Being that hardcore is arguably the most argued-over genre, making this list seemed like a massive waste of time. We decided to make it anyway because we’re tired of seeing the same recycled Twitter discourse on pit etiquette and what is or isn’t straight edge, but also because this is an extremely exciting time for hardcore, with dozens of new bands bursting onto the scene. Here is our list of the 10 best current hardcore bands. Have fun fighting with strangers on the internet over it.
Speed
Whether you’ve been following Speed since their 2019 demo, or you learned about them from their viral video at Sound And Fury Fest that scared a bunch of conservatives, you know that Speed is one of the most exciting new bands on the scene. They also have an air horn in one of their songs, which sounds cheap and gimmicky but is actually extremely cool.
Scowl
With the aesthetic of a middle school girl’s locker, you may not know that Scowl is a hardcore band at first glance; but between riffs made for knuckle-dragging and vocalist Kat Moss’ commanding stage presence, Scowl has even the toughest tough guys rocking flower-covered merch. You may be thinking to yourself “ But is Scowl still going to be a hardcore band a few years from now? Their most recent EP-” We don’t care. Shut up and stage dive.
Spy
While hardcore shows should always be a safe space, they should also kinda make you fear for your life a little bit. Spy has a sort of feral energy to them that will have even the 6 ‘4 dude in a Terror tank standing in the back with his hands out in front of him. There are a lot of bands from the Bay Area that you should be paying attention to, and if Spy isn’t one of them, start now.
Pain Of Truth
Being a “real” New York Hardcore band takes more than just being from the Empire State. You have to reference New York often, have enough friends to record gang vocals, and you have to get the guy in the pit-stained Agnostic Front shirt to respect you. Pain Of Truth ticks all those boxes and more. Pull your bandana over your eyes and dive into NO BLAME…JUST FACTS, because there’s nothing stronger than the pain of truth.
End It
When you hear the name “Baltimore,” you probably think of “The Wire,” or maybe The Orioles if you’re into baseball for whatever weird reason. What you should be thinking of is hardcore because, in their own words, Baltimore’s coming back with a bang; and End It are leading that comeback. Their single “21” also gets the official-unofficial Hard Times Anti-Cop Song of the Year Award for 2022.
Drain
We are willing to bet that you haven’t been to many shows where boogie boards are not only expected, they are encouraged. Well, surf’s up, because Drain is bringing a wave of California hardcore to even the most landlocked cities; and when they hit yours, trust us, you need to go. You’ll have fun, but no one has more fun at their shows than them. Don’t even bother trying to match frontman Sammy Ciaramitaro’s energy though, you can’t. The man is basically a can of Red Bull in shorts and tube socks.
Turnstile
You may be mad that Turnstile is on this list. You may not consider them a “real” hardcore band anymore. We don’t want to hear it. You’re still going to argue about it in the comments. The fact of the matter is, Turnstile rules, and their newfound stardom has only led to a new generation of hardcore kids discovering and supporting other bands. This is a good thing, regardless of what the crusty, chronically-online gatekeepers say.
Incendiary
We put Incendiary on this list because they’re without a doubt one of the best hardcore bands in the game right now, but also with the hope that they’ll see this so they get our message that we would appreciate it very much if they would, like, go on tour for a change.
Gel
While originally self-proclaimed, Gel has absolutely earned the title “hardcore for the freaks,” so if you’re not down with them, then you’re probably not very cool or fun to be around. With their distinguishable sound and relentless touring schedule, Gel is the most exciting thing to come out of New Jersey in, well, a really long time. They also one-upped Live Without by playing at a Sonic, which is an objectively better establishment than Denny’s.
Mindforce
Catchy sing-alongs, incredible mosh-ability, and riffs even your dad would like, Mindforce has it all. Masterfully blending the best elements of hardcore and thrash, Mindforce is a force to be reckoned with. If you get a chance to catch these guys live, make sure to wear your best track suit, and when vocalist Jay Peta inevitably tells the crowd he wants to see more kickboxing, you’d better oblige.

Some die-hard Deftones fans may disagree with this one, but in terms of consistency, “Saturday Night Wrist” leaves a lot to be desired. The entire experience from front to back is similar to combining a diet of nuts and cheese with equal parts Miralax. There are stunning moments of clarity in the form of bangers, but beware… there will be times when you find yourself biting down on a piece of slate while waiting for certain movements to pass.
Though a solid album in its own right, “Adrenaline” is more of a proof of concept than anything else. It’s moody. It’s heavy. It’s even atmospheric at times! And if dressing like the Crow before a night of unrelenting bondage sex is your style, then you’ll be pleased to know that the b-side from this album, “Teething,” was featured prominently on the “City of Angels” soundtrack.
“Gore” is an album that requires patience, but has great payoffs. To date, it’s Deftones’ most ambitious and experimental album. But in terms of replay value, there is a place and time for “Gore.” And that place and time is your couch after about 500mg of edibles. Though its inherent weirdness should not be considered a turnoff by any stretch of the imagination, you really have to be in the mood for this one, which is why it ranks lower than other efforts.
“Ohms” is the follow-up to “Gore,” and Deftones’ most recent album at the time of this article. Chino’s vocals are in top form, Sergio’s bass rips through your speakers like a buzzsaw, Abe Cunningham relentlessly beats the absolute fuck out of his drums, Frank Delgado’s instinct for texture is intimidating, and Stefan Carpenter reaches his final form because he’s using a 19 string guitar or something at this point. In a way, “Ohms” is the perfect follow-up to “Around the Fur” if you forget about the other six albums in between.
Translating to “feeling of love,” “Koi No Yokan” boasts a crisp, yet lush production that assaults your ears. But for all the abrasive and meteoric highs that this album has, it’s got ballads too. If you ever find yourself slow dancing to this album, you’re definitely gonna get fingered, so make sure you loosen the snap buckle belt on your cargo shorts.
This album rules because it’s a return to form after “Saturday Night Wrist.” This album also sucks because it’s the first album without Chi Cheng on bass. Sergio Vega from Quicksand, however, took on the role of bottom-feeder seamlessly, and this is definitely an album that makes a good soundtrack for eating ass.
We love this album for its songwriting, production, sense of dynamics, and flow. We hate it because when we open the CD booklet that we haven’t organized since 2003, it sits between “Three Dollar Bill,” Y’all, and Crazytown’s “The Gift of Game.” There are tits on the cover too.
Many think this album should be number one on the list, but they had to use “Back to School (Mini Maggit)” as the opening track on the US release. They shouldn’t have done that. That’s like starting off a nine-course, Michelin-rated meal with gas station egg salad. We strongly recommend starting the album with “Feiticeira,” because that’s the way God intended, and “Pink Maggit” is a superior version of “Back to School (Mini Maggit),” as well as an epic closer.
The self-titled follow-up to “White Pony” is the perfect Deftones album. It won’t bring her back, but if you crank it to maximum volume, they won’t hear you crying. It’s brutal, it’s hella sensitive, the drums sound like a cannon and beat you in the chest, and Chino took a long time to recover after blowing his voice out shrieking on this one. In other words, “White Pony” was a stunning proof of concept of what Deftones are capable of, but it was also the necessary stepping stone to lead us to this self-titled banger that is in many ways a superior album.
This is technically a studio album, but it’s really more of a collection of stripped down unplugged versions of songs from earlier releases. Feels almost like one of those “Punk Goes Acoustic” compilations. It’s a nice little curveball, but putting this any higher would feel like ranking a greatest hits album. That’s poser behavior.
Guitarist Pete Steinkopf once ranked this album last in an interview, so it seems right to put this one so low. It’s not bad. It’s just that when you’re listening to it you’re reminded that you could be playing their other more Pete-approved material instead.
I kind of wish the Bouncing Souls did that thing where their music gets noticeably worse with age for the sake of the guy who has to rank their albums. But unfortunately, they’re aging like a fine Miller High Life. “Comet” isn’t without flaws. Like for instance, there are only 10 songs on this thing. For a punk album, that’s not nearly enough. Fans need content, 16 should be the minimum.
I don’t have too many criticisms about this album, but one of these has to be their ninth-best. Some critics of this record will tell you that the band is trying to replicate some of their early 2000s success. I guess attempting to write incredible music that every fan loves is some sort of bad thing.
It’s rare for a band to be around for over 30 years, release more than 10 studio albums, and their latest one isn’t complete dog shit. In fact, this one is extremely solid. It’s a healthy sign that they still got it and will hopefully make another 12 records before they die. Or I die. Or we both join the same death cult and agree to die at the same exact time.
This is probably the band’s most New Jersey of all their albums. This requires no further explanation. It also contains more harmonica than we’re used to, so this is considered their Blues Traveler era. But it still has that uplifting anthemic quality that had become the band’s signature. Hey, it’s even got a song about pizza. Something Misfits albums are severely lacking.
“The Good, the Bad, and the Argyle” doesn’t seem to get a lot of love in the Bouncing community, but when your album contains classics like “Joe Lies” and “Neurotic” it should command respect. And if you’re ever looking to brush up on your ‘80s movie references and quotes, look no further than this album. This whole thing is like a soundtrack to a non-existent John Hughes movie.
While other punk bands go the political statement route or the “aw shucks, my girlfriend broke up with me” emo look, The Bouncing Souls just want to have a good time. At least in some of their earlier stuff. This album is about riding your BMX through the streets of New York City, drinking beers, hanging out with Kate, eating all the Yoo-Hoos, having no idea what you want to do in life but not giving up hope, and throwing toilets off roofs. You know, a perfect Saturday.
The Souls started a maturing phase with this one. By that I mean they started consistently writing songs over two minutes long. Turns out, they were good at that too. But they still had the ability to write those juicy short and sweet ones as well as shout-along classics like the title track. And the chorus in “Ole” will make you want to chant along with a close group of 100,000 of your closest friends in a soccer stadium.
Honestly, I’d rank these next three albums #1 if I could because they’re all essentially perfect, but unfortunately, that’s not how online music criticism works. Therefore, this album, while tied for first for personal reasons, is number three for internet content purposes. But really it’s first. And also third.
Feels like the band really figured something out on this one and just kept that energy going throughout their entire career. You could replace the “Star Spangled Banner” with “True Believers” as the National Anthem and I would be on board. At least I’d now know all the words to America’s theme song.
One of the most unique qualities about the Bouncing Souls is that they don’t have a singular album that’s the unanimous fan favorite. Some say this one. Others will tell you one of the previous two. Contrarians will even say “Comet.” That’s why there is no unity in the Bouncing community. Thanks a lot, you guys. Your music is so excellent that it confuses us all.
Now, there’s nothing wrong with this record morally speaking. It didn’t commit any war crimes or serve on the supreme court or have any sort of reprehensible failing like either of those things I just mentioned. Beyond that, there isn’t much positive I can say about this record. It didn’t bomb civilians with nerve gas I guess. At least not literally.
“Prison Bound” is sort of the forgotten Social D album. And with good cause. A lot of these songs are pretty forgettable. Anyone outside of diehard fans is probably safe giving this one a miss, and diehard fans are too busy refurbishing antique jukeboxes to give a shit about it.
Before the band really strayed off on Nursery Rhymes, they did a pretty good job on “Sex, Love and Rock ‘n’ Roll.” Lead track “Reach For the Sky” kicks all kinds of ass and as the whole the album stays true to the tried and true sound the band perfected over the years. I wish I could put it higher on this list but… well… we’re about to get into here, folks.
It really hurt me to have to put this record this low in the ranking. I mean, “Mommy’s Little Monster” is a fucking classic. It’s iconic. But upon revisiting it for this list and being well and truly honest with myself, it’s not great. It’s good, don’t get me wrong. But it’s about as good as any other punk record from the time. Mike Ness Still needed several more years of mainlining Buck Owens before the band would really create something great.
“White Light, White Heat, White Trash” is the tail end of Social D’s golden era. The six or seven years when they were in the right place at the right time with the right sound and just absolutely killing it. It is actually a great record, but now I’m not gonna talk about it anymore ‘cause I wanna get started on the next one already.
This is the album that “Prison Bound” should have been. Finally, the band’s sound caught up to where the content of the songs had been hovering high. It just goes to show that maybe all you need is to be a few years out of rehab before you can really start to unpack all that stuff and form a coherent and memorable masterpiece. Anyways, this is it. This album is sick.
Oh, come on! You knew this was coming! Seriously, what else was gonna be in the number one spot, “Nursery Rhymes?.” Of course “Social Distortion” is their best. It has every song that everyone knows on it and all the ones that not everyone knows are still fucking phenomenal. Now if you’ll excuse me, I’ve just finished all of my MD 20/20 and I have a strong urge to go punch my parole officer. Farewell.