your favorite hc bands

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Post Sat Jul 14, 2007 4:48 am

my favorite is folsom.
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Post Sat Jul 14, 2007 8:46 am

I'm relatively new to the HC scene, but I'd probably say This Is Hell and Dry Kill Logic, and Unearth if that counts.
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Post Sat Jul 14, 2007 11:27 am

ur talkin bout hxc right?
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Post Sun Jul 15, 2007 1:00 am

i hate hardcore. but. unearth. shadows fall. lamb of god.
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Post Tue Jul 17, 2007 10:36 am

The music genre that became known as hardcore punk originated in different areas of North America in late 1980 and early 1981. Some of the major areas in North America associated with the origins of hardcore punk include: California, Washington, DC, Chicago, New York City, Vancouver and Boston. At the same time, a British equivalent had emerged, although it would not be known as UK 82 or British hardcore until later. The origin of the term hardcore punk is uncertain, however one theory is that the Vancouver-based band D.O.A. made the term official with the title of their 1981 album, Hardcore '81.[2][3][4] Until about 1983, the term hardcore was used fairly sparingly, and mainly as a descriptive term. (i.e., a band would be called a "hardcore band" and a concert would be a "hardcore show"). American teenagers who were fans of hardcore punk simply considered themselves fans of punk — although they were not necessarily interested in the original punk rock sound of late 1970s (i.e. the Sex Pistols, the Ramones, Johnny Thunders and the Heartbreakers). In many circles, hardcore was an in-group term, meaning 'music by people like us,' and it included a wide range of sounds, from hyper-speed punk rock to sludgy dirge-rock, and often including arty experimental bands, such as The Stickmen and Flipper.

Hardcore was noted for its do-it-yourself (DIY) approach. In most cities (California being the exception) the hardcore scene relied entirely on DIY recordings, zines, radio shows and concerts due to many bands having little to no access to any means of production. Hardcore punk fans brought a dressed-down T-shirt, jeans, and crewcut style to punk fashion. This contrasted with the more elaborate and provocative clothing styles of many 1970s punk rockers, such as Richard Hell, Sid Vicious and Soo Catwoman.


[edit] The big three
Michael Azerrad's Our Band Could Be Your Life traces hardcore back to three bands: Black Flag, Bad Brains and Minor Threat. He calls Black Flag, formed in Los Angeles in 1976, the music’s "godfathers." Azerrad credits Bad Brains, formed in Washington, D.C. in 1977, with introducing "light speed" tempos. He calls Minor Threat, formed in Washington, D.C. in 1980, the "definitive" hardcore punk band. Minor Threat, also from Washington, DC, formed out of the short-lived Teen Idles. Carry-over members of The Teen Idles were Ian MacKaye (who went on to co-found post-hardcore group Fugazi and Embrace) and Jeff Nelson. Minor Threat played an aggressive, fast, hardcore punk style influenced by Bad Brains. The band was responsible for inspiring the straight edge movement, with their song of the same name. After the Teen Idles broke up, MacKaye and Nelson put the band's concert money toward founding Dischord Records, initially to release their Minor Disturbance EP on vinyl. The record label went on to release EPs by Minor Threat and many other early Washington, DC hardcore bands.

Black Flag had a major impact on the Los Angeles scene—and later the wider North American scene—with their raw, confrontational sound and DIY ethical stance. The original lineup featured Keith Morris (later of the Circle Jerks), and the final lineup featured former State of Alert singer Henry Rollins, who first sang with Black Flag at a concert in New York City on June 27, 1981.[5] While their musical influence was limited (few contemporary bands sounded similar to Black Flag), their tireless work[citation needed] in promoting their own concerts and releasing self-financed records inspired other bands to do the same. Tours in 1980 and 1981 brought Black Flag in contact with developing hardcore scenes in many parts of North America.

Bad Brains formed in Washington, DC. The band members had backgrounds in soul music, funk, and jazz, and were influenced by rock bands such as Black Sabbath and the Sex Pistols. The single "Pay to Cum" b/w "Stay Close to Me" was released in 1980. Their first album (originally a 1981 cassette-only release from Reachout International Records) included three reggae songs, in sharp contrast to the rest of their music, which mainly consisted of fast, loud, hardcore punk.


[edit] Other early notable bands
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Several 1970s bands from southern California released records featuring music that sounds very similar to what later became known as hardcore. One of those records is the Middle Class’ 1978 Out of Vogue EP.[6] It is unclear the extent to which this early record (and the inclusion of the band's music on the 1979 compilation LP Tooth & Nail) directly inspired hardcore. Mentions of them in contemporary publications are sparse, and little notice appears to have been taken of them outside the Los Angeles area. A more influential record was The Germs’ 1979 LP (GI); essentially a hardcore record, not only for its quick tempos but also for its fast chord changes. Also from Orange County, T.S.O.L (formed in 1978) made a name for themselves in the hardcore punk scene with a melodic yet aggressive pop punk sound.

San Francisco's Dead Kennedys formed in 1978 and released their first single "California Über Alles" in 1979. By the time they released the In God We Trust, Inc. EP in 1981, Dead Kennedys were playing very fast tempos. Circle Jerks’ first album (recorded in late 1979, released 1980) features several songs with very fast chord changes and tempos. The Misfits (of New Jersey) were a 1977-style punk band involved in New York’s Max's Kansas City scene. Their horror film aesthetic was popular among early hardcore fans. In 1981, the Misfits integrated high-speed thrash songs into their set. Hüsker Dü was formed in Saint Paul, Minnesota in 1979 as a post-punk/new wave band, but soon became a loud and fast hard punk band. Hüsker Dü released the 1982 live album Land Speed Record, which has been called a "breakneck force like no other... Not for the faint of heart."[7] By 1985, the band morphed into one of the seminal alternative rock bands.

By 1981, many more hardcore punk bands began to perform and release demos and records, including the Neos of Victoria, British Columbia; Negative Approach of Detroit; The Meatmen of Lansing, Michigan; The Necros of Maumee, Ohio; The Effigies of Chicago; SS Decontrol, DYS, Negative FX, Jerry's Kids, and Gang Green of Boston; Zeroption of Toronto; the Big Boys, MDC and The Dicks of Austin, Texas; and Sadistic Exploits of Philadelphia. The Beastie Boys, more widely known for their later hip hop music, were one of the first published hardcore bands in New York City.

Negative FX, perhaps the most popular hardcore band in Boston around early 1982, did not appear on record while they were together. They were largely unknown outside their own area until a posthumous album was released in 1984. Notable early hardcore punk records include The Angry Samoans’ first LP, the Big Boys/The Dicks Live at Raul's Club split LP, the Boston-area compilation This Is Boston, Not L.A., Minor Threat's 7" EPs, JFA's Blatant Localism EP, the New York-area compilations New York Thrash and The Big Apple Rotten To The Core, Negative Approach's eponymous EP and the DC-area compilation record Flex Your Head.


[edit] Early support and criticism
An influential radio show in the Los Angeles area was Rodney on the ROQ, on the commercial station KROQ. DJ Rodney Bingenheimer played many styles of music, and helped popularize what was, circa 1979–80, called Beach Punk — a rowdy suburban style played by mostly teenage bands in and around Huntington Beach, and in heavily conservative Orange County. He would come under attack from the thriving late 70's punk band the Angry Samoans. Early support in New York City & New Jersey came from Pat Duncan who hosted live punk and hardcore bands weekly on WFMU since 1979.[8] and Tim Sommer who hosted "Noise The Show" on WNYU.[9] In 1982-1983, MTV put the hardcore band Kraut on mild rotation.[10]

College radio was, however, the main outlet for hardcore punk in most of North America. The San Francisco-area public radio station KPFA featured the Maximum RocknRoll radio show with DJs Tim Yohannon and Jeff Bale, who played the younger Northern California bands. A wave of zines helped spread the new punk style, such as Flipside. In late 1981, Yohannon and Bale’s Maximum RocknRoll zine, modeled on Tim Tonooka's Ripper, had a national circulation and featured scene reports from around the country. A strong infrastructure of independent labels, linked with radio outlets and 'zines helped to create a nationwide subculture.

Concerts in the early hardcore scene increasingly became sites of violent battles between police and concertgoers, especially in Los Angeles. Many concert venues were trashed on both coasts of the United States, despite frantic pleas from zine writers. Henry Rollins argued that in his experience, the police caused far more problems than they solved at hardcore concerts. Reputed violence at hardcore concerts was featured in episodes of the popular television shows CHiPs and Quincy, M.E., in which Los Angeles hardcore punks were depicted as being involved in murder and mayhem.[11] Zine writers have claimed that these media portrayals attracted violent people to the concerts.


[edit] Early history in Europe
The Netherlands, Finland, Sweden, and Germany have had notably active hardcore scenes. However, in the United Kingdom, UK82 (also known as UK Hardcore) bands such as The Exploited, Charged GBH, Picture Frame Seduction, Discharge, and The Anti-Nowhere League occupied the cultural space that American-style hardcore did elsewhere. These UK bands at times showed a musical similarity to American hardcore, often including quick tempos and chord changes, and they generally had similar political and social sensibilities. However, they represented a case of parallel evolution, having been musically inspired by earlier London Oi! bands such as Sham 69, and the proto-speed metal band Motörhead.

Discharge played a huge role in influencing the early Swedish hardcore bands, such as Anti Cimex. Many hardcore bands from that region still have a strong Discharge and Motörhead influence. The band Entombed is also cited as a strong influence on Swedish hardcore bands from the early 1990s onward.

In much the same way, anarcho-punk bands such as Crass, Icons of Filth, Flux Of Pink Indians and Rudimentary Peni had little in common with American hardcore other than an uncompromising political philosophy and an abrasive aesthetic. Many American hardcore punks listened to British punk bands, but others upheld a strict regionalism, deriding the UK bands as rock stars, and their fans as poseurs.

American hardcore bands that visited the UK (such as Black Flag and U.S.CHAOS in 1981-1982) encountered equally ambivalent attitudes. European hardcore bands suffered no such prejudice in the U.S.; Italian bands Raw Power and Negazione, and the Dutch BGK, enjoyed widespread popularity.

In the more underground part of the UK punk scene, a new hardcore sound and scene developed, inspired by continental European, Scandinavian, Japanese and American bands. It was started by bands like Asylum and Plasmid, and their sound — only heard at live concerts and on demo tapes and compilations in the mid 1980s — evolved into bands such as Heresy, Ripcord, Napalm Death, Hellbastard, Doom, The Stupids, Concrete Sox, Jailcell Recipes, Visions of Change and Extreme Noise Terror.

Some of the most important influences among late-1980s UK bands included the Japanese band GISM; Boston band Siege, Idaho band Septic Death, Santa Monica band Cryptic Slaughter and Swedish band Anti Cimex; as well as more metallic bands such as Celtic Frost and Metallica. However, by the late 1980s, UK bands were becoming far more influenced by American bands such as the Dead Kennedys (who were always very popular in the UK), Black Flag and many of the early Washington, D.C., New York, Boston and West Coast hardcore bands such as Minor Threat, DYS, Slapshot and 7 Seconds. Straight edge began to make its presence felt in the UK, with the emergence of small straight edge communities in most major cities in the UK, and straight edge bands forming in Durham and London.

There were many 1980s bands that could be described as sounding like something in between the styles of the dominating UK and US bands. While the bands that had the most significant influence were parallel-evolved bands such as Discharge and Charged GBH, others, such as The Stupids (a UK band influenced by US hardcore) gained brief but widespread college-radio airplay in the US.

Some notable bands from that era in Europe were Crise Total (Portugal), Negazione, Indigesti, Wretched, Raw Power, Declino,(Italy), H.H.H., MG-15, Sin Dios (Spain), Subterranean Kids (Catalonia), Inferno, Vorkriegsjugend, Scapegoats (Germany), U.B.R. (Former Yugoslavia), Kafka Process, Barn Av Regnbuen (Norway), Heimat-Los (France), Lärm, BGK, Funeral Oration (Netherlands), Vi, Enola Gay, O.H.M. (Denmark), Dezerter, Armia, Moskwa, Siekiera (Poland), Kaaos, Rattus, Rutto, Kansan Uutiset, Terveet Kädet, Appendix (Finland), Headcleaners, Asocial, Missbrukarna, Sound Of Disaster and Anti-Cimex (Sweden).

Examples of bands that continued to play that style of hardcore in the 1990s include: Seein Red, Uutuus, Kirous, Health Hazard, Slapshot, Voorhees, Totalitär, Los Crudos, Sin Dios, and Detestation. After fall of the Iron Curtain in eastern Europe, many harcore bands were created or became more publicly known (after hiding in garages and being known by small circles of underground fans). Examples of such bands include Brachyblast, Radegast or Sarcastic front from Czech Republic. Hardcore also become popular in Asia in the late 1980s and early 1990s, with bands such as Disaster Funhouse, Chronic Mass, Noisemonger and Cramp Mind from Malaysia; 4-Sides and Stomping Ground from Singapore; Agony of Destruction, Death from Above, Mutual Assured Destruction and Biofeedback from the Philippines; and Disclose and Death Side from Japan.


[edit] Late 1980s
In the late 1980s, bands such as NoMeansNo and Victim's Family created a new style of music by blending aggressive elements from hardcore with influences from genres such as psychedelic rock, progressive rock, noise, jazz, or math rock (a development sometimes termed jazzcore). This path was followed in the early 1990s by Mr Bungle, Candiria, Deep Turtle and Ruins. The noisecore played by Melt-Banana may have been a separate evolution. Other notable hardcore-influenced bands in this genre include the avant-garde Naked City (formed by saxophonist John Zorn) and Neurosis, which started as a hardcore band before exploring slower tempos and dark ambiance. Many bands started to incorporate emotional and personal aspects into their music; influenced by the sounds coming out of Washington, D.C. and Dischord Records, which by the late 1990s had evolved into emo music. Nation of Ulysses was one of the most influential bands to come out of D.C.; combining dissonant guitars similar to those of Black Flag, elements of jazz, and a seemingly absurdist (or Situationist) political ideology. Their sound and fashion sense influenced the San Diego (or 'Chula Vista') hardcore scene.


[edit] 1990s
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In the 1980s, hardcore was strictly a style of North American punk rock. By the end of the 1980s and into the 1990s, hardcore became much more diverse, branching off mainly into two sounds: one traditionally punk-based, the other more metal influenced. The punk-focussed sound retains much of the style and feel of the original hardcore bands, while the more metal influenced sound, tends to be more technical and has taken over the term Hardcore today, also closely related to metalcore. The straight edge scene became prominent in the 1990s, with the youth crew style becoming popular among hardline and vegan straight edge bands such as Earth Crisis.

The incorporation of heavy metal (both musically and mentality-wise) led to a sect of hardcore bands branching off into heavier directions. Notable bands who developed the genre in early years include Biohazard, Edgewise, and DC's Damnation A.D.. Today, some of the most well-known representatives of the metalcore genre are Norma Jean, Converge, Botch, Between the Buried and Me,As I Lay Dying ,Unearth, and Killswitch Engage.

The sound is an amalgamation of deep, hoarse vocals (though rarely as deep or guttural as death metal), downtuned guitars, thrashy drum rhythms inspired by earlier hardcore bands, and slow, staccato low-end musical breaks, known as breakdowns. Thrash metal and hip hop elements are also common.

Some of the bands that helped pioneer the mixture of hardcore with death metal in the 1990s were Brooklyn, NY's Merauder and Confusion; Jackson Heights, NY's Dmize. They have been described as a cross between bands like Kreator and Obituary with New York hardcore. Darkside NYC, formed by Alan Blake of Sheer Terror was often described as Celtic Frost meets Sheer Terror musically, and Negative Approach meets Crumbsuckers vocally. They were known for incorporating blastbeats, which was a direct death metal/grindcore influence.

Dmize, Confusion, and Darkside NYC managed to achieve cult status in the U.S., Europe, and Japan while only playing shows in the Northeast US during their short existences. Merauder signed with Century Media and toured the world, still performing today. In upstate NY, All Out War, formed with ex-Merauder members, gained an extremely violent reputation because their audience members would pummel each other. Many concerts ended in a full scale riot.[citation needed] As a result, many clubs were loathe to have these kinds of bands perform. Just as Merauder, DMIZE, Confusion, and Darkside NYC would loathe being called metalcore as they are actually hardcore and do not recognize metalcore as a subgenre of hardcore but as just plain metal or screamo metal. This particular scene is known for its stereotypical image and attitude of tight jeans, mop-headed haircuts, painted fingernails, eyeliner, etc.

Ebullition Records, founded in 1990 by Kent McClard in Santa Barbara, California, often releasing bands that criticized the American political and economic system; giving far less attention to personal issues. The sound of the bands on that label — such as Econochrist — featured screeching vocals, heavy distortion with thick chord progressions, and busy drums. It contained few, if any, guitar solos. East coast United States bands, such as Rorschach and Born Against also played a similar left-wing, almost Marxist hardcore. Gravity Records was another notable record label of the 1990s hardcore scene, releasing bands such as Antioch Arrow, Clikatat Ikatowi (both of which were spinoffs of the San Diego band Heroin) and The Locust. Antioch Arrow's music was brutal and spastic, with a goth aesthetic. Clikatat Ikatowi combined pounding tribal drums and dissonant guitar with a post-punk aesthetic. Gravity Records was later associated with the power violence genre.


[edit] 2000s
Many hardcore bands in the 2000s have stuck to the musical and roots and ideals of the original hardcore punk scene, although the hardcore scene has evolved somewhat since the 1980s. As this music has evolved, so has the subculture associated with it (e.g. fashioncore). Bands such as Career Suicide and Fucked Up have continued the sound and attitude of the 1980s hardcore scene. Most of these 1980s-style hardcore bands are from Canada or the eastern United States. D-beat bands emulate the early music of Discharge. D-beat bands include Deathcharge, Dischange, and Disclose. Two record labels that have continued to release hardcore in the 2000s are Bridge 9 Records and Revelation Records. However, Revelation has been known to stray from the accepted boundaries of hardcore, with releases by indie rock and emo bands such as Elliot and Texas Is The Reason. In the 2000s, The term hardcore has been applied to some bands that play death metal, metalcore or thrash metal; such as Poison the Well. Typical of this new genre are breakdowns and harshly delivered vocals; sometimes verging on death metal growls. Some bands have created a sound that has been described as melodic hardcore. Examples of those bands include Rise Against, Strike Anywhere, Set Your Goals, Crime in Stereo, Modern Life Is War and Shook Ones. This sound is often associated with east coast United States cities such as New York City and New Jersey (although Set Your Goals is from San Francisco and Shook Ones is from Seattle). Many of these melodic hardcore bands are influenced by 1990s bands such as Lifetime, Kid Dynamite, and H2O.

Metalcore bands in the 2000s with a heavier sound include From Ashes Rise and Tragedy, who play a brand of melodic crustcore.


[edit] Hardcore dancing
Main articles: Mosh and Hardcore dancing
The early-1980s hardcore punk scene helped develop slam dancing and stage diving.[citation needed] In the later half of the 1980s, the thrash metal scene continued to promote this form of dancing, with bands such as Anthrax popularizing the term mosh with the metal scene.[citation needed] Moshing also started being seen at harder college rock concerts. In the 2000s, the term hardcore dancing often describes a style of dance that features sequences of kicks and punches timed to the music.[citation needed]


[edit] Influence on other genres
Hardcore had a huge influence on other forms of rock music in North America. The San-Francisco-based thrash metal band Metallica were among the first crossover artists, incorporating the compositional structure and technical proficiency of metal with the speed and aggression of hardcore. The new style became known as thrash metal, and later speed metal. Other early bands in this genre include Megadeth and Anthrax. Slayer are also well known for their hardcore punk roots, and have released an album formed entirely of hardcore covers called Undisputed Attitude.

The rising influence of heavy metal in the hardcore scene (circa 1984-1985) dismayed some hardcore punks, who felt that hardcore musicians who crossed over to metal styles were embracing a musical style that hardcore punk had originally rejected. However, some musicians in the first wave of hardcore, such as members of Bad Brains and Black Flag, had been influenced by heavy metal acts such as Black Sabbath. Longtime hardcore punks, who remembered fighting with hostile metalheads only a fews years earlier, now felt that those same people were attempting to co-opt hardcore. These die-hard hardcore punks argued that the new long-haired interpreters of hardcore were merely mimicking emotions such as raw anger, that they did not truly feel.

A 1986 concert by the UK band Discharge in New York City generated brief international notoriety when a crowd of roughly 1,500 paid $10 admission and pelted the band with garbage, an apparent response to the band's turn to a more metallic sound.

In 1985, New York's Stormtroopers of Death, an Anthrax side project, released the album Speak English or Die. Though it bore similarities to thrash metal, such as a characteristic bass-heavy guitar and fast tempos and chord changes, the album was distinguished from thrash metal by its lack of guitar solos and heavy use of crunchy chord breakdowns (a New York hardcore technique) known as "mosh parts". Other bands, such as Suicidal Tendencies and DRI, switched from hardcore to a similar metallic style, which came to be known as crossover.

Many hardcore bands began experimenting with other styles, moods and concerns as their careers progressed in the 1980s, becoming known as alternative rock. Bands such as Minutemen, Hüsker Dü, and The Replacements drew from hardcore but broke even further away from its "loud-fast" formula; critic Joe S. Harrington suggests the latter two "paraded as Hardcore until it was deemed permissible to do otherwise".[12] These bands diversified the genre's sound in ways that would be a major influence on later alternative rock bands.[13] Grunge music was especially heavily influenced by hardcore. In the mid-1980s, Washington State bands such as The Melvins and Green River developed a sludgy, "aggressive sound that melded the slower tempos of heavy metal with the intensity of hardcore."[14] The sense of liberation that many of the grunge bands got — that you don't have to be the greatest musicians to form a band — was at least as important as the music. Even though the early grunge sound was more influenced by Black Sabbath and Black Flag's My War album than hardcore punk rock, bands like Mudhoney and Nirvana instilled a traditional hardcore influence as well as take the sound into more conventional pop-oriented territory. Kurt Cobain once described Nirvana's sound as "The Knack and The Bay City Rollers being molested by Black Flag and Black Sabbath." The popularity of grunge resulted in renewed interest in American hardcore in the 1990s.

The hardcore punk scene had an influence that spread far beyond music. The straight edge philosophy was rooted in a faction of hardcore particularly popular on the east coast of the United States. Hardcore also put a great emphasis on the DIY punk ethic, with many bands making their own records, flyers, and other items, and booking their own tours through an informal network of like-minded people. Radical environmentalism and veganism found popular expressions in the hardcore scene.

More recently, hardcore punk has given life to new styles of pop punk. Some contemporary pop punk bands (often containing members of former hardcore bands such as New Found Glory's Chad of Shai Hulud fame) have created a new blend of the style by mixing hardcore influences. A phenomenon referred to as the "pop punk breakdown" has become increasingly popular, in which bands play hardcore style breakdowns with more melodic chords.So-Cal punk puristsThe Offspring are a band who style shifts between hardcore style and pop punk breakdown.
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Post Thu Jul 19, 2007 2:24 pm

What is with this genre of metal taking the name of a preexisting genre of Punk. I mean when someone says hardcore I think bands like Minor Threat and Dead Kennedy's and Black Flag. Not this metal stuff... they need a new name.

wow thats weird, Minor Threat came on my iTunes as I wrote this.
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Post Mon Mar 10, 2008 3:04 pm

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Post Mon Mar 10, 2008 3:23 pm

Hardcore punk rules but hardcore and metalcore stuff is lame.

Favorite hardcore punk bands of mine:
Bad Taste
Cro Mags
Cryptic Slaughter
Insubordinates
Rational Animals.

Rad.
Mapex Mafia.

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Post Mon Mar 10, 2008 4:25 pm

Asta Kask, Mob 47, Atoxxico, Indeigesti, Negazione. Euro and Mexi hardcore bands were great. All of those have MySpace's I believe.
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Post Mon Mar 10, 2008 5:04 pm

Fugazi
The Jesus Lizard
Bulge
this local band called Gadgets Made from Wood
Beat on.
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Post Mon Mar 10, 2008 5:30 pm

well i would say:
Converge
Dillinger Escape Plan
The Esoteric
Unearth
At the Drive-In (post-hardcore)
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Post Mon Mar 10, 2008 8:56 pm

converge, first blood, hatebreed, earth crisis, walls of jericho, blacklisted, 108, a lot of bands on Deathwish
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Post Mon Mar 10, 2008 9:11 pm

Other favorites of mine have already been mentioned...so I'm going to try and include some others I feel need to be brought up.....

Snapcase
Unsane

shit....ok, g/f just yelled to get in bed....need to run...lol
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Post Mon Mar 10, 2008 10:42 pm

Odious Mortem and Decrepit Birth
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Post Tue Mar 11, 2008 7:29 am

nydubber wrote:shit....ok, g/f just yelled to get in bed....need to run...lol


Thats so hardcore.

Oh and anyone ever hear of NIV

recognize
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