Even though punk genres at times are difficult to segregate, they usually show differing characteristics in overall structures, instrumental and vocal styles, and tempo.
Afro-punk (sometimes spelled AfroPunk) refers to the participation of African Americans in the punk and alternative music cultures.
[4] Deathrock is a subgenre of punk rock incorporating horror elements and spooky atmospherics, that emerged on the West Coast of the United States in the early 1980s.
Lyrics can vary, but are typically introspective and surreal, and deal with the dark themes of isolation, gloom, disillusionment, loss, life, death, etc.
[5] Hardcore, which originated in the late 1970s, was heavily involved with the rise of the independent record labels in the 1980s, and with the DIY ethics in underground music scenes.
Some horror punk bands dress up in black clothes, skeleton costumes, and skull face paint.
The lyrics in peace punk advocate nonviolence and also often equality, freedom, animal liberation, veganism, ecology, human rights and anarchy.
The subculture features elements such as female-centric bands, concerts and festivals; collectives, support groups, workshops, self-defense courses, activism and fanzines.
Although Muslim punk rock dates back to at least the 1979 founding of the British band Alien Kulture.
Knight's novel was instrumental in encouraging the growth of a contemporary North American Muslim punk movement.
Trallpunk is a subgenre of punk known for fast drumming, a melodic sound and often politically oriented lyrics.
The style is typified by drums and vocals inspired by hardcore, crust punk and D-beat, accompanied by heavy metal-style guitar harmonies and solos.
Originating from the Japanese hardcore scene in the mid–to late 1980s, it began to form with bands including Gudon and Poison Arts.
In the 1990s, the most influential works in the genre were released, notably: Bet On the Possibility (1991) by Death Side; Tetsuarei (1991) by Tetsu Arrey; Wind of Pain (1992) by Bastard and No Reason Why (1996) by Judgement.
The genre's name was coined by Death Side vocalist Ishiya and Tetsu Arrey bassist Katsuta Tokuyuki, based on a quote by New Japan Pro-Wrestling wrestler Bruiser Brody, in reference to Antonio Inoki.
[9] They style went on to influence bands outside of Japan, such as Devil Master[10] and Integrity,[11] as well as the neo-crust genre, including His Hero is Gone, From Ashes Rise and Tragedy.
[12] Additionally, some non-Japanese bands adopted the burning spirits style, including Selfish, Lifechain, Burial and the Holy Mountain.
Often, the bands add Celtic instruments such as bagpipes, fiddle, tin whistle, accordion, mandolin or banjo.
Celtic punk bands often play covers of traditional Irish or Scottish folk songs, as well as original compositions.
The subgenre originated in Chicago's Pilsen and Little Village neighborhoods during the mid-1990s and later spread to the Los Angeles punk scene.
Bands described as punk metal include Amen,[16] Motörhead,[17] Warfare,[18] Corrosion of Conformity,[19] Manic Street Preachers,[20] English Dogs,[21] Sum 41,[22] and L7.
[23] Rapcore is a fusion genre, combining elements of hardcore punk and hip hop music.
[24][25] The two genres have a shared history, originating from oppressed, marginalized and disenfranchised young people, despite generally having distinctly separate ethno-cultural roots.
The more punk-influenced style often features faster tempos, guitar distortion, onbeat punk-style interludes (usually the chorus), and nasal, gruff, or shouted vocals.
A number of bands use electronics and punk music together although the methods and resulting sounds can differ greatly.
Grindcore is considered a more noise-filled style of hardcore punk while using hardcore's trademark characteristics such as heavily distorted, down-tuned guitars, grinding overdriven bass, high-speed tempo, blast beats, and vocals which consist of growls, shouts and high-pitched shrieks.