Editing Post-hardcore

{{Short description|Music genre}}
{{Use mdy dates|date=November 2018}}
{{Infobox music genre
| name              = Post-hardcore
| stylistic_origins = {{hlist|[[Hardcore punk]]|[[punk rock]]|[[post-punk]]|[[noise rock]]|}}
| cultural_origins  = 1980s, United States
| derivatives       = * [[Blackgaze]]<ref name="Guardian">{{Cite web|title = Blackgaze: meet the bands taking black metal out of the shadows|url = https://www.theguardian.com/music/2015/oct/05/blackgaze-bands-fusing-metal-and-shoegaze|website = the Guardian|date = October 5, 2015|access-date = April 15, 2016|first = Tom|last = Howells|quote = Enter "blackgaze", the buzz term for a new school of bands taking black metal out of the shadows and melding its blast beats, dungeon wailing and razorwire guitars with the more reflective melodies of post-rock, shoegaze and post-hardcore.}}</ref>
* [[emo rap]]<ref>{{Cite web|url=https://www.theguardian.com/music/2017/apr/21/lil-peep-youtube-rapper-taking-back-emo|title = Lil Peep: The YouTube rapper who's taking back emo|website = [[TheGuardian.com]]|date = April 21, 2017}}</ref>
* [[mathcore]]
* [[math rock]]
* [[post-metal]]
| subgenres         = * [[Emo]] ([[screamo]])
* [[Nintendocore]]<ref>{{cite web|url=https://www.allmusic.com/artist/horse-the-band-mn0000266530|title=HORSE the Band – Biography, Albums, Streaming Links – AllMusic|website=AllMusic|access-date=January 17, 2018}}</ref>
| fusiongenres     = [[Crunkcore]]
| regional_scenes   = * [[Hardcore punk in the United Kingdom#South Wales|South Wales]]
* [[Music of Texas|Texas]]
| local_scenes      =
* [[Chicago hardcore|Chicago]]
* [[Music of Olympia|Olympia]]
* [[Music of California#Hardcore punk and metalcore|San Diego]]
* [[Washington, D.C. hardcore|Washington D.C.]]
| other_topics      = * [[Art punk]]
* [[avant-punk]]
* [[metalcore]]
* [[List of post-hardcore bands|list of bands]]
}}
'''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 (band)|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.]]<ref name="Posthardcoreallmusic">{{cite web |url=http://www.allmusic.com/explore/style/post-hardcore-d12962 |title=Explore: Post-Hardcore |work=AllMusic |access-date=March 18, 2011 |archive-date=May 5, 2011 |archive-url=https://web.archive.org/web/20110505171528/http://www.allmusic.com/explore/style/post-hardcore-d12962 |url-status=dead }}</ref> as well as groups such as [[Big Black]], [[Jawbox]], [[Quicksand (band)|Quicksand]], and [[Shellac (band)|Shellac]] who stuck closer to post-hardcore's noise rock roots.<ref name="Posthardcoreallmusic" /> [[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, {{nowrap|post-hardcore}} achieved mainstream success with the popularity of bands like [[At the Drive-In]], [[My Chemical Romance]], [[Dance Gavin Dance]], [[AFI (band)|AFI]], [[Underoath]], [[Hawthorne Heights]], [[Silverstein (band)|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. Meanwhile, bands like [[Title Fight]] and [[La Dispute (band)|La Dispute]] experienced underground popularity playing music that bore a closer resemblance to the post-hardcore bands of the 1980s and 1990s.

== Characteristics ==
[[Hardcore punk]] typically features very fast [[Tempo|tempos]], [[Loudness|loud volume]], and heavy [[Bass (sound)|bass]] levels,<ref>{{cite book | last =Blush | first =Stephen | author-link=Steven Blush | title =American Hardcore: A Tribal History | publisher =[[Feral House]] | date =November 9, 2001 | isbn =978-0-922915-71-2| title-link =American Hardcore: A Tribal History }}</ref> as well as a [[DIY ethic|"do-it-yourself" ethic]].<ref name="Posthardcoreallmusic" /> 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."<ref name="Posthardcoreallmusic" /> 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".<ref name="Posthardcoreallmusic" /> 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."<ref name="treblezine">{{cite web |url=http://www.treblezine.com/features/107.html |title=The 90-Minute Guide: Post-Hardcore |last=Terich|first=Jeff |date=April 24, 2007 |work=Treblezine |access-date=March 20, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110717094932/http://www.treblezine.com/features/107.html |archive-date=July 17, 2011 }}</ref> Post-hardcore generally incorporates more complex [[Chord shape|chord shapes]] and [[Chord progression|progressions]]. According to ''[[Sirius XM|SiriusXM]]'', "tempos could be slow, or as fast as metal, and singing was allowed to be inventive."<ref>{{Cite web |last=Villarreal |first=Quinn |title=Emo Through the Years: Explore the Ever-Evolving Genre |url=https://www.siriusxm.com/blog/emo-day-genre-evolution |access-date=2025-05-01 |website=SiriusXM |language=en}}</ref>

British [[post-punk]] of the late 1970s and early 1980s has been seen as influential on the musical development of post-hardcore bands.<ref name="Posthardcoreallmusic" /> As the genre progressed, some of these groups also experimented with a wide array of influences, including [[soul music|soul]], [[dub music|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.<ref name="Posthardcoreallmusic" /> During the early 2000s it became common for mainstream "melodic" post-hardcore bands to crossover into other related genres like [[melodic hardcore]], [[beatdown hardcore]], [[indie rock]], [[screamo]], and [[emo]], straddling experimentation and accessibility.<ref>{{Cite web|url=https://www.brooklynvegan.com/15-albums-that-defined-the-2000s-post-hardcore-boom/|title = 15 albums that defined the 2000s post-hardcore boom |first1=Andrew  |last1=Sacher |website=BrooklynVegan |date=March 31, 2020 |url-status=live |archive-url=https://web.archive.org/web/20231109102132/https://www.brooklynvegan.com/15-albums-that-defined-the-2000s-post-hardcore-boom/ |archive-date=Nov 9, 2023 }}</ref>

== History ==
=== Origins (1980s) ===
[[File:Naked Raygun2.jpg|thumb|left|upright=0.9|alt=Concert of the band Naked Raygun|The band Naked Raygun in 2012]]

Groups such as [[Minutemen (band)|Minutemen]],<ref>{{cite book |title=Waiting for the Sun: A Rock 'n' Roll History of Los Angeles |publisher=Hal Leonard Corporation |year=2009 |isbn=978-0-87930-943-5 |last=Hoskyns |first=Barney |page=326}}</ref> [[Naked Raygun]],<ref>{{cite web |url=http://www.allmusic.com/artist/p4989 |title=Naked Raygun |website=[[AllMusic]] |access-date=March 18, 2011}}</ref><ref name="TopArtistsAllmusic">{{cite web |url=http://www.allmusic.com/explore/style/post-hardcore-d12962/artists |title=Explore: Post-Hardcore (Top Artists) |work=AllMusic |access-date=March 18, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20101209234315/http://www.allmusic.com/explore/style/post-hardcore-d12962/artists |archive-date=Dec 9, 2010 }}</ref><ref name="Effigies">{{cite web |url=http://www.allmusic.com/artist/effigies-p23913/biography |title=Effigies – Biography |last=Huey|first=Steve |work=AllMusic |access-date=May 12, 2011}}</ref> and [[The Effigies]],<ref name="Effigies" /> which were active around the early 1980s, are considered to be forerunners to the post-hardcore genre. Naked Raygun's [[Jeff Pezzati]] and Effigies frontman John Kezdy have disputed this classification, however, insisting that neither band was drawing from hardcore, and were instead influenced by British punk acts like [[Buzzcocks]], [[Sex Pistols]], and [[the Stranglers]].<ref>{{Cite web |last=Murphy |first=Tom |date=September 18, 2013 |title=Naked Raygun's Jeff Pezzati on Wax Trax, and why and how the band got back together |url=https://www.westword.com/music/naked-rayguns-jeff-pezzati-on-wax-trax-and-why-and-how-the-band-got-back-together-5706160 |url-status=live |archive-url=https://web.archive.org/web/20230219070705/https://www.westword.com/music/naked-rayguns-jeff-pezzati-on-wax-trax-and-why-and-how-the-band-got-back-together-5706160 |archive-date=February 19, 2023 |access-date=April 7, 2024 |website=[[Westword]] |quote=There was no hardcore [influence]. It was just that these bands sounded different. [[Siouxsie and The Banshees | Siouxsie & The Banshees]] didn't sound like the Sex Pistols, and they didn't sound like the [[Buzzcocks]], [[The Jam | the Jam]] or [[The Clash | the Clash]]. But you knew they were all of the same school. So we wanted to be influenced by those bands and sound unique but not emulate those bands, so no one could really say we were doing what those guys were doing. So we dicked around, and had rockabilly influences, and a lot of influences from English punk, and as a result, we searched for our sound for a number of years until we came up with a couple of styles that we kind of settled in on.}}</ref><ref>{{Cite web |last=Radford |first=Chad |date=September 10, 2009 |title=Interview: John Kezdy of the Effigies |url=https://creativeloafing.com/content-157223-interview-john-kezdy-of-the-effigies |url-status=live |archive-url=https://web.archive.org/web/20210803130139/https://creativeloafing.com/content-157223-interview-john-kezdy-of-the-effigies |archive-date=August 3, 2021 |access-date=April 7, 2024 |website=creativeloafing.com |quote=When our last album, ''Reside'' came out in 2007 we saw all of these hardcore blogs out there that hated it, and that’s as it should be because we’re not a hardcore band. I don’t mind if people call us a punk band because that’s what we’ve always been. I don’t mean to be presumptuous, but the lineage of the Effigies has always been more along the lines of [[The Sex Pistols | the Sex Pistols]], [[the Stranglers]], [[The Ruts | the Ruts]] and that kind of stuff...}}</ref> [[Los Angeles|Los Angeles']] [[Saccharine Trust]] mixed Minutemen's sound with that of post-punk acts [[The Fall (band)|the Fall]] and [[Gang of Four (band)|Gang of Four]] on early releases like their EP ''[[Paganicons]]'', helping to further the burgeoning genre.<ref>{{cite web |url=http://www.trouserpress.com/entry.php?a=saccharine_trust |title=Saccharine Trust |last1=Robbins |first1=Ira |last2=Sprague |first2=David |work=Trousser Press |access-date=March 18, 2011 |quote=Too early to be post-hardcore but too uncommon for any simple classification, this Southern California quartet doesn't try to create a blizzard of noise — they go at it more artfully, but with equally ear-wrenching results. [...]}}</ref><ref>{{Cite web |last=Ambler |first=Charlie |date=January 27, 2015 |title=Talking About Minutemen and SST with Joe Baiza from Saccharine Trust |url=https://www.vice.com/en/article/talking-about-minutemen-and-sst-with-joe-baiza-from-saccharine-trust-015/ |url-status=live |archive-url=https://web.archive.org/web/20240309081944/https://www.vice.com/en/article/gq8e7y/talking-about-minutemen-and-sst-with-joe-baiza-from-saccharine-trust-015 |archive-date=March 9, 2024 |access-date=April 7, 2024 |website=[[Vice (magazine) | Vice]] |quote=The objective was to try to experiment with a different kind of rock music, influenced by the Minutemen but trying it our way. We were also into some of the same groups they were, British groups like the Fall and Gang of Four.}}</ref>

During the early- to mid-1980s, the desire to experiment with hardcore's basic template expanded to many musicians that had been associated with the genre or had strong roots in it.<ref name="Posthardcoreallmusic" /> Many of these groups also took inspiration from the 1980s [[noise rock]] scene pioneered by [[Sonic Youth]].<ref name="treblezine" />{{Failed verification|date=February 2023|reason=Source makes no mention of noise rock influence nor of Sonic Youth}} Some bands signed to the independent label [[Homestead Records]], including [[Squirrel Bait]]<ref>{{cite web |url=http://www.allmusic.com/artist/squirrel-bait-p5509/biography |title=Squirrel Bait – Biography |last=Huey|first=Steve |work=AllMusic |access-date=March 19, 2011}}</ref> (as well as [[David Grubbs]]-related bands [[Bastro]] and [[Bitch Magnet]]<ref>{{cite web |url=http://www.allmusic.com/artist/bitch-magnet-p12367/biography |title=Bitch Magnet – Biography |last=Huey|first=Steve |work=AllMusic |access-date=March 19, 2011}}</ref>) and [[Steve Albini]]'s [[Big Black]] (just as his subsequent projects [[Rapeman]]<ref name=TopArtistsAllmusic /> and [[Shellac (band)|Shellac]]<ref name=TopArtistsAllmusic /><ref>{{cite web |url=http://www.theskinny.co.uk/article/43937-shellac-no-free-lunch-still |title=Shellac: No Free Lunch, Still |last=Marticorena|first=Jorge |date=October 16, 2008 |work=[[The Skinny (magazine)|The Skinny]] |access-date=March 21, 2011}}</ref>) are also associated with post-hardcore.<ref name="treblezine" /><ref name="Effigies" /> Big Black, which also featured former Naked Raygun guitarist [[Santiago Durango]],<ref name="BigBlackBio">{{cite web |url=http://www.allmusic.com/artist/big-black-p10143/biography |title=Big Black – Biography |last=Deming|first=Mark |work=AllMusic |access-date=March 19, 2011}}</ref> made themselves known for their strict [[DIY ethic]],<ref name="treblezine" /> related to practices such as paying for their own recordings, booking their own shows, handling their own management and publicity, and remaining "stubbornly independent at a time when many independent bands were eagerly reaching out for the major-label brass ring".<ref name="BigBlackBio" /> The band's music, punctuated by the use of a [[drum machine]], has also been seen as influential to [[industrial rock]],<ref name="BigBlackBio" /> while Blush has also described the Albini-fronted project as "an angst-ridden response to the rigid English post-punk of Gang of Four".<ref name="sb">[[Steven Blush|Blush, Steven]]. ''[[American Hardcore: A Tribal History]]''. [[Feral House]]: 2001. p. 222.</ref> After the issuing of the "[[Il Duce (song)|Il Duce]]" single and between the release of their only two full-length studio albums, Big Black left Homestead for [[Touch and Go Records]],<ref name="BigBlackBio" /> which would later reissue not only their entire discography, but would also be responsible for the release of the complete works of [[Scratch Acid]], an act from [[Austin, Texas]] described as post-hardcore,<ref name="ScratchAcid">{{cite web |url=http://www.allmusic.com/artist/scratch-acid-p5376/biography |title=Scratch Acid – Biography |last=Erlewine|first=Stephen Thomas |work=AllMusic |access-date=March 19, 2011}}</ref> that, according to Stephen Thomas Erlewine, "laid the groundwork for much of the distorted, grinding alternative punk rockers of the '90s".<ref name="ScratchAcid" />

According to Ryan Cooper of [[About.com]] and author Doyle Greene, 1980s hardcore punk band [[Black Flag (band)|Black Flag]] is one of the pioneers of {{nowrap|post-hardcore}} for the [[experimental music|experimental]] style the band started playing later on in the 1980s.<ref name="DefinitionAbout" /><ref name=":0">{{cite book |last=Greene |first=Doyle |title=The Rock Cover Song: Culture, History, Politics |date=March 10, 2014 |publisher=MacFarland & Company |isbn=978-0-7864-7809-5 |pages=43–44}}</ref> In 1984, [[Minneapolis]] punk band [[Hüsker Dü]] released their second studio album, ''[[Zen Arcade]],'' considered a key post-hardcore record.<ref name=":0" /> Upon its release, the album received positive critical reception from ''[[The New York Times]]''<ref>{{cite web |work=[[The New York Times]] |date=September 23, 1984 |first=Robert |last=Palmer |author-link=Robert Palmer (American writer) |title=New Rock From The Suburbs |url=https://www.nytimes.com/1984/09/23/arts/new-rock-from-the-suburbs.html |access-date=August 17, 2018}}</ref> and ''[[Rolling Stone]]''.<ref>{{cite magazine |url=https://www.rollingstone.com/music/albumreviews/zen-arcade-19850214 |title=Hüsker Dü: Zen Arcade / Minutemen: Double Nickels on the Dime |magazine=[[Rolling Stone]] |issue=441 |date=February 14, 1985 |access-date=August 17, 2018 |last=Fricke |first=David |author-link=David Fricke |url-status=live |archive-url=https://web.archive.org/web/20071001003552/http://www.rollingstone.com/artists/huskerdu/albums/album/110848/review/5944241/zen_arcade |archive-date=October 1, 2007}}</ref> Outside the United States, post-hardcore would take shape in the works of the Canadian group [[Nomeansno]],<ref>{{cite magazine |last1=Gold |first1=Jonathan |year= 1996|title=Spins: Platter Du Jour – 7 – NOFX – Heavy Petting Zoo |magazine=[[Spin (magazine)|Spin]] |volume=12 |issue=1 |page=113 |url=https://books.google.com/books?id=JheoECFjDqMC&pg=PA113 |access-date=March 27, 2011}}</ref> related with [[Jello Biafra]] and his independently run label [[Alternative Tentacles]], and that had been active since 1979. The magazine ''Dusted'' noted that the group's 1989's release ''[[Wrong (album)|Wrong]]'' was "one of the most aggressive and powerful opuses in post-hardcore ever made".<ref>{{cite web |url=http://www.dustedmagazine.com/reviews/3038 |title=Nomeansno – All Roads Lead to Ausfahrt |last=Mosurock |first=Doug |date=August 3, 2006 |work=Dusted |access-date=March 27, 2011 |archive-url=https://web.archive.org/web/20110226104316/http://www.dustedmagazine.com/reviews/3038 |archive-date=February 26, 2011 |url-status=dead }}</ref>

==== The Washington D.C. scene ====
During the years 1984 and 1985 in the "[[Washington, D.C. hardcore|harDCore]]" scene,<ref>Grubbs, p. 14</ref> a new movement had "swept over".<ref name="ROSDischord">{{cite web |url=http://www.dischord.com/band/rites-of-spring |title=Rites of Spring |work=[[Dischord Records]] |access-date=March 19, 2011}}</ref> 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 (band)|Void]], and [[Government Issue]].<ref>{{cite web |url=http://www.dischord.com/history/ |title=Dischord History |last=MacKaye|first=Ian | page= 1 |date = November 1999|work=[[Dischord Records]] |access-date=March 19, 2011 |author-link= Ian MacKaye}}</ref><ref name="DischordStylus">{{cite web |url=http://www.stylusmagazine.com/articles/label_profile/dischord-records.htm |title=Dischord Records – Label Profile |last1=McElligatt |first1=Colin |date=September 1, 2003 |work=[[Stylus Magazine]] |access-date=April 6, 2011 |archive-date=August 21, 2018 |archive-url=https://web.archive.org/web/20180821062635/http://www.stylusmagazine.com/articles/label_profile/dischord-records.htm |url-status=dead }}</ref> 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",<ref name="ROSDischord" /> leading to "a time of redefinition".<ref name="ROSDischord" /> When [[The Faith (American band)|The Faith]] put out the EP ''[[Subject to Change (EP)|Subject to Change]]'' in 1983, it marked a critical evolution in the sound of D.C. hardcore and punk music in general.<ref name='Subject'>{{cite web | url = http://files.nyu.edu/cch223/public/usa/albums/faith_subjecttochange.html | title = Subject to Change 12" EP | access-date = August 11, 2012 | work = Kill from the Heart | url-status = dead | archive-url = https://web.archive.org/web/20141217021327/https://files.nyu.edu/cch223/public/usa/albums/faith_subjecttochange.html | archive-date = December 17, 2014 }}</ref> 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 (band)|Gray Matter]], [[Mission Impossible (band)|Mission Impossible]], [[Dag Nasty]] and [[Embrace (American band)|Embrace]],<ref name='Subject' /><ref name="DischordHist2">{{cite web |url=http://www.dischord.com/history/page02 |title=Dischord History |author=MacKaye | page= 2 |access-date=March 19, 2011}}</ref><ref name='Faith'>{{cite web | url = http://drownedinsound.com/releases/16529/reviews/4143647 | title = Faith Subject to Change and First Demo | access-date = August 11, 2012 | date = September 26, 2011 | work = [[Drowned in Sound]] | archive-date = December 17, 2011 | archive-url = https://web.archive.org/web/20111217171337/http://drownedinsound.com/releases/16529/reviews/4143647 | url-status = dead }}</ref> 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".<ref name="ROSDischord" /><ref>Grubbs, p. 22. "After hearing the phrase 'revolution summer' at the Neighborhood Planning Council, Dischord employee Amy Pickering had an idea. [...] With the idea of celebrating a new scene's birth, she sent out anonymous letters stating that Revolution Summer was coming and people should be ready. The summer of '85 was indeed that."</ref> Rites of Spring has been described as the band that "more than led the change",<ref name="ROSDischord" /> challenging the "macho posturing that had become so prevalent within the punk scene at that point", and "more importantly", defying "musical and stylistic rule".<ref name="ROSDischord" /> Journalist Steve Huey writes that while the band "strayed from hardcore's typically external concerns of the time{{snd}}namely, social and political dissent{{snd}}their musical attack was no less blistering, and in fact a good deal more challenging and nuanced than the average three-chord speed-blur",<ref name="ROSAllmusic">{{cite web |url=http://www.allmusic.com/artist/rites-of-spring-p11541/biography |title= Rites of Spring – Biography|last=Huey|first=Steve |work=AllMusic |access-date=March 19, 2011}}</ref> a sound that, according to Huey, mapped out "a new direction for hardcore that built on the innovations" brought by [[Hüsker Dü]]'s ''[[Zen Arcade]]''.<ref name="ROSAllmusic" /> Other bands have been perceived as taking inspiration from genres such as [[funk]] (as in the case of Beefeater)<ref>{{cite web |url=http://www.allmusic.com/album/plays-for-lovers-r320703/review |title= Plays for Lovers – Beefeater – Review |last=Raggett|first=Ned |work=AllMusic |access-date=March 19, 2011 |quote=Drawing from funk as much as punk, Beefeater cooks up a groovy combination on their debut album.}}</ref> and 1960s pop (such as the example of Gray Matter).<ref>{{cite web |url=http://www.allmusic.com/artist/gray-matter-p13081/biography |title=Gray Matter – Biography |last=Foster|first=Patrick |work=AllMusic |access-date=March 19, 2011 |quote=The recordings, which revealed the influence of early-D.C. punk ('Gray Matter', 'Caffeine Blues'), also warned about the dangers of punk nostalgia ('Retrospect') and featured a surprising cover of [[the Beatles]]' '[[I Am the Walrus]]' was the first hint of the band's strong pop streak.}}</ref>

According to Eric Grubbs, a nickname was developed for the new sound, with some considering it "post-harDCore". Another name used for the scene was "[[emo]]-core".<ref name=Grubbs27>Grubbs, p. 27</ref> The latter, mentioned in skateboarding magazine ''Thrasher'', would come up in discussions around the D.C. area.<ref name=Grubbs27 /> While some of these bands have been considered contributors to the birth of emo,<ref name="DefinitionAbout">{{cite web |url=http://punkmusic.about.com/od/punktionary/g/posthardcore.htm |title=Post-Hardcore – A Definition |last=Cooper |first=Ryan |work=[[About.com]] |access-date=April 5, 2011 |archive-date=March 4, 2016 |archive-url=https://web.archive.org/web/20160304063251/http://punkmusic.about.com/od/punktionary/g/posthardcore.htm |url-status=dead }}</ref><ref>{{cite web |url=http://www.allmusic.com/explore/style/emo-d4525 |title=Explore: Emo |work=AllMusic |access-date=March 19, 2011 |archive-date=October 17, 2010 |archive-url=https://web.archive.org/web/20101017032450/http://www.allmusic.com/explore/style/emo-d4525 |url-status=dead }}</ref><ref name="UKHC">{{cite web |url=http://www.viceland.com/int/v16n10/htdocs/this-is-ukhc-not-la-202.php |archive-url=https://archive.today/20130105041532/http://www.viceland.com/int/v16n10/htdocs/this-is-ukhc-not-la-202.php |url-status=dead |archive-date=January 5, 2013 |title=This is UKHC, Not LA |last=Capper|first=Andy |work=[[Vice (magazine)|Vice]] |access-date=March 20, 2011 }}</ref> with Rites of Spring sometimes being named as the first or one of the earliest emo acts,<ref name="treblezine" /><ref name="ROSAllmusic" /> musicians such as the band's former frontman [[Guy Picciotto]] and MacKaye himself have voiced their opposition against the term.<ref>{{cite web |url=http://www.markprindle.com/picciotto-i.htm |title=Guy Picciotto interview |last=Prindle|first=Mark |year=2003 |work=Markprindle.com |access-date=March 19, 2011 |quote=Well, first of all, I don't recognize that attribution. I've never recognized 'emo' as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it's so stupid is that – what, like the [[Bad Brains]] weren't emotional? What – they were robots or something? It just doesn't make any sense to me.}}</ref><ref>Grubbs, p. 27–28</ref><ref>{{cite book |last=Cogan |first=Brian |title=The Encyclopedia of Punk |year=2008 |publisher=Sterling |isbn=978-1-4027-5960-4 |page= 97}}</ref> In the nearby state of [[Maryland]], similar bands that are categorized now as post-hardcore would also emerge, these include [[Moss Icon]] and The Hated.<ref name="UKHC" /><ref>{{cite web |url=http://allmusic.com/artist/the-convocation-of-p482269/biography |title=The Convocation Of... - Biography |last=Butler|first=Blake |work=AllMusic |access-date=March 20, 2011}}</ref> The former's music contained, according to Steve Huey, "shifting dynamics, chiming guitar arpeggios, and screaming, crying vocal climaxes",<ref name="MI">{{cite web |url= http://www.allmusic.com/artist/moss-icon-p213800/biography |title=Moss Icon – Biography |last=Huey|first=Steve |work=AllMusic |access-date=March 20, 2011}}</ref> which would prove to be influential to later musicians in spite of the band's unstable existence.<ref name="MI" /> This group has also been considered one of the earliest emo acts.<ref name="MI" />

[[File:Fugazi.jpg|thumb|upright=0.9|[[Fugazi]] during their last pre-hiatus tour, 2002. The band's influence was summarized by reviewer Andy Kellman with the following statement: "To many, Fugazi meant as much to them as [[Bob Dylan]] did to their parents."<ref name="FugaziBio" />]]

The second half of the 1980s saw the formation of several bands in D.C., which included [[Shudder to Think]], [[Jawbox]], [[the Nation of Ulysses]], and [[Fugazi]], as well as [[Baltimore]]'s [[Lungfish (band)|Lungfish]].<ref name="DischordHist2" /> MacKaye described this period as the busiest that the Dischord Records label had ever seen.<ref name="DischordHist2" /> Most of these acts, along with earlier ones, would contribute to the 1989 compilation ''[[State of the Union (album)|State of the Union]]'',<ref>{{cite web |url=http://www.dischord.com/release/32 |title=Various Artists – State of the Union |work=[[Dischord Records]] |access-date=March 20, 2011}}</ref> a release that documented the new sound of the late 1980s D.C. punk scene.<ref>{{cite web |url=http://www.allmusic.com/album/state-of-the-union-dc-benefit-compilation-r23103/review |title=State of the Union: D.C. Benefit Compilation – Various Artists – Review |last=Bregman|first=Adam |work=AllMusic |access-date=March 20, 2011}}</ref> Fugazi gained "an extremely loyal and numerous global following",<ref name="FugaziBio">{{cite web |url=http://www.allmusic.com/artist/fugazi-p4319/biography |title=Fugazi – Biography |last=Kellman|first=Andy |work=AllMusic |access-date=March 20, 2011}}</ref> with reviewer Andy Kellman summarizing the band's influence with the statement: "To many, Fugazi meant as much to them as [[Bob Dylan]] did to their parents."<ref name="FugaziBio" /> It has also been noted that the group's "ever-evolving" sound would signal a more experimental turn in hardcore that paved the way for later Dischord releases.<ref name="DischordStylus" /> The band, which included MacKaye, Picciotto, and former Rites of Spring drummer [[Brendan Canty]] along with bassist [[Joe Lally]], issued in 1989 ''[[13 Songs (Fugazi album)|13 Songs]]'', a compilation of their earlier [[Fugazi (EP)|self-titled]] and ''[[Margin Walker]]'' EPs, which is now considered a landmark album.<ref name="13s">{{cite web |url=http://www.allmusic.com/album/13-songs-r7861/review |title=13 Songs – Fugazi – Review |last=Kellman|first=Andy |work=AllMusic |access-date=March 20, 2011}}</ref> Similarly, the band's debut studio album, 1990's ''[[Repeater (album)|Repeater]]'', has also been "generally" regarded as a classic.<ref name="FugaziBio" /> The group also garnered recognition for their activism, cheaply priced shows and CDs, and their resistance to mainstream outlets.<ref name="FugaziBio" /> On the other hand, Jawbox had been influenced by "the tradition of Chicago's thriving early-'80s scene",<ref name="JawboxBio">{{cite web |url=http://www.allmusic.com/artist/jawbox-p13316/biography |title= Jawbox – Biography |last=Kellman|first=Andy |work=AllMusic |access-date=March 20, 2011}}</ref> while the Nation of Ulysses are "best remembered for lifting the motor-mouthed revolutionary rhetoric of the [[MC5]]" with the incorporation of "elements of [[Rhythm and blues|R&B]] (as filtered through the MC5) and [[Avant-garde jazz|avant jazz]]" combined with "exciting, volatile live gigs", and being the inspiration for "a new crop of bands both locally and abroad".<ref>{{cite web |url=http://www.allmusic.com/artist/the-nation-of-ulysses-p13761/biography |title=The Nation of Ulysses |last=Huey|first=Steve |work=AllMusic |access-date=March 20, 2011}}</ref>

=== Expansion (late 1980s and 1990s) ===
[[File:Girls Against Boys at the Touch and Go 25th Anniversary Block Party.jpg|thumb|left|upright=0.9|alt=Band performing onstage|Post-hardcore band Girls Against Boys in 2006]]
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]]<ref>{{cite web |url=http://www.punknews.org/review/7631 |title=Girls Against Boys – Venus Luxure No. 1 Baby |author=ngs091 |date=September 12, 2008 |work=Punknews.org |access-date=March 27, 2011}}</ref> (originally a side-project of Brendan Canty and [[Eli Janney (musician)|Eli Janney]], which would later incorporate members of Soulside), [[The Jesus Lizard]]<ref name="treblezine" /><ref>{{cite web |url=http://www.eyeweekly.com/liveeye/article/77127 |title=The Jesus Lizard @ The Phoenix, Nov. 12 |last=Bilton|first=Chris |date=November 13, 2009 |work=EyeWeekly.com |access-date=March 21, 2011 |url-status=dead |archive-url=https://archive.today/20110525091615/http://www.eyeweekly.com/liveeye/article/77127 |archive-date=May 25, 2011 }}</ref><ref name=Rhapsody>{{cite web |url=http://www.rhapsody.com/playlist/Pp.27114088 |title=Back to the '90s – Experiments in Post-Hardcore |last=Farrar|first=Justin |date=April 3, 2009 |work=[[Rhapsody (online music service)|Rhapsody Music]] |access-date=April 3, 2011}}</ref> (formed by ex-members of [[Scratch Acid]]), [[Quicksand (band)|Quicksand]]<ref name="Quicksand">{{cite web |url=http://www.decibelmagazine.com/hall-of-fame/quicksand/ |title=Quicksand ''Slip'' |last=Bonazelli|first=Andrew |work=[[Decibel (magazine)|Decibel]] |date=June 19, 2007 |publisher=Red Flag Media |access-date=March 21, 2011}}</ref> (fronted by former [[Youth of Today]] and [[Gorilla Biscuits]] member [[Walter Schreifels]]), [[Rollins Band]]<ref>{{cite web |url=http://communities.washingtontimes.com/neighborhood/riffs-music/2010/sep/22/concert-review-kevin-seconds/ |title= Concert review: Kevin Seconds |last=Bradley|first=Stephen |date=September 22, 2010 |work=[[The Washington Times]] Communities – Riffs |access-date=March 21, 2011 |quote= [...] Where most punks from the '80s hardcore scene made the transition into hard rock or post hardcore outfits like Rollins Band and Fugazi, it still seems natural that he would make the jump into the acoustic side of things. [...]}}</ref> (led by former Black Flag singer [[Henry Rollins]]), [[Tar (band)|Tar]] (which raised from the ashes of a hardcore outfit named Blatant Dissent),<ref name=Rhapsody /><ref>{{cite web |url=http://www.allmusic.com/artist/p14449/biography |title= Tar – Biography |last=Huey|first=Steve |work=AllMusic |access-date=March 25, 2011}}</ref> and [[Slint]]<ref>{{cite web |url= http://altmusic.about.com/od/1990s/fr/slint.htm |title= Review of the Definitive Alternative Album Spiderland |last= Carew |first= Anthony |work= [[About.com]] |quote= [...] But, the second album by the post-hardcore Kentuckians sure didn't 'kick' anything; its influence rather devoid of immediacy. [...] |access-date= March 21, 2011 |archive-date= September 29, 2011 |archive-url= https://web.archive.org/web/20110929103649/http://altmusic.about.com/od/1990s/fr/slint.htm |url-status= dead }}</ref><ref>{{cite web |url=http://www.hipsterbookclub.com/features/influenceofanxiety/Jan11/index.html |title=The Influence of Anxiety: The Time Before |last=Parka|first=Dorothy |date=January 2011 |work=Hipsterbookclub.com |access-date=March 25, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110727202347/http://www.hipsterbookclub.com/features/influenceofanxiety/Jan11/index.html |archive-date=July 27, 2011 }}</ref> (containing members of Squirrel Bait). Acts such as Shellac and [[Louisville, Kentucky|Louisville]]'s Slint have been considered influential to the development of the genre of [[math rock]],<ref name="MathRockDOS">{{cite web |url=http://drownedinsound.com/in_depth/3205162-math-rock-family-tree--exploring-the-roots-of-foals |title=Math-Rock Family Tree: exploring the roots of Foals |last=Diver |first=Mike |date=April 24, 2008 |work=[[Drowned in Sound]] |access-date=March 25, 2011 |archive-date=March 30, 2018 |archive-url=https://web.archive.org/web/20180330155138/http://drownedinsound.com/in_depth/3205162-math-rock-family-tree--exploring-the-roots-of-foals |url-status=dead }}</ref> with the former featuring "awkward time signatures and trademark aggression" that has come to characterize "a certain slant" on math rock,<ref name="MathRockDOS" /> while the latter presented "instrumental music seeped in dramatic tension but set to rigid systems of solid-structured guitar patterns and percussive repetition".<ref name="MathRockDOS" /> 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".<ref>{{cite web |url=http://www.allmusic.com/artist/slint-p14287/biography |title=Slint – Biography |last=Arkeny|first=Jason |work=AllMusic |access-date=March 25, 2011}}</ref>

[[File:Unwound-2.jpg|thumb|left|upright=1.3|Unwound emerged from [[Olympia, Washington]].]]
[[File:At the Drive-In Lollapalooza.jpg|thumb|left|upright=0.9|alt=The post-hardcore band At the Drive-In performing|[[At the Drive-In]] performing at [[Lollapalooza]] 2012]]

AllMusic has noted that younger bands "flowered into post-hardcore after cutting their teeth in high school punk bands".<ref name=Posthardcoreallmusic /> In Washington D.C., new bands such as [[Hoover (band)|Hoover]] (as well as the related [[The Crownhate Ruin]]), [[Circus Lupus]], [[Bluetip]], and [[Smart Went Crazy]] were added to the Dischord roster.<ref name="DischordHist3">{{cite web |url=http://www.dischord.com/history/page03 |title=Dischord History |author= MacKaye |page= 3 |access-date=March 26, 2011}}</ref> Hoover has been cited by journalist Charles Spano as a band that had "a tremendous impact on post-hardcore music".<ref>{{cite web |url=http://www.allmusic.com/artist/hoover-p292202/biography |title=Hoover – Biography |last=Spano|first=Charles |work=AllMusic |access-date=March 26, 2011}}</ref> In New York City, in addition to Quicksand, post-hardcore bands such as [[Helmet (band)|Helmet]],<ref name=TopArtistsAllmusic /> [[Unsane (band)|Unsane]],<ref name=TopArtistsAllmusic /><ref name=Rhapsody /> [[Chavez (band)|Chavez]]<ref name="treblezine" /> and [[Texas Is the Reason]]<ref>{{cite web |url=http://www.punknews.org/article/19888 |title=Interviews: Texas is the Reason |author=Aubin |date=September 22, 2006 |work=Punknews.org |access-date=March 26, 2011}}</ref> emerged. Chicago, which alongside the [[Midwestern United States]] has been important to the progression of math rock,<ref name="MathRockDOS" /> also saw the birth of post-hardcore acts such as the examples of Shellac, Tar, [[Trenchmouth]],<ref name=TopArtistsAllmusic /> and the [[Jade Tree (record label)|Jade Tree]]-released group [[Cap'n Jazz]]<ref>{{cite web |url=http://www.punknews.org/article/38899 |title=Contests: Win music and tickets from Cap'n Jazz |author=Aubin |date=July 1, 2010 |work=Punknews.org |access-date=March 26, 2011}}</ref> (as well as the subsequent related project [[Joan of Arc (band)|Joan of Arc]],<ref>{{cite web |url=https://query.nytimes.com/gst/fullpage.html?res=9C02E7D71731F93BA3575BC0A9659C8B63&pagewanted=6 |title=Pop and Jazz Guide |date=August 8, 2003 |work=[[The New York Times]] |access-date=March 26, 2011}}</ref> which also released their work through Jade Tree). Steve Huey argues that the release of Cap'n Jazz's retrospective compilation album ''[[Analphabetapolothology]]'' helped spread the band's influence "far beyond their original audience", while also considering the group as influential for the development of emo in the independent music scene.<ref>{{cite web |url=http://www.allmusic.com/artist/capn-jazz-p278933/biography |title=Cap'n Jazz – Biography |last=Huey|first=Steve |work=AllMusic |access-date=March 26, 2011}}</ref> [[Champaign, Illinois|Champaign]], also in [[Illinois]], was known for an independent scene that would give way to groups like [[Hum (band)|Hum]], [[Braid (band)|Braid]] and [[Poster Children]].<ref name="treblezine" /> The [[Northwestern United States|American Northwest]] saw the creation of acts such as [[Karp (band)|Karp]],<ref name=Rhapsody /> [[Lync]]<ref>{{cite web |url=http://krecs.com/uncategorized/kats-album-review-these-are-not-fall-colors-by-lync/ |title=Kat's Album Review — These Are Not Fall Colors by Lync |date=February 5, 2011 |work=[[K Records|K]] |access-date=October 31, 2012 |archive-url=https://web.archive.org/web/20140512230110/http://krecs.com/uncategorized/kats-album-review-these-are-not-fall-colors-by-lync/ |archive-date=May 12, 2014 |url-status=dead }}</ref> and [[Unwound]],<ref name=TopArtistsAllmusic /><ref name=Rhapsody /> all hailing from the [[Olympia, Washington]] area. The latter's music has been considered by critic John Bush to be a combination of "the noise of Sonic Youth's more raucous passages" with a "rare energetic flair which rivals even that of Fugazi".<ref>{{cite web |url=http://www.allmusic.com/artist/unwound-p44884/biography |title=Unwound – Biography |last=Bush|first=John |work=AllMusic |access-date=March 27, 2011}}</ref> [[Texas]] saw the formation of groups such as The Jesus Lizard (later to be based in Chicago) and [[...And You Will Know Us by the Trail of Dead]]<ref>{{cite web |url=http://communities.washingtontimes.com/neighborhood/riffs-music/2011/feb/8/music-review-and-you-shall-know-us-trail-dead/ |title=Music Review: ...And You Shall Know Us by the Trail of Dead – Tao of the Dead |last=Bradley|first=Stephen |date=February 28, 2011 |work=[[The Washington Times]] Communities – Riffs|access-date=April 1, 2011 |quote=The Trail of Dead has been known as something of a sprawling band ever since the band's first release in 1998. They've always been able to incorporate elements of noise rock and art rock into a post-hardcore foundation that allows for them to wander sonically not only from song to song but within each song itself and never losing the listener's interest in the song.}}</ref> in [[Austin, Texas|Austin]], and [[At the Drive-In]] from [[El Paso, Texas|El Paso]].<ref name="treblezine" /> This last band was known for their energy in both performances and music, and for their "driving melodic punk riffs, meshed together with quieter interlocking note-picking".<ref>{{cite web |url=http://www.allmusic.com/album/incasinoout-r373344/review |title=In/Casino/Out – At the Drive-In – Review |last=Butler|first=Blake |work= [[Allmusic]] |access-date=April 1, 2011}}</ref> Kansas City, Missouri bands of the early 90s also contributed significantly to the genre including [[Season to Risk]].<ref>{{cite web | url=https://www.scribd.com/podcast/592220403/505-In-A-Perfect-World-by-Season-To-Risk-Something-must-have-been-in-the-Missouri-River-that-helped-produced-so-many-Kansas-City-post-hardcore-hea | title=#505: In a Perfect World by Season to 'Risk }}</ref>

The genre also saw representation outside the United States in [[Refused]]<ref>{{cite web |url=http://iheartau.com/news/refused-reunion-not-happening/ |title=Refused reunion not happening |date=March 30, 2010 |work=[[Alternative Ulster|I Heart AU]] |access-date=March 27, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20100404015357/http://iheartau.com/news/refused-reunion-not-happening/ |archive-date=April 4, 2010 }}</ref> who emerged from the [[Umeå]], Sweden music scene. The band, which made itself known earlier in their career for its "massive hardcore sound",<ref>{{cite web |url=http://www.allmusic.com/album/this-just-might-be-the-truth-r272829/review |title=This Just Might Be... the Truth – Refused – Review |last=Anderson|first=Jason |work=AllMusic |access-date=March 27, 2011}}</ref> released in 1998 ''[[The Shape of Punk to Come]]'', an album that saw the group take inspiration from the Nation of Ulysses<ref name="RefusedAV">{{cite web |url=https://www.avclub.com/refused-the-shape-of-punk-to-come-1798165133 |title=Refused: The Shape of Punk to Come – Music – Music Review |last=Heller|first=Jason |date=June 8, 2010 |work=[[The A.V. Club]] |publisher=[[The Onion|Onion, Inc.]] |access-date=March 27, 2011}}</ref><ref name="ShapePunkAllmusic">{{cite web |url=http://www.allmusic.com/album/the-shape-of-punk-to-come-r378774/review |title=The Shape of Punk to Come – Refused – Review |last=Butler|first=Blake |work=AllMusic |access-date=March 27, 2011}}</ref> while incorporating elements such as "[[Ambient music|ambient textures]], jazz breakdowns",<ref name="ShapePunkAllmusic" /> metal and [[electronica]]<ref name="RefusedAV" /> to their hardcore sound.

==== The San Diego scene ====
[[File:Thevss97.jpg|thumb|upright=0.9|[[The VSS]] performing in 1997. While formed in [[Boulder, Colorado]], the group has been associated with the post-hardcore sound developed in San Diego and led by independent labels like [[Gravity Records|Gravity]].<ref name="GravityStylus" />]]
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 (US)|Gravity Records]].<ref name="UKHC" /> This movement would eventually become known as the "San Diego sound".<ref name="GravityStylus">{{cite web |url=http://www.stylusmagazine.com/feature.php?ID=140 |title=Gravity Records |first=Chris |last=Smith |date=September 1, 2003 |work=[[Stylus Magazine]] |access-date=April 6, 2011 |archive-date=October 12, 2012 |archive-url=https://web.archive.org/web/20121012095707/http://www.stylusmagazine.com/feature.php?ID=140 |url-status=dead }}</ref> Gravity was founded in 1991 by Matt Anderson, member of the band [[Heroin (band)|Heroin]], as a means to release the music of his band and of other related San Diego groups,<ref name="RadioSilence">{{cite web |url=http://www.radiosilencebook.com/contributors/ |title=Contributors |year=2008 |work=Radiosilencebook.com |access-date=April 2, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110701065759/http://www.radiosilencebook.com/contributors/ |archive-date=July 1, 2011 }}</ref> which also included [[Antioch Arrow]] and Clikatat Ikatowi.<ref name="UKHC" /> The label's earlier releases are known for the definition of "a new sound in hardcore rooted in tradition but boasting a chaotic sound that showcased a new approach" to the genre.<ref name="RadioSilence" /> Heroin were known for being innovators of early 1990s hardcore and for making dynamic landscapes "out of one minute blasts of noisy vitriol".<ref>{{cite web |url=http://www.allmusic.com/artist/heroin-p202571/biography |title=Heroin – Biography |last=Kott|first=Paul |work=AllMusic |access-date=April 3, 2011}}</ref> These bands were influenced by acts like Fugazi and The Nation of Ulysses, while also helping propagate an offshoot of hardcore that "grafted spastic intensity to willfully experimental dissonance and dynamics".<ref name="FeastofReason">{{cite web |url=http://www.westword.com/2002-06-20/music/feast-of-reason/print/ |title=Feast of Reason |last=Heller |first=Jason |date=June 20, 2002 |work=[[Westword]] |access-date=April 3, 2011 |archive-date=June 8, 2011 |archive-url=https://web.archive.org/web/20110608072241/http://www.westword.com/2002-06-20/music/feast-of-reason/print/ |url-status=dead }}</ref> This movement has been associated to the development of the subgenre of [[screamo]], while it also should be noticed that this term has been, as with the case of emo, the subject of controversy.<ref name="FeastofReason" /> The label also featured releases by non-San Diego bands that included [[Mohinder (band)|Mohinder]]<ref name="GravityStylus" /> (from [[Cupertino, California]]), Angel Hair and its subsequent related project [[The VSS]]<ref name="GravityStylus" /> (from [[Boulder, Colorado]]), groups that have also been associated with this sound.<ref name="FeastofReason" /> The VSS was known for their use of synthesizers "vying with post-hardcore's rabid atonality".<ref name="FeastofReason" />

Outside the Gravity roster, another band that played an important role in the development of the "San Diego sound" was [[Drive Like Jehu]].<ref name="GravityStylus" /> This group, founded by former members of [[Pitchfork (band)|Pitchfork]], was known, according to Steve Huey, for their lengthy and multisectioned compositions based on the innovations brought by the releases on Dischord, incorporating elements such as "odd time signatures played an important role on its development in spite of the band's music not resembling the sound such term would later signify.<ref name="DLJBio">{{cite web |url=http://www.allmusic.com/artist/drive-like-jehu-p12820/biography |title=Drive Like Jehu – Biography |last=Huey|first=Steve |work=AllMusic |access-date=April 6, 2011}}</ref> In a similar manner, [[Swing Kids (band)|Swing Kids]], composed of former members of hardcore bands from the San Diego scene such as [[Unbroken (band)|Unbroken]], Struggle and Spanakorzo, have been described by journalist Zach Baron as the moment in which the "hardcore" sound of bands like Unbroken effectively became "post-hardcore", known for "covering [[Joy Division]] songs" and for its sonic "jazz-quoting" and "guitar feedback" experimentation features.<ref name=Village>{{cite web |url=http://blogs.villagevoice.com/music/2008/12/nostalgia_whipl.php |title=Nostalgia Whiplash: Swing Kids and Unbroken Reunite in California |author=Baron Zach |date=December 9, 2008 |work=[[The Village Voice]] |access-date=November 17, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20140110173028/http://blogs.villagevoice.com/music/2008/12/nostalgia_whipl.php |archive-date=January 10, 2014 }}</ref> They were also one of the first bands released under the independent label [[Three One G]], founded by the band's vocalist [[Justin Pearson (musician)|Justin Pearson]]<ref name=Village /> and later known for releasing the works of several other post-hardcore, noise rock, [[mathcore]] and [[grindcore]] groups.

Bands like [[At the Drive-In]] have acknowledged the influence of the post-hardcore sound coming from the San Diego scene, with vocalist [[Cedric Bixler-Zavala]] citing elements such as "screaming vocals with over-the-top emotions, calculated, heavy riffs, [...] offbeat rhythms" and an "incredible amount of energy, chaos and melody" put by these groups as crucial in the development of his band's sound.<ref>Grubbs, p. 269</ref>

==== Moderate popularity ====
According to Ian MacKaye, the sudden interest in underground and independent music brought by the success of [[Nirvana (band)|Nirvana]]'s ''[[Nevermind]]'' attracted the attention of major labels towards the Dischord imprint and many of its bands.<ref name="DischordHist3" /> While the label rejected these offers, two Dischord acts, Jawbox and Shudder to Think, would sign deals with major labels.<ref name="DischordHist3" /> The former's signing to [[Atlantic Records]] would alienate some of the band's long-term fanbase,<ref name="JawboxBio" /> but it would also help with the development and recording of the 1994 release ''[[For Your Own Special Sweetheart]]'', considered by Andy Kellman to be "one of the best releases to come out of the fertile D.C. scene of the '80s and '90s".<ref name="JawboxBio" /> The subsequent tour for the album and the [[MTV]] rotation of some videos would introduce the band to a handful of new crowds, but ultimately the album would remain "unnoticed outside of the usual indie community".<ref name="JawboxBio" />

Likewise, out of the Dischord label, Quicksand became the first post-hardcore act to sign a [[Major Label|major label]] record deal (with [[Polydor Records]]) in 1992.<ref>{{Cite web |last=Stillie |first=Denise |date=1995 |title=Interview with Sergio Vega {{!}} Metallurgy |url=http://quicksand.net/interviews/metallurgy.htm |url-status=dead |archive-url=https://web.archive.org/web/20010308063646fw_/http://quicksand.net/interviews/metallurgy.htm |archive-date=March 8, 2001 |access-date=February 4, 2023 |website=quicksand.net}}</ref><ref>{{Cite web |last=Arenas |first=Norm |date=May 1998 |title=Subject to Change: Interview with Walter Schreifels {{!}} Alternative Press |url=http://www.quicksand.net/interviews/alternative.htm |url-status=dead |archive-url=https://web.archive.org/web/20010429013932/http://www.quicksand.net/interviews/alternative.htm |archive-date=April 29, 2001 |access-date=February 4, 2023 |website=quicksand.net}}</ref> [[Interscope Records]] would sign Helmet after a reportedly "ferocious" bidding war between several major record companies,<ref name="Meantime">{{cite web |url= http://www.allmusic.com/album/meantime-r9190/review |title=Meantime – Helmet – Review |last=Franck|first=John |work=AllMusic |access-date=April 8, 2011}}</ref> and while MTV would air some videos by the group, which by the time of the release of their major-label debut ''[[Meantime (album)|Meantime]]'', was considered then "the only band close to the Seattle [[grunge]] sound" on the American East Coast<ref>{{cite web |url=http://www.allmusic.com/artist/helmet-p4472/biography |title=Helmet – Biography |last=Meredith|first=Bill |work=AllMusic |access-date=April 8, 2011}}</ref> and would be hailed as "the next big thing", these expectations would "never be fully realized" in spite of the record's later influence.<ref name="Meantime" /> In another notable case, Hum was signed to [[RCA Records|RCA]] in 1994, selling approximately 250,000 copies of their album ''[[You'd Prefer an Astronaut]]'' fueled by the success of the album's lead single "[[Stars (Hum song)|Stars]]",<ref name="Hum">{{cite web |url=http://www.allmusic.com/artist/hum-p143707/biography |title=Hum – Biography |last=Butler|first=Blake |work=AllMusic |access-date=April 9, 2011}}</ref> and while the band had established by this point a strong underground fanbase, this would prove to be "the pinnacle of Hum's media attention", as its follow-up, 1998's ''[[Downward Is Heavenward]]'' would sell poorly, resulting in the decision of RCA to drop the band from their roster.<ref name="Hum" />

=== 2000s (mainstream success) ===
[[File:hawthorneheights.jpg|thumb|upright=1|alt=5 guys standing together|Post-hardcore band Hawthorne Heights in 2007]]
[[File:MuchMusic Video Awards 2007 608.jpg|thumb|upright=1.1|alt=Four guys standing together|Post-hardcore band The Used in 2007]]
Record producer [[Ross Robinson]], who was credited for popularizing [[nu metal]] with bands like [[Korn]], [[Slipknot (band)|Slipknot]], [[Soulfly]] and [[Limp Bizkit]] in the 1990s, helped post-hardcore achieve popularity during the 2000s.<ref>{{cite web| last = Sciarretto| first = Amy| title = Producer Ross Robinson: I Want Bands to Be 'Fearless' With the Music| work = [[Noisecreep]]| publisher = [[AOL]] Music| date = June 28, 2010| url = http://www.noisecreep.com/2010/06/28/producer-ross-robinson-i-want-bands-to-be-fearless-with-the-music/| access-date = March 22, 2011}}</ref><ref>{{cite web| last = Teitelman| first = Bram| title = Ask the: Producer with Ross Robinson| work = Metal Insider| date = January 19, 2009| url = http://www.metalinsider.net/interviews/ask-the-producer-with-ross-robinson| access-date = March 22, 2011}}</ref> Mehan Jayasuriya of [[PopMatters]] suggested that Robinson's sudden focus on post-hardcore was his "pet project" designed to redeem himself of "the 'Nu-Metal' scourge of the late '90s".<ref name="popmatters-2008">{{cite web| last = Jayasuriya| first = Mehan| title = Glassjaw's Triumphant Return and the Redemption of Ross Robinson| work = [[PopMatters]]| date = December 4, 2008| url = https://www.popmatters.com/66503-glassjaws-triumphant-return-and-the-redemption-of-ross-robinson-2496097620.html| access-date = September 8, 2022}}</ref> Robinson recorded [[At the Drive-In]]'s ''[[Relationship of Command]]'' (2000), [[Glassjaw]]'s ''[[Everything You Ever Wanted to Know About Silence]]'' (2000) and ''[[Worship and Tribute]]'' (2002), and [[The Blood Brothers (band)|the Blood Brothers]]' ''[[...Burn, Piano Island, Burn]]'' (2003); four albums that are said to "stand as some of the best post-hardcore records produced" during the 2000s.<ref name="popmatters-2008" /> In John Franck's review of ''Everything You Ever Wanted to Know About Silence'' for Allmusic, he stated: "Featuring extraordinary ambidextrous drummer [[Sammy Siegler]] (of [[Gorilla Biscuits]]/[[CIV (band)|CIV]] fame), Glassjaw has paired up with producer/entrepreneur Ross Robinson (a key catalyst in the reinvention of the aggro rock sound) to take you on a pummeling ride that would make [[Bad Brains]] and Quicksand proud."<ref>{{cite web| last = Franck| first = John| title = ''Everything You Ever Wanted to Know About Silence'' – Overview| work = [[Allmusic]]| publisher = [[Rovi Corporation]]| url = http://www.allmusic.com/album/everything-you-ever-wanted-to-know-about-silence-r475718| access-date = March 22, 2011}}</ref>

These bands allowed the genre to grow and become much more varied with At the Drive-In taking influence from [[art rock]] and [[rock and roll]], and Glassjaw using elements of both pop music and [[heavy metal music|heavy metal]]; furthermore, bands such as [[Hell Is for Heroes (band)|Hell Is for Heroes]], [[Hundred Reasons]], [[Hondo Maclean]] and [[Funeral for a Friend]] took significant influence from heavy metal bands like [[Pantera]] as well as hardcore bands like [[the Hope Conspiracy]]. Post-hardcore achieved mainstream success with the success of [[emo]] post-hardcore bands such as [[My Chemical Romance]], [[Senses Fail]], [[Alexisonfire]], [[Taking Back Sunday]], [[Brand New (band)|Brand New]], [[Thrice (band)|Thrice]], [[AFI (band)|AFI]], [[the Used]], [[Silverstein (band)|Silverstein]], [[From First To Last]], [[Thursday (band)|Thursday]] and [[Hawthorne Heights]]. Some bands also began to incorporate [[progressive music|progressive]] elements; with bands such as [[Chiodos]], [[Scary Kids Scaring Kids]], [[Circa Survive]], [[The Fall of Troy (band)|the Fall of Troy]] and [[Dance Gavin Dance]] gaining significant success, and bands such as [[Damiera]], [[the Sound of Animals Fighting]], [[The Bled]], [[Norma Jean (band)|Norma Jean]] and [[The Chariot (band)|the Chariot]] being left under the wood works; as well as bands taking influence from [[metalcore]] like [[Ice Nine Kills]], [[Blessthefall]] and [[Pierce the Veil]], inspired by acts such as [[Killswitch Engage]], [[Avenged Sevenfold]] and [[Atreyu]].<ref>{{cite web|url=https://www.bandwagon.asia/articles/rising-above-the-noise-the-history-and-evolution-of-post-hardcore|title=Rising Above The Noise: The History And Evolution Of Post-Hardcore|date=May 12, 2014|access-date=January 17, 2018}}</ref>

=== 2010s–present (continued underground popularity) ===
Beginning to form in the late 2000s, the [[emo revival|fourth wave of emo]] came into full fruition in the early 2010s. Moment defining bands like [[Modern Baseball]], [[the Hotelier]] and [[Joyce Manor]] all gained significant success in the underground, a new takes on post-hardcore became prominent with the sonic experimentation of [[Drug Church]], [[Title Fight]], [[The World Is a Beautiful Place & I Am No Longer Afraid to Die]] and [[Citizen (band)|Citizen]].<ref>{{cite web |last1=Sacher |first1=Andrew |title=25 Classic Emo & Post-Hardcore Albums Turning 10 in 2023 |url=https://www.brooklynvegan.com/25-classic-emo-post-hardcore-albums-turning-10-in-2023/ |website=[[Brooklyn Vegan]] |access-date=29 October 2023}}</ref> At the same time "the Wave", or "new wave of post-hardcore", was a movement of bands reviving 1990s emo, screamo and post-hardcore sounds.<ref name="Guardian, 2012">{{Cite news|url=https://www.theguardian.com/music/2012/jun/29/a-to-z-of-pop-genres-2012|title=The A-Z of pop in 2012|last1=Considine|first1=Clare|date=2012-06-29|newspaper=[[The Guardian]]|access-date=2017-06-19|last2=Gibsone|first2=Harriet|language=en-GB|issn=0261-3077|last3=Pattison|first3=Louis|last4=Richards|first4=Sam|last5=Rowe|first5=Sian}}</ref><ref name="Sacher, 2021">{{cite web |last1=Sacher |first1=Andrew |title=10 years ago, the new wave of post-hardcore made its mark |url=https://www.brooklynvegan.com/10-years-ago-the-new-wave-of-post-hardcore-made-its-mark/ |access-date=26 October 2023}}</ref> The name was originally coined to refer to only [[Touché Amoré]], [[La Dispute (band)|La Dispute]], [[Defeater (band)|Defeater]], [[Pianos Become the Teeth]] and [[Make Do and Mend (band)|Make Do and Mend]], however by 2014 had expanded to also include groups Balance and Composure, Into It. Over It. and [[Title Fight]].<ref name="Pitchfork – The Wave">{{cite web|url=https://pitchfork.com/thepitch/621-the-year-in-post-hardcore-has-the-new-wave-crested/|title=The Year In Post-Hardcore: Has the New Wave Crested? - Pitchfork|website=pitchfork.com|date=December 30, 2014|access-date=January 17, 2018}}</ref> In 2011 [[Alternative Press (magazine)|''Alternative Press'']] noted that [[La Dispute (band)|La Dispute]] is "at the forefront of a traditional-screamo revival" for their critically acclaimed release [[Wildlife (La Dispute album)|''Wildlife'']],<ref name="alt la dis">{{Cite web|url=http://www.altpress.com/reviews/entry/la_dispute_wildlife|title=La Dispute - Wildlife - Reviews - Alternative Press|website=Alternative Press|date=27 December 2011|language=en|access-date=2017-06-19}}</ref> while a 2014 article by ''Treble'' called Touché Amoré "the one band carrying the sound forward in the most interesting ways".<ref>{{cite web |title=10 Essential Screamo Albums |date=February 20, 2014 |url=https://www.treblezine.com/10-best-screamo-albums/ |access-date=24 October 2023}}</ref> By 2015, many of the original acts in the movement had either gone on hiatus or entered periods of inactivity.<ref name="Pitchfork – The Wave" />

Later forms of post-hardcore have garnered more mainstream attention with bands such as [[Sleeping with Sirens]], whose third album ''[[Feel (Sleeping with Sirens album)|Feel]]'' (2013) debuted at No. 3 on the US Billboard 200 chart, making it one of the highest charting post-hardcore album by any band to date.<ref name=BILLBO>[{{BillboardURLbyName|artist=sleeping with sirens|chart=all}} Chart History] – Billboard.com</ref><ref>[http://www.billboard.com/articles/news/1565767/queens-of-the-stone-age-heading-for-first-no-1-album Queens of the Stone Age Heading for First No. 1 Album] – Billboard.com</ref><ref>{{cite magazine|url=http://www.billboard.com/articles/news/1566341/sleeping-with-sirens-headed-for-best-week-ever-on-billboard-200-chart|title=Sleeping With Sirens Headed for Best Week Ever on Billboard 200 Chart|magazine=[[Billboard (magazine)|Billboard]]|access-date=January 17, 2018}}</ref> [[Pierce the Veil]]'s third album, ''[[Collide with the Sky]]'' (2012), has also received much attention. While [[Madness (Sleeping with Sirens album)|''Madness'']] (2015) and [[Misadventures (Pierce the Veil album)|''Misadventures'']] (2016)—by Sleeping with Sirens and Pierce the Veil respectively—incorporate more elements of pop rock and pop punk, entering territory that many find to be loosely defined as post-hardcore. Seen also is the emergence of independent post-hardcore bands like [[The Men (punk band)|the Men]], [[Cloud Nothings]] and [[METZ]], who are moved closer to the dynamics and aesthetics of earlier acts, whilst diverging deeper into external influences.<ref name="LeaveHomeAllmusic">{{cite web |url=http://www.allmusic.com/album/leave-home-mw0002134479 |title=Leave Home – The Men |last1=Sendra |first1=Tim |work=AllMusic |access-date=March 9, 2013}}</ref><ref>{{cite web |url=http://www.allmusic.com/album/attack-on-memory-mw0002263757 |title=Attack on Memory |last1=Phares |first1=Heather |work=AllMusic |access-date=March 9, 2013}}</ref><ref name="CloudNothingsSlant">{{cite web |url=http://www.slantmagazine.com/music/review/cloud-nothings-attack-on-memory/2716 |title=Cloud Nothings: Attack on Memory |last1=Cole |first1=Matthew|work=[[Slant Magazine]] |date=January 23, 2012 |access-date=March 9, 2013}}</ref><ref>{{cite web |url=http://www.allmusic.com/artist/metz-mn0002969945 |title=METZ – Music Biography, Credits and Discography |last1=Monger |first1=James Christopher |work=AllMusic |access-date=March 9, 2013}}</ref> Reviewers have also noted the incorporation of a diversity of elements like [[krautrock]], [[post-rock]], [[sludge metal]], [[shoegaze]],<ref name="LeaveHomeAllmusic" /> [[power pop]]<ref name="CloudNothingsSlant" /> and [[no wave]]<ref>{{cite web |url=http://www.allmusic.com/album/metz-mw0002410794 |title=METZ – METZ |last1=Lymangrover |first1=Jason |work=AllMusic |access-date=March 9, 2013}}</ref> in addition to previous [[hardcore punk|hardcore]], [[noise rock]] and [[post-punk]] sensibilities.

== See also ==
* [[List of post-hardcore bands]]

== References ==
{{reflist|30em}}

==External links==
{{Wikiquote}}
== Bibliography ==
* Andersen, Mark and Mark Jenkins (2003). ''Dance of Days: Two Decades of Punk in the Nation's Capital''. Akashic Books. {{ISBN|1-888451-44-0}}
* Azzerad, Michael (2002). ''Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991''. Back Bay Books. {{ISBN|0-316-78753-1}}
* {{cite book |title=POST: A Look at the Influence of Post-Hardcore-1985-2007 |last=Grubbs |first=Eric |year=2008 |publisher=[[iUniverse]], Inc. |location=[[Bloomington, Indiana|Bloomington, IN]] |isbn=978-0-595-51835-7 |url=https://books.google.com/books?id=Ku91l_blqCUC&pg=PP1 |access-date= March 25, 2011}}
* Reynolds, Simon. ''The Blasting Concept: Progressive Punk from SST Records to Mission of Burma''. ''Rip It Up and Start Again: Post-punk 1978–84''. London: Faber and Faber, Ltd., 2005.

{{hardcorepunk}}
{{punk}}
{{New wave and post-punk}}

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