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Although post-hardcore is primarily rooted in post-punk and hardcore punk, the music that created the space for it were groups like Black Flag, The Minutemen, Flipper and Hüsker Dü, who proved there was indeed room for stylistic diversity in hardcore punk, and abrasive art punk units like Sonic Youth and Big Black, who had arrived too late to truly be part of the initial post-punk movement. Unlike post-punk, post-hardcore was almost exclusively an American phenomenon.
Post-hardcore developed due to not only the stylistic limitations of hardcore punk, but also as an effort directly alienate the boorish, violent culture that had grown around hardcore punk much to the ire of the influential figures. The earliest appearances of post-hardcore itself were in Washington, D.C. and the surrounding Maryland area in the mid-1980s, thanks largely to a 1985 campaign by Washington’s Dischord records called revolution summer, which aimed to break the label and its followers free from the creative and social dead-end of hardcore punk. The first post-hardcore, played by bands like Rites of Spring, Embrace, Gray Matter, and Ignition essentially combined a stronger command of songwriting, a better sense of melody and rhythm, and an introspective lyrical focus, with the power of hardcore. Notably, this music was deemed “emocore” by its detractors.
Post-hardcore would not develop its art rock qualities until about 1987, with the arrival of bands including Moss Icon, who would frequently subvert traditional songwriting styles, make use of improvisational techniques and featured an instrumental style influenced as much by groups like Bauhaus and The Cure as it was by Black Flag. Also noteworthy were Happy Go Licky, a reconvening of Rites of Spring who played an updated version of no wave, and Soulside, who emphasized the power of the rhythm section.
Meanwhile, in the northern Midwest a different type of post-hardcore was developing in the wake of the breakup of Big Black, centered around Touch And Go records. Whereas post-hardcore in the DC/Maryland vein was concerned with energy and emotional expression, artists including The Jesus Lizard, Arcwelder, Silverfish and Big Black frontman Steve Albini’s own Rapeman and later project Shellac were focused on confrontation through precision and extreme volume. This type of post-hardcore might be less renown than that emanating from Washington, though it lead to the creation of math rock and noise rock and undoubtedly shaped the face of post-hardcore in general as much as the groups from Washington did.
The most influential post-hardcore group of all, though, was Fugazi. Formed in the late 1980s by Dischord founder and Embrace singer Ian MacKaye, along with members of Rites of Spring, Fugazi combined a persistent work ethic with constant stylistic innovation. Fugazi played throughout the 1990s and toured throughout the industrialized world, and in their wake came exciting new labels like Gravity, Ebullition, and Gern Blandsten, and artists such as Native Nod, Clikatat Ikatowi, Hoover, Drive Like Jehu, Navio Forge, Unwound, Maximillian Colby, Lungfish and 1.6 Band, among myriad others. Some groups, most notably Jawbox and Sunny Day Real Estate, were even accessible enough to find a degree of mainstream success.
By the turn of the new millennium, post-hardcore bands including Les Savy Fav, At the Drive-In, and The Dismemberment Plan were openly flirting with elements of dance music, and progressive rock, sometimes even adding electronic instrumentation. The music these groups produced was increasingly lush, and indeed many of them did develop major label affiliations. However, post-hardcore more or less collapsed in the early 2000s, with the break-up of many key artists.
Edited by IRONICtypo on 22 Aug 2012, 16:53
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The band’s got everything what it takes to fill the musical void emerged after the death of Luciano Pavarotti.
live in the airballoon
Artspace Rondeel Maastricht (ARM)
go to: www.spoondoctoro.com
filmed by Electro Hydrogen Yoga master Roel Aerts for the Unprofessional Broadcasting Network
The term underground music has been applied to several artistic movements, such as the psychedelic music movement of the mid-1960s, but the term has since then come to be defined by any musical artist/band that avoids becoming a trend/mainstream. Other early “underground” bands include the Velvet Underground, MC5, The Grateful Dead, Patti Smith, and the Stooges. Frank Zappa tried to define “underground” by noting that the “mainstream comes to you, but you have to go to the underground.” In the 1960s, the term underground was associated with the hippie counterculture of young people who had dropped out of college and their middle class life to live in an off-the-grid commune of free love and cannabis. In modern popular music, the term “underground” refers to a performers or bands ranging from artists that do DIY guerilla concerts and self-recorded shows to those that are signed to small independent labels. In some musical styles, the term “underground” is used to assert that the content of the music is illegal or controversial, as in the case of early 1990s death metal bands in the US such as Cannibal Corpse for their gory cover art and lyrical themes. Black metal is also an underground form of music and its Norwegian scene are notorious for their association with church burnings, the occult, murders and their Anti-Christian views. All of extreme metal is considered underground music for its extreme nature.
Shlomo Sher’s “philosophy for artists” argues that there are three common misconceptions about the “underground”: that it refers exclusively to the rave/electronica scene; that it can be described with a vague, broad definition of “anything which is not mainstream”; and the myth that underground music is kept secret; he points out that no band or performer “exclud[es] virtually anyone or anything” using “secret passwords and hidden map points”. Instead, Sher claims that “underground music” is linked by shared values, such as a valuing of grassroots “reality” over music with “pre-wrapped marketing glossing it up”; sincerity and intimacy; freedom of creative expression is valued over commercial success; art is appreciated as deeply meaningful fashion; and the Underground “difficult to find”, because the scene hides itself from “less committed visitors” who would trivialize the music and culture.
In a Counterpunch magazine article, Twiin argues that “Underground music is free media”, because by working “independently, you can say anything in your music” and be free of corporate censorship. The genre of post-punk is often considered a “catchall category for underground, indie, or lo-fi guitar rock” bands which “initially avoided major record labels in the pursuit of artistic freedom, and out of an ‘us against them’ stance towards the corporate rock world”, spreading “west over college station airwaves, small clubs, fanzines, and independent record stores”. Underground music of this type is often promoted through word-of-mouth or by community radio DJs. In the early underground scenes, such as the Grateful Dead jam band fan scenes or the 1970s punk scenes, crude home-made tapes were traded (in the case of Deadheads) or sold from the stage or from the trunk of a car (in the punk scene). In the 2000s, underground music became easier to distribute, using streaming audio and podcasts.
Even some musical styles that eventually became mainstream, commercialized pop styles started out as underground music. Late 1970s disco is often considered to be a very commercialized type of pop music. However, before disco’s mainstream adoption in 1977 and 1978, disco records were underground music created by nightclub DJs for the gay dance club scene. Similarly, hip hop began “on the streets”; in the early 1980s, rappers did beatboxing and made up rhymes for tiny underground labels. Genres such as New Wave, no wave, noise, noise rock, alternative rock, grunge, various forms of heavy metal, grindcore, electronica, outsider music, and experimental music, also trace their roots to underground scenes.
A music underground can also refer to the culture of underground music in a city and its accompanying performance venues. The Kitchen is an example of what was an important New York City underground music venue in the 1960s and 1970s. CBGB is another famous New York City underground music venue claiming to be “Home of Underground Rock since 1973”.
http://bit.ly/janxen = SUBSCRIBE NOW!
28th song BLACKBOX home recording studio – 100% LIVE JANXEN
http://www.janxen.com & http://clicktotweet.com/HcFUg
FREE MP3: http://soundcloud.com/janxen/blackbox
Welcome in my new home recording studio which i call the BLACKBOX and where all my synthesizers are and in which i play my new synthesizer music now. It often sounds like 80s music hits by the way…
I put at least 3 layers of black paint on the walls and ceiling making it a bit like the HMH Heineken Music Hall Amsterdam in The Netherlands. Although the walls need some studio foam treatment and placement, the quality of studio sound is already great because of the curtains and carpet i put in.
Here you see me play my synthesizers live playing the new song BLACKBOX, playing it in my old studio as projected on the sheet and this is my welcoming my new studio and synth setup 😉
Synthesizer Space Music
80s Music Hits
Home Recording Studio
Recording Studio Sound
Studio New Music
Music Like Enigma
Music Like Enya
Music Like Colplay
Music Like Daft Punk
Synth pop 80s
Black Box Ride On Time
Black Box Strike It Up
Black Box Everybody Everybody
Black Box Flight
Black box Airasia
– Virus Ti2 Keyboard Synthesizer
– Roland Juno Stage
– Roland GAIA SH-01 Synthesizer
– Dave Smith Instruments Poly Evolver
– Dave Smith Instruments Mopho Desktop
– Korg Electribe EMX-1SD
– Korg Kaoss Pad KP 3 DJ effect controller
– Moog Little Phatty Stage 2
– Future Retro Revolution R2
– TC Helicon VoiceTone Synth
and computer, mixer, studio stuff, Laserworld EL 60G green laser and tech gadgets!
Song title: My New Home Recording Studio playing Synthesizer ### JANXEN – BLACKBOX 1.0 | Korg Electribe EMX, Virus Ti2, Roland Juno Stage, Dave Smith Evolver Mono, Korg Kaoss Pad, Moog Little Phatty 2, Dave Smith Mopho, Future Retro Revolution R2, Roland Gaia
My music is inspired by Depeche Mode, Jean-Michel Jarre, AIR, Kraftwerk, U2, Björk, Enya, Vangelis, Gary Numan, Pet Shop Boys, Mike Oldfield, Duran Duran, 80s music, Coldplay, Enigma etc.