Punk rock subgenres
A number of overlapping punk rock subgenres have developed since the emergence of punk rock (often shortened to punk) in the mid-1970s. Even though punk genres at times are difficult to segregate, they usually show differing characteristics in overall structures, instrumental and vocal styles, and tempo. However, sometimes a particular trait is common in several genres, and thus punk genres are normally grouped by a combination of traits.
Afro-punk edit
Afro-punk (sometimes spelled AfroPunk) refers to the participation of African Americans in the punk and alternative music cultures. Afro-punks represent a majority in the punk culture in predominantly black regions of the world that have burgeoning punk communities, such as in parts of Africa. There are many punk rock bands with black members, and several with lineups that are all black.[1]
Anarcho punk edit
Anarcho-punk is punk rock that promotes anarchism. The term anarcho-punk is sometimes applied exclusively to bands that were part of the 1970s/1980s anarcho-punk movement in the United Kingdom. Some, however, use the term to refer to any punk music with anarchist lyrical content.
Art punk edit
Art punk or avant punk refers to punk rock and post-punk music of an experimental bent, or with connections to art school, the art world, or the avant-garde.
Christian punk edit
Christian punk (or Christ punk, as it is called in reference to crust punk) is punk rock with some degree of Christian lyrical content. Given the edginess of punk and some of its subgenres, such as hardcore punk, many bands have been rejected by the Christian music industry. Due to the message and nature of Christian punk, many traditional punks ridicule it.
Crust punk edit
Crust punk (also known as Crust or Stenchcore[2]) is a subgenre which evolved in the early-1980s in England,[3] and has songs with dark and pessimistic lyrics that linger on political and social ills. Crust is partly defined by its "bassy" and "dirty" sound. It is often played at a fast tempo with occasional slow sections. Vocals are usually guttural and may be grunted, growled or screamed. While the term was first associated with Hellbastard, Amebix have been described as the originators of the style, along with Discharge and Antisect.[4]
Deathrock edit
Deathrock is a subgenre of punk rock incorporating horror elements and spooky atmospherics, that emerged on the West Coast of the United States in the early 1980s. Deathrock songs use simple chords, echoing guitars and prominent bass. Drumming emphasizes repetitive, post-punk beats within a 4
4 time signature. To create atmosphere, scratchy guitars are sometimes used. Lyrics can vary, but are typically introspective and surreal, and deal with the dark themes of isolation, gloom, disillusionment, loss, life, death, etc.; as can the style, varying from harsh and dark to upbeat, melodic and tongue-in-cheek. Deathrock lyrics and other musical stylistic elements often incorporate the themes of campy horror and sci-fi films, which in turn leads some bands to adopt elements of rockabilly and surf rock.
Egg punk edit
Egg punk is a mostly internet-based genre that started in Northwest Indiana, influenced by Devo and a hatred for the us vs them mentality of the emerging "chain punk" bands.[original research?] Egg punk is satirical, danceable, energetic, and deeply cynical of the edgy "hardcore and serious" approach to music. Utilizing cheap synth, minimal recording and mixing. and with a hearty dependence on DIY artwork and style.[5]
Garage punk edit
Garage punk is punk rock heavily influenced by garage rock. Other influences include soul music, beat music, surf rock, power pop and psychedelic rock. Often it uses lo-fi aesthetics over catchy melodies.
Glam punk edit
Glam punk (also called glitter punk) fuses elements of punk rock and glam rock, commonly reflected in image.
Hardcore punk edit
Hardcore punk (or hardcore) music is generally faster and more aggressive than earlier punk rock.[6] Hardcore, which originated in the late 1970s, was heavily involved with the rise of the independent record labels in the 1980s, and with the DIY ethics in underground music scenes. It has influenced a number of music genres which have experienced mainstream success, such as alternative rock, grunge, alternative metal, metalcore, thrash metal, and post-hardcore.
Horror punk edit
Horror punk mixes Gothic and punk rock sounds with morbid or violent imagery and lyrics, which are often influenced by horror films or science fiction B-movies. The genre is similar to, and sometimes overlaps with, deathrock, although horror punk music is typically more aggressive and melodic than deathrock. Some horror punk bands dress up in black clothes, skeleton costumes, and skull face paint.
Nazi Punk edit
Nazi Punk is punk rock that promotes neo-Nazism. The term Nazi punk can also refer to a neo-Nazi who is part of the punk subculture. Rock Against Communism is a related genre. Skrewdriver and Skullhead have been associated with this genre.[7][8]
Oi! edit
Oi! is a working class street-level subgenre of punk rock that originated in the United Kingdom in the 1970s. It had a goal of uniting punks, skinheads, and other working class youths.
Peace punk edit
Peace punk is a subgenre of punk rock with anti-war lyrics. The lyrics in peace punk advocate nonviolence and also often equality, freedom, animal liberation, veganism, ecology, human right and anarchy. The lyrics are against racism, sexism, homophobia, war, poverty, capitalism, the government and the military. Most peace punk bands are also anarcho-punk bands.
Punk pathetique edit
Punk pathetique or Fun punk is a subgenre of British punk rock (principally active circa 1980–1982) that involved humour and working class cultural themes. Musically it was related to (and had crossover with) the Oi! subgenre.
Queercore edit
Queercore is a subgenre of punk that emerged in the 1980s after the publication of the zine J.D.s in Toronto. As a genre, queercore explores issues of gender identity, gender expression, and sexuality. Festivals such as Queeruption feature music, art, film, performance art and DIY-aesthetic.
Riot Grrrl edit
Riot Grrrl is a feminist punk/indie rock genre and subculture, whose popularity peaked in the 1990s. The subculture features elements such as female-centric bands, concerts and festivals; collectives, support groups, workshops, self-defense courses, activism and fanzines.
Skate punk edit
Skate punk, also known as skatepunk, skate-punk, skate-thrash, surf punk, or skate-core, is a subgenre of punk that is derived from hardcore punk. Skate punk most often describes the sound of melodic hardcore bands from the 1990s with an aggressive sound, and similar-sounding modern bands. Skate videos have traditionally featured this aggressive style of punk rock.
Street punk edit
Street punk is a working class subgenre of punk rock which emerged in the early 1980s, partly as a rebellion against the perceived artistic pretensions of the first wave of British punk. Street punk developed from the Oi! genre, and then continued to go beyond the confines of the original Oi! style.
Taqwacore edit
Taqwacore is a punk rock subgenre dealing with Islam and its culture, originally conceived in Michael Muhammad Knight's 2003 novel The Taqwacores. The name is a portmanteau of hardcore and the Arabic word Taqwa, which is usually translated as "piety" or the quality of being "God-fearing". Although Muslim punk rock dates back to at least the 1979 founding of the British band Alien Kulture. Knight's novel was instrumental in encouraging the growth of a contemporary North American Muslim punk movement. Taqwacore bands often challenge Islam as it exists, promoting a very liberal-progressive agenda.
Trallpunk edit
Trallpunk is a subgenre of punk known for fast drumming, a melodic sound and often politically oriented lyrics. It emerged from the late-1980s Swedish hardcore punk scene.
Punk rock fusion subgenres edit
2 Tone edit
2 Tone (or Two Tone) was a music genre created in England in the late 1970s by fusing elements of ska, punk rock, rocksteady, reggae and new wave. The 2 Tone sound was developed by young musicians in Coventry, West Midlands, England.[9] The genre is the precursor of the third wave ska scene of the 1980s and 1990s.
Anti-folk edit
Anti-folk (sometimes antifolk or unfolk) is a subgenre of folk music and punk rock that seeks to subvert the earnestness of politically charged 1960s folk music. The defining characteristics of this anti-folk are difficult to identify, as they vary from one artist to the next. Nonetheless, the music tends to sound raw or experimental; it also generally mocks perceived seriousness and pretension in the established mainstream music scene.
Celtic punk edit
Celtic punk is punk rock fused with influences from Celtic music. Often, the bands add Celtic instruments such as bagpipes, fiddle, tin whistle, accordion, mandolin or banjo. Celtic punk bands often play covers of traditional Irish or Scottish folk songs, as well as original compositions.[10]
Scottish Gaelic punk edit
Scottish Gaelic punk is a subgenre of punk rock in which bands sing some or all of their music in Scottish Gaelic. The Gaelic punk scene is, in part, an affirmation of the value of minority languages and cultures. Gaelic punk bands express political views, particularly those related to anarchism and environmentalism.
Chicano punk edit
Chicano punk is music by punk bands of Mexican American ethnicity. The subgenre originated in Chicago's Pilsen and Little Village neighborhoods during the mid-1990s and later spread to the Los Angeles punk scene.
Spanish raw punk edit
Spanish raw punk is punk fused with the combination of Spanish punk and d-beat. The genre is also very rare and underground due to the level of demonstration. Often, bands add some type of crude lyrics in which they protest against police brutality, religion and government.
Melodic punk edit
Melodic punk is a type of punk that is melodic and up-beat.
Dark cabaret edit
Dark cabaret may be a simple description of the theme and mood of a cabaret performance, but more recently has come to define a particular musical genre which draws on the aesthetics of the decadent, risqué German Weimar-era cabarets, burlesque and vaudeville shows with the stylings of post-1970s goth and punk music.
Latin punk edit
Latin Punk is a subgenre of punk rock influenced by Latin American Rock en Español, Latino punk, Ska, and regional musical genres such as Bossa Nova, Samba, Cumbia and Boleros, among others. Although originally a subgenre born in the Latin Americas and Spain, the Latin Punk subgenre has grown internationally, providing Latin rock musicians abroad a connection to their roots.
Cowpunk edit
Cowpunk or country punk combines punk rock with country music in sound, subject matter, attitude, and style. The term has also been applied to several bands that play a fast form of Southern rock.
Dance-punk edit
Dance-punk (also known as disco punk, funk punk or indie-dance) mixes punk rock with disco, funk and electro music. Emerging in the late 1970s, it is influenced by the post-punk and No Wave movements and, more recently, the post-punk revival and art punk movements.
Folk punk edit
Folk punk combines elements of folk music and punk rock. Its subgenres include Celtic punk and Gypsy punk. Most folk punk musicians perform their own compositions, in the style of punk rock, but using the acoustic guitar and bass, and often adding additional folk instruments, such as mandolins, accordions, banjos or violins.[11]
Gypsy punk edit
Gypsy punk mixes traditional Romani music, Klezmer or Eastern European music with punk rock. It typically features violin, acoustic guitar, accordion, and tenor saxophone, along with electric guitar, bass, and drums.
Pop-punk edit
Pop-punk (also known as punk-pop and other names) is a fusion genre that combines elements of punk rock with pop music and/or power pop, to varying degrees. It is not clear when the term pop-punk was first used, but pop-influenced punk rock had been around since the mid- to late-1970s.[12]
Punk blues edit
Punk blues is a fusion of punk rock, blues rock and blues music. It also can be influenced by garage rock.
Punk jazz edit
Punk jazz describes the amalgamation of elements of the jazz tradition (usually free jazz and jazz fusion of the 1960s and 1970s) with the instrumentation or conceptual heritage of punk rock and hardcore punk.
Punk metal edit
Punk metal fuses elements of heavy metal music with punk rock. The fusion often involves extreme metal genres and hardcore punk. Bands described as punk metal include Amen,[13] Motörhead,[14] Corrosion of Conformity,[15] Manic Street Preachers,[16] English Dogs,[17] Sum 41,[18] Rage Against the Machine[19] and L7.[20]
Rapcore edit
Rapcore fuses elements of punk rock, metal, hip hop, rap, and sometimes funk. Notable bands include Transplants, Zebrahead and Dog Eat Dog.
Ska punk and ska-core edit
Ska punk is a fusion music genre that combines ska and punk rock, often playing down the former's R&B roots. Ska-core is a subgenre of ska punk, blending ska with hardcore punk. The more punk-influenced style often features faster tempos, guitar distortion, onbeat punk-style interludes (usually the chorus), and nasal, gruff, or shouted vocals. The more ska-influenced style features a more developed instrumentation and a cleaner vocal and musical sound.
Synthpunk edit
Synthpunk (also known as Electropunk) is a music genre combining elements of electronic music and punk rock. A number of bands use electronics and punk music together although the methods and resulting sounds can differ greatly. This has even led to the creation of more genres such as digital hardcore.
Grindcore edit
Grindcore is an extreme fusion genre of heavy metal and hardcore punk that originated in the mid-1980s, drawing inspiration from abrasive-sounding musical styles, such as thrashcore,[2][3] crust punk,[4] hardcore punk, extreme metal, and industrial. Grindcore is considered a more noise-filled style of hardcore punk while using hardcore's trademark characteristics such as heavily distorted, down-tuned guitars, grinding overdriven bass, high-speed tempo, blast beats, and vocals which consist of growls, shouts and high-pitched shrieks.
See also edit
References edit
- ^ Holley, Santi Elijah (15 August 2019). "'We still need to be seen': behind the rise of black punk culture". The Guardian. Retrieved 12 March 2021.
- ^ Cunha, Ricardo. "Crust: the other side of the coin". Retrieved 30 June 2018.
- ^ "In Crust We Trust". Retrieved 19 July 2018.
- ^ Von Havoc, Felix (1 January 1984). . Profane Existence. Archived from the original on 15 June 2008. Retrieved 16 June 2008.
- ^ Corcoran, Nina (19 July 2023). "'Super Snõõper' Album Review". Albums. Pitchfork. Pitchfork Media. Retrieved 19 July 2023.
- ^ Blush, Stephen (9 November 2001). American Hardcore: A Tribal History. Feral House. ISBN 0-922915-71-7.
- ^ Egan, Vincent (October 2007). "Rip It Up and Start Again: Post Punk 1978–1984. By Simon Reynolds. Faber and Faber, 2005. 752 pp. ISBN: 0571215696". Popular Music. 26 (3): 528–529. doi:10.1017/s0261143007003479. ISSN 0261-1430.
- ^ Sabin, Roger, ed. (11 September 2002). "Punk Rock: So What?". doi:10.4324/9780203448403.
{{cite journal}}: Cite journal requires|journal=(help) - ^ "Jerry Dammers interview by Alexis Petrides". Mojo. January 2002. Retrieved 18 October 2007.
- ^ Buckley, P. (2003). The Rough Guide to Rock. London: Rough Guides. p. 798.
- ^ Sweers, B. (2005). Electric Folk: The Changing Face of English Traditional Music. Oxford University Press. pp. 197–8.
- ^ . Punkmodpop.free.fr. 8 July 2011. Archived from the original on 12 August 2011. Retrieved 19 August 2011.
- ^ Adam Brennan & Paul Brannigan (19 December 2019). "The Class of 2000: Where Are They Now?". Loudersound. Retrieved 30 October 2023.
- ^ Phillips, William; Cogan, Brian. "Encyclopedia of Heavy Metal Music": 220.
{{cite journal}}: Cite journal requires|journal=(help) - ^ Huey, Steve (9 March 2018). "Corrosion of Conformity Biography by Steve Huey". AllMusic. Retrieved 11 October 2022.
- ^ Rowley, Scott (February 2013). "Condemned To Rock 'N' Roll". Classic Rock Magazine. Classic Rock Magazine.
Manic Street Preachers were a punk-metal explosion of great lyrics and killer riffs – Morrissey meets Michael Schenker – who threatened to split after one album.
- ^ Glasper, Ian. Burning Britain: The History of UK Punk 1980–1984. p. 236.
- ^ The Greenwood Encyclopedia of Rock History: The grunge and post-grunge years, 1991–2005. Greenwood Press. 2006.
- ^ Lipsitz, George. Footsteps in the Dark: The Hidden Histories of Popular Music. p. 263.
- ^ New Statesman and Society. December 1992: 33.
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