In a scene full of posers, where even the Real Hardcore bands seem fake, we have decided to take things to the next level and vanguard the new movement of Real Real Hardcore™®. And yeah, I know we have the same initials as All Time Low, IDGAF.
Back when I was in high school, skate punk was pretty much dead and gone but I still jocked the shit out of it. I was one of those “I was born in the wrong era” kids, shamefully. Flash forward 10 years later and I can’t really say much has changed about the genre. My teenage dreams of a full-on 90′s skate punk revival hasn’t come to fruition, and there’s a good chance it never will. But just like many other genres, there are always going to be those people who keep playing it no matter how dead and irrelevant it is. Admittedly, part of me has this crappy elitist complex towards newer skate punk. Basically, I’ve always thought that the mid-late 90′s/early 2000′s era of skate punk was superior and could rarely be replicated by any new band. For the most part I do tend stick to the classics, but here are some newer bands that I think are really sick.
Implants have major “old school skate punk” cred, with members of Strung Out, Pulley, and Ten Foot Pole in their lineup, all crucial bands from the first wave of 90′s Californian skate punk. Their sound doesn’t deviate much from their other bands’ older material and that’s why I love it so much. It’s just pure throwback music made by a bunch of dudes who are probably old enough to be your dad.
Okay, this one is sort of weird so bear with me. This dude named Chance Raspberry, who is an animator for The Simpsons, used to be the front-man of a skate punk band called “Jacuzzi Fiend” back in the 90′s. Since then, he has gone solo with his music career and is pioneering a new style of skate punk which blends the genre with power metal ala DragonForce. This may sound iffy on paper, but the end result is EPIC. He did a kick-starter to fund the project’s full length album, which unfortunately probably didn’t receive the support it needed due to its niche nature. I’m with you though Chance, hopefully you can still make this dream a reality.
Omaha is Canadian band that has a more progressive type feel to them not unlike BELVEDERE (the best Canadian skate punk band to ever exist IMO). I usually tend to prefer the more basic, 90′s type of skate punk (IE bands that rly want to be NOFX) but these guys play this style so damn well and have become one of my favorites in this neo skate punk scene (if you can even call it a scene?). Their album is for free download on their bandcamp, so go check that shit out.
IVS is another Canadian band that’s sick as fuhhhhh. They’re able to encapsulate that classic 90′s skate punk sound and add just the right amount of shredding. Like, enough shred that it makes the song a bit cooler but not enough to make you feel like you’re listening to a metal song (cause who would want that?).
These guys are about as perfect as it gets when it comes to skate punk IMO. They’re probably the best neo French Canadian skate punk band along with Mute. They represent everything I love about the genre. Their instrumentation is pretty straightforward, they do the whole “octave chords played on top of two string power chords” thing that NOFX invented and they focus heavily on melodies. The key change at 0:23 seconds that transitions so smoothly from part to part that I’m not even sure if it’s a key change? EPIC. That beautiful three-part vocal harmonization at 1:35? EPIC. The fact that I find their music so captivating that I am analyzing every small detail of it, making me look like a huge nerd for everyone to see? EMBARRASSING.
Symphony of Distraction is definitely one of the best nu-skatepunk bands. They feature the vocalist (and possibly other members too? I’m not quite sure) of SecondShot, a super sick band who tragically broke out onto the scene not long after the genre died. As much as I love to give shit to dumb kids who rag on bands for being “trendy” and only playing styles of music that are currently “in”, I really do have to commend people in bands like this for playing an extinct style of music for 10+ years. That is pretty admirable.
These dudes are from France and they’ve been around for a while now but they just released their debut full length this year. If you’re a fan of “technical skate punk” then you these guys are perfect for you. They’re ridiculously good at their instruments. Seriously, as someone who attempted to play drums for like a year and then gave it up cause I sucked so much at it, I find it mind-boggling that their drummer can even play that fast.
These guys have been receiving lots of praise in the small, yet existent skate punk community. I kind of get a Propagandhi vibe from them. They’re from Spain if I’m not mistaken. Euros seem to be pretty hardcore about staying true to obsolete genres (I mean, look at easycore for example). So yeah, that’s pretty much all I’ve got.
Blah blah, generic questions in bold italics. Asks you what your favorite bands in the genre are. Something something. Asks you if you think the style will be revived. Doesn’t actually care about your opinion just wants to find a way to close the post.
It seems that every month we discover a new band that can only be described as “the heaviest most ignorant shit ever”, so here is this month’s edition. They are called KNOCKED LOOSE from Louisville, Kentucky and they play some srsly next level sludgewave with a tr00 hardcore feel. I guess they are basically the American DESOLATED but with less Integrity/doom vibes. Like, if the definition of sludgewave is “deathcore bands that look hardcore but ackshually aren’t” then Knocked Loose is “hardcore that plays deathcore that looks hardcore” or something???? idk man let’s start moshing already.
The Death Row shirt is a great touch for some mandatory 90′s worship points. Visually, it perfectly complements the typical hardcore aesthetic; for all you know, Death Row could be a hardcore band from tiny town in Alabama.
The two step part at 0:53 is sooooo crucial. Really catchy stuff, which helps them stand out from the breakdown-salad that most sludgewave bands play. When they bring it home at 2:23 = you are jumping on top of your own head.
Innovative use of a trash can as a powerful moshing accessory at 1:42!!!
The drummer is wearing that Carnifex “FUCKYOUFUCKYOUFUCKYOU” shirt lolol. Hardcore dudes still make fun of deathcore all the time, so it’s good to know that Knocked Loose support a scene where nobody is discriminated against for the type of screamo they listen to.
this is my favorite song from the EP. I’m so glad STRAIGHTEDGE SLUDGEWAVE exists!!
Back in the mid-late 90s, the big trend was what we called “noisecore” at the time. Pioneered by RORSHACH, DEADGUY, and KISS IT GOODBYE, “noisecore” was our term for the bands who played heavy, metallic hardcore with a skronky edge. The first wave of people to pick up where they left of includes a lot of bands that have rightfully gotten a lot of props: BOTCH, COALESCE, ZAO, and DEP to name a few. But one of the best “noisecore” bands is one that you sadly don’t hear mentioned much these days: Philly’s TURMOIL.
Also, they are the only band I am aware of with FOUR members named John!
Their first album, from 1997, was good but not great. You can see where they were headed: a heavier, chuggier, faster take on the DEADGUY sound.
It wasn’t until their 1999 album “The Process Of” that they really hit their stride. I still think this is one of the most pissed, vicious hardcore records I’ve ever heard and it makes me want to punch someone in the face every time I hear this song. What I really liked about TURMOIL is that compared to most of their “noisecore” peers, they seemed to be more about being heavy than being artsy, weird and ‘challenging their audience.’ They just played riffs with a little bit of a skronky edge, but without ever losing sight of the goal of causing maximum dancefloor justice.
This album is just nonstop chaotic, churning brutality at mosh factor 10, and I have no idea why nobody talks about this band these days. I can only assume that it was partly because they were on Century Media, and at the time there was zero crossover between the hardcore and Real Metal scenes.
The cover of their “Anchor” EP is an amazing/hilarious snapshot of late 90s hardcore: Caesar haircut, choker necklace, pirate earrings, sideburns, and JNCOs all in about 4 square inches of photo.
Another great document of 1997 hc steez. Note the giant pants, Rocktron rackmount guitar rig, and how they wear their guitars higher than The Beatles. But lulzy fashion aside, TURMOIL were great live. Very pissed. I saw them around this time, I believe with DISEMBODIED? Probably 20 people were watching both bands.
Are you ready to feel nostalgic? Come and embark with me on an exciting adventure through my favorite old school pop jams. Actually, scratch that about feeling nostalgic. My taste in old school pop is super elite so you prob haven’t even heard of most of these artists. But that’s okay because I’m about to introduce you. Get stoked posers.
While other kids on the playground were jocking entry-level Euro dance-pop acts like Aqua and Eiffel 65, I was repping the Vengaboys. I don’t know why they called themselves Vengaboys though when they had 2 bitches on vox. This song reminds me of riding the bus home in grade 5 (that’s the Canadian way of saying “5th grade”).
Ok, I’ll admit Aqua did have a couple of jams, like this one. I mostly only listen to this song for the part at 1:08 when the dude says “wake up now”. That part is so funny. I remember I used to just keep rewinding back to that part when I listened to this song on my walkman. I showed it to my friend at school during lunch time and he laughed so hard that he snorted milk out of his nose onto this kid who was lactose intolerant, then the kid started crying and had to go to the nurse’s office. Lmao.
Here is a very #rare and #based Canadian artist. I used to jock Prozzak so hard. They were the original sad boys, long before Real Friends and Yung Lean. Srsly, their songs are self pity as fuck, they’re named after an SSRI and their singer is a depressed cartoon character with no neck. Keep crying to your Mineral vinyl, posers. This is tr00 authentic 90′s emo.
This song is from the Dawson’s Creek soundtrack so you know it goes hard. I first heard it on the radio in the car with my dad when I was 10. Some girl called in to request a song and she was like “do you know that song from Dawson’s Creek that’s like ‘life’s a bitch and then you die’? Is that a real song?” Lol. Of course it’s a real song. Dumb bitch. The lyric in this song reminded me of the Ricki Lake show and how awesome it was, especially when they had dysfunctional poor people on as guests.
The girl wearing overalls at the beginning of this video just made me so nostalgic for 90′s fashion. I wish I could go back to a time when girls wore overalls. This group had a stripper on vox, so again, I don’t know why they were called the Boomtang Boys. This song is tight though, it’s my fav from them. Actually, my fav from them is either that or this one.
This video is creepy as fuck. All of these girls have mom swag and they’re singing about abducting an adolescent boy from his tree house. “Do you ever get lonely playing with your toys?” Run adolescent boy, run quick. These crazy Irish bitches are after your lucky charms, AKA your dick, son. What’s that pixie dust for? Is that a rape drug? This is pedophilia. Disgusting. 0/10 wood not rewatch.
Long before Jersey Shore, these advanced Canadians were pioneering the guido aesthetic. This song is cool cause it’s about getting head from yo bitch. But then they say they’ll return the favor by going down on them. I didn’t catch all of the sexual innuendos as a kid but now it all makes sense. “Gonna make you cum tonight… over to my house!!” So clever. B44 were the kings of advanced aesthetics and god tier sexual wordplay.
I just realized that most of the songs I’m going to end up posting are Canadian and that’s cause Canada has the most advanced music scene. This song is totally proto-Hollistercore, way ahead of it’s time. Bands like We The Kings and Mayday Parade owe a lot of their success to these guys. One time some dude was like “do you like the band Waves?” and I was like “you mean WAVE?” and he was like “nahh, Waves” then he linked me to this video and I was like “wtf is this inauthentic poser shit”, then I told him to listen to some REAL music, like Wave.
This song = some Oprah look alike telling you to believe in yourself. When I listen to it I’m like “damn I’m the shit, thanx Canadian Oprah for making me feel good about myself”. I’m a super star! So are you! Don’t let anyone tell you otherwise. Reach for the sky! And hold your head up high! The music in this reminds me of the Snowboard Kids soundtrack, one of the best video game soundtracks IMO.
I will finish this post with this bittersweet love ballad. The girl in this is cute. Don’t google what she looks like now though, she got kinda ratchet. LMS if u remember when #1 pop hits were by wholesome Christian pop rock bands with cute 7.5/10 singers and not trashy Australian female rappers who try to sound they’re a minority from a Southern United States ghetto and Nickelodeon starlets with no ass.
What are ur favorite old school pop jamz? Was the late 90′s undoubtedly the best era for pop music? Why is Canada’s music scene so advanced?
Can’t tell if important band for a generation or night shift at Best Buy
PIERCE THE VEIL might be one of the most highly regarded scene bands of their time. Not really right now, but they have potential to be the most jocked band of all their peers in about 5-10 years. PTV-core could definitely be a thing, and bands on the future tumblr will be repping their shirts so you know they got cred without even listening to their music. Sounds ridiculous to us right now, but here me out:
When I went to a lot of shows in high school, this was the PTV song that everyone knew when they opened like every tour. People could latch on to this song, but the rest was usually a little too weird. I mean they were on Equal Vision, c’mon, that band was not meant to be super accessible. I loved em, but thought for sure they’d just open tours for a few years and kind of fade away. They blew up somehow when I was in college and I have no idea why, but those years of being kind of known but not really will help them in the long run, as opposed to bands who blew up immediately like Attack Attack. Their success will seem more earned, like they toiled for years to get where they did. Hella inspo. And kids don’t want to jock the obvious biggest most successful bands, they want to jock the underrated ones, and PTV have been overlooked like their whole career.
Music Actually P Weird:
In terms of music, Pierce the Veil are actually kind of progressive. There are some interesting song structure choices here, the guitar work is def above average, and them melodies. They often get lumped in with breakdown-cleanchorus-breakdown scene bands, but are way more complex than that. Always thought they fit in more with like Dance Gavin Dance and stuff, they were just catchier and able to blow up like they never did. This will be highly appealing to kids in the future who won’t want to jock the predictable scene bands, but the ones that make them seem more special. Think of Pierce the Veil like a Fall of Troy of the future, it will be dangerous to insult them, and important to say they’re an influence when you start a weird post-scene band.
This video has 7 million views, the one with Kellin Quinn has 30 mil.
What’s weird about Pierce the Veil is that they never changed their sound. The songs on their newest album could fit on their first album, they’re just at a higher quality. Scene bands usually go through changes, from trying to get huge huge like Asking Alexandria, to the Devil Wears Prada trying to go full on tr00 metal, to Woe Is Me changing every member and breaking up after like four months. People will jock specific eras of those other bands “just Bone Palace era Chiodos”, “only early fun Four Year Strong”, but Pierce the Veil actually have a consistent catalog that holds up pretty well. They do their own thing so well that its pretty hard to compare them to other bands too. Perfect for kids to tell “poser, ignorant” other kids who’ve never heard of them to just play their discography on Spotify from front to back. Assuming Spotify can maintain a solid revenue model for a decade.
Minor Stuff Fades Away in the Future:
This song pretty good, I get the second and third albums confused a lot, #consistent
What are the reasons people hate on Pierce the Veil now? They’re only successful because of little girls who like the singer, they super image obsessed, and all that scenecore shit isn’t tr00 anyway etc.?
Well in the future, those little girls will be grown women, and super nostalgic over this kind of sound. The singer dude is already like 30 and not as cute as he gets shit on for, that will only go down further with time. And most importantly, scene music will be seminal. People will be jocking this 2000′s stuff like the 90′s now, and Pierce the Veil has all the potential to be a “hugely important” and a “groundbreaking”, “amazing” band for kids of the future, as told by kids born in 2007 who think they were born in the wrong generation until they do a reunion tour and blow their minds. Its happened before and will happen again…
“Ugh, why couldn’t i have been around in 2008 to see them play drella live :c meow” – respected musician of 2023
As someone who has been on the internet since 1994 or so, it takes a lot to impress me in terms of zany internet content. With that said, I feel confident in saying that CYRIL’S MEMES is the single best thing ever on the internet. His techniques are… so advanced O_o Like, DEPRESSED TEENAGER-level sophisticated.
Cyril’s bread and butter is his pop-punk memes:
I love his pop-punk memes but imo his ‘normal memes’ are his best work, approaching Tim Heidecker levels of anti-comedy:
And last but not least, Cyril himself, the man behind the memes:
Smile kids! You’re on Rise Records now! Can never fail!
Rise Records is probably the most successful scene label ever, and they owe that success to always staying on the cutting edge, developing tons of young promising bands, and knowing what they do well. Over the years the term “Risecore” has existed to describe the type of bands they sign, or the type of bands that desperately want to be signed by them. But Rise has expanded, and made a ton of money, so I think the definition needs some cleaning up, because there are many different kinds of Risecore, all equally Rise-y and worthy of imitation in an effort to get that fat, fat scene money. Let’s take a look.
1. Risecore Classic
Examples: In Fear and Faith, Like Moths To Flames, Memphis May Fire, Miss May I, My Ticket Home, Plot in You, Color Morale, Palisades, DangerKids, Crown the Empire, etc.
This is the Risecore bread and butter, what made them a ton of money and brought them to wear they are today. While there are tons of variations, most notably Crabcore, and some of the Nu-metalcore stuff that is heavy with Risecore today, to keep things simple I will refer to this kind of Risecore with a simple formula:
Most bands on Rise or who want to be on Rise follow this simple formula to a T, and tho many of them release an album, open a bunch of tours, go nowhere then break up, this is where the profit is made. Rise should be making a shit ton of money this year just from Of mice and Men, Issues, and Memphis May Fire albums, all who fall into this category. While Issues will be the next big band here because of the differentiatingly good clean vocals, Memphis May Fire is the prime example of today’s Risecore. Chango Studios vibe to a high level, and consistency. They are about to release an album that should sound identical to their last one, but sell like five times as much. And with an ugly cover that looks like dicks from a distance? This is what people are probably talking about if they say Risecore. But its more than just this!
Examples: Sleeping With Sirens, Emarosa, Dance Gavin Dance, Hands Like Houses, Alive Like Me
The main difference from Risecore and RiSingCore, is a lack of screaming and breakdowns. That’s pretty much it. The general vibe of a Risecore song is still there, because they only use a handful of producers, but the focus is on the singer. Usually this is more in the post-hardcore vein, with bands like Pm Today and Tides of Man who were signed mainly to tour with like Dance Gavin Dance, but that didn’t really work out as well and they never sold crazy or broke out.
Rise is now perfecting this area with bands like Sleeping With Sirens, who found legitimate commercial success. They started out as Risecore with screaming, but found out you could focus on the cute singer, cut the screams, get poppier, and make boats of money. From looking at their most recent signing Alive Like Me (Sleeping With Sirens clone p much), Rise knows this and will likely push this sector of their artists in that direction and further from the post-hardcore ish, which hasn’t sold too well outside of Dance Gavin Dance, who are essentially an outlier because they are mad weird.
Examples: Transit, Man Overboard, Polar Bear Club, Make Do and Mend, A Loss For Words
The way Rise has been investing in young tr00 pop punk bands in the past like two years is some pretty heavy validation that its the future. And they’ve been picking pretty much the cream of the crop for the most hyped, Warped ready young adults ready to take over a dive bar near you. They tried to make Man Overboard mainstream successful like Sleeping With Sirens but I don’t think it ever took, so they might be diversifying their funds in this area. The risk is lower, but so is the potential for huge returns, so they’ll probably find the next trend and focus in that area. Also that newest Transit album was real bad.
Examples: 7 Seconds, Bouncing Souls, Evergreen Terrace, Dave Hause, Face to Face, Hot Water Music, Poison the Well, etc.
This video has 177k views. This Sleeping W/Sirens video has 27 million.
Since Rise has been making a ton of money, they’ve started signing really really old super dated sounding bands that needed “another chance”. There is really no potential for making a ton of money with these bands, they might break even if lucky, and the general Rise audience hates them, so its mostly a cred grab. The Rise owner probably legitimately likes these bands, but there’s no way to spin these signings as great business decisions. So they exist on the roster as favors, or to tell tr00 punx out there that hey, we don’t just sign super scene bands to make money! We have roots! I dunno, its pretty much a foundation for washed-up punks at this point, and that’s fine and nice, but whatever.
There are a couple outliers, like the Acacia Strain who are too heavy and don’t have sung choruses to be classic Risecore, and the Early November who doesn’t really fit in the tr00 pop punk but aren’t old enough to be Oldcore. So its pretty complicated, but in general, this is what Risecore is today, and who knows, in the future EDMCore may be their biggest money maker, or something. But they’ll still probably try a couple new tr00 Risecore bands to fill out the roster every year.
However hard Sarge and uppercut are pushing for the long awaited neon-revival scene, the cold hard facts of the matter is that we are still living in the age of tr00ness. Credibility, earnestness and plaid flannels reign supreme. Look at any FB merch swap page and you’ll see that young music fans are still desperately trying to get rid of their Ghost Inside, Stick 2 Ur Guns and Sworn In shirts as if they carried a deadly disease: even srscore isn’t srs enough anymore!! So while we await the inevitable return of fun and synth/breakdown combos, I can’t help but wonder how bands that don’t neatly fit into either category will be remembered. Enter BEARTOOTH.
professional video with 300,000+ views, sponsored by Red Bull?? NOT PUNK
Beartooth is a HARDCORECORE/HARDCRAB band fronted by Caleb Shomo, the screamer on the last two Attack Attack albums. He entirely self-produced an EP in 2013 that was pretty good, but the band really stepped it up with their new album DISGUSTING, helped in no small part by picking up Kamron and Oshie from CITY LIGHTS to play guitar and bass. This band has only been around for a year or so and they’re already playing huge tours (this year’s Warped included) and poised to be just as big as Of Mice & Men. But the question remains… are they REAL MUSIC??
DIY garage show, complete with meaningful speech and passionate fingerpointing? PVNK AS FUKK
Beartooth are pretty unique considering their frontman comes from unmistakably scene origins, but his new band successfully built DIY hardcore credibility in no time at all. The uplifting, melodic choruses betray Caleb’s crabcore post, but the fact that they dropped the synth and half of their riffs would fit in on a Suburban Scum 7″ complicate things. It’s still a bit too early for the masses to accept jocking Attack Attack again, but a post-AA band with srs lyrics and 50s dad hair? There is great potential here…
Most of their media coverage refers to Beartooth as straight up “hardcore punk”, which seems like a massive oversimplification to me. But then they crank out a 100% pure mosh song like “Dead” and I’m left scratching my head: just where do you draw the line between scene and tr00?? SYWH resident scene queen Ashley Overdrive even referred to this band as “powerviolence” (lol!); I don’t think anything else could summarize so well the gray area that Beartooth exists in.
hands down my fave track on the album. your most brutal moshe pitte awaits
I am just one man, not a fortune teller, so I won’t pretend like I hold the answers to these incredibly important questions. I will leave it to our readers: are Beartooth scene or tr00? Is DISGUSTING fake hardcore for your little sister, or “real metalcore” seen as an acceptable guilty pleasure for tr00 hardcore dorks? Will ISSUES, BEARTOOTH and THE GHOST INSIDE headline THIS IS HARDCORE in 10 years??
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