An oft unsung chapter of late twentieth century American hardcore began in the early ‘90s, and for many, ended later in that decade. This style, known as powerviolence, can be best described as an amplified brand of hardcore - one that embraces every challenging or offensive aspect of the genre and raises each to a deafening height. The speed, volume, aggression, noise, short song length, and contemptuous outlook found in your typical Black Flag-style hardcore was just the beginning for these powerviolence bands (it was also not uncommon for bands in this genre also incorporate sludge metal style breakdowns). Those involved in the scene will tell you that it came into fruition as a reaction to radio play-centric punk and pop punk that held the attention of the public of the late ‘80s and early ‘90s. Many felt that the essence of hardcore was lost at that time, which cause several significantly more intense individuals to dutifully set out to reclaim punk rock on their own terms.
A very important band in the creation of powerviolence formed in Valencia, California in the late ‘80s. This band was Infest. Although, the term “powerviolence” had not been croined until the early ‘90s (by Matt Domino of Infest, himself), Infest began pioneering the style in a groundbreaking way, and served as an influence for the vast majority of powerviolence bands to come. Infest was influenced by hardcore (Negative FX) and thrashcore groups (Siege, Lärm).
(For reference: “Which Side” by Infest)
By the early ‘90s it had become clear that there was a new hardcore movement that was developing in California. Similar to that of the late ‘80s shoegaze scene in England, all the bands were aware of each other’s existence and supported each other. The likes of Crossed Out, Capitalist Casualties, No Comment, Spazz, and Neanderthal all formed within a few years of each other, played the same shows, and many of whom even played in each other’s bands. This came to be known as the West Coast Powerviolence (WCPV) scene.
(For reference: “Crown of Thorns” by Crossed Out)
Something had to be done to catalogue this unique influx of California hardcore. Luckily, Chris Dodge of No Use for a Name, Stikky, Despise You, Lack of Interest and (arguably most importantly) Spazz was motivated to begin his own record label called Slap-a-Ham Records. He created this label in order to “put out releases by the bands [he] really liked, who weren’t getting recognition.” It was a record label that focused primarily on powerviolence, hardcore, and grindcore bands (although there were a few releases by sludge metal bands Burning Witch, Noothgrush, and Eyehategod, as well). The likes of Capitalist Casualties, Spazz, Crossed Out, and many more WCPV bands released albums on this label.
Perhaps the most important band in the WCPV scene is Man Is the Bastard from Claremont, California. Man Is the Bastard became a kind of powerviolence collective, many members therein having performed with other groups of the same style. Parts of Pissed Happy Children, Neanderthal, Crossed Out, and No Comment made the crux of the group. The aspect that set them apart from other bands in the genre was Henry Barnes’ (Amps for Christ) guitar reconfigurations (the apparatuses themselves known as his “boxes”) that added a whole new dimension of Merzbow-influenced noise to this already intense subgenre of hardcore. Man Is the Bastard’s lyricism and message personified powerviolence’s ideals perfectly. They practiced Crass-ian anarchistic tendencies and preached that man is a reprehensible animal and a scourge to this earth. This was all succinctly summarized by their name and logo (a picture of the earlier recorded human skull. Interpret that as you will). Man Is the Bastard’s ethos embody the spirit of powerviolence, insofar that they believed we as a species need to take the initiative (perhaps a violent one?) for a necessary anti-capitalist, sociopolitical change or revolution to occur. What is crucial to note is the dynamic Barnes’ boxes added to Man Is the Bastard’s sound, yet warm inclusion to the WCPV scene suggested that powerviolence’s ideals were more important than the sonic similarity to other bands in the scene. Eric Wood of Man Is the Bastard went on to form the harsh noise/hardcore project Bastard Noise.
(For reference: “Tyke” by Man Is the Bastard)
As previously discussed in this article, there was a marriage of powerviolence and emotive hardcore sounds in the ‘90s called emo violence. This style was pioneered by South Carolina hardcore band In/Humanity and was popularized by the likes of Orchid and pg. 99.
There has been a revitalization in powerviolence since the mid-‘00s thanks to the new wave of contemporary American hardcore, as well as the formation of a few notable groups, such as Nails, Weekend Nachos, Trash Talk and Bucket Full of Teeth (Will Killingsworth and Brad Wallace played in Orchid before Bucket Full of Teeth’s inception in 2001). There are some (particularly Eric Wood) who deny that any powerviolence groups exist outside of the original WCPV scene at all and that any bands who claim to be powerviolence are a different genre entirely.
(For reference: “Traitor” by Nails)
While still very underground, the powerviolence scene, if there truly is a scene for it at all, remains a micro cult interest or perhaps even a novel curiosity within the larger American grindcore and crust punk scenes. Although it does not seem likely that the genre will garner any sort of commercial following, its relevance as a part of hardcore’s history is undeniable.
-Thus spake the Atma
Author’s note:
There is a prevalent air of incertitude for many when making the aural distinction between powerviolence and crossover thrash. When bands like DRI, Corrosion of Conformity, and Cryptic Slaughter began making a name for themselves in the mid-late ‘80s, many groups took the idea of the hardcore/thrash metal crossover and ran with it (which gave rise to the advent of metalcore from NYHC and grindcore from British crust and anarcho-punk). However, there were still some that dismissed the crossover entirely. Thrashcore groups (from whence powerviolence was derived) decided to keep the spirit of hardcore alive and untainted by the crossover. In short, the chief distinction of powerviolence from other subgenres of hardcore is that it did not use the crossover to evolve its sound, but was instead what the bands found to be the natural progression of hardcore itself.
Suggested listening:
Infest - Slave ('88)
No Comment - Downsided ('92)
Man Is the Bastard - Thoughtless... ('95)
Dropdead - 2nd LP ('98)
Spazz - Crush Kill Destroy ('99)
Orchid - Chaos Is Me ('99)
Bucket Full of Teeth - IV ('05)
Iron Lung - Sexless//No Sex ('07)
Nails - Unsilent Death ('10)
