[Western music] What is post-hardcore? — Summary of representative bands
If you like bands that are often introduced as emo or loud, whether Western or Japanese, you’ve probably come across the genre called “post-hardcore” at least once.
Among the bands that originated from hardcore punk, which began in the late 1970s, those who created a unique sound that didn’t fit neatly within existing hardcore came to be called “post-hardcore.” From there, derivative genres like emo-core and screamo emerged, and since the 2000s the term has been used in a broader sense—making it a very difficult genre to define.
In this article, we’ll introduce, all at once, the bands that debuted from the 1980s to the 1990s and played an important role in shaping post-hardcore.
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[Western Music] What Is Post-Hardcore? — Summary of Representative Bands (11–20)
FazerQuicksand
Quicksand, the legendary post-hardcore band set to return to Japan for shows in November 2022.
Formed in 1990 around Walter Schreifels—renowned as the guitarist of Gorilla Biscuits, one of the most iconic bands from the late-1980s New York hardcore scene—the band released two albums in the 1990s, then unexpectedly reunited in 2012, followed five years later by a comeback third album, and in 2021 released their fourth, Distant Populations.
One interesting point in their discography is that, while their debut EP came out on the storied hardcore label Revelation Records, they had already made their major-label debut with their first full-length, Slip, in 1993.
You could take that as evidence of the high expectations surrounding them, but unfortunately they did not achieve commercial success.
Even so, many later bands cite the influence of their post-hardcore sound, and Quicksand’s status as an important band in the history of post-hardcore remains unchanged.
Their musical style, while showing the influence of bands like Fugazi and Jawbox, is distinguished by metallic, hard-edged guitar riffs woven throughout.
The overall feel is close to what bands like Helmet were doing in the so-called alternative metal sphere, and the distinctive, solid groove that springs from that sensibility is uniquely theirs.
It’s also worth noting that in their early days they covered The Smiths’ classic How Soon Is Now?, hinting at an admiration for UK rock that comes through in their sound.
PorcelainThursday
Although this article doesn’t cover the so-called “screamo” bands from the 2000s onward, Thursday—who can be seen as forerunners of that movement—are an important band within the trajectory of post-hardcore, so I’m including them here as a representative of early-2000s screamo.
Formed in New Jersey in 1997, Thursday predate bands like The Used and Finch among the early screamo acts, and considering that their seminal debut album “Waiting” was released in 1999, it’s no exaggeration to say they bridged the gap between the underground post-hardcore of the ’90s and the commercially successful screamo scene of the 2000s and beyond.
The record that truly put their name on the map is their masterpiece of a second album “Full Collapse,” released on the venerable Epitaph Records.
But if you listen to “Waiting,” which came out on Eyeball Records—the same label that would later launch My Chemical Romance—you can hear how new possibilities were germinating beneath the surface of a late-’90s American rock scene dominated by nu metal.
The sound production and musicianship bear the rough edges of an indie release, yet the contrast between frontman Geoff Rickly’s introspective lyrics, his fragile singing, and his screams is quintessential early screamo.
And, as evidenced by the track “Ian Curtis,” their influences from UK rock such as new wave are also noteworthy.
Thursday’s sound world—where delicate emotion swirls, distinct from the loud, metallic strain of screamo—stands as one of the remarkable possibilities that post-hardcore brought into being.
Side Car FreddieHoover
Hoover is a band that etched its name into DC hardcore despite having only about two years of real activity between 1992 and 1994, becoming legendary through a handful of 7-inch singles—including splits—and their sole album, The Lurid Traversal of Route 7.
Hailing from Washington, they released their album on Dischord Records, led by Fugazi’s Ian MacKaye.
Their uniquely original hardcore sound naturally shows Fugazi’s influence, but it also connects with bands that helped shape what came to be called post-rock, like Slint from the same era.
Within their mostly mid-tempo songs, they conjure a soundscape where impulsive emotion intertwines with a foreboding, dark atmosphere that is distinctly their own.
The slithering basslines and busy, detail-rich drumming create a singular groove; the guitars spew dissonance, and though the result is chaotic, the ensemble’s masterful use of dynamics and the contrast between quiet and loud gives it an alternative rock sensibility.
There are instrumental tracks and moments that show a jazz-like approach, and newcomers to their world will likely be struck by the depth of their musicality.
Also note that some members later went on to play in important American indie bands such as June of 44.
Altoids, Anyone?Tar
When it comes to Chicago post-hardcore and noise rock, legends like Steve Albini’s Shellac and The Jesus Lizard are usually mentioned first.
But there’s a lesser-known band you should definitely know: Tar, a four-piece active from 1988 to 1995.
Originally a hardcore punk outfit, their musical approach is fascinating—rooted in freaky post-hardcore yet laced with a distinctive sense of humor that sets them apart.
Their noisy riffs and rhythms that occasionally weave in odd time signatures create a groove that leans less into chaos and darkness and more into a peculiar atmosphere—dare I say, even with a pop sensibility at times.
You can catch glimpses of this on their 1991 debut, Roundhouse, but it feels like their unique character really crystallized around their third album, Toast, released on Chicago’s storied label Touch and Go Records.
Their fourth and final album, Over and Out, features master engineers Steve Albini and Bob Weston, and I’d recommend it as the definitive realization of the sound they’d been pursuing.
As an aside, they’re also known for using aluminum guitars—the cover of their EP Clincher features a photo of one.
Mistakes And Regrets…And You Will Know Us by the Trail of Dead
The memorably long-named …And You Will Know Us by the Trail of Dead is a post-hardcore/alternative rock band formed in 1994 in Austin, Texas.
They released their latest album, XI: Bleed Here Now, in 2022 and remain an active force to this day.
The band is centered around two original members who are multi-instrumentalists, while the rest of the lineup is fluid—one of their distinctive traits.
The record that catapulted them into wider recognition was their second album, Madonna, released in 1999.
Put out by the renowned American indie label Merge Records, it drew attention not only for its impactful artwork featuring a portrait of a Hindu goddess on the cover, but also for its highly praised sound: Sonic Youth-esque noise, at times lyrical guitars, busy and dynamic drumming, beautiful melodies, and dramatic song structures that reflect post-rock influences.
In fact, to mark the album’s 20th anniversary, they even held a headlining show in Japan in 2019.
In 2002, they released their major-label debut, Source Tags & Codes, widely hailed as a masterpiece, which stunned listeners with an artistic sonic universe that transcended the bounds of alternative rock and post-hardcore.
Their creativity has never waned since, as they continue to release works grounded in their own aesthetic.
In a landscape where many bands disband quickly, a group like this—maintaining a high standard over the long term—is truly rare and invaluable.