The Swarm / ForceFedGlass - The Self-Destruct EP | Connective Tissue 1999

The Swarm

(Burlington, ON, Canada)

Chris Colohan (Vocals)
Adam Bratt (Guitar)
Christian McMaster (Guitar)
Lou Oliveras (Bass)
Mike Maxymuik (Drums)

ForceFedGlass

(Richmond, VA)

Pat Masteron (Vocals)
Evan Plante (Guitar)
Justin Conlon (Bass)
Ben Koller (Drums)

Basic Info:

Release Date: 1999
Label: The Electric Human Project
Runtime: 6:29
-The Swarm: 3:30
-ForceFedGlass: 2:59
Tracks: 6
-The Swarm: 4
-ForceFedGlass: 2

At a Glance:

Metalcore, Emoviolence, Hardcore Punk, Energetic, Frantic, Punky, Technical

Points on the Timeline:

Both bands formed in the late 90s, releasing the bulk of their discographies before the turn of the century. By 2000, both artists will disband.

Shapes in the Sound:

The Swarm, tangentially related to the Screamo scene by way of guitarist Kyle Bishop, who does vocal duties for fellow Ontarians Grade, plays fairly straightforward Metalcore on here with a few traditional Punk leanings. Somewhat melodic, somewhat driving and brimming with energy and passion, their four tracks breeze through. ForceFedGlass’ two tracks are far more complex, noisier and more dynamic, playing their signature brand of blistering, technical Emoviolence with heavy, slow sections spacing out the chaos.

Threads in the Tapestry:

Although both artists would fizzle out soon after this split was released, it nonetheless catalogs these two distinct Hardcore artists from 550 miles apart at the end of their short-lived musical careers. While neither would be groundbreaking in their genre, they both remain underrated aspects of genres that would leave them behind.

Stack / Jasemine / Disclose | Holy Grails 1998

The Artifact:

1998
Independent
Runtime: 46:38
Tracks: 22

Artifact DNA:

Powerviolence, Screamo, D-Beat, Hardcore Punk, Emocore, Frantic, Melodic, Heavy

Artifact Archeologists:

Stack

Bernd Bohrmann (Vocals)
Chris King (Guitar)
Marcel Hammenman (Guitar)
Corey Von Villiez (Bass)
Ralf Lombardo (Drums)

Jasemine

Christophe Mora (Guitar, Vocals)
Thomas Guillanton (Bass)
Jérome Bessout (Drums, Vocals)

Disclose

Tsukasa (Vocals)
Kowakami (Guitar)
Yousei (Bass)
Naoto (Drums)

Artifact Contents:

All tracks from Stack’s 1994 Demo
All tracks from Jasemine’s 1994 Demo
All tracks from Disclose’s 1992 Crime Demo
All tracks from Disclose’s 1993 Conquest Demo

Artifact Echoes:

Uniquely a three-band split Comp, the first artist features strong, straightforward Hardcore, featuring some interesting buildups. Although far from the genre itself, they seem to borrow a bit from early German Screamo artists, a scene that the band would dip their feet into a few times.

The next artist represented is Jasemine, whose 1994 Screamo demo is quite revolutionary. This is one of the earliest true Screamo releases in France, borrowing the melodic Emocore aesthetic and combining it with some harsh Hardcore Punk in a way that resembles what Screamo would become far better than some of the earlier bands that attempted such a combination. Notably, the screaming is raw, emotional and intense, imparting profound feelings unto the listener. This forward-thinking piece of Screamo could easily pass for something in the late 90s with poor production.

Disclose’s early work is seminal D-Beat music with pounding drums, hyper, Hardcore chord progressions and deep, shouted vocals. If you know anything about D-Beat, and specifically Japanese D-Beat, this should do it for you. If you are unaware, think of Crust Punk (Metal-influenced Punk) but simpler.

Artifact Legacy:

Is this thing even a real release? There isn’t a lot of info on how this came together, with most sources saying this was never an official release from any of the bands. Regardless, this cassette represents early 90s international Hardcore in its various forms. Germany, France and Japan, three longstanding Hardcore sanctuaries, are on display in this excellent collaborative compilation.

Artifact Value:

As this is likely bootleg, I literally can’t find this on sale. I’d imagine if you can find a copy, it’d be a pretty nice rarity to have. This is quintessential international Hardcore from the early 90s.

Reversal of Man - Revolution Summer | Screamo Hall of Fame Class of 1998 Nominee

Release Information:

1998
Schematics Records
Tampa, FL (Southwest)
Runtime: 17:12
Tracks: 7

Band Members:

Matt Coplon (Vocals)
Jasen Weitekamp (Guitar)
Jason Crittenden (Guitar)
Jeff Howe (Bass, Vocals)
John Willey (Drums)

Genres, Influences and Characteristics:

Screamo, Emoviolence, Hardcore Punk, Manic, Dissonant, Noisy, Intense

Musical Analysis:

This album is a musical gut punch that rarely relents and always keeps you guessing with sudden tempo changes and dynamic volume switches. The dissonant guitar tones perfectly encapsulate the feelings of desperation and unease while the drummer hammers home the immediacy. The bass is refreshingly well-mixed and adds a powerful undercurrent to the songs. The vocals are brimming with passion and reach unhinged levels of depravity during the most chaotic and cathartic moments on this release.

Historical Analysis:

This EP represents the growth of both Reversal of Man and Emoviolence in the last few years; having solidified the lineup for this release a year prior on a split with Enemy Soil, they expanded on that sound with faster and harsher conviction. However, the dynamism found here further shaped Emoviolence away from the more chaotic and grindy stuff. However good this is, Emoviolence was on the cusp of breaking out and this EP remains a hidden gem on the shores of the Hall.

Lyrical Analysis:

*Note that because this is an old release in the grand scheme of Screamo history, I cannot locate lyrics for about half of these songs. I’ll be basing my analysis on the available lyrics*

Lyrically, this record has a simple and direct message: they love the scene, but the scene is dying. Titling the album Revolution Summer invokes the very beginning of Emo in 1985, with Punk’s ethos firmly intact. However, 13 years on from Rites of Spring, The Hated and Gray Matter, Punk has started falling into corruption and hypocrisy. Relationships are futile, nostalgia is a lie and the scene has been betrayed by those who embody the opposite of their message. The only salvation we have is to remember our humanity.

Swing Kids - Swing Kids | Holy Grails 1997

The Artifact:

1997
Three One G Records
Runtime: 19:58
Tracks: 9

Artifact Characteristics:

Post-Hardcore, Screamo, Proto-Sass, Hardcore Punk, Eclectic, Frantic, Chaotic

Artifact Archeologists:

Justin Pearson (Vocals)
Eric Allen (Guitar)
John Brady (Bass)
Jose Palafox (Drums)

Artifact Contents:

Every track from their 1994 s/t
Every track from a split with Spanakorzo
An original track that would feature in a future comp

Artifact Echoes:

Spastic, experimental and playful Screamo is all you're going to find on this record, documenting every song from the band thus far. Although you can still piece out the traditional Hardcore influence, dissonance, rhythmic unpredictability and general chaos are all elements these early pioneers utilized to keep listeners on their toes. The band can transition between a rapid-fire verse fueled by unhinged screaming and overwhelming drums to a sarcastic jazzy number played with great skill and technicality.

Artifact Legacy:

Justin Pearson is an important figure to underground music, especially in San Diego. He started Three One G Records, starred in Swing Kids as their vocalist and went on to form Sass and Hardcore legends The Locust. However, Swing Kids’ Discography is enough of a reason to celebrate; the mark this band left on San Diego, Hardcore music, Screamo. Sasscore and underground music as a whole cannot be ignored. Swing Kids achieved levels of pandemonium very few before them could have hoped for while injecting heaps of personality, a brutal and fun concoction that we are still enjoying the influence of over 30 years later.

Artifact Value:

Originally released in 1997 in CD format, there were several reissues, including a notable one in 2002. The original CD is pretty obtainable, though a 2003 vinyl pressing could be difficult to obtain these days. The band made a few random comebacks in later years, releasing two new songs along the way and necessitating another compilation release in 2020. Whether or not that makes this release less valuable, it's absolutely worth obtaining for fans of the band, early Screamo or the San Diego sound.

Heroin - Heroin | Holy Grails 1997

The Artifact:

1/14/1997
Gravity Records
Runtime: 47:04
Tracks: 19

Artifact Characteristics:

Post-Hardcore, Proto-Screamo, Noise Rock, Hardcore Punk, Emocore, Raw, Intense

Artifact Archeologists

Matt Anderson (Vocals)
Scott Bartoloni (Guitar)
Ron Johnson (Bass)
Aaron Montaigne (Drums)

Artifact Contents:

Every track from All About Heroin
Every track from their 1992 s/t
Every track from their 1993 s/t
Three original tracks

Artifact Echoes:

Legends of early 90s Proto-Screamo and one of the original bands to explore this sonic space, Heroin took the power and fury of Hardcore, illuminated it with the melody and dynamism of Emocore and added in their own Post-Hardcore fixings to craft a noisy and raw discography. The singer’s shouted screams inject the music with even more immediacy and emotion, the guitarist didorients with breakneck chord progressions and heaps of noisy dissonance; the bass packs with it a sense of danger and the drumming is frantic and chaotic, effectively putting the formula in a blender. These pieces came together to from the early blueprints of the genre.

Artifact Legacy:

Listening through this compilation album showcases the band's evolution over the two years they were active, tracking their increased use of melody, dissonance and intensity. In addition to pioneering this genre and shaking up the early 90s Hardcore scene, Heroin's direct influences reached so many early Screamo bands, especially to the influential and genre-defining Gravity Records rostermates. Their drummer would form Antioch Arrow shortly after this band broke up, adding even more chaos and unease to the developing genre. However, that experimental edge was first put to use in Heroin.

Artifact Value:

Gravity Records released this comp in 1997 with several versions, allegedly including a rainbow pressing. All four versions I could find seem to be relatively inexpensive, with the price likely lowering a few years ago after Heroin released a new compilation album.

Finger Print - Discography | Holy Grails 1996

The Artifact:

1996
Stonehenge Records
Runtime: 1:03:32
Tracks: 19

Artifact Characteristics:

Screamo, Hardcore Punk, Metalcore, Driving, Raw, Dynamic

Artifact Archeologists:

Nicolas Fisseau (Vocals)
Christophe Mora (Guitar, Vocals)
Thomas Guillanton (Bass)
Jérôme Bessout (Drums)

Artifact Contents:

Every track from their 1993 S/T
Every track from their 1994 S/T
Three original tracks
Four tracks from various comps
Two live recordings

Artifact Echoes:

Despite only being active for two years, Finger Print was a surprisingly prolific band. Though very influenced by the straightforward nature of early 90s Hardcore, Finger Print was one of the first artists in Europe to add such a level of dynamism and melody to their songs, incorporating acoustic guitars and intensity switches. Following closely behind the gnarly emotive screeches from the vocalist is a chugging guitar that breaks things up with some early Metalcore riffage. The further into this comp you get, the stronger the presence of melody is, marrying it with the aggression you’d expect to find in Hardcore. Refreshingly, the bassist is quite prominent in the mix, giving the songs a sense of immediacy and danger. The two EPs are both great, showcasing the band’s evolution as they helped shape Screamo history, though the comp tracks, original tracks and even the live versions (although quite roughly recorded) are all recommended.

Artifact Legacy:

While obscure, Finger Print was one of the originators of Screamo, not just in Europe but globally. Their brand of melody-and-riff-infused Hardcore would give credence to the upcoming sound of Screamo. Emotional intensity, quiet-loud dynamics and surprisingly-crisp production make this primitive Screamo record endlessly replayable, even in the modern day. Their influence can be heard in genre contemporaries like Anomie, Carol, Ivich and beyond. Once they disbanded, Christophe Mora would form obscure-but-influential Screamo band Jasemine.

Artifact Value:

This was originally released on CD in France and, despite its obscurity, is relatively cheap to import. Interestingly, this also came out as a cassette in Southwest Asia, with that version also being affordable but even harder to come by.

Reversal of Man / Holocron| Connective Tissue 1996

Reversal of Man

(Tampa, FL)

Matt Coplon (Vocals)
Jasen Weitekamp (Guitar)
Jason Crittenden (Guitar)
Jeff Howe (Bass, Vocals)
John Willey (Drums)

Holocron

(Canada)

Ryan Elinsky
Peter Shaughnessy
Ryan Woods
Tyson Howard

Basic Info:

Release Date: 1996
Label: Intention Records
Runtime: 33:28
-Reversal of Man: 19:40
-Holocron: 13:48
Tracks: 11
-Reversal of Man: 6
-Holocron: 8

Genres, Influences and Characteristics:

Screamo, Emoviolence, Hardcore Punk, Dissonant, Punishing

Points on the Timeline:

Holocron is a band whose entire output was released in 1996, the same year of this split. Reversal of Man put in tons of work over 1995 and 1996 to appear in numerous splits and release a couple of EPs. Foundational releases like this split would elevate Reversal of Man in step with Screamo and Emoviolence’s rise to underground prominence. Their most well-regarded works would be released in the near future.

Shapes in the Sound:

Contrasting this with their split with Puritan, Reversal of Man embraced a more deliberate pace and longer songs. Although their take on Emoviolence is still present on this album, RoM take great care in dynamically switching between intimidating, dissonant mid-tempo destruction and an all-out aural assault. Holocron’s half starts and the lower production values are immediately evident, but it’s not a knock against the music. Holocron’s music has more traditional Hardcore elements to it, though they are still achieving the Emoviolence aura.

Threads in the Tapestry:

Emoviolence was born in North America and this split exemplifies this. Floridian and Canadian talent come together from obscurity and at minimum 1,500 miles between them craft a gem worthy of Screamo canon. Although Holocron would remain a curiosity in the genre’s history, Reversal of Man’s epic warpath toward popularizing their brand of emotive Hardcore would continue and be quite fruitful as the genres grew.

Swing Kids - Swing Kids | The Shape of Screamo to Come

Release Information:

1994
Three One G Records
San Diego, CA (SoCal)
Runtime: 10:23
Tracks: 5

Band Members:

Justin Pearson (Vocals)
Eric Allen (Guitar)
John Brady (Bass)
Jose Palafox (Drums)

Genres, Influences and Characteristics:

Post-Hardcore, Screamo, Proto-Sass, Hardcore Punk, Eclectic, Frantic, Chaotic, Jazzy

Musical Analysis:

Early on, Swing Kids live up to their name with a jazzy little number before launching into chaotic and unpredictable Hardcore territory. Such is the nature of this whirlwind release, at times sounding like Emoviolence with frenzied drums, breakneck chord progressions and unrestrained screams before delving into more traditional Hardcore territory. Other times still you can piece out sassy vocals over quirky music, all wrapped in a bow of bedlam.

Historical Analysis:

With a fleeting but scintillating run as a band, Swing Kids left an indelible mark on Punk's DNA. With their sole solo release, Swing Kids further etched Screamo fundamentals in lto stone, became progenitors to the Emoviolence movement with their frenetic musicianship and sewed the seeds for Screamo's redheaded step sister genre Sasscore. This s/t marvel advances San Diego's reputation as a bastion for forward-thinking Hardcore music.

Lyrical Analysis:

With a cover of Joy Division's Warsaw prominently positioned on this tracklist, the political undertones are inescapably sprawled across the intense lyrics on this album. However, much like Screamo contemporaries of the time, the turmoil is turned inward and the laments are of a more personal nature. Yes, humans are a disease, but there is an inescapable dread that comes with being part of humanity. Its high price includes pervasive numbness, yearning for authenticity in life and wanting to be put out of your misery.

Ivich - La mort heureuse | The Shape of Screamo to Come

Release Information:

1994
Pikaϊa Records
Saint Maurice, Île-de-France, France
Runtime: 28:00
Tracks: 9

Band Members:

Eric (Vocals)
Yann Maisonneuve (Guitar)
Cedric (Bass)
Yves Maisonneuve (Drums)
Thierry (Trumpet)

Genres, Influences and Characteristics:

Screamo, Hardcore Punk, Lofi, Chaotic, Melodic, Offbeat

Musical Analysis:

As evidenced by the truly ludicrous drumming, Hardcore is the guide with which Ivich brought forth Screamo; blistering beats and thunderous fills characterize the vast majority of the drumming on here, though the guitars often drop the typical Punkish chord progressions in favor of more melody, dissonance and/or ambiance. The discord manifested by these insane elements is further intensified with offbeat trumpeting and rapid-fire vocal delivery, dropping the listener into a warzone of racket.

Historical Analysis:

Ivich debuted in 1992 with Sculpteur de cris, a weird and expressive Hardcore album with primitive Screamo inklings all masked by truly horrid production. Their 1993 EP featured the French Screamo pioneers pushing European Hardcore to its brink. Their sophomore full-length goes further as a hidden gem spearheading France's burgeoning Screamo scene. Pretty much every French Screamo band ever owes Ivich a huge debt of gratitude for basically inventing the genre out in Europe.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I cannot locate lyrics for any of these songs. If more lyrics can be dug out, I will reevaluate the lyrical analysis. Please note any lyrical analysis on my end will lack cultural nuance and accuracy in the translation.*

Honeywell - Industry | The Shape of Screamo to Come

Release Information:

1993
Mollycoddle Records
Corona, CA (SoCal)
Runtime: 33:02
Tracks: 9

Band Members:

Bobby Sell (Vocals, Bass)
Ryan Hilderbrand (Guitar)
Jimmy Lewis (Guitar)
Ryan Elliot (Drums)

Genres, Influences and Characteristics:

Screamo, Noise Rock, Proto-Emoviolence, Hardcore, Chaotic, Frantic, Menacing, Dynamic

Musical Analysis:

Holy Hell is this a tremendous leap forward for the genre! Discord is the objective for this album and through a mix of frenzied Powerviolen e-esque tracks radiating with malice, ominous mid-tempo songs that journey through darkness and agony, and noisy, formless sections that impart tension unto the listener. Buttoning up this intimidating combination of elements is a sensational screamer who uses higher register vocals and various samples that fill in the gaps. These dynamics blend seamlessly, creating a robust package with harsh but surprisingly clear production values.

Historical Analysis:

Is this the first Screamo album? Arguably, yes! Previous iterations of this genre in practice tended to haphazardly combine the brutality of Hardcore with the melody and dynamics of Emocore to mixed results. This full-length is one of the very first to synthesize the two together so smoothly, actually sounding like a proper Screamo album. Furthermore, Honeywell took it up a notch by adding in elements of Powerviolence, earlier than pretty much anyone else. Couple all of that with the foreboding atmosphere of the Noise sections and you have

Lyrical Analysis:

Honeywell’s direct and confrontational lyrics, screamed with intensity and emotion, are relatively standard in terms of subject matter in the Hardcore scene at this time. Bobby Sell’s lyrics deal with social issues like homophobia, religious indoctrination, capitalism and oppression. The anger of his delivery invokes immediacy on all of these outward problems, but self-reflection is an important part of this album’s lyrical journey as well. Holding yourself accountable for shitty thoughts, being stuck in perpetual depressive cycles and living under collective misery are a few of the introspective concepts dissected through this prose.

Iconoclast - Iconoclast | The Shape of Screamo to Come

Release Information:

1992
Ebullition Records
Freehold, NJ
Runtime: 9:10
Tracks: 4

Band Members:

Dan Roberts
Ian Williams
Kevin Kajetzke
Pat Kelsey
Kevin Sabarese

Genres, Influences and Characteristics:

Metalcore, Hardcore Punk, Proto-Screamo, Emocore, Dissonant, Raw

Musical Analysis:

On their debut release, Iconoclast pushed their brand of metallic octave chords, Hardcore progressions and gnarly screamed vocals forward with multiple intensity levels. This, in essence, gives off major Screamo vibes, particularly when transitioning between quick-tempo Hardcore to slower disharmonic Proto-Screamo. The drums are active and jangly, not content to play sterile beats at ridiculous tempos. Although by today’s standards, the guitar playing isn’t anything special, the layered guitarwork in the quieter sections contrasts nicely with the chugging chords.

Historical Analysis:

Building off of bands like Merel who haphazardly fused Hardcore with Emocore, Iconoclast’s debut is a more seamless blend of melody and aggression, with a couple of chugs thrown in for good effect. Iconoclast rides the line between NY and DC hardcore well, blending them into one of Screamo's near predecessors. Although other parts of the country like SD get credit for launching Screamo, NJ proves to be an invaluable scene in the early formation of genre tropes that would become standard just years later.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I can't locate lyrics for one song. As such, my lyrical analysis will focus on the first three tracks. If more lyrics can be dug out, I will reevaluate the lyrical analysis*

Typical for Hardcore Punk, social ills are the primary focus of this band's philosophies; the strained screams convey anger and disappointment at the hollow rebellion and hypocritical attitudes of his fellow “revolutionaries” and claims the only way to end our sickness as a society is to take ourselves out. However, there are also instances of introspection, a key development from Hardcore's movement toward Screamo.

Heroin - Heroin | The Shape of Screamo to Come

Release Information:

1992
Gravity Records
San Diego, CA (SoCal)
Runtime - 6:50
Tracks: 4

Band Members:

Matt Anderson - Vocals
Scott Bartoloni - Guitar
Ron Johnson - Bass
Aaron Montaigne - Drums

Genres, Influences and Characteristics:

Post-Hardcore, Proto-Screamo, Emocore, Hardcore, Noisy, Raw, Intense, Dissonant

Musical Analysis:

At times, this release showcases its prominent Punk roots with blistering and simple chord progressions, rapid-fire shouted lyrics and short song lengths. However, utilizing Emocore influences gives this EP a different tone and allows for stronger uses of melody in the guitar. Toward the end of the EP in particular, there seems to be a movement away from the simplicity of traditional Hardcore into more chaotic and emotive stuff; Blind emits some Powerviolence influence while With No Name is deliberately paced and features dynamic intensities, a staple of Screamo.

Historical Analysis:

Heroin’s self-titled 1992 7” is one of the premiere releases from Gravity Records, one of the most influential record labels with respect to Hardcore, Post-Hardcore and Screamo. San Diego was a groundswell of innovation in the scene and Heroin’s harrowing combination of Post-Hardcore, Emocore and Hardcore would influence countless bands in the area. I’d be remiss if I referred to this as proper Screamo, but their sound was trending into what early Screamo would become.

Lyrical Analysis:

*Note that because this is an old DIY release during the early 90s, I can only locate lyrics for the first two songs. As such, my lyrical analysis will focus on those. If more lyrics can be dug out, I will reevaluate the lyrical analysis*

Heroin’s direct yet poignant lyrics center around social complacency and finding your place in the world. The search for authenticity continues, especially in an increasingly self-centered world. Interestingly, Heroin’s lyrics suggest self-reflection on their own privilege in this world as “middle-class white kids,” though this does nothing to stop the existential dread.

Merel - Merel | The Shape of Screamo to Come

Release Information:

1991
Gern Blandsten Records
New Jersey
Runtime - 11:36
Tracks: 5

Band Members:

Jose Ruiz (Vocals)
Mike Solski (Guitar)
Jon Ariz (Guitar)
David Leto (Bass)
Greg Leto (Drums)

Genres, Influences and Characteristics:

Hardcore Punk, Emocore, Proto-Screamo, Lofi, Traditional, Raw, Dynamic, Political

Musical Analysis:

Merel's self-titled debut demo is a rough recording, totaling approximately 11 ½ minutes, featuring what we would call “standard” Hardcore these days with blistering tempos, heavy tones and shouted vocals slapdashed with more deliberate mid-tempo Emocore. These dynamics are somewhat disparate, but at times these genres combine to form one of the earliest-recorded examples of Proto-Screamo.

Historical Analysis:

New Jersey has been credited as being a “Hardcore Highway,” bridging the gap between New York's brutal approach to the genre and D.C.’s slower-tempo and methodical style; though exhibited plentily throughout the 80s, the most pertinent early example to this evaluation of Screamo comes by way of Merel's 1991 debut demo EP. Most would not credit this band (nor this release) as the Godfather of the genre, but few can trace the Shape of Screamo to earlier roots, thanks in large part to this band's geographical location adjacent to larger well-defined scenes.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I can only locate lyrics for one song. As such, my lyrical analysis will focus on this song. If more lyrics can be dug out, I will reevaluate the lyrical analysis*

It should come as no surprise that Merel's lyrics would be political in nature given their proximity to Punk. On Roadkill, Merel is disillusioned with the powers of the world, wondering how they can commit such atrocities while being able to live with themselves. Jose Ruiz's direct lyrical messaging invokes anger and malice towards them, thematically consistent with much of Hardcore during this time.