![]() It often relied heavily on extremely dark satire, making light of many things that other hardcore bands took far more seriously. As such a sense of humor became commonplace in powerviolence, as it was a way to lash out against the overly serious crew culture that was constraining hardcore. The final, defining characteristic of powerviolence is that historically, the genre has avoided the crew culture that became so widely popular in hardcore in the mid 1980’s, seeing it as too confining and as a way to kill creativity in hardcore. Through all of this, despite the sharing of ideas with an ever growing extreme metal scene, powerviolence remained distinctly hardcore, avoiding almost entirely “metal” riffs. Along with this came a new set of vocal styles, be it the screeches so prominently employed by Charles Bronson, the harsh rasping sounds of Man is the Bastard, or the “cave-man-core” vocals of bands such as Spazz and Infest, as well as an intense love for blast beats and sludgy breakdowns. From Siege came the intense obsession with pushing the envelope of what hardcore punk music could be, as well as the idea that to continually do so there was a necessity to play faster than any of their predecessors. Powerviolence arose in the mid to late 80’s, influenced by such notable speed obsessed bands as Massachusetts’ own Siege. But what truly separates powerviolence from its grindcore peers is that, unlike grindcore, it is distinctly, undoubtedly 100% hardcore punk music, no metal involved (many people would argue this). Stylistically, it is easy to confuse with grindcore, another speed obsessed, slightly humorous, blast beat filled subgenre that arose around the same time as it. Perhaps one of the most commonly misused subgenre labels, it is a style of hardcore punk that is truly unique in all aspects. Read other Starter Kit entries here.Īh powerviolence, what a subgenre. ![]() Starter Kit analyzes the ins-and-outs of some of the more obscure and niche sub-genres within the metal spectrum and offers a small group of bands that best represent the sound.
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