DC Hardcore

stelfox

Beast of Burden
I've been in a truly foul mood for the past month and it's showing little to no sign of abating. About the only thing that's making me even vaguely close to cheerful is revisiting albums by Minor Threat, The Decendents, Fugazi, and Dag Nasty, who I honestly think might qualify as one of the best bands of all time, and Rites of Spring, who are incredibly, almost criminally under-recognised, especially considering the massive, mainstream status emo enjoys in the US right now.

I always thought DC's take on punk knocked the stuffing out of any British interpretation, particularly at its most melodic and power-poppiest (see Wig Out At Denkos by Dag Nasty, especially), and was absolutely singular in its intensity. This sense of pure, concentrated greatness almost became physical in the way, particularly among the Dischord camp, bands split up at the drop of a hat, reformed, morphed into other bands etc, like there was just too much energy and momentum to be contained. In fact, at the risk of sounding really wanky, I always saw this scene as a sort of evolving galaxy, full of implosions and little satellites spinning off all over the place and Ian MacKaye sort of at the centre.

I am so glad I was into this stuff throughout my youth. Listening to it reminds me of good times, skating, growing up, feeling things properly for the first time and really discovering who I was (Fugazi's Repeater, Steady Diet Of Nothing and Rites Of Spring's End To End are really pivotal records). The great thing is that it's lost none of its power or guts and, if anything, a lot of it sounds even better now. It's also quite surprising how a large number of people who I've met, and have become very good friends with, right across the spectrum of music (some I met through reggae, some through hip-hop, some through techno, some through jungle) all loved DC Hardcore. It's like we all share something pretty fundamental in common.

Of course, the first scene I remember was 2Tone from back when I was a nipper, which I think did have a great bearing on my subsequent love for reggae, but this is definitely the first music I felt that truly belonged to me. It's very much part of my personal heritage and informed the way I think about things more than anything I've ever listened to. Any one else come up on it, share my fondness?
 
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matt b

Indexing all opinion
absolutely, totally agree dave. one of the most important music scenes ever, not just musically, but in terms of the ethics of making music and living life.

as the late john paul morrow once said "we may not listen to much hardcore any more, but we'll always be hardcore kids"- it's seeped into my dna and dischord was the single most important influence when i was 16.

fugazi remain the greatest live band i've ever seen.

i could go on about this for a very long time.


would just like to mention: swiz, (early) shudder to think, sammich records, fury, embrace and the void/faith split 12"

my mp3 player has a dc hardcore folder. i thank you.
 

matt b

Indexing all opinion
descendants were CA though.

dc still seems to be going strong- there's a wicked 12" by medications and skull kontrol are relatively recent.

this dvd is good, featuring mainly dc stuff:
http://www.southern.com/southern/band/VD050/TXE01.php

in terms of a lack of recognition, the most glaring example is nation of ulysses who the hives ripped off completely (but badly).

i remember seeing shudder to think play on the pavement outside volume records in newcastle. i nearly became a weeping emo nerd.
 

stelfox

Beast of Burden
yeah, i know the descendents are californian but, it's funny, even though they're not from there, i always sort of bracket them in with the DC bands. they just sit on the same page, in my mind. it's a pretty explicit link, too, given that that bill stevenson was black flag's drummer and doug carrion joined dag nasty etc. and talking about descendents spin-offs etc, what about ALL? allroy sez and allroy's revenge are pretty fantastic albums, too, and sit really well as a slightly dafter complement to dag nasty - gloriously souped up power pop, with a real sense of fun.
 
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matt b

Indexing all opinion
stelfox said:
yeah, i know the descendents are californian but, it's funny, even though they're not from there, i always sort of bracket them in with the DC bands. they just sit on the same page, in my mind. it's a pretty explicit link, too, given that that bill stevenson was black flag's drummer and doug carrion joined dag nasty etc.

i was being a pedantic cunt. :)
 

matt b

Indexing all opinion
stelfox said:
what about ALL? allroy sez and allroy's revenge are pretty fantastic albums, too, and sit really well as a slightly dafter complement to dag nasty - gloriously souped up power pop, with a real sense of fun.

all great stuff- descendants 'clean sheets' is perfect melodic pop-punk. the 16 year old me thought it all a little too nice though- dag nasty were much better when shawn sang, for example.

fun shines through on descendants and all records, defo.
 

IdleRich

IdleRich
If there is/was one type of music I could never get into at all it's hardcore. I know about all the principles that they adhered to and the diy ethic and everything but the music always seemed to leave me cold. Maybe Nation of Ulysses slightly less so but I think that even with them it was the sloganeering and fake political leaflets that I actually found more interesting than the music - I can't really imagine listening to it now.
I know that this is a blind spot on my part - and it's pretty interesting what you (Stelfox) are saying about people from across all genres having a hitherto unremarked background in HC - but there it is.
 

nomos

Administrator
matt b said:
as the late john paul morrow once said "we may not listen to much hardcore any more, but we'll always be hardcore kids"- it's seeped into my dna and dischord was the single most important influence when i was 16.
It happened for me when i was 17. I'd been really heavily invested in hip hop for years up to that point, but when it lost its politics and energy, and started to go gangsta, I was both saddened and pissed off. I felt that a lot of artist's who'd been an ideological influence on me were exposing themselves as phonies when they traded their beads and medallions for guns and blunts. If I'd known about jungle at the time, I might have gone that direction (apparently a lot of early Toronto junglists were hip hop-aware punks who were drawn in by its comparable energy and sonics), but I was making new friends at school who put me on to the DC bands and similar stuff. Fugazi really got to me. They had everything I was looking for, in spades, including a politics that they actually put into practice (e.g. their $5 shows/cheap tapes v. hip hop's 'make money money...' garbage) and a dynamism in their sound that made contemporary hip hop seem empty and flat. The vocal play between Guy and Ian was incredible. Definitely one of the best musical pairings ever. I haven't listened to them much for years, but I'd still rate Fugazi as one of the biggest influences on my musical tastes and my ideas about how a label and scene should function.

Who likes Drive Like Jehu and the early Rocket From the Crypt?
 

stelfox

Beast of Burden
matt b said:
all great stuff- descendants 'clean sheets' is perfect melodic pop-punk. the 16 year old me thought it all a little too nice though- dag nasty were much better when shawn sang, for example.

fun shines through on descendants and all records, defo.

yeah, although i liked them just fine, i like dag nasty and all WAY more now than i did back in the day. i think it's getting over my anti-pop prejudice (the best thing i ever did, i think) that's coloured my enjoyment of them. before i was much more into minor threat etc than these hooky power-pop sounds, but now i think they're absolute genius.
 

polystyle

Well-known member
DC Punk

Oh hey , DC Talkin about my home town area
DC and N Virginia area had all those kids who had parents with Gov jobs
, weren't around so much , leaving bored kids to do what they will with a few $ in pocket -
at least that's how it was for us .
Early on we would go to DC to buy beer with older brothers because of age limit in N Va.
and a little later we would go to the clubs to see Razz and Slickee Boys , the very beginnings of DC punk - not quite to Hardcore time yet.

By the time we got out of High School in '76 , we had made a lilttle group (The Rudements) , played in DC @ The Atlantis Club (later the 9:30) , got banned first show we did , recorded with Don Zientara at his then new basement Studio there in edge of DC , fronted The Penetrators gig @ Atlantis (blustery guitar punk) , jammed & hung a bit with Harrison of Black Market Babies , auditioned for The Urban Verbs (Roddy Franz voc.).
We were more influenced by NY Punk , Television & Voidoids and this was a couple years or so before Ian , Henry and the other groups came together.
Still lots of jangly garage 'punk' , arty stuff, odd bits like White Boy , groups forming , changing fast as mentioned already .
There was a famous show at what was it ? DC Space after I left that seemed to set something off ...
I had left by then to come up to NYC early '78 but heard and listened to the hard stuff as it came in.
Prolly would have made a hardcore group if I'd have stayed !

Henry Rollins and Ian did a solid by rereleasing the Comp."30 Seconds Over DC" a few years ago on their District Line subsid , more the art damaged side of pre Hardcore DC.

DC was an odd place to go into , musty old buildings , Gov. architecture - but that's where the clubs were
The Ramones came down and that kicked alot of people off
Don Zientara's Studio became the Studio of choice
- prolly the only cat in town who knew to record the music ...
That book "Dance Of Days" covers the scene pretty well , i thought
Cheers to them all
 
autonomicforthepeople said:
Who likes Drive Like Jehu and the early Rocket From the Crypt?
Love it all! Fwiw, Pitchfork was the first pre-Jehu collaboration between John Reis and Rick Froberg. If you're into the San Diego scene, it's worth listening to Hot Snakes, which had both Reis and Froberg. Suicide Invoice has to be my favorite of their albums, but Automatic Midnight and Audit in Progress are great as well. Even a Peel Sessions EP was released in 2005 (incidentally, it was Peel's final one!), although I haven't heard it.

Mark Trombino of Jehu also produced Murk Time Cruiser in '96, by fellow San Diego band aMiniature. Trombino also produced several albums by another excellent San Diego band-- no, not Blink-182, although he worked with them as well :D -- but No Knife, one of the tightest, most dynamic bands that circulated the late 90s San Diego live music circuit. Hit Man Dreams is my all-time favorite, but Trombino also worked with them on their debut, Drunk on the Moon.

Not nearly as interesting are The Sultans (John Reis and his brother making boring power-pop) and Beehive & the Barracudas (features Dustin Milsap of RFTC). John Reis also started a pretty consistently great San Diego-based record label, Swami Records, which has released records by pretty much all of the bands I talk about here.
 

petergunn

plywood violin
i don't really dif any of the post-hardcore emo stuff... or fugazi... or actually dag nasty...

i do love minor threat, bad brains, government issue, iron cross, and no trend, tho...
 

bassnation

the abyss
stelfox said:
I've been in a truly foul mood for the past month and it's showing little to no sign of abating. About the only thing that's making me even vaguely close to cheerful is revisiting albums by Minor Threat, The Decendents, Fugazi, and Dag Nasty, who I honestly think might qualify as one of the best bands of all time, and Rites of Spring, who are incredibly, almost criminally under-recognised, especially considering the massive, mainstream status emo enjoys in the US right now.

i haven't heard dag nasty (although i'm going to check them out after reading your post) but minor threat were a big favourite of mine as a teenager. its just pure electrifying energy. salad days, small man big mouth and my personal fave, look back and laugh where he berates his friends for selling out and having kids (!) not so sure i could agree with that now, but at the time made perfect sense.

also loved a lot of other punk rock from back then although most of it was outside of DC - sperm birds, the crucifucks and of course the more crusty end of uk hardcore - atavistic, concrete sox...

i've always liked powerful explosive music - fugazi were a little bit too contemplative for my tastes in comparision but theres a lot i've missed there too.

interesting point about ownership - i can't really love a music on its own merits unless i feel that, but curiously i feel it less and less these days. dubstep being a case in point.
 
I'm still in love with this music. It's kind of weird that a lot of it was called emo back then but there's almost no connection to what goes as emo today.

One of the best bands from coming from that scene happened not too long ago, the fantastic Black Eyes. They only had 2 albums, (s/t 2002 and Cough 2004, both on Dischord) + some 7"s, a brilliant fusion of DC-Postpunk, noise, funk, a little dub and freejazz and one of the most intense live perfomances I've ever seen.


Oh, first post. Hi kids :D
 

spotrusha

Well-known member
definitely love dc hardcore, but nyhc does it for me. cro-mags, straight ahead, leeway, agnostic front, etc.
 

petergunn

plywood violin
spotrusha said:
definitely love dc hardcore, but nyhc does it for me. cro-mags, straight ahead, leeway, agnostic front, etc.

boston for me!

ssd, jerry's kids, dys, fu's, slapshot, gang green...
 

stelfox

Beast of Burden
agnostic front are pretty fantastic. have also been listening to quite a lot of them. again, though, they got better as the got older and poppier. still, they were always pretty hooky, if a bit under the surface in the early days, and always knew how to put together a damned good chorus.
 
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