A founding member of Big Black during a concert with the band Shellac. Origins
Ryan Cooper of About.com believes that the genre "came from hardcore bands themselves", as Black Flag "began to become bored with the formulaic constraints of hardcore music and began to express their interest in their music." , adding some experimental sounds." Some of the bands that began their activities in the early 1980s, Saccharine Trust, Naked Raygun, and The Effigies, are considered pioneers of post-hardcore. Formed in 1981, Chicago's Naked Raygun began to fuse hardcore with post-punk. These post-punk bands that influenced them include Wire, Gang of Four, and the book American Hardcore: A Tribal History. Steven Blush, author of A Tribal History, noted that the band Naked Raygun used "euphemistic lyrics and distinctive post-punk melodies." The Effigies, another band from the Chicago scene, released music influenced by the hardcore punk band Minor Threat and the British post-punk bands The Stranglers, Killing Joke, and The Ruts.
Between 1980 and 1985, many musicians began to desire to experimentally expand the original hardcore music genre. Most of them were born in hardcore music or were related to this music. Great relationship. These bands were influenced by Sonic Youth, the ancestors of noise rock in the 1980s. Some of the bands signed to independent label Homestead Records are related to post-hardcore, including Squirrel Bait. , the band Big Black and Shellac founded by Steve Albini. Big Black's guitarist Santiago Durango is from the band Naked Raygun, which gives them a reputation for a strict "DIY spirit". The most practical approach is that they record music with their own money, arrange their own performances, manage themselves and promote themselves. At that time, there were already many independent bands expanding their labels to make money, but they stubbornly remained independent. Big Black's music is influenced by industrial rock, using drum machines to create interrupted effects, and Steven Blush also calls the works of these bands with Steve Albini "a kind of British post-pang full of "stiffness" Gang of Four's worried response. After releasing the single "Il Duce", Big Black moved to Touch and Go Records, which not only reissued all of Big Black's previous works, but also released all of the works of Scratch Acid, a post-hardcore band from Austin, Texas. According to According to Allmusic senior editor Stephen Thomas Erlewine: "They laid the foundation for many of the distorted, crunchy '90s punks."
Outside the United States, the genre took shape in Canada. The band Nomeansno, they formed in 1979, have some relationship with Jello Biafra, and their record company is Alternative Tentacles. One critic noted that the band's 1989 album Wrong was "sometimes the most radically powerful post-hardcore work ever produced".
The Washington, D.C. scene
Between 1984 and 1985, a new movement began to emerge in the Washington, D.C., hardcore music scene (known as harDCore) and "swept away" the then-current hardcore music scene. atmosphere. This music movement was spearheaded by bands from the local independent label Dischord Records, with some of its ancestor bands in the 1980s such as Minor Threat, State of Alert, Void and Government Issue. According to Dischord's website: "These violent, anarchist bands that were considered punk rock by the mass media began to become mainstream in Washington, D.C., and some established bands suddenly found that their hometowns were occupied by this trend. began to feel rejected and discouraged,” leading to “a period of redefinition.” During these years, a new wave of bands began to form, including Rites of Spring, Lunchmeat (known as Soulside), Gray Matter, Mission Impossible, Dag Nasty and Embrace. Embrace's members included the lead singer of the band Minor Threat and Dischord Records. Ian MacKaye, one of the founders of.
This movement was called "Revolution Summer".
Rites of Spring went "beyond the honor of 'leading this revolution'" by challenging "the pretentious and overly prevalent masculinity of the punk scene at the time" and "more importantly" Read "The Rules of Music and Style". Journalist Steve Huey writes that when these bands "deviate from traditional hardcore concerns about the outside world of the day—namely, social and political dissent—their musical thrusts become less violent, in fact faster than normal and indistinguishable. "For the three-stringed instrument, it's more challenging and discerning." According to Huey, this new sound marked a "new direction" for "revolution-based hardcore music" by Hüsker Dü's work "Zen Arcade." Other bands are said to be inspired by funk music and American pop music of the 1960s.
According to Eric Grubbs, the name of this new sound began to develop. Some people think that it should be called "Post-harDCore", but in this scene, another more popular name is "emotion-core-core" ” (emotional core, emo rock). The latter was featured in skateboard magazine Trasher and was discussed around Washington, DC. Some bands are regarded as contributors to the birth of emocore, such as Rites of Spring, who are sometimes credited as the first or one of the first early emocore performers, but the band's founder Guy Picciotto and MacKaye himself, both said Object to this terminology. Around Maryland, similar bands classified as post-hardcore began to emerge, including Moss Icon and The Hated. The former's music contained what Steve Huey described as "constantly changing dynamics, sweetly strummed fast guitar chords, and roars and cries" which, despite the band's unstable existence, influenced subsequent generations of musicians. These bands were all later considered to be early emocore performers.
The second wave of bands formed in Washington, D.C. in the 1980s included Shudder to Think, Jawbox, The Nation of Ulysses, and Fugazi and Baltimore's Lungfish. MacKaye said Dischord was busier than ever at the time. Most of the band, as well as the early ones, contributed to the 1989 compilation album State of the Union, which also documented the new sounds of the Washington, D.C., punk scene in the late 1980s. The band Fugazi has also gained "a very loyal and countless international following." Music critic Andy Kellman summed up the band's influence: "For most people, Fugazi means too much, just like Barb. Bob Dylan was the same as their predecessors."
The music of these continuously evolving bands paved the way for the subsequent releases of Dischord records, foreshadowing the more experimental nature of these hardcore music. The band members include: MacKaye, Picciotto, former drummer Brendan Canty of Rites of Spring and former bassist Joe Lally. In 1989, they released the compilation album "13 Songs", which included Fugazi's early EP of the same name and "Margin Walker". This work, It is now regarded as an important milestone in the history of development. Coincidentally, the album "Repeater" released by the band in 1990 is also regarded as a classic. Their activism, low-cost performances and CDs, and refusal to compromise with mainstream channels have earned the band widespread recognition. On the other hand, the band Jawbox was influenced by the "rising trend of traditional Chicago in the 1980s", while the band The Nation of Ulysses used "a revolutionary and gorgeous approach that impressively held up the band's MC5 motor mouth" combined with "R&B elements ( "With MC5 flavor) and Avant Jazz" coupled with "lively and brisk live performances", they were inspired by "new local and overseas bands". In 2002, Fugazi's last tour before taking a hiatus. The band's influence was summed up by critic Andy Kellman: "Too much, Fugazi is to their generation what Bob Dylan was to their parents.
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The late 1980s and early 1990s saw these bands forming and gaining attention not only with early performers such as Fugazi and Shellac, but also with Also includes Girls Against Boys (originally just a side-project of Brendan Canty and Eli Janney, but later collaborated with several members of Soulside), The Jesus Lizard (founded by several former members of Scratch Acid), Quicksand (founded by Youth of Today and Gorilla Biscuits member Walter Schreifels), the Rollins Band (led by former Black Flag frontman Henry Rollins), Tar (made up of remaining members of the hardcore group Blatant Dissent) and Slint (including some members of Squirrel Bait). Shellac and Louisville's Slint are seen as influential bands in the development of math rock, with the former characterized by "time signatures at odd timings and aggressive features", which became "an established opinion" in describing math rock. ", while the latter presents "a formal approach in which performative music flows from a dramatic, tense bridge but has a fixed guitar structure and repetitive percussion." According to critic Jason Arkeny, Slint's "deft , like radicals manipulating volume, rhythm and structure, making them pioneers of the post-punk movement.
Allmusic once mentioned that these younger bands "ended the punk bands they formed in middle school and matured into post-hardcore bands." In Washington, DC, new bands such as Hoover (related to the band The Crownhate Ruin), Circus Lupus, Bluetip and Smart Went Crazy have all become members of the independent label Dischord. Hoover was once hailed by magazine reporter Charles Spano as a band with "great influence on post-hardcore music" in New York. In addition to the band Quicksand, post-hardcore bands such as Helmet, Unsane, Chavez and Texas Is the Reason have also appeared. In addition, Quicksand and Helmet are both related to alternative metal. The Chicago band Midwestern United States Chicago is also interested in math rock. It has important influences, as well as bands such as Shellac, Tar, Trenchmouth, and the band Cap'n Jazz released by the independent label Jade Tree (as well as the subsequent band Joan of Arc, whose releases are also transparent. (via Jade Tree Records) Steve Huey contends that Cap'n Jazz's past album "Analphabetapolothology" helped the band spread their influence to "non-original listeners", and he also believes that the band also influenced the indie scene. Emotional core development. Champaign, Illinois is also famous for independent bands, giving bands Hum, Braid and Poster Children opportunities to develop. Bands such as Karp, Lync and Unwound can also be seen in the northwest of the United States. These bands are all from Washington state. Olympia's music was considered by critic John Bush to be a combination of "Sonic Youth's heavier noise riffs" and "more of Fugazi's less exuberant talent". to Chicago) and... And You Will Know Us by the Trail of Dead, who came from Austin, and At the Drive-In, who came from El Paso, and the last group was making a name for themselves in terms of performance and music. Heat is known for their "driving melodic punk riffs, blended with quieter interlaced beats"
The genre is also seen outside the United States, with Refused coming out of the Umea scene in Sweden. The band was famous for its hardcore sound in the early days. The album "The Shape of Punk to Come" released in 1998 was inspired by the band The Nation of Ulysses, while adding ambient music, jazzy breakdown, metal and Electronic music goes into their hardcore sound.