|Stylistic origins||Hardcore punk, thrashcore, grindcore, Extreme metal|
|Cultural origins||Early 1980's, Late 1980s, North America|
|Typical instruments||Vocals, bass, guitar, drums|
Power violence (sometimes written as powerviolence) is a raw and dissonant subgenre of hardcore punk, which lasted from early 1987 until late 1998. The style is closely related to thrashcore and grindcore. In contrast with grindcore, which is a "crossover" idiom containing musical aspects of heavy metal, powerviolence is just an augmentation of the most challenging qualities of hardcore punk; like its predecessor, it is usually socio-politically charged and iconoclastic.
The term was first mentioned in the song "Hispanic Small Man Power (H.S.M.P.)" by genre pioneer Man Is the Bastard. Its nascent form was pioneered in the early 1980s by an Atlanta, Ga hardcore punk band Neon Christ, but emerged more late 1980s in the music of California hardcore punk band Infest, who mixed hardcore punk elements of bands like Lärm and Siege, with noisier, sludgier qualities. The microgenre solidified into its most commonly recognized form in the early 1990s, with the sounds of bands such as Man Is the Bastard, Crossed Out, Neanderthal, No Comment, and Capitalist Casualties. Powerviolence groups took inspiration from Siege, SSD, Deep Wound, Hirax, Impact Unit, Dirty Rotten Imbeciles, Negative FX and Corrosion of Conformity.
Spazz vocalist and bassist Chris Dodge's record label Slap-a-Ham Records was a fixture during the rapid rise and decline of powerviolence, releasing influential records by Neanderthal, No Comment, Crossed Out, Infest, and Spazz. The label's Fiesta Grande was an annual powerviolence festival held at 924 Gilman from 1993 to 2000. Spazz drummer Max Ward's label 625 Thrashcore has started its own festival, Super Sabado Gigante, in a similar vein. While powerviolence is closely related to thrashcore (often referred to simply as "thrash"), the style is distinct from the thrash metal groups active in the same place, at the same time.
While originally the term powerviolence included stylistically diverse bands, powerviolence generally refers to bands who musically focus on speed, brevity, bizarre timing breakdowns, and constant tempo changes. Powerviolence songs are often very short; it is not uncommon for some to last less than twenty seconds. Some groups, particularly Man Is the Bastard, Plutocracy, and No Le$$ took influence from progressive rock, and jazz fusion.
Powerviolence groups tend to be very raw and underproduced, both sonically and in their packaging. Some groups (Man Is the Bastard and Dystopia) took influence from anarcho-punk and crust punk, emphasizing animal rights and anti-militarism. Groups such as Despise You and Lack of Interest wrote lyrics about misanthropy, drugs, and inner-city issues. Groups such as Spazz or Charles Bronson, on the other hand, wrote lyrics mocking points of interest for hardcore and metal fans, or even used inside jokes for lyrics, referencing specific people many of their listeners would not know.
Other groups associated with powerviolence included Noothgrush, The Locust, Dystopia, Assück, His Hero Is Gone, Black Army Jacket, Hellnation, Charles Bronson, and Rorschach. The doom metal group Burning Witch also released on Slap-A-Ham and played shows with powerviolence groups.
Powerviolence groups had a strong influence on later grindcore acts, such as Agoraphobic Nosebleed. Mark McCoy of Charles Bronson went on to form Das Oath, a popular thrashcore group. Members of Man Is the Bastard formed Bastard Noise.
A handful of bands from the powerviolence scene of the 1990s have continued to record and perform decades later, including Bastard Noise, Capitalist Casualties, Despise You, Lack of Interest, Infest, and Stapled Shut.