Listen and meet all the hardcore subgenres

hardcore genres - page 4


early 1990s > beatdown hardcore

beatdown hardcore (Beatdown, Tough Guy Hardcore):
stylistic origins: punk hardcore / NYHC / metalcore / death metal / hip-hop
cultural origins: early 1990s, United States

A version of metal/hardcore that tends to be much slower, heavier and have more breakdowns. The style mainly had its roots in the New York Hardcore scene of the 1990s. Pioneer band was Bulldoze, whose album The Final Beatdown gave the genre its name.

Instrumentally uses aggressive metal riffing and hardcore punk aggression and delivery as well as the use of breakdowns. Includes growls and gruff singing.
It also known as ‘moshcore’ because of its sole intent of being mosh-friendly and getting crowd involvement on the live front.

The style is closely linked to Metalcore.

However, what separates the two genres ultimately is that beatdown/moshcore is more close to traditional hardcore rather than metal and it is also not uncommon for bands involved in the scene to have some Hip Hop elements either.

Bulldoze – The Truth; Next Step Up – Bringing Back The Glory; No Zodiac – phase 7:


thrashcore > 1990s > bandana thrash

bandana thrash:
stylistic origins: thrashcore / crossover thrash / youth crew / powerviolence
cultural origins: late 1990s, United States

Bandana thrash is a subgenre of thrashcore, associated with powerviolence and crossover thrash that began to explore their debt to an earlier form of extreme punk music. The term comes in reference to the headgear preferred by many of the performers. The Ideology of Bandana Thrash is: DIY ethic, in many cases Straight Edge, Street life, anticonsumerism, and most importantly the worldwide unity, this fact referred in many songs like “Bandana United Us” of GxHx, “Intercontinental Bandana Union”, of What Happens Next? as well in the manifesto of Conquest For Death “Many nations, one underground”.

GxHx – Bandana United Us; What Happens Next? – Intercontinental Bandana Union (Stand Fast Armageddon Justice Fighter – Full Album); Conquest for Death – Many Nations, One Underground:

  • Multiple Tasking With A One Track Mind
  • Crucial Session
  • Welcome To The Continuing Saga Of My Life Of Shit
  • Stand Fast Armageddon Justice Fighter
  • Intercontinental Bandana Union
  • To Fly The Flag Libertalia
  • To Define Not Divide
  • Reflection and Rescourcefullness
  • In The Space Of Seven Breaths
  • Saishoku Shugi Sha
  • The Humor In Blasphemy
  • Coexistence Over Conquest
  • Those Who Own The Streets Own The City
  • Violent Expression, Sexual Repression
  • Advice To D’Artagnan
  • Revolution Inside
  • Hard Rice and Molten Rain
  • Losing My Innocence, Retaining My Youth
  • Itn’t It Ironic? Is This Me?
  • Power Corrupts


New York hardcore > 1990s > krishnacore

stylistic origins: hardcore punk / Hare Krishna

The name is a portmanteau of “Krishna” and “hardcore”. In the western world, the band Shelter is widely viewed as having invented the genre in the early 1990s, when two former members of Youth of Today became Krishna devotees.

The genre is also strongly associated with Equal Vision Records, which was formed by Shelter members to promote the Krishna movement. Other acts within the genre include the Cro-Mags and 108.
While most strongly associated with Shelter, the Cro-Mags’ first album referenced Hare Krishna beliefs in their 1986 album Age of Quarrel, which is a translation for the Hindu concept of Kali Yuga that is taught in Hare Krishna philosophy; also, some music journalists have noted that the Filipino band The Wuds performed Krishna-influenced punk as early as 1986.

Shelter – Message Of The Bhagavat; Cro Mags – Age of Quarrel; 108 – Killer Of The Soul:


1990s > taqwacore

stylistic origins: punk rock / heavy metal / Islamic music
cultural origins: 1990s, European and American Islamic communities

Taqwacore is a subgenre of punk music dealing with Islam, its culture, and interpretation.
Michael Muhammad Knight’s 2003 novel, The Taqwacores, imagined punk rockers who practiced Islam on their own terms., 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”.

The first bands to use the term taqwacore are The Kominas, Vote Hezbollah and the Sagg Taqwacore Syndicate.

The Kominas – Choli Ke Peeche; Vote Hezbollah – Poppy Fields; Sagg Taqwacore Syndicate – Lord of Dawn:

later-1990s > sass

Sass (also known as sassy screamo, sasscore, sassgrind or dancey screamo):

Is a style of hardcore punk and screamo that emerged in the later-1990s and early-2000s.

It originated as an opposing style of hardcore punk to the machismo in heavy hardcore scenes.[89] It takes influence from genres such as post-punk, new wave, disco, electronic, dance-punk, emoviolence, grindcore, metalcore, and heavy hardcore.

Sass bands include the Blood Brothers, Q and Not U, Black Eyes, The Plot to Blow Up the Eiffel Tower, These Arms Are Snakes, An Albatross, XBXRX, Death from Above, The Number Twelve Looks Like You, Gatefold -era Orchid, Milemarker, and SeeYouSpaceCowboy.

The Blood Brothers – Lazer Life; xbxrx – pigs wear blue; Death From Above – Freeze Me:

late 1990s > cybergrind

Cybergrind is the combination of the standard conventions of grindcore taken to an even more discordant and rapid-fire extreme, with the added electronic dimensions of computer-generated noises and drum machines. Generated sounds are created through the use of programmed synthesizers or MIDI files. Cybergrind began in the US during the late 90s. Agoraphobic Nosebleed is its most well-known practitioner, though the style is a decidedly underground phenomenon.

Genghis Tron — Board Up the House; Hanni Kohl — Abschied; iwrestledabearonce — Tastes Like Kevin Bacon:

early 2000s > deathcore

stylistic origins: death metal / metalcore / hardcore punk
cultural origins: early 2000s, North America

Deathcore mix of death metal riffs, metalcore breakdowns and blast beats.
Antagony and Despised Icon is pioneers of deathcore.

Founder/lead singer/songwriter of the band Antagony, Nick Vasallo is father of deathcore, Antagony mixed elements of Death/Grind and Hardcore before all of the aforementioned bands, Despised Icon combining old-school death metal with metalcore.

Antagony – End of the Circle (album See Through These Eyes); Suicide Silence – No Time To Bleed; Carnifex – Dead In My Arms:


metalcore > early 2000s > melodic metalcore

melodic metalcore:
stylistic origins: metalcore / melodic death metal / melodic hardcore
cultural origins: early 2000s, United States and United Kingdom

Melodic metalcore is a fusion genre which combines traits from melodic death metal with hardcore punk and metalcore.
Bands take big influence from guitar riffs, and writing styles of Swedish melodic death metal bands like In Flames, At the Gates, Soilwork and Arch Enemy.

Melodic metalcore bands include
Bullet For My Valentine – Tears Don’t Fall; All That Remains – The Last Time; The Sorrow – Burial Bridge:


early 2000s > electronicore

electronicore (synthcore, trancecore):
stylistic origins: metalcore / electronic
cultural origins: early 2000s, North America, Japan and United Kingdom

Electronicore is characterized by typical post-hardcore instrumentation, metalcore-influenced breakdowns, heavy use of sequencers and synthesizers, auto-tuned singing, and screamed vocals.

In addition to electronica, the fusion may involve a variety of other electronic music genres, including techno, trance, dubstep, electro and dance.

I See Stars – Murder Mitten; Capture the Crown – Storm In A Teacup; Eskimo Callboy – Blood Red Lips:


early 2000s > nintendocore

nintendocore (nintendo rock, video rock, nerdcore):
stylistic origins: chiptune / video game music / hardcore punk / heavy metal / melodic metalcore / post-hardcore
cultural origins: early 2000s, United States

Is a music genre that fuses aggressive styles of modern rock with chiptune and synthesiser music.

Pioneered by Horse the Band, The Advantage, and Minibosses

Nintendocore groups vary stylistically. Horse the Band, combines metalcore, heavy metal, thrash metal, and post-hardcore with post-rock passages.

Minibosses use Kyuss-inspired heavy metal riffing, and The Advantage is associated with styles such as noise rock and post-rock.

Horse The Band – R. Borlax; Minibosses – Castlevania; The Advantage plays Mega Man 2 Flashman:

  • Seven Tentacles and Eight Flames 3:11
  • Cutsman 3:51
  • In the Wake of the Bunt 4:18
  • Stabbers of the Knife, by Kenny Pelts 3:02
  • Bunnies 3:33
  • Purple 4:48
  • Handsome Shoved His Glove 3:23
  • The Immense Defecation of the Buntaluffigus 1:23
  • Pol's Voice 4:00
  • Big Blue Violence 3:14


late 20th > christian hardcore

christian hardcore:
stylistic origins: hardcore punk / christian punk (christian pop/emo punk and christian traditional punk)
cultural origins: late 20th

Christian hardcore is a subgenre of hardcore punk primarily distinguished by its lyrical focus on Christian themes and values.

Bands such as The Crucified, Focused, and No Innocent Victim are considered progenitors of the movement.
Demon Hunter and The Chariot have gained considerable popularity among fans of the genre.

Sleeping Giant – Tithemi; Focused – Killing Years; The Crucified – Power Of God



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