#NYHC Band

[themetalmassacrevault]

[possible-streetwear]

[savage-kult-of-gorthaur]

PORTRAITS IN AMERICAN HARDCORE PUNK -- NYHC BRANCH.

PIC(S) INFO: Spotlight on shots of U.S. punks, attendees of a 1984 CBGB matinee with CRUCIFIX as headlining act. Shots include various DISCHARGE fans, Amy Kiehm (formerly Amy Miret, Pre-NAUSEA) and numerous other punks who hung around the Lower East Side. 📸: Drew Carolan.

[Dis nightmare still @$!*%&# continues!!]

Source: www.picuki.com/media/3114994587450418671.

[drugstorecowboi]

[bassafedelta]

Hold Me Tight - Hold me tight

EP, 2023

Hold Me Tight con Gusta Style Rec.

Hardcore punk - metal - metalcore

Please consider buying "Hold me tight" on Bandcamp

Brevissima storia della resistenza di uno (per i molti)...

...che tenuto stretto nella presa polverosa e mistificatrice di uno stigma senza nome e nella morsa di fauci menzoniere che non praticano la gratitudine, non abbandona la sua integrità (magari non candidissima e forse nemmeno del tutto intatta, ma chi può vantarla tale se non i Santi?) e sbraita tutto il suo, rammaricato, disgusto.

Avvertenze

Prima di riprodurre l'Ep, murate le finestre della vostra dimora per non diffondere la devastazione che arrecherebbero i riff imponenti, la signora che ruggisce nel microfono ed i piccoli (e sempre graditissimi) momenti di canto di gruppo stradaiolo.

GB - Very short history of the resistance of one (for the many)

...which held tightly in the dusty and mystifying grip of a nameless stigma and in the grip of lying jaws that do not practice gratitude, does not abandon its integrity (which will not be candid and perhaps not even completely intact, but it exists) and rants all his regretful disgust.

Warnings

Before playing the Ep, wall up the windows of your home so as not to spread the devastation that the massive riffs, the lady roaring into the microphone and the small (and always very welcome) moments of street group singing would cause.

Links: Bancamp | Facebook | Instagram

[thatdykepunkslut]

Current listening while I sketch out a design of a fascist getting shot in the head for a blank shirt I found at the bottom of my closet

[k-i-l-l-e-r-b-e-e-6-9]

Pro-Pain

[snackugaki]

... just make an iteration* for fun, I said

a universe where they've made it into their late 30s-early 40s and they chill and can be serene in the company of friends and family for once. maybe a flashback or two for the action moments

"fix" your childhood turtles so they can have a reprieve and some shenanigans, i reasoned with myself--

WELP.

my tmnt au iteration (where everyone made it past their 20s, splinter’s alive just old, venus is here, and they deserve some goddamn respite and shenanigans)

tmnt au iteration part 1 | part 2 | part 3 | part 4 | part 5 | part 6 | part 7 | part 8 | part 9

tmnt au iteration omake 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11

lny visit 1 | 2

is this actually new ramblings for the iteration or like one new lore bit and just a rerererererehashing of lore i sprinkled across the other posts.

first though, with my sorta-outsider-not-active-participant-in-fandom history I realized "au" isn't the proper term for what I've been doing, the more suitable term is "iteration".

and we're gonna sit with the fact that even someone at my old-ass age recognized my previous understanding of a term was, for all intents and purposes, not entirely correct and that I acknowledged it, rectified when I could, and that's it, it can be that easy.

...

okay back to the bullshit.

so my Mondo was introduced in the Archie run, a funky guy with a metal band called Merciless Slaughter, dressed like a punk Hulk, all around good peoples, hung out with the Mutanimals.

His design cobbling isn't too deep, I don't think. Just thought it'd be more rad if he looked more like a guy who fronts a band called Merciless Slaughter while remaining the same ol' Mondo inside, post mutation.

Kept some of his original color palette around in his hat, his pants, his NYHC logo (links) knockoff, and his little dyed leather cord bracelets.

the letters for the logo are for, Skate or Die (across), and Merciless Slaughter (down)

hmm still waffling on if I'm more tickled by him being taller than Mikey or the same height (5'4")

_________

and now for the rererererehash rambling because none of this design progression is coming out linear for me. so super quick, am an original 90s turtlemania survivor, Rise brought me back, gorged Rise then Bay then 2007 movie then rererererewatching of Next Mutation and the 90s trilogy for fun then hacking my way back through the Archie and Mirage runs then caught up with IDW and then just... slogging through 2003 and 2012 which honestly I feel like I got the gists of through gif sets alone.

one hand I can see why old fans (90s turtlemania) didn't seem to like the Rise designs, ours really were just the same li'l green dude but in different colors and hit sticks looks-wise. But here comes Rise with all the character design classics: different shapes! different sizes! exaggeration! and that's on top of all the nudges and twists made to the usual lore; Raphael is now the oldest, Leo and Donnie are now twins, they're different species of turtles, they're tools for war, brand new antagonists etc.

idk, to me when I was watching that shit, it was fun and refreshing so... ionno, built different cope maybe to the other oldheads pissing their pantaloons still ig whatevs

what tickles me most, personally, is the utter fuckton of Rise AUs, and a few Rise-driven iterations, and also some of the other non canon media iterations. so tickled that I got hit by the makeaniterationigitis itllbefunoccocal virus too. UnU (i'm kidding, i'm having so much fucking fun) just I'm addressing the flowers I wanna give to the kids who took Rise's take on tmnt and just RAN with the "different turtle species" from full out coloring their turtles the same as the species they picked to mimicking Rise's design language with different markings.

God, the markings thing just really nestled into my heart, it's such a simple thing and yet it took Rise to just try it, not even a lot, just a little for flavorrrrr. It's just enjoyable as fuck to me tbh and I'm sharpening my teeth when I revisit my coloring choices for the 8th time... fuck where was I?

right, mine are mistakes. wrongright place at the wrongright time, mutagen was there and now they can swing swords around and eat pizza.

someone(s) was high tailing it outta a TGRI lab with some mutagen barrels, driving recklessly while a bunch of eco-vigilantes had broken out of a pet shop that was the face of a black market pet trade/medicine/exotic food racket of endangered species. hence where their bit of human pre-mutagenic contact comes from (the strike team of people who freed them from their cages because all of them were endangered species & destined for a tank, a cutting board or a pill box); including a sea turtle Venus, Leatherhead, Tokka, Rahzar, Man-Ray some others etc etc. Jennika keeping her origin because it was dope as fuck. splinter was just there watching this symphony of human fuckery happen and decided to adopt some kids with no one asking (it was tang shen's onryo that is rooted in Splinter's mind that was asking, shh)

and ever since it clicked when I was gathering ref shots, ✨sea turtle Venus just makes sense✨ to me, it's taken my brain stem and rung it like a bell for new year's nonstop and i am not mad

... fuck, I am but also am not looking forward to when I start delving into ninjutsu, ninpo, Venus' whole schtick and how the supernatural fits into this world that I definitely don't need to be fleshing out this much just to draw them chilling on April's couch.

i've got like over 70 refs, holy shit

[themetalmassacrevault]

[possible-streetwear]

[savage-kult-of-gorthaur]

THE FIRST AMERICAN D-BEAT BAND? NAME ANOTHER ONE. I'LL WAIT.

PIC(S) INFO: Spotlight on shots of SF hardcore punk band CRUCIFIX pictured in NYC with local hardcore luminary John Watson (crouched, first AGNOSTIC FRONT singer) after a soundcheck at CBGB, in January, 1984. 📸: Drew Carolan.

Anyway, I always found shots like these pretty interesting, if not amusing. Place these in the "photos of someone taking photos" file drawer.

Rest in Noise, Drew Bernstein, another legend lost -- Dis nightmare still @$!*#&% continues!!

Sources: www.picuki.com/media/3114994587450418671 (Picuki 2x).

[equalvision]

Shutdown on their Europe tour with One Kind Down (2023) - Source: @kuckuck_artworks on IG

[bestfuckinmusic]

Gorilla Biscuits - Gorilla Biscuits - 1988

Classic, Revelation Records release of one of the classic NYHC bands. A little more punchy than their album. Mosh it up...

[symptoms-existence]

fav hxc band king?

anything old school NYHC anything Boston especially 2000-2015 era, all the rival mob and lockin out adjace bands

[aswrm]

Geoff Rickly in ‘Negatives’ by Amy Fleisher Madden

Transcript below

An Introduction to the Third Wave

Geoff Rickly

Thursday / No Devotion / United Nations

Everything is hardcore. Snapcase is hardcore.

Obviously. Strife and Chain of Strength and Bad Brains are hardcore. Sick of It All is hardcore, and they're from New York, so they spell it NYHC.

Shelter is hardcore and 108 is hardcore, and they're both Krishna, which means people call them Krishnacore. Earth Crisis and SSD are hardcore, but they don't do drugs; straight-edge hardcore.

There are so many little signifiers in place to help people know what's up, but each one of these bands does actually have something in common: They are all hard as nails. They're hardcore.

It was the mid-'90s. I'd moved out of the dorms at Rutgers and into a house on Somerset Street with my old roommate, Clay, and my new housemate, Louis. We were a good twenty-minute walk from campus, but the house was weirdly small on the inside; it got bad light. But it had a big basement.

Big enough to have shows in. Hardcore shows.

Luckily, by the mid-'90s, hardcore was everything, and everything was hardcore.

Converge was hardcore-full of guitars and drums that sounded like broken glass in a blender. But so was Rainer Maria, with twinkling clean guitars and dual vocals whispering and shouting in a joyous conversation. So were Ink & Dagger, in their corpse paint, smashing Aphex Twin electronics into Black Flag riffs. Fugazi was hardcore with a rhythm section that sounded like James Brown and a no-slam-dancing policy. Texas Is the Reason had twangy vocals and the most beautiful guitar parts that anyone had ever heard, and they were fucking hardcore-with the pedigree to prove it. They were one of the groups that inspired the latest wave of bands who were all playing shows in our basement, and in other basements like ours all over America: The Get Up Kids, The Promise Ring. Jimmy Eat World. They were all catchy and sweet, and full of youthful innocence. And they were all hardcore, too. Everything was. The basement show was like an Olive Garden:

If you were there, you were family-you were hardcore.

But holy shit, did we love to tease those bands— "You guys are so emotional, you're so fucking emo." Stick a tap in them and let the tears flow. That's all emo was to us: a taunt, a ribbing, a genre label that had never really stuck. I remember seeing Fugazi in the early '90s and someone yelled at lan MacKaye, "You are so emo!" His reply was simple and seemed to shut down the label forever. He said, "Emo Philips?" —forcing the crowd to think of the awkward comedian, with his strange bob haircut.

So, years later, when we had a great young hardcore band from Princeton play in our basement, we shouted at them, "Oh my god, Saves the Day are so emo." Their singer, Chris, acknowledged it dryly: "Boo hoo." Or that time when At the Drive-In destroyed the Melody Bar in front of a crowd of five people. I told them, "That was so good, I could have cried. but I didn't want anyone to thinkI was emo."

We didn't know we were already part of it. A joke or not, we were already emo. When we started Thursday, we thought we were just another hardcore band in the wave of hardcore bands that we looked up to: Saetia, You and I, Usurp Synapse, Orchid, Reversal of Man, The Locust, Charles Bronson.

Our friends. Our heroes. We were playing the same basements and VFW halls. We were buying the same vans and using the same dialers to get free calls on pay phones. We didn't know that, even as our own band took off, we were already emo, and we were about to be part of something new.

After Full Collapse came out on Victory Records-a very hardcore label —we spent a lot of time tracing the footsteps of all those who d come before. We played to five or ten people a night, occasionally landing a festival where we'd do anything to get people to stick around. "Yeah, we have a three-way split with Joy Division and Swing Kids, but we're sold out of them right now... Still, we're playing after Dragbody if you've got the time to watch us."

Then Saves the Day offered us a spot opening for them on a national tour. Our friend Dan from the band Joshua explained to us that Saves the Day was the biggest band in hardcore. They'd hit the indie glass ceiling-they'd sold 100,000 records without being on a major label. We took the tour - first of four in front of 1,000 people every night-and something clicked. The very next tour we went out on, we were the headliner, and it was entirely sold out before we even left home. Something was happening. We broke through the 100,000 record glass ceiling, shooting to 400,000 records. All our friends were right behind us, in the next couple years, hitting a million records sold and more.

The press has always been a little tone deaf, and they'd already been using the term emo for years, so they tried to find something new and catchy for this rapidly developing phenomenon. They tried screamo, except not everyone was screaming- and the bands hated it. Emocore, except that term somehow sounded even wimpier than just emo-and the bands hated it. They even tried the term xtremo, and tried to line us up to play X Games-type events, with cans of Mountain Dew stacked on our amps, but the sponsors weren't sure about the crossover appeal-and the bands hated it.

[photo id: geoff leaning back into the crowd. he is shouting, with one arm raised above/behind his head and crowd members’ arms round his torso]

In the middle of all this, I had the chance to produce the first album from a scrappy bunch of hard. core kids who loved Placebo and Queen and comic books. They were called My Chemical Romance, and by their second record, they would solidify something that had been becoming apparent for the last couple of years: The 2000s were the decade of emo. It was everywhere. It was fashion and TV and billboards. It was celebrity. It was gossip.

And when money gets involved, things can quickly go to shit. Emo got increasingly commercial. It was codified. It was slick. It had songwriters and mega producers. It had A-listers directing music videos.

The only thing it lacked was sincere emotion. The feeling was gone. A pretty tough break for a genre called emo.

By the 2010s, being emo was about the uncoolest thing in the world. The heavy hitters started breaking up. Not just the early torchbearers like us or our West Coast buds, Thrice, but the big guns, too.

My Chemical Romance called it quits, and suddenly bands started dropping likeflies. Pop singers dropped the emo haircuts. Things cooled off.

But then, half a decade later, something strange started to happen. The young kids began to go back to the roots of the genre, appreciating the earnest sincerity and adventurous musicality that made emo break out in the first place. The Hotelier, Teen Suicide, The World Is a Beautiful Place & I Am No Longer Afraid to Die, Joyce Manor, Hop Along-these bands brought emo out of the boardroom and back into the basement, bashing away at a glorious noise until the world started to notice. This

"emo revival" was actually the birth of something new. It inspired Thursday to start playing again, and it inspired so many of our peers to do the same.

We've gotten the opportunity to see this thing that we gave our hearts to through newer, purer eyes.

Watching Pianos Become the Teeth and Title Fight and Touché Amoré burn with passionate intensity has reignited our fire. Seeing these photos, through Amy's eyes- seeing the vitality that has always been there-is much the same. It's changed everything, allowing us to restore a true relationship to our past work.

Recently, I had the opportunity to stand on stage with Thursday and watch a sea of kids scream along to these words from "War All The Time":

All those nights in the basement,

The kids are still screaming

On and on and on and on and ...

And it was pretty hardcore-emotionally speaking.

[musikunderground]

KRISHNACORE FROM NYHC "SHELTER"

Shelter adalah sebuah band hardcore punk/krishnacore yang terbentuk pada awal 1990-an oleh mantan vokalis Youth of Today, Ray Cappo. Mereka mencampurkan elemen-elemen musik hardcore punk dengan filosofi dan ajaran agama Hindu, khususnya dalam tradisi bhakti yoga. Berikut beberapa poin untuk mengenal lebih dalam Shelter: Krishnacore: Salah satu aspek yang paling menonjol dari Shelter adalah…