Unwound: Away from the Hardcore, Beyond the Post

In the post-hardcore scene, which experimented to deviate from the essence of punk in order to preserve it, what did Unwound intend to challenge?

unwound.bandcamp

(Note: Since I’m a native Korean, I used AI assistance for English translation.)

Table of Contents

• I. A Post-Essentialist Endeavor for the Persistence of the Essence
• II. Unwound: Geniuses Have “Used” Anger — 1.Fake Train | 2. New Plastic Ideas | 3. Repetition | 4. How Geniuses Have “Utilized” Anger
• III. 『Challenge for a Civilized Society 』 — Transitional experiment
• IV. For Texture Experiment: A farmhouse converted into a studio — 1. Magrecone | 2. Reference: Led Zeppelin IV
• **V. For acoustic experiments: what is the purpose of the practice? — 1. **This Is Our Message | 2. Slickaphonics

I. A Post-Essentialist Endeavor for the Persistence of the Essence

https://rateyourmusic.com/list/handsthatmold/the-bands-of-revolution-summer/

In a past blog review of Fugazi’s The Argument, I once proposed this thesis: “Post-hardcore is a post-essentialist attempt to persist as the essence.”

To truly pursue the spirit of punk, one had to break away from its established conventions. Those who were skeptical of such unconventional departures championed ‘hardcore’ to reignite the genre’s heated intensity; however, it wasn’t long before they fell into the very same trap as classic punk. They, too, became stagnant and formulaic.

Ultimately, it was concluded that merely returning to the past was meaningless. A ‘post-’ approach was an inevitability.

In order to ensure that these various departures did not dissolve into post-punk or post-rock — and to preserve its legitimacy as hardcore — it was necessary to adhere to a specific set of principles. The Washington D.C. scene and Ian MacKaye were at the forefront of establishing these tenets.

This was the impetus behind the ‘Revolution Summer.’ The revolution MacKaye conceived and led mirrored the Dogme movement in cinema, characterized by the redefinition and rigorous enforcement of strict rules. It fundamentally rejected the extra-musical excesses of extreme violence and promiscuity.

This can be viewed as a movement to draw a clear distinction between ‘aggression’ and ‘violence.’ It represents a form of purism designed to safeguard the genre’s essence from being tarnished by the misinterpretation of activism.

However, what remains paramount for the preservation of this identity are the character of the music and the attitude inherent within it. The set of rules often categorized under the banner of ‘Straight Edge’ functions as a sort of barricade intended to safeguard these two pillars.

• Character, in this context, is synonymous with aggression: To be sure, unlike the genre’s earlier traditions, this aggression does not strictly require a political dimension. Yet, regardless of the subject matter, without anger, hardcore becomes akin to a cadaver incapable of metabolism.
• Attitude, naturally, is synonymous with DIY: Any anger that operates outside of this framework either does not exist or is not recognized as genuine. Furthermore, purism has no raison d’être unless it serves the ethos of DIY. On this point, even the most elaborate rhetoric becomes redundant.

To prevent the label of obsolescence from being affixed to these two core essences — a direct response to an actual crisis where such a fate was nearly realized — the methodology they proposed for the shifting cultural landscape was characterized by a degree of fusion and syncretism.

This manifested in the incorporation of noise rock and emocore, and in an engagement with genres they had previously resisted, such as post-punk, new wave, and alternative rock.

What these methods shared was an inherent precariousness; without a rigorous consciousness of hardcore principles, they were prone to solidifying into an ‘irreversible post-essentialism’ — a point of no return. They risked becoming nothing more and nothing less than a slightly simpler iteration of Sonic Youth, or perhaps a slightly more irate bastardization of Nirvana.

Nevertheless, they ultimately achieved the feat of extending the lifespan of hardcore. Yet, as with any progressive milestone, certain inescapable questions persist.

Once progress reaches a state of ‘establishment,’ a specific trajectory and a set of rules begin to crystallize over time. As adherents gradually align themselves with this direction, ‘establishment’ inevitably devolves into ‘stagnation,’ thereby giving rise to a new set of conventions and a nascent conservatism.

Is it not inevitable, then, that the generation of ideas intended to shatter these new conventions will eventually reach an impasse — either lapsing into the same old banality or drifting irrevocably away from the very essence they once sought to protect?

II. Unwound: Geniuses Have “Used” Anger

The preliminary contemplations are a preamble to examining the music of Unwound, who are taxonomically situated within this genre. This is the crux of the present discourse. It requires a subtle intimation: that the conclusions derived from a comparative analysis of the band’s career, once bifurcated at a specific juncture, will prove markedly disparate.

This very disparity and its inherent mutability signal a critical moment — one that compels a reappraisal of fundamental questions concerning the trajectory of hardcore, transcending the mere ‘post-’ context. To pinpoint this is the ultimate teleology of this exploration.

The precise identification of this watershed moment will be deferred to the main body of the text. To be sure, this remains a subject of considerable contention. I shall brace for the inevitable scrutiny later; for now, we must ask: how, and to what degree, did the pre-transformative Unwound align with the parameters of post-hardcore?

II-1. Fake Train

[embed]unwound.bandcamp

At least in the context of their debut, Fake Train, they are undeniably kindred spirits with Refused or early Modest Mouse. In contrast to the genre’s progenitors, they deliberately emanate the distinct cleverness inherent to an intellectualized youth.

Even the ironclad ferocity — which remains remarkably faithful to its origins — is reinterpreted through their unique lens. To this self-possessed new generation, such adherence is not the dutiful fidelity of an honor student following his predecessors; rather, it is a novel choice made by an autonomous agent — a singular genius exercising artistic prerogative.

The cover art — a vintage papier collé layered with the aesthetics and references of a sophisticated hipster — flaunts their sensibilities so ostentatiously that it borders on the vexing, precisely because it is so effectively persuasive. Was this not a quality notably absent in Ian MacKaye of Fugazi, whose objectives were rooted in a far more transparent and rigid sense of rectitude?

II-2. New Plastic Ideas

[embed]unwound.bandcamp

Vocalist Justin Trosper offers an unrelenting, visceral wail. Even as the somber hues of Joy Division-esque post-punk expand their sonic periphery, the fury propelled by the vocals and guitar remains fundamentally rooted in the ‘core.’

In this sense, their second work signifies an increasingly active deployment of ‘post-’ mechanisms, yet it does not deviate significantly from the overarching trajectory of post-hardcore. Here, the ‘post-’ approach is defined by the degree to which it emphasizes lyrical resonance, dramatic staging, or the equilibrium between restraint and release.

By opting to distance themselves further from established conventions, they introduce a new depth of shadow — a multidimensionality that serves as a refined counterpoint to classical tropes. Nevertheless, the trio remains steadfast in their commitment to the fundamental rock instrumentation of guitar, bass, and drums. The tuning and intensity of each instrument remain tautly calibrated.

II-3. Repetition

[embed]unwound.bandcamp

Unwound’s output through the 1990s can be distilled into two themes: New Plastic Ideas and Repetition. While The Future of What certainly warrants recognition as a definitive work within their canon, these three albums arguably converge upon a shared aesthetic framework.

Insofar as New Plastic Ideas serves as the foundational genesis and Repetition as the crowning exemplar, a focused analysis of these two works is sufficient to capture the essence of this period without compromising the discourse.

In Repetition, aggression is manifested through the deliberate and assertive integration of noise and feedback — techniques evocative of Sonic Youth’s sonic palette. Regarding their specific mode of articulation, there exists an idiosyncratic focus that differentiates them from their hardcore contemporaries. A crucial insight into this distinctiveness can be gleaned from the consecutive tracks Lowest Common Denominator and Sensible.

II-4. How Geniuses Have “Utilized” Anger

It is all about tension. Through various techniques and effects — build-ups, sustains, amplifications, disruptions, and breakdowns — they continuously experiment with transferring anger from the mental and emotional realm to the physical and sensory.

Unlike the somewhat heavy-handed approach of hardcore, which prioritizes agitation and extremity above all else, this method inevitably entails a certain subtlety and boldness of its own. If anything, this is a focal point that post-rock treats with more sensitivity than hardcore does. Hmm… or perhaps it is an element that today’s experimental sludge bands, such as Chat Pile, handle quite adeptly.

While the current generation likely learned from their predecessors, the way Unwound builds up and shatters tension differs from the schematic convention of their time — the so-called “stop-and-start” dynamic.

Rather, it is much more persuasive to view their approach as being rooted in the non-linear avant-garde theories and practices of the 1960s Velvet Underground or avant-garde jazz figures like Ornette Coleman (as heard in their track Go to Dallas and Take a Left).

Ultimately, this is an extension of their audacious courage and brilliant sensibility, grounded in a firm belief in their own genius. That was precisely how Unwound ‘utilized’ anger. This is the portrait of these geniuses, confined strictly to their ’90s era, at least as far as I understand it.

III. Challenge for a Civilized Society — Transitional experiment

[embed]unwound.bandcamp

Instead of continuing the established lineage that was just beginning to garner full-fledged support with Repetition, Unwound turned their attention toward different experiments. Or rather, even that, in truth, was merely an extension of them taking the bait from the “potential of post-rock via math-rock-adjacent attempts.”

Nevertheless, the polarizing record Challenge for a Civilized Society, which drew the most bewildered reactions from fans, marks a transitional phase for a band embracing change — much like Fugazi’s End Hits.

Seething guitars and bass still dance throughout the record. Yet, their deployment of noise this time makes it sound as if their anger is serving chaos rather than mere aggression. They unleash free-jazz improvisation across the board, at times even bringing in live horn and string sections for their jam sessions.

The sprawling, progressive rock and art-punk leaning epics Side Effects of Being Tired and (Untitled) serve essentially as prequels to two tracks on their subsequent release, which will be the main subject of this piece.

Harboring a dry yet profound melancholy, the sludge of Lifetime Achievement Award heavily exudes an aura of cynical romanticism and a piercing dirge. Meanwhile, the 8-minute What Went Wrong, where emo sensibilities are laid bare from the very intro, is not, however, a retread of the early Ian MacKaye style witnessed on Fake Train or New Plastic Ideas.

Above all else, it is the vocal delivery that demands attention this time around. In a rare departure, rather than howling, Trosper employs a delicate timbre to conjure a tension of an entirely different breed. This serves as blatant foreshadowing — alongside the expanded sonic and compositional palette, experimented with somewhat sporadically across several tracks.

While the individual sonic elements are undeniably esoteric, shifting the focus to the album’s overall track sequencing reveals a different story. If anything, the record serves as a faithful and surprisingly accommodating roadmap.

The album positions the sound Unwound has historically championed in its first half, while the latter half foreshadows their forthcoming sonic ventures. Through this chronological structuring, the record effectively maps out the band’s entire historical trajectory — encompassing even the evolutionary phases yet to fully materialize.

In other words, it offers a comprehensive panorama: a past deeply entrenched in post-hardcore, a present with one foot stepping just outside those confines, and a gaze fixed firmly on whatever lies beyond the hardcore realm. Metaphorically speaking, one could safely regard this record as both a retrospective compilation and a demo tape for Leaves Turn Inside You.

IV. For Texture Experiment: A farmhouse converted into a studio

IV-1. Magrecone

[embed]Unwound: The Untold Story - UNWOUND v\: {behavior:url(#default#VML);} o\: {behavior:url(#default#VML);} w\: {behavior:url(#default#VML);} .shape…*www.unwoundarchive.com

The pilot experiments for <Challenge for a Civilized Society> were by no means meaningless, even if the results were somewhat incomplete. They were able to gather valuable data. Furthermore, the time had finally come to fully utilize the capital and investors secured through their previous publishing deal with BMG and their tours. Their objective: to establish their very own Magrecone Studio.

They rented out a portion of a farmhouse in the countryside. I have been unable to find any related visual materials; it seems they either never filmed the space or chose not to disclose it at all. It was, in every sense, a secret hideout. However, they left several distinct comments about the place. Among them, the most noteworthy passage is as follows:

Probably the other biggest — maybe bigger — factor is that we were absolutely using the studio as a songwriting platform. Think studio, and not songwriting structure — like a filter. — Jusin Trosper

There are countless precedents in rock music of bands establishing their own studios or utilizing spaces for independent experimentation. He openly acknowledged that he had drawn inspiration from these examples — such as Radiohead’s The Mill, The Beatles’ Apple Studio, and David Bowie’s Château d’Hérouville.

Of course, the significance lies not in the mere fact that a band built a studio. Rather, the crux of the matter is the nature of the work that necessitated such a high level of investment and risk-taking, and the specific experiments they intended to conduct within those walls.

Here are some of the hints they revealed regarding the studio:

• Refining the Sound: They sought to reduce distortion while adding more depth to the texture and tone.
• Sonics and References: Among the many albums they listened to for sound quality comparison, the most memorable ones were Radiohead’s Kid A and Dr. Dre’s The Chronic.
• Acoustic Ambition: In pursuit of the signature Led Zeppelin sound, they even went so far as to set up the drum kit in the living room.
• The Replikants Sessions: They conducted jamming and recording sessions here with Replikants (a trio featuring Justin Trosper and Brandt Sandeno). The work done with Replikants essentially served as a rehearsal for the album Leaves Turn to Hope (or Leaves).
• Analog over Digital: Eschewing the digital recording methods that were dominant at the time, they built a retro analog studio.

Their intention to reduce distortion already serves as clear evidence of a desire to move away from the punk rock sound they had previously mastered. The point I find particularly striking here is the concept of texture— specifically, texture derived from spatial characteristics. To put it another way, I am proposing a hypothesis: the resulting texture must physically reflect the unique qualities of that environment, which emerged and permeated the music throughout the recording process.

IV-2. Reference: Led Zeppelin IV

[embed]Led Zeppelin

This likely stems from the innovative recording techniques of Led Zeppelin — which they cited as a reference — coupled with the inherent analog characteristics of the studio.

In essence, Magrecone in Washington State served as Unwound’s very own Headley Grange. The latter, a former poorhouse in Hampshire, England, stands as the original blueprint for transforming a rural country house into a creative workspace. Following a similar workflow to Led Zeppelin, the band conducted their basic tracking sessions on-site at Magrecone, while completing the overdubs at other professional studios.

The reason they immersed themselves so deeply in that dilapidated country house was that it was the perfect vessel to distill the very essence of the blues they were after. This, too, falls under the category of texture — what they craved first and foremost was a sense of raw vividness. Ironically, an environment that was old, cramped, and stripped of everyday conveniences provided a unique kind of ‘openness.’

In this context, ‘openness’ refers to more than just creative freedom or inspiration. It is directly linked to why Sara Lund set up her drum kit in the living room. It mirrors the legendary staircase that birthed When the Levee Breaks, the epic track from Led Zeppelin IV. The spatial uniqueness of the room essentially engineers the sound into its purest stereo form — approximating a live session — even before any mixing takes place.

V. For acoustic experiments: what is the purpose of the practice?

Another noteworthy hint among their revelations is the mention of the group Replikants. This trio consisted of Unwound members Justin Trosper and Brandt Sandeno (who, despite having officially left the band, remained a de facto member), along with a new addition, Joe Plummer.

Their collective biography describes an intentional absence of structure and a disregard for convention as the driving forces behind Unwound’s pioneering trajectory. One might even call this the “principle of the formless.”

While Unwound was becoming increasingly experimental, Replikants was a project formed from the outset specifically for experimentation — a temporary ensemble of sorts. Describing them as a “rehearsal band” underscores how these experiments were directly linked to the primary sessions at Magrecone Studio.

Their ‘jamming and recording’ sessions were less about musical performance and more akin to tinkering with sonics and audio equipment. The central theme was: “How far can we push the boundaries of formless noise?” It is important to note, however, that this should not be confused with No Wave; it is far more appropriate to compare these endeavors to the audio experiments of John Cage or Nam June Paik.

V-1. This Is Our Message

[embed]Contraktor

One should not expect rock from these initial sketches. Instead, the focus lies squarely on a reckless collage of pure noise. While the sound borders on industrial, it appears entirely detached from any conventional genre-based approach.

The only track that maintains even a semblance of a conventional pop structure is Organ Transplant. The rest is a series of tape manipulations — or rather, “tape schemes” — that are abrasively loud and horrifyingly grotesque.

Perhaps they were influenced by the studio’s surroundings, an environment so twisted and somber it might well be described as a haunted house. Regardless of the spatial openness and creative inspiration the place afforded, the physical seclusion of the location must have left an indelible mark. Whether this atmosphere permeated the music naturally or was a deliberate attempt to mirror the environment remains unclear.

V-2. Slickaphonics

[embed]Scotto Moore

The subsequent sketches mark the phase where the experimental data harvested from This Is Our Message is integrated into a rock framework — a ‘beta test’ of sorts. While the abrasive noise remains largely intact, a sense of structure and form begins to coalesce, albeit in a subtle, rudimentary way. It is, in effect, the visage of ‘post-rock in its fetal state.’

Whether the title itself offers a clue is uncertain, but once a modicum of structure emerges, the following morphological inference becomes possible: The editing of plunderphonics + the improvisation of free jazz + the stylistic finish of post-rock

To be clear, each of these three elements will be employed in derivative or transformative ways within Leaves Turn Inside You. The true essence of that final masterpiece only comes to fruition when these components are synthesized with the innate spatial acoustics inspired by Led Zeppelin and the progression into art rock inspired by Radiohead.

(Articles regarding Unwound will continue until the next scheduled publication.─KMSNJUI)