For a lot of the primary 30-plus years of its existence, hardcore music was, for essentially the most half, predictable. Whereas there have been outliers akin to Unhealthy Brains and Orange 9mm, many acts by no means veeredfar from the sound set in place by bands like Minor Risk within the early Eighties. Subgenres like metalcore (and different types of music with “core” added) blossomed into their very own scenes and sounds, however the central tenets of hardcore remained pretty fixed — typically with hordes of indignant followers deriding something that stepped too far in a method or one other.
However over the past 5 to 10 years, the newest era of musicians from punk rock’s barely extra aggressive cousin has expanded into new sonic territory. Bands like Baltimore’s Turnstile, Kentucky’s Knocked Free and Santa Cruz’s Scowl have pushed the style in new instructions — gaining acclaim and recognition outdoors the hardcore scene, typically on the expense of its die-hard followers.
“It’s very awesome to be a part of that wave,” Knocked Free vocalist Bryan Garris says. “I think there are a lot of bands that are bringing in new things and opening a lot of doors for everybody else. It’s like the generic saying, ‘A rising tide raises all ships.’ I truly believe there’s room for everybody to win, so it feels really good that all these brand-new opportunities are opening for everyone. You see younger hardcore bands really going for it right off the bat, and we’re very fortunate to be a part of the era that’s taking it to new heights.”
That’s why it’s solely becoming for Knocked Free to be headlining this weekend’s Sound and Fury Competition, bringing two full days of the most effective trendy hardcore to Exposition Park. Since its inception in 2006, Sound and Fury shortly established itself because the occasion for hardcore and hardcore-adjacent music (from the heavier aspect of emo bands like Anxious to extra excessive, metal-leaning acts) first in Los Angeles after which throughout the nation. Simply because the pageant’s lineup and footprint has expanded each in dimension and musical selection over time, Knocked Free has seen its personal reputation skyrocket because the band has continued to push the boundaries of what hardcore might be.
“From a sonic perspective, all these bands bringing in new influences to hardcore was pretty polarizing at first,” Garris says. “You had all these bands that toured and participated in the hardcore world but didn’t sound like a traditional hardcore band — and people really made that extremely controversial for an annoying amount of time. Once that barrier was broken, it allowed for so many unique artists and bands to bring new things to the table. Bills and touring packages became more diverse, and I think the coolest thing is when you put a tour package together that makes sense on paper but sonically makes no sense at all. It keeps things interesting and doesn’t create such a monotonous atmosphere at a show.”
Kentucky hardcore band Knocked Free headlines this 12 months’s Sound and Fury Competition
(Brock Fetch)
For Knocked Free, one of many largest steps outdoors of “traditional hardcore” it may probably take was collaborating with pop-turned-metal artist Poppy on final 12 months’s “Suffocate” — a bet that paid off handsomely, introducing the band to an entire new viewers and incomes the group its highest-charting single and a Grammy nomination for metallic efficiency. It’s a monitor that Garris nonetheless considers “definitely one of [his] favorite songs” whereas additionally permitting the band to get “weirder” and experiment in methods it may not usually think about.
Whereas the band is already contemplating the way it can proceed to push the envelope even additional with out shedding what makes Knocked Free work at its core, the group is conscious of its historical past within the hardcore scene each as followers and artists. No scene is faster to disown an act for its business success, and Garris (together with guitarists Isaac Hale and Nicko Calderon, bassist Kevin Otten and drummer Kevin Kaine) is totally conscious of the road the band walks.
“We’ve never been writing a song and felt like we had to check in with how [hardcore fans] would feel about it, but when it comes to how we present the band, that’s where we keep hardcore in mind,” Garris says. “That’s where we come from and what we’re used to. Even though we know the band is obviously not going to be playing crazy small DIY, no-barricade hardcore shows anymore, it allowed us to create an experience on a much bigger stage. Then we do things like play Sound and Fury or put hardcore bands that we like on our bills because we still feel very passionately about these things. We’re very fortunate to be able to play these massive shows and have conversations about [pyrotechnics] and lights, but we’re still hardcore fans and that’s never changed.”
With acts like Knocked Free, Scowl and England’s Basement on the invoice this 12 months, Sound and Fury continues to indicate why it’s arguably America’s preeminent hardcore pageant, bringing collectively dozens of rising bands with simply sufficient nostalgia acts (akin to this 12 months’s Compelled Order reunion and Poison the Effectively) to remind the youthful generations of those that got here earlier than. It’s a lineup you received’t see anyplace else, with a DIY hardcore vibe that match simply as properly when hardcore followers and artists Sean Riley, Robert Shedd and Todd Jones held their preliminary occasion on the Alpine in Ventura 19 years in the past.
“There are a lot of festivals in the mainstream rock atmosphere where the lineups are essentially the same,” Garris says. “For example, two years ago or so, every major rock fest in America was headlined by Metallica. That’s no diss at all, but Sound and Fury is such a different thing and the lineups feel so organic and exciting. They’re very good about scratching an itch that you didn’t know you had.”
“I think [hardcore fans] are seeking more context than what they’re getting from the mainstream — and since most of the people here arrive through that filter, it makes for a very open and welcoming space,” Riley provides. “So whether it’s being straightedge and eschewing drugs and alcohol, or whether you are someone who likes wearing corpse paint in public, or you’re a person who likes to dance at shows, this is a place you can come and be yourself without judgment. Combine that with hardcore shows being, in my opinion, the rawest form of live-music experiences you can find, it’s a freeing experience.”
Though Riley is the one one of many three unique founders nonetheless engaged on Sound and Fury — at present teamed with Martin Stewart and Madison Woodward — he’s made certain to maintain it as true to the hardcore ethos as attainable 12 months after 12 months. Regardless of quite a few venue modifications and development that many company festivals may solely want to have, Sound and Fury in the present day is as instrumental to and beloved by the hardcore scene in Los Angeles and past because it’s ever been. It’s discovered a technique to converse to a number of generations of hardcore youngsters (and adults), and now a few of its largest followers are those onstage.
“[Sound and Fury] has never been our ‘day job,’ but more of something we do in our off time that can hopefully inspire people — knowing how empowering and meaningful this DIY world has been for us and our lives outside of this music scene,” Riley says. “We’ve seen attendees start bands that play the fest, put out zines that they sell at the fest, start businesses or become food vendors that operate at the fest, and even people who now help us run the fest and have actual ownership stakes in the festival. Seeing it grow year after year in a very organic way really validates our approach and hopefully means it’s serving its purpose.”
“When we were preparing our year, [Sound and Fury] was one of my most anticipated shows of the year because I am such a fan of the festival,” Garris provides. “I’ve gotten to watch the festival grow from a fan’s perspective, and I remember going to the fest when it was like 1,000 people total. To see what it is now is amazing. It’s setting the bar for hardcore every single year and taking it to new places, because it was never supposed to be that big. The people that put it together care so much to protect the festival and to scale it to these unimaginable places — all while keeping it feeling DIY and like a hardcore festival. We’re just so excited to be a part of it.”
Or, as Scowl vocalist Kat Moss put it, “I would argue Sound and Fury is the best hardcore festival ever.”
