Some are content to say that post-hardcore is a vague label that is slapped on whenever a band meets a few minimum requirements. While there is some truth in that statement, I think a better explanation can be offered.
The meaning of "post-hardcore" changes depending on when (and where) the term is referring to. Here are the meanings, chronologically, about as finely as I can divide them and using some labels I invented.
Proto-post-hardcore (~1976):
Expanded beyond hardcore punk's rigid set of rules, setting the stage for the next phase; "proved there was indeed room for stylistic diversity in hardcore punk" (last.fm)
Examples: Black Flag, The Minutemen, Flipper, Husker Du. (also influential from the art punk direction: Sonic Youth, Big Black)
The First Wave (~1985):
The purest definition of "post-hardcore," music that came directly after hardcore punk reached its logical and creative dead end (stance on straight-edge more important than music, excessive violence at shows preventing more shows from happening, frustrations with confines of the style). These bands "combined a stronger command of songwriting, a better sense of melody and rhythm, and an introspective lyrical focus, with the power of hardcore." (last.fm) Detractors dubbed this new genre "emocore."
Examples: Rites of Spring, Embrace, Gray Matter, Ignition
Addition of Art Rock Tendencies(~1987):
If we look at a general definition of post-hardcore as music that "emerged from the hardcore punk scene, or took inspiration from hardcore, while concerning themselves with a wider palette of expression, closer to experimental rock" (wiki), then this relates to the latter part. In the First Wave, post-hardcore escaped/"emerged" from hardcore; now it explored and experimented with where it could go.
Examples: Moss Icon, Happy Go Licky, Soulside
Midwest Post-Hardcore (~1987):
Occurring simultaneously with the phase above, but in a different geographic space and headed in a different direction, these bands "were focused on confrontation through precision and extreme volume" (last.fm). This offshoot would go on to spawn math rock, and feed back into noise rock.
Examples: The Jesus Lizard, Arcwelder, Silverfish, Rapeman, Shellac
Crystallization (~1988):
This stage was mainly attained because the band that defined the genre came along (Fugazi). A key aspect of this definitiveness was that Fugazi was decidedly post-hardcore and decidedly NOT emo. This was followed by a flurry of excitement of other bands and even some moderate mainstream success stories (Jawbox, Sunny Day Real Estate, Jawbreaker), which started to branch off into emo.
Examples: Fugazi, Native Nod, Clikatat Ikatowi, Hoover, Drive Like Jehu, Navio Forge, Unwound, Maximillian Colby, Lungfish, 1.6 Band, Jawbox, Sunny Day Real Estate, Jawbreaker.
Incorporating Electronic/Prog Elements (~1993):
Somewhat like another push from the "Addition of Art Rock Tendencies," these bands further explored what new elements could be brought into the post-hardcore arena, the results are post-hardcore at its creative extremes, and at times, quite sonically distant from the source.
Examples: Les Savy Fav, At The Drive-In, The Dismemberment Plan
Popularization (~1997):
Here's where the genre lines got very blurry. The new genre of emo grew, taking its name from the original insult of "emotional hardcore" but its accessible, less edgy, sound from Sunny Day Real Estate, Jawbreaker, and bands that continued in that direction. The overlap makes it difficult to tell where post-hardcore ends and emo begins, but I would venture to say this is the last wave of bands that were called "post-hardcore" before the term began to be abused.
Examples: Thursday, Thrice, Finch
Collapse / Re-appropriation (~2001):
As emo began to explode, artists searched for what to call their music. Most genre labels are undesirable simply because they are labels; emo had built-in negative connotation that few, if any, bands wanted. "Post-hardcore" at least was not an overtly bad label, and this new music could still claim origin from there. Only in these last two time periods do we the definition first mentioned coming true. At this point, which is largely where we still are currently, I see "post-hardcore" being used in three ways.
1. Towards bands that are strictly emo, but do not want to be described as such. The term is being misused.
2. Towards bands that have some overlap with emo, but have a distinctly heavier sound that touches on hardcore roots and isn't fully captured by the simple description of emo (which can apply to much lighter music, i.e. Dashboard Confessional). The term is being used acceptably, with respect to a definition of modern post-hardcore.
3. Towards bands that have some overlap with emo, but still seek the sonic expansion of the "Incorporating Electronic/Prog Elements" phase. The term is being used acceptably (though perhaps "progressive post-hardcore" would be more accurate?).
Examples: The Receiving End of Sirens, Monty Are I, Thrice (on The Alchemy Index), Circa Survive, Bear Vs. Shark.
On a final note, I realize that at some point, drawing these genre lines in the sand becomes futile. The lines are in different places for different people, and there is certainly a sonic continuum/spectrum from this side of the line to that side of the line. So, while these classifications are somewhat subjective, I figured a careful analysis of the history, changes, and subdivisions in this and related genres would be more useful than writing the whole thing off as "to subjective to call." At least this lays a foundation of key bands, sonic movements, and time periods to work with.
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