk - Metalcore - Rapcore - Grunge - Skacore - Sludge metal - Thrash metal | |
Regional scenes | |
Australia - Brazil - Japan - Canada Europe: Italy - Scandinavia: Umeå USA: DC - California - Chicago - Detroit - Minneapolis - New Jersey - New York - Indiana - Boston - Philadelphia - Phoenix | |
Other topics | |
Hardcore dancing - Straight edge - Street punk - DIY punk ethic - List of hardcore bands - List of hardcore genres |
Hardcore punk, often referred to as simply hardcore, is a subgenre of punk rock that originated primarily in North America (though, early examples could be found throughout the world) in the late 1970s. The new sound was generally faster, thicker, and heavier than earlier punk rock. Early hardcore has a quick tempo with drums and vocals in time, whereas modern hardcore punk has drums and vocals which may not be on beat with the tempo.[1]
Hardcore spawned several fusion genres and subgenres, some of which experienced mainstream success, such as melodic hardcore, metalcore, and post-hardcore.
In the United States, the music genre that became known as hardcore punk originated in different areas in the early 1980s, with notable centers of activity in California, Washington, D.C., New York City, Michigan, and Boston.
The origin of the term hardcore punk is uncertain. The Vancouver-based band D.O.A. may have helped to popularize the term with the title of their 1981 album, Hardcore '81.[2][3][4] Until about 1983, the term hardcore was used sparingly, and mainly as a descriptive term. (i.e., a band would be called a "hardcore band" and a concert would be a "hardcore show").[5] American teenagers who were fans of hardcore punk simply considered themselves fans of punk – although they were not necessarily interested in the original punk rock sound of the mid-late 1970s (e.g., Ramones, Sex Pistols, The Clash, or The Damned). In many circles, hardcore was an in-group term, meaning music by people like us. Since most bands had little access to any means of production, hardcore lauded a do-it-yourself (DIY) approach. In most cities the hardcore scene relied on inexpensively-made DIY recordings created on four-track recorders and sold at concerts or by mail. Concerts were promoted by photocopied zines, community radio shows, and affixing posters to walls and telephone poles. Hardcore punk fans adopted a dressed-down style of T-shirts, jeans, and crewcut-style haircuts. While 1977-era punk had used DIY clothing as well, such as torn pants held together with safety pins, the dressed-down style of the 1980s hardcore scene contrasted with the more elaborate and provocative fashion styles of late 1970s punk rockers, which included make-up, elaborate hairdos and avant-garde clothing experiments.
During the same period, there was a parallel development in the United Kingdom of a British form of hardcore punk or street punk.[6] British hardcore bands such as Discharge and Chaos UK took the existing late 1970s punk sound and added the incessant, heavy drumbeats and distorted guitar sound of New Wave of British Heavy Metal (NWOBHM) bands such as Motörhead and Iron Maiden. This contributed to the development of the thrash metal sound of the 1980s but also the crust punk/d-beat sound.
History
Pioneers
Michael Azerrad's book Our Band Could Be Your Life and Steven Blush's book and documentary film American Hardcore describe three bands — Black Flag, Bad Brains, and Minor Threat — as the most important and influential in the genre. A major influence on hardcore punk was The Damned's album Damned Damned Damned because of its fast tempos and strange timing and riffs. Azerrad calls Black Flag the genre’s "godfathers"; credits Bad Brains, formed in Washington, D.C. in 1977, with introducing "light speed tempos" to hardcore; and describes Minor Threat as the "definitive" hardcore punk band.
Black Flag, formed by guitarist and songwriter Greg Ginn in Los Angeles in 1976, had a major impact on the Los Angeles scene – and later the wider North American scene – with their raw, confrontational sound and DIY approach. Tours in 1980 and 1981 brought Black Flag in contact with developing hardcore scenes in many parts of North America, and blazed trails followed by other touring bands.[7][8][9] Bad Brains, formed in Washington, DC in 1977, incorporated elements of heavy metal and reggae, and their early work often emphasized some of the fastest tempos in rock music.[10] . Minor Threat, formed in Washington D.C. in 1980, played an aggressive, fast style directly influenced by Bad Brains. The band inspired the straight edge movement with their song, "Straight Edge".
Other bands in scenes across the country were developing and experimenting with the "hardcore" sound before these pioneers. An example is The Germs crossover appeal between old school punk rock and hardcore punk.
Other early notable bands
According to Brendan Mullen, founder of the Los Angeles punk club The Masque, the first U.S. tour of The Damned in 1977 found them favoring very fast tempos, causing a "sensation" among fans and musicians, and helping inspire the first wave of U.S. west coast hardcore punk.[11]
San Francisco's Dead Kennedys formed in 1978 and released their first single "California Über Alles" in 1979. By the time they released the In God We Trust, Inc. EP in 1981, Dead Kennedys were playing very fast tempos. The Misfits (of New Jersey) were a 1977-style punk band involved in New York’s Max's Kansas City scene. Their horror film aesthetic was popular among early hardcore fans. In 1981, the Misfits integrated high-speed thrash songs into their set. Hüsker Dü was formed in Saint Paul, Minnesota in 1979 as a post-punk/New Wave band, but soon became a loud and fast hard punk band. Hüsker Dü released the 1982 live album Land Speed Record, which has been called a "breakneck force like no other... Not for the faint of heart."[12] By 1985, the band morphed into one of the seminal alternative rock bands.[13] In 1982, Bad Religion released How Could Hell Be Any Worse?, which is considered a benchmark hardcore album, and which secured them as one of the most enduring outfits of the early 1980s hardcore scene.
By 1981, many more hardcore punk bands began to perform and release recordings, including 7 Seconds of Reno, Nevada who formed in 1979; M.I.A of Las Vegas, Nevada; Negative Approach[14] and Degenerates[15] of Detroit; The Meatmen of Lansing, Michigan; The Necros of Maumee, Ohio; The Effigies of Chicago; SS Decontrol, DYS, Negative FX, Jerry's Kids, and Gang Green of Boston; The Mob and Agnostic Front of New York City. The Beastie Boys, more widely known for their later hip hop music, were one of the first recorded hardcore bands in New York City. Negative FX, perhaps the most popular hardcore band in Boston around early 1982, did not appear on record while they were together. They were largely unknown outside their own area until a posthumous album was released in 1984. In Honolulu, the skater surfer fueled community juxtaposed well in the tropical tourist city. Bands like Super Rad Ohana, The Sharx, and Devil Dog thrived from '81 -'87.[16] Devil Dog frontman Raoul Vehill recreated the dayglo thrash scene in his autobiographical novel, Hawaii Punk, published by Enlightened Pyramid.[17]
Notable early hardcore punk records include The Angry Samoans’ first LP, the Big Boys/The Dicks Live at Raul's Club split LP, the Boston-area compilation This Is Boston, Not L.A., Minor Threat's 7" EPs, JFA's Blatant Localism EP, the New York–area compilations New York Thrash and The Big Apple Rotten To The Core, Agnostic Front's United Blood 7", Negative Approach's eponymous EP and the DC-area compilation record Flex Your Head.[14]
Early media support and criticism
An influential radio show in the Los Angeles area was Rodney on the ROQ, which started airing on the commercial station KROQ in 1976. DJ Rodney Bingenheimer played many styles of music and helped popularize what was called Beach Punk, a rowdy suburban style played by mostly teenage bands in the Huntington Beach area and in conservative Orange County. Early radio support in New Jersey came from Pat Duncan, who hosted live punk and hardcore bands weekly on WFMU since 1979.[18] In New York City, Tim Sommer hosted Noise The Show on WNYU.[19] In 1982 and 1983, MTV put the hardcore punk band Kraut on mild rotation.[20] College radio was the main media outlet for hardcore punk in most of North America. The Berkeley, California public radio station KPFA featured the Maximum RocknRoll radio show with DJs Tim Yohannan and Jeff Bale, who played the younger Northern California bands. Several zines, such as Flipside and Maximum RocknRoll, also helped spread the new punk style. A few college stations faced FCC action due to the broadcasting of indecent lyrics associated with hardcore songs.
Concerts in the early hardcore scene increasingly became sites of violent battles between police and concertgoers, especially in Los Angeles. Reputed violence at hardcore concerts was featured in episodes of the popular television shows CHiPs and Quincy, M.E., in which Los Angeles hardcore punks were depicted as being involved in murder and mayhem.[21]
The hardcore punk scene in Los Angeles was the subject of a 1981 documentary featuring interviews of musicians and fans by Penelope Spheeris entitled "The Decline of Western Civilization".[22]
Early history in Europe
The Netherlands, Finland, Sweden, and Germany have had notably active hardcore scenes. In the United Kingdom, street punk (also known as UK hardcore or UK82) bands occupied the cultural space that American-style hardcore did elsewhere. These UK bands at times showed a musical similarity to American hardcore, often including quick tempos and chord changes, and they generally had similar political and social sensibilities. However, they represented a case of parallel evolution, having been musically inspired by oi! bands and the speed metal band Motörhead. UK band Discharge played a huge role in influencing early Swedish hardcore bands, and many hardcore bands from that region still have a strong Discharge and Motörhead influence. British anarcho-punk bands shared an uncompromising political philosophy and an abrasive aesthetic with American hardcore.
American hardcore bands that visited the UK (such as Black Flag and U.S. Chaos in 1981–1982) encountered ambivalent attitudes, but European hardcore bands suffered no such prejudice in the United States.
In the more underground part of the UK punk scene, a new hardcore sound and scene developed, inspired by continental European, Scandinavian, Japanese and American bands. Their sound – only heard at concerts and on demo tapes and compilations in the mid 1980s – evolved into metal bands such as Heresy, Napalm Death and Extreme Noise Terror. There were many 1980s bands that could be described as sounding like something in between the styles of the dominating UK and US bands. The Stupids (a UK band influenced by US hardcore) gained brief but widespread college-radio airplay in the US. Examples of European bands that continued to play the original style of hardcore in the 1990s include Voorhees, Totalitär, Disfear and Sin Dios.
After the fall of the Iron Curtain in eastern Europe, many hardcore bands were created or became more publicly known (after hiding in garages and being known only by small circles of underground fans).
Mid 1980s
By 1985, most of the early hardcore bands had broken up or were on their way out. The New York hardcore scene became an epicenter for the hardcore movement, and was the birthplace of the youth crew subgenre. Young bands formed by teenagers in New York City between 1986 and 1987 found huge followings in hardcore scenes around the world.
1990s
By the end of the 1980s, hardcore became more diverse, branching off into two sounds: one traditionally punk-based, referred to as old school hardcore and the other evolving into something heavier, slower, more technical and more intense, influenced by heavy metal, known as new school hardcore, metalcore or metallic hardcore.[23][24] Sick of It All's second studio album, Just Look Around (1991) is illustrative of this style. Earth Crisis, Biohazard, Hatebreed, Snapcase, 108, Strife, Integrity, Damnation A.D. and World's Collide were some of the earliest bands to feature an amalgamation of deep, hoarse vocals (though rarely as deep or guttural as death metal); downtuned guitars and thrashy drum rhythms inspired by earlier hardcore bands; and slow, staccato low-end musical breaks, known as breakdowns. Thrash metal and melodic death metal elements are common in melodic metalcore.[25][26]
By the middle of the 90's, a new found interest in old school and youth crew hardcore had developed and the scene experienced a major revival of these styles with many bands adopting the sound of late 80's New York hardcore bands such as Gorilla Biscuits and Youth of Today. For this reason, many of these bands were credited as playing "'88 style hardcore" or being part of the "'88 hardcore revival" [27]. Bands that were an integral and prominent part of this movement were Battery [28], Better Than A Thousand [29], Ten Yard Fight[30], In My Eyes[31], Speak 714 [32], Floorpunch[33] and Good Clean Fun[34].
An important aspect of the this old school revival was its stripped down and back to basics sound which stood in stark comparison to the more technical and complex style of new school hardcore and metalcore that had developed earlier in the decade. Ray Cappo, the singer of Better Than A Thousand, who had sung originally with Youth of Today in the late 80's but then founded the new school style krishna core band Shelter in the early 90's, explained in an interview his return to the rudimentaries of hardcore in the late 90's. "I was sick of going into the studio for 3 months to record a CD. With Better Than A Thousand we wanted to capture something spontaneous and raw on tape. Get rid of all the flashiness and gloss of expensive studios and just get in there and pour out your heart. We erected a studio in Ken Olden's bedroom and whipped off a completely crunchy and emotional CD that completely captured the essence of what this band was about." [29]
Towards the end of the 90's and into the beginning of the next century many hardcore bands, such as Botch [35] and Dillinger Escape Plan[36] began incorporating elements of power violence and grindcore into their style such as blast beats, extremely fast and chaotic guitar riffs and unintelligible vocals that were either shrill and screamed or deep and guttural. This style is generally referred to as a form of metalcore entitled mathcore.
Influence on other genres
Some hardcore bands began experimenting with other styles as their careers progressed in the 1980s, becoming known as alternative rock.[37] Bands such as Minutemen, Meat Puppets, Hüsker Dü, and The Replacements drew from hardcore but broke away from its loud and fast formula. Critic Joe S. Harrington suggested that the latter two "paraded as Hardcore until it was deemed permissible to do otherwise".[38]
In the mid-1980s, Washington State bands such as Melvins and Green River developed a sludgy, "aggressive sound that melded the slower tempos of heavy metal with the intensity of hardcore", creating what became known as grunge music.[39] Melvins, aside from their influence on grunge, helped create what would be known as sludge metal, which is also a combination between Black Sabbath-style music and hardcore punk.[40] This genre developed during the early 1990s, in the Southern United States (particularly in the New Orleans metal scene).[41][42][43] Some of the pioneering bands of sludge metal were: Eyehategod,[40] Crowbar,[44] Down,[45] Buzzov*en,[42] Acid Bath[46] and Corrosion of Conformity.[43] Later, bands such as Isis and Neurosis,[47] with similar influences, created a style that relies mostly on ambience and atmosphere[48] that would eventually be named atmospheric sludge metal or post-metal.[49]
The San Francisco-based thrash metal bands Metallica and Slayer incorporated the compositional structure and technical proficiency of heavy metal with the speed and aggression of hardcore. The new heavy metal genre became known as thrash metal. Slayer are also known for their love of hardcore punk, and have released an album of hardcore cover versions called Undisputed Attitude. In 1985, New York's Stormtroopers of Death, an Anthrax side project, released the album Speak English or Die that bore similarities to thrash metal – with a bass-heavy guitar, fast tempos and quick chord changes. However, the album was distinguished from thrash metal by its lack of guitar solos and heavy use of crunchy chord breakdowns (a New York hardcore technique) known as mosh parts. Bands such as Suicidal Tendencies and Dirty Rotten Imbeciles (DRI), switched from hardcore to a similar metallic style, which came to be known as crossover thrash.
The later 1980s and early 1990s saw the development of post-hardcore, which took the hardcore style in a more artistic and complex direction, much as the bands of the post-punk era did for classic punk rock. Washington DC, in particular the community surrounding Dischord Records, became a hotbed for post-hardcore, producing bands such as Hoover, Nation of Ulysses, Jawbox and Fugazi, who helped define the scene and included Dischord founder and former Minor Threat frontman Ian MacKaye. Post-hardcore included and influenced other styles, such as emo and math rock. Early emo bands were influenced by hardcore bands like Rites of Spring, Embrace, Minor Threat, and Black Flag. Emo bands are heavily influenced by hardcore punk's powerful lyrics, song structure and emotion. Sunny Day Real Estate are sometimes called the "first true emo band."[50]
Politics and social issues
![](http://upload.wikimedia.org/wikipedia/commons/thumb/a/ac/Punks_burning_a_flag.jpg/220px-Punks_burning_a_flag.jpg)
Many bands took strong political stances against Republican US President Ronald Reagan, who served in office from 1981 to 1989. Reagan's policies, including Reaganomics and social conservatism, were common subjects for these bands.[51][52] Dead Kennedys, Reagan Youth, and MDC promoted anarchist views. However, a minority of hardcore bands were relatively conservative, such as The FU's, The Undead, and Antiseen.
Ebullition Records, founded in 1990 by Kent McClard in Santa Barbara, California, often released albums by bands that criticized the American political and economic system, paying less attention to personal issues. Anarchist ethics seeped their way into the work of many hardcore punk bands, most notably Aus-Rotten, who were also popular in the crust punk genre. On the east coast of the United States, bands such as Rorschach and Born Against also played a similar left-wing form of metallic hardcore.
The straight edge philosophy of no smoking, drinking or doing drugs was rooted in a faction of hardcore particularly popular on the east coast of the United States. Hare Krishna bands like 108 and Shelter typified this movement, taking it even a step further. Hardcore also put a great emphasis on the DIY punk ethic, which inspired other types of bands to make their own records, flyers and other items, and to book their own tours through an informal network of like-minded people.
Hardcore dancing
The early 1980s hardcore punk scene developed slam dancing and stage diving. A performance by Fear on the 1981 Halloween episode of Saturday Night Live was cut short when slam dancers, including John Belushi and members of other hardcore bands, invaded the stage, damaged studio equipment and engaged in some profanity.[53][54] These slam dancers included John Joseph of The Cro-Mags.[55]
In the second half of the 1980s, the thrash metal scene adopted this form of dancing, with bands such as Anthrax popularizing the term mosh with the metal scene.[56][57]
Notes
- ^ Blush, Stephen (November 9, 2001). American Hardcore: A Tribal History. Feral House. ISBN 0922915717.
- ^ ""Hardcore Punk music history"". Silver Dragon Records. 2003. Retrieved 2006-12-22.
- ^ ""D.O.A. To Rock Toronto International Film Festival"". PunkOiUK. Retrieved 2006-12-22.
- ^ ""D.O.A."". punknews.org. Retrieved 2006-12-22.
- ^ However, in New York City, as early as the middle of 1982 (if not earlier) the punk scene was overwhelmingly represented by "hardcore" bands. Many of these bands, like their fans, comprised a new generation of teens and young adults -- i.e., people too young to have participated in the late-70s scene. There was a clearly articulated consciousness of "hardcore" as the contemporary (early 80s) phase in the ongoing evolution of punk. Also by 1982 (if not earlier) the slogan "New York Hardcore" was adopted by these young fans, who congregated at clubs such as CBGB and the newer, more exclusively hardcore venue called A-7.
- ^ UK82.com
- ^ Black Flag
- ^ Britannica.com
- ^ VH1 - Black Flag
- ^ Bad Brains
- ^ see Mullen's comments in the Don Letts directed documentary Punk: Attitude.
- ^ allmusic (((Everything Falls Apart and More > Overview)))
- ^ http://www.deadkennedys.com][http://www.deadkennedys.com/history.htm
- ^ a b Rettman, Tony (2008). "Michigan hardcore pioneers Violent Apathy reunite for shows". Swindle (issue 12).
- ^ Nelson, Jason."Degenerates (Online Band Profile / Biography)". stereokiller.com (website).
- ^ David Carr: Hawaii 70s-80s Punk Museum. Retrieved on February 17, 2009.
- ^ Vehill, Raoul: "Hawaii Punk" (Bangor, Wales, Enlightened Pyramid Publications, 2009) Retrieved on 2009-2-17
- ^ ""Playlists and Archives for Pat Duncan"". WFMU. Retrieved 2006-12-22.
- ^ ""Tim Sommer"". Beastiemania.com. Retrieved 2006-12-22.
- ^ ""A short history of Kraut"". Liner Notes from Complete Studio Recordings 1982–1986. Retrieved 2006-12-22.
- ^ Battle of the Bands - CHiPs Wiki
- ^ Allmusic The Decline of Western Civilization
- ^ "EXCLUSIVE INTERVIEW WITH SHAI HULUD GUITARIST MATT FOX". Retrieved 2008-10-09.
When we used to joke with the term, it was just a clever (or not so clever) way of describing a metallic hardcore, metal-influenced hardcore, or hardcore-influenced metal band.
- ^ J. Bennett, "Converge's Jane Doe," Revolver, June 2008
- ^ Allmusic Review, Atreyu, Suicide Notes and Butterfly Kisses [1] Access date: June 24, 2008
- ^ Metal Injection, August 28, 2007 [2] Access date: June 24, 2008
- ^ Ink 19. Music Reviews: Speak 714, "The Scum Also Rises".[3]Retrieved 2009-08-30
- ^ Revelation Records. Bands: Battery.[4] Retrieved 2009-08-30
- ^ a b Epitaph Records. Artist Info: Better Than A Thousand.[5]Retrieved 2009-08-30
- ^ Insound. MP3: Ten Yard Fight, "Hardcore Pride".[6]Retrieved 2009-08-30
- ^ Last FM. Artist: In My Eyes.[7] Retrieved 2009-08-30
- ^ Ink 19. Music Reviews: Speak 714, "The Scum Also Rises".[8] Retrieved 2009-08-30
- ^ Sputnik Music. Punk: Floorpunch, "Fast Times At The Jersey Shore".[9] Retrieved 2009-08-30
- ^ SAVEYOURSCENE.COM. Interviews: Good Clean Fun.[10] Retrieved 2009-08-30
- ^ Facebook. Fan Page: Botch
- ^ Donnelly, Justin. "The Dillinger Escape Plan Feature Interview". Blistering. p. 2. Retrieved 8 September 2009.
{{cite web}}
: Italic or bold markup not allowed in:|publisher=
(help) - ^ Reynolds, Simon (2005). Rip It Up and Start Again: Post Punk 1978–1984 (London and New York: Faber and Faber). ISBN 0-571-21569-6, pp. 460–467
- ^ Harrington, Joe S. (2002). Sonic Cool: The Life & Death of Rock 'n' Roll (Milwaukee, Wisc.: Hal Leonard). ISBN 0-634-02861-8, p. 388
- ^ Azerrad, Michael (2001). Our Band Could Be Your Life (New York: Little, Brown). ISBN 0-316-78753-1, p. 419
- ^ a b Huey, Steve. "Eyehategod". Allmusic. Retrieved 2008-07-22.
- ^ "Doom metal". Allmusic. Retrieved 2008-07-22.
- ^ a b York, William. "Buzzov*en". Allmusic. Retrieved 2008-06-21.
- ^ a b Huey, Steve. "Corrosion of Conformity". Allmusic. Retrieved 2008-06-21.
- ^ Huey, Steve. "Crowbar". Allmusic. Retrieved 2008-06-22.
- ^ Prato, Greg. "Down". Allmusic. Retrieved 2008-06-21.
- ^ York, William. "Acid Bath". Allmusic. Retrieved 2008-06-21.
- ^ Burgess, Aaron (2006-05-23). "The loveliest album to crush our skull in months". Alternative Press. Retrieved 2008-06-22.
{{cite web}}
: Italic or bold markup not allowed in:|publisher=
(help) - ^ Downey, Ryan J. "Isis". Allmusic. Retrieved 2008-06-21.
- ^ Karan, Tim (2007-02-02). "Post-metal titans sniff, jump into the ether". Alternative Press. Retrieved 2008-06-21.
- ^ Greenwald, Andy. "Nothing Feels Good: Punk Rock, Teenagers, and Emo." pages 9–33 and 37-39.
- ^ Reagan
- ^ www.house.gov/jec/growth/taxpol/taxpol.htm
- ^ Allmusic Fear bio
- ^ Fear on SNL and Ian MacKaye culturebully.com March 1, 2006
- ^ http://markprindle.com/stix-i.htm
- ^ (2001) "Moshpit", ISBN 0711987440, 9780711987449, p.38: Alternatively the term may have been coined by Anthrax or SOD (Storm troopers Of Death), an Anthrax affiliated project whose 'Milano Mosh' was an influential track"
- ^ "Mosh" and "moshing" were in local use on the New York Hardcore scene as early as 1982, and so the coinage and usage of these terms has its origins in the early eighties hardcore scene.
References
- Going Underground: American Punk 1979–1992 (George Hurchalla, Zuo Press, 2005)
- Smash the State: A Discography of Canadian Punk, 1977-92 (Frank Manley, No Exit, 1993), ISBN 0-9696631-0-2