Un post sur le post-(hardcore & autres)

Bon je suis un gros fan de post-hardcore et post-hardcore, donc si vous connaissez des groupes dans ce genre faites m'en part svp. J'écoute en post-hardcore Fugazi, Shellac, Big Black, Quicksand, Unwound ; en post-rock Mogwaï, Tortoise, A Mt Silver Zion, Slint.
Sinon je suis plutôt axé musique expérimentale, larsens et harmoniques à tout va à la Sonic Youth, donc si pouvez m'apprendre des choses sur la création de ce mouvement je vous suis toute ouïe (plutot vue).
Voilà merci beaucoup d'avance.

tu es dans pop-rock là


va dans hard-rock plutôt

Ce message a été modifié par Sappy* - Tuesday 09 November 2004 à 06:42.

ON déménage

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Post-Hardcore, as the name might suggest, is a musical offshoot of the hardcore punk Hardcore punk is an intensified version of the punk rock genre, characterized by bands who play short, loud, and angry songs with exceptionally fast chord changes on highly overdriven guitars. The lyrics are often political in nature, and typically violent in expression.
Cultural origins: early 1980s North America

movement. The earliest appearances of the genre were in Washington, DC Washington, DC, officially the District of Columbia (also known as DC; Washington; and, historically, the Federal City) is the capital city and administrative district of the United States of America. Residents of the city and its surrounding suburbs most often refer to it simply as the District, to contrast Washington from its greater metropolitan area.
in the mid- to late 1980s (see the era's releses on Dischord Records Dischord Records is a Washington, D.C.-based record label specializing in D.C.-area independent punk, hardcore, and post hardcore music.

source: http://encyclopedia.thefreedictionary.com/Post-hardcore

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Post-hardcore
In the second half of the decade, the influence of avantgarde hardcore bands such as Fugazi, Henry Rollins and Jesus Lizard led to a "post-hardcore" style that was convoluted, jittery, sinister, ugly.

Seattle's Unwound (14), the vehicle for Justin Trosper's epileptic sermons, learned the lessons of Sonic Youth, Fugazi and Jesus Lizard and applied them to the brutal, harrowing vision of Fake Train (1993), broadening the lexicon of hardcore with techniques that borrowed from the blues as well as from the avantgarde, while maximizing the emotional impact. It was music that transpired angst and alienation, music of harsh tones, agonizing tempos, demonic vocals. Unwound's essay in intolerable tension continued with New Plastic Ideas (1994) and The Future Of What (1995), that channelled Trosper's hellish angst into a Morse code of ghastly shrieks and gut-wrenching riffs. while flirting with jazz and avantgarde manners, Repetition (1996) and Challenge For A Civilized Society (1998) clarified the subtle mission of the band: a sound that was as loud as the sense of confusion and insecurity of their generation.

Phatom 309's vocalist/guitarist John Forbes recorded the raw and vulgar Sahara Of The Bozart (1992) with Dirt and then the frenzied and dark Put The Creep On (1994) with Mount Shasta.

Texas bred a school of musicians who blended elements of different local schools of the 1980s: hardcore (e.g., Poison 13), psychedelic (e.g, Butthole Surfers) and industrial (e.g., Pain Teens). Crust (1) crafted Crust (1991) and especially Crusty Love (1994), a chaotic, claustrophobic and cacophonous post-industrial symphony. Drain (1), the side-project of Butthole Surfers' drummer King Coffey, mixed Red Crayola, John Cage and nursery-school mayhem on Pick Up Heaven (1992). The music of Pistol Swing (1993) by Johnboy (1) sounded like a chain reaction inside a nuclear reactor, a repulsive magma of manic impulses and subhuman hallucinations.

Several bands from Illinois and Minnesota straddled the line between hardcore and grunge: Janitor Joe, on Big Metal Birds (1993); Tar, on Jackson (1991); Calvin Krime, on You're Feeling So Attractive (1998).

New Jersey's Rye Coalition fused emocore and hard-rock, Fugazi and AC/DC, starting with Hee Saw Dhuh Kaet (1997).

Ohio's Terrifying Experience, the project of Guided By Voices' guitarist Mitch Mitchell, experimented with progressive hardcore on Supreme Radial (1999). So did Los Angeles' Stanford Prison Experiment, that tried to bridge that style and funk-metal on The Gato Hunch (1995).

Seattle's Juno (1) specialized in open-ended structures with a wide range of dynamics on This is the Way It Goes And Goes And Goes (Desoto, 1999) and A Future Lived in Past Tense (2001).

source: http://www.scaruffi.com/history/cpt515.html

yeah ! c'est super de mettre un texte en anglais ! ! et ça veut dire quoi au juste tout ça ?!

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En gros le post-hardcore, comme tout ce qui est post- en musique, c'est une version plus évoluée. en post-hardcore, y'a les bases hardcore, la hargne, la violence, mais en plus y'a des structures plus complexes, des plans bizarres assez souvent, etc...

Par exemple, le post-black, ça arrivera jamais, parce que c'est pas une scène faite pour évoluer, vu l'incompression du concept par la majorité...

Merci beaucoup pour tous ces renseignements
Sinon y a po qq un qui en écoute du post-hardcore par ici?

si, moi et luk

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T'aime le post-hardcore...
http://www.purevolume.com/basicsearch/547027/1 éclate toi avec ça...

Ecoute UNSANE !

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Ah
UNSANE

Ah mais en fait c'est pas très 'post' Unsane.
Enfin, j'ai vu mieux, du genre Cult Of Luna, ISIS et NEURRRRRROOOOOSSSSSIIIIISSSSSSSSSSSSSSSSSSSSs

c'est "post" ça?!?

j'en ecoute et pour moi c'est juste du...hardcore

Ouaip.
C'est ce que je dis.
C'est juste du hardcore gras.

ekkaia c bon aussi

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DIRGE ET MARE ca pètent tout!!dirge leur 4 titres est vraiment bon(70 min)

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