punk-rock-bands

"Moments drag on for ages Eyes shower storms of tears The whole world is an empty void Without you, Govinda"

"Yuga-yitam nimo-shena Chakshusha pravrisha-yitam Shunya-yitam jagat sarvam Govinda-virahena me"

"Gaga can't handle this shit."

"But don't forget to watch this. Tongue push bankroll off my lips. Who the hell are you legit? What the fuck you think man?"

"Hit it, split it, make it cum, get wetted Come again, come get it."

"I got this pregnant snake Stay surrounded by long hairs."

"Burmese babies under each arm Screamin' beautiful songs."

"My existence is a momentary lapse of reason."

"Pretty pretty nine, spinning spinning blind Fitting into crime, itch to fuck and grind Death Grips is online, drinking from its spine Living till I'm fine, pretty pretty nine."

"Shed my skin Leave it for the homeless To sleep it."

"How I ride, why I ride, never really had to try I, I, I eeuuhh Nevermind that, blackjack."

"Get get get get Got got got got Blood rush to my Head lit hot lock Poppin' off the Fuckin' block knot Clockin' wrist slit Watch bent thought bot."

"How the trip never stops On and on, it's beyond insane Why I set myself up In a raging sea of flames?"

"I got to be somewhere man fuck!"

"Choke on these nuts till the very last."

"Listen up, you nosy bitch, listen close My most recent purchase, old black rope Gonna learn how to tie it, hang it in my chamber Perfect reminder occult I'm made of."

"Triple six, five, forked tongue Subatomic penetration rapid fire through your skull How I shot it on one taking it back to the days of trying to lose control Swerving in a blaze of fire, raging through my bones Oh shit I'm feeling it Takyon Hell yeah, fuck yeah, I feel like killing it Takyon."

"Whatchya gonna do when they come for you? A gang of hatin pigs."

"I saw you doing peace signs with the FBI. Might've tried that in the future before so don't lie. All dead dogs go to heaven 'cause dumb bitches let them in. They're just racist and they wanna fuck."

"Seen it happening before it even happened."

"I'm at Glow Bowl, in a wet fuck hole Where the 1994 hobos throw 69's and the bitches shout I'll fuck you when I wanna hang out Tell the princess eat shit and die (ownage) Not in public, hoe, I'm still high."

"I got Jesus, he got saved I got power, it's so cheap Fuck this bird, bitch, drink this bleach."

"I fuck the music, I make it cum."

"Give a fuck whatchya heard Yeah fuck whatchya heard Fore this real shit kicked your whole click to the curb What, what What, what But you dont hear me though Run up bitch ta da death get gripped my steeze is ballin' out Of control whatch you know 'Bout bubblin' Hustle bones comin' out my mouth."

"Fuck that man, my philosophy."

"Formed in 1980 by a bunch of furious teenage outcasts from D.C.'s Wilson High School and led by the infernally charismatic Ian McKaye, Minor Threat found artistry in economy, pumping the bottomless teenaged well of rage − against the establishment, against the cops, against apathy and each other − to fuel blistering, ferociously short sharp sonic shocks in the form of songs. The beats were monochromatic and the instruments were raced as fast as they could possibly go − the goal was catharsis through the passionate expenditure of energy."

"As hardcore inflicted grievous bodily harm upon land speed records and societal norms, early harDCore heroes Bad Brains stood out. They were not only the earliest of thrash outfits, but they were likely the best musicians to tackle the form."

"Though they could easily be considered an “experimental” group as well, Dance Gavin Dance are the Sacramento-born post-hardcore group that, though the lineup has changed quite a few times, have always held a special place in alternative music history. Their influences range from MF DOOM to the Temptations, as well as other post-hardcore groups such as At The Drive-In. Mixing harsh and clean vocals, they take note from classic hardcore and prog-rock genres, though it’s the technical attention and structuring of the songs that set DGD firmly in the post-hardcore hall of fame."

"Big Black had noise-rock down to a science. The band essentially had no midrange. Bassist Dave Riley held down the low-end, while Steve Albini and Santiago Durango opted for extreme treble, which was made all the more piercing thanks to a penchant for playing with metal picks. With the industrial thump of drum machine “Roland” keeping rhythm, and a habit of setting off firecrackers on stage before playing, Big Black essentially created misanthropy you could sing along to."

"She’s my sex bomb baby! Yeah!"

"[Glassjaw] ushered the genre out from the underground with a unique iteration of the NY hardcore sound, claiming their audience with their rowdy, unforgettable live shows and thoughtful songs that continue to enthrall us today."

"San Francisco’s Flipper made music that sounded like the opposite of what most would consider sexy. And for that matter, it didn’t even sound like what most of us would associate with punk — where loud and fast once ruled, Flipper played slow and sludgy. Black Flag would do likewise in just a couple years, but in 1982 there was little that sounded like Flipper, and even less that sounded like “Sex Bomb,” a drunken mess of a punk song that took the template of early garage rock from the ’60s and stretched it out over seven minutes, simplified the lyrics and blasted lots of gnarly sax all over it. It feels nihilistic — the same thing over and over again, gradually becoming messier and messier, with no narrative or point to speak of."

"Though their genre is arguably elusive — and can be described across the internet as everything from rock and screamo to Christian metal — Underoath embody post-hardcore. Initially drawing on death metal as an inspiration, they built a band on the bones of the Florida metal hardcore scenes. But as the group saw internal changes, they shifted the sound, forgoing some of the heavier notes for cleaner vocals and rhythm changes."

"As Cities Burn brought an experimental, artsy approach to post-hardcore."

"AFI have done a lot for the post-hardcore scene as a whole, but cracking into the mainstream with “Miss Murder” is a massive achievement. The song had all of the makings of a radio hit, with a massive chorus, driving bassline and simplistic nature to capture the attention of people in and out of the know on bands playing this style of music."

"Brain-meltingly abstract lyrics are shrieked by Cedric Bixler-Zavala like a man possessed by devils of his own making, over riffs which are so violently aggressive but so perfect you start to wonder if Omar Rodriguez Lopez is really a robot in skinny jeans. To this day One Armed Scissor sends out a jolt of electricity that could rouse the dead, while the quieter moments, such as the start of Enfilade with its Iggy Pop ransom call and unholy squeals, are as creepy as all living shittery."

"The Used are kings of the 2000s emo scene."

"To save hardcore, Fugazi had to destroy it and build something new from what scraps could still be salvaged. By 1986, Minor Threat frontman Ian MacKaye was bored and frustrated with the violent, pig-headed masculinity prevalent in hardcore scenes across the country. He found kinship in the arty introspection of Rites of Spring, whose singer-guitarist Guy Picciotto and drummer Brendan Canty joined the fold of MacKaye’s next band. With these new members and bassist Joe Lally as collaborators, MacKaye paired slower and more rhythmically supple arrangements with an unrelenting commitment to his DIY, straight-edge values and the revolutionary spirit at the heart of the genre."

"Senses Fail’s debut album, Let It Enfold You, introduced some of the best post-hardcore songs of the 2000s."

"Chiodos were hugely integral to post-hardcore in the 2000s."

"Senses Fail has remained at the fore of the commercial hardcore scene since issuing their 2004 debut, Let It Enfold You. Mainstays of the Billboard 200 and U.S. indie charts, the band has released a string of acclaimed albums."

"Is it worth it can you even hear me Standing with your spotlight on me Not enough to feed the hungry I'm tired and I felt it for awhile now In this sea of lonely The taste of Ink is getting old It's four o' clock in the fucking morning Each day gets more and more like the last day Still I can see it coming While I'm standing in the river drowning This could be my chance to break out This could be my chance to say goodbye Can't take this town much longer Being half dead wasn't what I planned to be Now I'm ready to be free"

"The dizzying technicality of the Fall Of Troy is a lot to take in, but the band have one of the wildest takes on post-hardcore. The highly complex riffing and screamo elements on “I Just Got This Symphony Goin’” are jarring but truly unique, not only to the scene at the time but also rivaling anything mathcore and math-rock bands are putting out today."

"Funeral For A Friend have been a huge influence on post-hardcore in the U.K."

"A Static Lullaby [capture] metalcore’s heavy tendencies while staying rooted in post-hardcore through clean melodies and classic punk riffs."

"The calming, atmospheric vibe at the beginning of mewithoutYou’s “In A Sweater Poorly Knit” is there to suck listeners in before the band start to build layer after layer of sounds, showing their capabilities in bringing out punk energy without ever tapping into harsh noise."

"There’s a good argument to be made that no album had a more profound impact on the development of pop punk than [Milo Goes to College]. It was firmly rooted in the hardcore scene and played with the same rawness, speed, and intensity as early Black Flag, [...] but the Descendents added in bright, catchy melodies through Milo Aukerman’s bratty, snotty delivery, and basically invented pop punk in the process. And it wasn’t just the sound of pop punk that Milo Goes to College paved the way for; it was the lyrical content too. With songs about hating your parents, wanting girls to like you, being a loser, and a hint of social criticism, Milo Goes to College laid out what would be the primary concerns for a large majority of pop punk bands to come. Just about every major pop punk band has sung the Descendents’ praises."

"Double Nickels on the Dime rewrote the rules for what a punk band–or just a band in general–could be, and it still sounds radical today. It’s not hard to hear the album’s influence on anyone from the Red Hot Chili Peppers to Guided by Voices to Fugazi, but for the most part, the Minutemen’s vast influence tends to come through on a spiritual and ideological level. No other band sounds like Double Nickels on the Dime, and I don’t know if anyone even could if they tried."

"[Descendents are] the only reason blink-182 existed. It was the first band the three of us all agreed on."

"With today’s hardcore scene embracing alt-rock, ' is a still-relevant reminder that history repeats itself."