A History of Rock and Dance Music Vol 2 by Piero Scaruffi

Author:Piero Scaruffi [Scaruffi, Piero]
Language: eng
Format: azw3
Published: 2012-11-18T16:00:00+00:00

Progressive hardcore, 1998-2000

In Washington, Ted Leo's Chisel, on Set You Free (1997), and especially Dismemberment Plan (1), on Emergency and I (1999), a sci-fi concept album enhanced with all sorts of studio witchcraft, fused progressive hardcore with new wave and power-pop.

Les Savy Fav from Rhode Island mixed angular rhythms, twisted melodies, psychotic vocals, dissonant guitar and spastic drumming on 3/5 (1997).

Los Angeles-area's Thrice evolved from the "screamo" style of the EP First Impressions (1999) to The Illusion of Safety (2002), an eclectic work that indulged in both grandiose pop and heavy-metal fury.

The hardcore of San Diego's No Knife incorporated elements of post-rock on Hit Man Dreams (1997). In the same city Locust coined a feverish and convulsive brand of electronic and noisy hardcore on The Locust (1998) and especially Plague Soundscapes (2003).

New York's Mindless Self Indulgence (1) played a mixture of hardcore, industrial music and hip-hop, heavily syncopated, derailed by scratching or electronics or videogames, and sung in a psychotic falsetto, notably on Frankenstein Girls Will Seem Strangely Sexy (1999), a 30-song self-parodistic hardcore monolith with overtones of operetta.

Seattle's Juno (1) specialized in open-ended structures with a wide range of dynamics on This is the Way It Goes And Goes And Goes (1999) and A Future Lived in Past Tense (2001).

Chicago's 90 Day Men, featuring keyboardist Andy Lansangan and bassist Robert Lowe, bridged hardcore, progressive-rock and new wave on (It (Is) It) Critical Band (2000).

Seattle's Blood Brothers (2) virtually invented a new kind of hardcore with their blend of progressive and melodic stances on This Adultery is Ripe (2000). The chaotic punk-rock songs of March on Electric Children (2001), via cabaret piano, sampling and tape manipulation, led to the reckless stylistic chameleons and visceral nonchalance of Burn Piano Island Burn (2003). The vocal interplay of Johnny Whitney and Jordan Blilie was a first, pitting the high-pitched outburst of one against the melodic pathos of the other. The massive stylistic detours of Crimes (2004) and Young Machetes (2006) relied on instrumental virtuosi such as guitarist Cody Votolato and drummer Mark Gajadhar. Johnny Whitney and Mark Gajadhar also released an album under the moniker Neon Blonde, Chandeliers in the Savannah (2005), that wed the Blood Brothers' aesthetics to the ballad format and to dance beats.

Arab On Radar (2), from Rhode Island, played a concentrate of wildly dissonant punk-rock. Rough Day At The Orifice (1999) is a demented collage of feverish and feral sounds, vaguely approaching the state of music, somewhere along the twisted line that straddles Red Crayola, Pop Group, Mars and Pere Ubu. Soak The Saddle (2000) is the music of very angry (and very spastic) youth: psychotic melodies, manic pace, abrasive guitars, hardcore fury and extreme noise.

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