From split seven-inch singles to shared stages and loaned equipment, it’s a genre that thrives on the collective effort of its community, and few artists have embraced that spirit more than the HIRS Collective. 

First formed by collective members Jenna and Scott over a decade ago under the name HIRS, what started out as a DIY grindcore project releasing multiple 100-song albums has grown into a project underpinned by an ethos of de-individualization. On 2018’s Friends. Lovers. Favorites, the spirit of the Collective was fully realized, featuring guest vocals from Laura Jane Grace, Garbage’s Shirley Manson, and former G.L.O.S.S. frontperson Sadie Switchblade, among others. Since then, the HIRS Collective have become a hub of collaboration for notable punk collaborators united by one clear vision — to defend the survival of trans and queer outcasts.

Read more: 11 LGBTQ+ artists pick their favorite queer icons

First using the term “collective” to describe their project on a 2015 split release with Boston DIY punk band Peeple Watchin’, the collaborative spirit of the Collective started when the duo invited a group of friends to contribute vocals after a recent surgery left Jenna unable to scream.

“By opening things up, you get such a radically weird output. I’ve never listened to one of our songs for the first time and completely predicted what was going to happen. Usually, the song is completely different and beautiful, and it changes everything,” she starts. 

[Photo by The Tinfoil Biter]

Known for their distinct abrasive blend of grindcore, powerviolence, and hardcore, on their latest album We’re Still Here, the Collective have opened their doors to 35 different musicians and vocalists, each adding their own penmanship and flair across 17 tracks. 

From My Chemical Romance’s Frank Iero to Anthony Green and Anti-Flag’s Chris #2, the Collective’s pursuit of expansive collaboration has allowed them to find recruits in every corner of the punk world while remaining entirely self-managed and self-produced. By prioritizing the love of creation over any desire for public acknowledgment, with no application forms to fill in, no vetting process, and no fancy cards you need to flash on the door, the HIRS Collective are cultivating a boundaryless sense of community.

“HIRS are such a unifying band among the freaks. I even met people who have seen and hosted them on a recent trip to Alaska, of all places. I can’t say that about many other artists,” Screaming Females’ vocalist Marissa Paternoster says.

It’s a sentiment echoed by Thursday’s Geoff Rickly, who was initiated into the Collective on their latest album, collaborating on the explosive “So, Anyway…” with Kayla Phillips, vocalist of Nashville grindcore band Bleed the Pigs.

“They’re one of the fiercest, most vital bands in heavy music today,” he adds. “When Jenna approached me and explained the project and the radically collaborative nature of the contributions, I knew I wanted to be involved. Getting to be on a track with Kayla Phillips made the whole thing even more enticing. Her approach left me speechless. That is how to scream.”

Run on the simple philosophy of “If you want to be a member, you can be,” the HIRS Collective have become home to a union of the scene’s most forward-thinking creative minds — each dedicated to amplifying its messages far and wide. 

Affectionately dubbed “the Hot Topic sampler” by Jenna due to it featuring many names that punk fans have grown up alongside, We’re Still Here showcases the wealth of connections the Collective now have at their disposal. Welcoming old friends, new friends, and utilizing the network of their members to capitalize on any “one degree of separation” moments, they’re shaping a scene entirely of their own creation — and if you want in? Just say so.

“Someone said to me, ‘I wish I could be a part of the collective,’ and that’s all you have to do,” Jenna smiles. “We needed someone to scream ‘no’ at one point on the record, so I said, ‘Even if you just yell it into a Voice Memo, send it to us and you’re on the record.’ Being able to offer something that feels so empowering is incredible.”

Alongside uniting musicians, friends, and fans within the punk sphere, the Collective have become known for their visceral live shows. Moving beyond the bravado and tough guy mentalities that can dominate circles of the hardcore scene, by serving up dance breaks in between songs and bringing surfboards to shows, they’re providing what Jenna refers to as “chaotic good for the people.”

With no ownership or entitlement binding the Collective — with Jenna and Scott only recently relinquishing anonymity as founders — everything that they create belongs to the community they are cultivating. Driven by a radical drive for inclusion, this unconventional approach has allowed Jenna and Scott to transcend beyond their role as musicians and connect with everyone who comes into their world.

[Photo by The Tinfoil Biter]

“I hope that the HIRS Collective aren’t just alive when the music is happening, and every time I think of our vision I think back to a show where a couple of our trans friends asked if they could sing a song with us,” Jenna recalls.

Bringing a second microphone onstage for their set, each new song saw a different face hopping up and taking turns fronting the Collective for a few minutes as Jenna looked on.

“I barely had to sing at all, so I ended up climbing the rafters with my long mic cord and watching the events happen. I got to watch our own band play with a bunch of people going haywire, and it made me so happy.”

With We’re Still Here now serving as the Collective’s mantra as they continue welcoming new members to their ranks and sharing their message of collaboration and compassion with the world, the future seems limitless. Embracing community in all its forms in pursuit of a punk scene without barriers, the HIRS Collective are an everlasting reminder that we are always greater than the sum of our parts.

“When we’re both gone, I hope that it keeps going and that there’s someone we can pass the torch on to. I want this to be able to last forever, not just as music, but as an active project. I want this to continue until the sun explodes. We’re still here, and that will be something that we can say forever,” Jenna finishes.

Arlo Parks will make you feel “weightless” with her new indie-pop single

After the monumental past few years that Arlo Parks has had — winning the Mercury Prize for 2021’s Collapsed in Sunbeams and earning Grammy nominations for Best New Artist and Best Alternative Album — the British singer-songwriter is back. In anticipation of her new album My Soft Machine (out May 26 on Transgressive), she shared the lead single, “Weightless.” A bit sped up from her earlier songs, and trading in groovy qualities for shimmery synths, the single finds her reflecting on how the halcyon days of a relationship made her stay when she shouldn’t have, and finding the strength to let it go. Her signature descriptive songwriting here has an acuity for details — phrases like “strawberry days” and references to colors throughout — to help take you to the place she’s singing about having been, and the weightlessness she’s been searching for. —Sadie Bell

Wednesday’s latest country-rock stomp is an ode to Drive-By Truckers

Like many great writers, Wednesday imbue their songs with a divine sense of place. Their latest single, “Chosen to Deserve,” is a track modeled after Drive-By Truckers’ “Let There Be Rock” but recalls vocalist/guitarist Karly Hartzman’s own wild upbringing in Greensboro, North Carolina. Driven by a country-rock crunch, its five-and-a-half minutes fly by in a time warp of watching her friends get stoned off Benadryl, heavy-eyed mornings at Sunday school and crashing her neighborhood pool. Trust that you won’t want to miss their new album, Rat Saw God, out April 7 via Dead Oceans. —Neville Hardman

City and Colour’s “Underground” is a light at the end of the tunnel 

When versatile singer-songwriter Dallas Green isn’t busy redefining post-hardcore with the newly reunited Alexisonfire, he performs as City and Colour to offer his most vulnerable, delicate and breathtaking music — and his latest single “Underground” is no exception. With the track, Green reflects on the loss of a close friend and the concept of mortality, offering a mature and uplifting message of making the most of your life and cherishing the little moments before it’s too late. Set to a soundtrack of soul and borderline gospel elements, Green’s voice shines brighter than ever as he promises to be there for those who need him most. —Alessandro DeCaro

Softcult’s “Dress” is a dire and necessary call for consent

Softcult are a band with an incisive message. With their latest single, “Dress,” the twin duo of Mercedes and Phoenix Arn-Horn are uncompromising in their sound and vision. The song, accompanied by a powerful music video, is a demand for consent and respect overtop a shoegaze swirl that simply rips. By its end, their cries of “Won’t ever feel the same again/I’ll never be the same again” lay bare a chilling and painful truth. —Neville Hardman

Pile’s “Nude With A Suitcase” is as engrossing as it is unpredictable

Pile might just be gearing up to release one of the best albums of the year. This week, the Nashville-by-way-of-Boston indie-rock band shared the third single off the upcoming All Fiction (due out Feb. 17 via Exploding in Sound), “Nude With A Suitcase.” While lyrically it’s a bit abstract and comes in at over six minutes, you’ll be tuned into the entire journey, with the sound of Rick Maguire’s powerful, earthy vocals and the song’s engrossing, forward-moving arrangement. It takes turns you might not have expected, piercing your heart in different ways — but that’s the beauty of a band like Pile. —Sadie Bell

The HIRS Collective’s “Trust The Process” will chew you up and spit you out

The HIRS Collective have mastered the art of powerviolence and extreme hardcore — and “Trust The Process” is yet another example. On the new track, the HIRS Collective make good on the promise of a community-driven project by enlisting Frank Iero (My Chemical Romance, L.S. Dunes) and Rosie Richeson of Night Witch to provide even more intensity to the blistering track. With panic chords that recall early Botch and Converge, fry screams and frenzied drum patterns, “Trust The Process” holds nothing back. Iero, who’s just one of the many A-list contributors to the Collective’s upcoming album, sounds like he took a page from Glassjaw vocalist Daryl Palumbo’s book, with a touch of tongue-in-cheek ‘90s proto-screamo in the vein of Antioch Arrow and Pg.99. —Alessandro DeCaro

Kali Uchis releases another chillwave stunner

When a relationship ends, sometimes — after the first sting of bitterness passes — all you want is for the best for them. They meant the world to you at one point, after all. That’s the subject of singer Kali Uchis‘ latest, and she doesn’t just wish someone well; she wishes them roses. Like a rose, the chillwave pop song is soft and sounds romantic, even as it’s reflecting on the feelings that come once a relationship has dissolved. The release follows two more dance-centric singles, “NO HAY LEY” and “La Única (Sprite Limelight),” that were released in 2022 and sung almost exclusively in Spanish. It sounds like she deserves her roses, though, for whatever it is Uchis may be working on. —Sadie Bell

Sam Tinnesz and Nick Wheeler (All-American Rejects) tackle relationships on the rocks with “Spaced Out” 

On “Spaced Out,” Sam Tinnesz sings his heart out to anyone in a relationship on the fritz. The breakup ballad, which incorporates everything from his love of emo to subtle country references, tackles the frustration of failed commitment through tender vocal performances that are sure to restore dopamine. And suppose you caught the All-American Rejects reference in the chorus. That’s the point, as Tinnesz enlisted guitarist Nick Wheeler of the beloved pop-rock quartet to provide a series of playful guitar riffs to cap off the emotional roller coaster of the song. —Alessandro DeCaro

Yves Tumor reinvents pop music made for graveyards

Whether they’re making splintering noise or projecting classic rock through a new lens, Yves Tumor creates spellbinding music with a sinister edge. Now, they return with their first new music of the year, “God Is a Circle.” The single is a rather ghoulish affair, beginning with a shriek right out of a Wes Craven movie. A relentless panting anchors the song as Tumor describes a relationship that’s consuming too much of them. The result is equal parts supernatural, foreboding and deeply replayable from an artist who’s ever-evolving. —Neville Hardman

Magnolia Park aren’t just another “Radio Reject”

Magnolia Park are back with another raucous anthem, “Radio Reject.” The track brims with energy and sweat, highlighting the band’s bright fusion of pop-punk with alt-rock and trap leanings. Magnolia Park call the song an “anthem for following your dreams and never giving up,” and you can see for yourself by listening below. “Radio Reject” appears on their debut album, Baku’s Revenge, out now. —Neville Hardman

Softcult’s “Drain” is a timely shoegaze directive in the fight against climate change

With their latest single “Drain,” shoegaze/dream-pop duo Softcult offer a timely plea for the world to take climate change seriously while critiquing old-world policies that put profit over people and the planet. Vocalist and guitarist Mercedes Arn-Horn, along with twin sibling and drummer Phoenix Arn-Horn, trade off hypnotizing melodies and harmonies set to a backdrop of fuzzed-out guitars and ambient reverb. The track is just another example of Softcult’s lyrical bravery in the face of injustice and will appear on their upcoming EP, see you in the dark, out this spring. —Alessandro DeCaro

Victoria Anthony’s “Should’ve Known” is a pop-punk breakup anthem

With her latest single “Should’ve Known,” Victoria Anthony gives listeners an inside look into a troubling breakup while turning her pain into an unapologetic pop-punk anthem. Set against a backdrop of driving drums, 808s and catchy guitar riffs, Anthony sums up her feelings of resentment toward her ex-partner with confidence and vulnerability. While she’s open about the pain that she experienced in a way that most can relate to, the song takes on another life as well. It positions Anthony in a place where she can have the upper hand and come out of the situation stronger than ever. —Alessandro DeCaro

Light up with YUNGMORPHEUS’ “Figure-Four Leg Lock”

YUNGMORPHEUS doesn’t need to shout to grab your attention. Rather, the Los Angeles MC employs a gentler touch through cool-headed, stream-of-consciousness rapping and buoyant, jazzy production. With “Figure-Four Leg Lock,” YUNGMORPHEUS’ verses unfurl like ribbons of chronic smoke. Through it all, he commands the track with an ease that makes his grave observations (“Pigs probably clap a brother just for a promotion”) all the more compelling. —Neville Hardman

The HIRS Collective and Shirley Manson (Garbage) create stellar powerviolence with “We’re Still Here” 

On the HIRS Collective’s latest single “We’re Still Here,” they’ve enlisted beloved ’90s alternative-rock vocalist Shirley Manson (Garbage) to create yet another anthem that embodies their mission to make the world a safer and more just place for trans and queer individuals. With pummeling blast beats, motivational lyrics, melodic vocals from Manson and earth-shattering breakdowns, the powerviolence-meets-grindcore band are unmatched in terms of energy and aggression. The single follows the announcement of the collective’s upcoming LP, We’re Still Here, arriving March 24, which features a host of high-profile guest vocalists such as Frank Iero (My Chemical Romance), Geoff Rickly (Thursday) and Damon Abraham (Fucked Up), among many others. —Alessandro DeCaro

Ryan Oakes and Loveless’ “HEAVYWEIGHT” is a confident blast of rock 

Rapper-singer Ryan Oakes is continuing his foray into rock ‘n’ roll-inspired music once again with his latest single, “HEAVYWEIGHT.” The track channels the familiarity of early 2000s rap-rock and pushes it further into the future with a massive chorus courtesy of LA duo Loveless, who supply anthemic vocals, heavy guitars and intense rhythmic energy. Oakes wastes no time spitting rapid-fire lyrics that document his rise to fame while taking shots at those who doubted him along the way with a healthy dose of braggadocio. —Alessandro DeCaro

Meg Myers conjures a rallying cry with “SOPHIA <144>” 

Meg Myers is calling for unity with her new single “SOPHIA <144>” featuring Nicole Perretti. At just over a minute long, its accompanying visual is a concise rallying cry that acts as a “call of remembrance,” Myers says. The video is interpolated with news footage of Iranian women demanding for change after recent killings of those who refused to wear a hijab. Listen to the full track here. —Neville Hardman

Fleshwater’s “Closet” is ’90s post-hardcore at its finest

On “Closet,” the second track from Fleshwater’s debut LP, We’re Not Here to Be Loved, the Massachusetts-based post-hardcore/shoegaze collective have captured the spirit of the ‘90s in haunting ways. “Closet” feels like a hybrid between ‘90s space-rock pioneers Hum and the melodic and rhythmic sensibilities of Deftones. Fleshwater, who are composed primarily of members of hardcore act Vein.fm — along with singer-songwriter Mirsy, blend delicate vocals with harsh screams and frantic time signatures to create an unsettlingly beautiful score. —Alessandro DeCaro

The 21st century is finally catching up with the world’s LGBTQIA+ nation. Various factions in the punk, metal and indie underground have readily embraced this community. From Tegan And Sara‘s compelling songcraft to Laura Jane Grace‘s declaration of self as a “true trans-soul rebel” and the completely fearless hardcore of Limp Wrist, the alternative rock world has only gotten stronger with the advent of these voices. As the queercore underground keeps turning up compelling new talent, the world simply feels like a better place. Listening to the artists in this video, we know it sounds pretty damned great. When you think about it, now you can actually listen to a love song without prejudice. How refreshing is that?

Read more: You can compare your Spotify compatbility with people using this app

There’s plenty of great music coming from these quarters and it would be a travesty if you missed it. There’s sing-songy pop and some straight-up rock fury that would make Adam Lambert rethink everything. A few of these bands have suspended operations, but that doesn’t make their music any less potent.

The best thing you can do for an artist (well, besides some of these) is to seek out your personal adventures with their music as the soundtrack. We know what it’s like to have your life “saved” by a song. These queercore artists will inspire you to get the life you wanted. Happy Pride Month, everyone.

Here are 10 bands keeping the queercore spirit alive today.

1. Dog Park Dissidents

HQ: Long Island, New York/New Orleans, Louisiana
Facebook | Instagram | Spotify
CHECK OUT: “Queer As In Fuck You,” “Rainbow Drones,” “Someone Else”

Donning dog masks (and not much else, as the show goes on), Dog Park Dissidents are a self-described “angry queer punk-rock duo,” and there really isn’t a better way to label them. Flaunting a powerful, pure-punk sound behind the impressive pipes of vocalist Zac Xeper, the pair look to spread a message of liberation through in-your-face lyricism and an overall “fuck you” attitude.

2. The Spook School

HQ: Edinburgh, Scotland
Facebook | Instagram | Spotify
CHECK OUT: “Binary,” “I Want To Kiss You,” “Burn Masculinity”

Drawing clear comparisons to the Buzzcocks with a tinge of David Bowie, the Spook School explore the hot-button topics of gender fluidity and sexuality through a carefree, head-bopping sound. Sadly, the band will be hanging it up following the completion of their remaining tour dates, but if you’re in the U.K., you won’t want to miss the final class of Spook School.

3. Partner

HQ: Sackville, New Brunswick Canada
Facebook | Instagram | Spotify
CHECK OUT: “Play The Field,” “Comfort Zone,” “Long And McQuade”

One thing you should know about Partner is they take themselves very seriously. If you can’t sense the sarcasm, then the Canadian alt-rock duo might not be for you. With unmatched catchiness and razor-sharp wit, the pair crush stigmas by spouting all-too-relatable lyrics. Whether it’s the story of crushing on an athletic girl in “Play The Field” or discovering a roommate’s personal toy in “Sex Object,” they tell stories many of us have experienced with a lighthearted twist. Their latest EP, Saturday The 14th, shows that listeners can’t truly lump the band into a genre due to their eagerness to tackle a fresh sound with each track.

4. G.L.O.S.S.

HQ: Olympia, Washington
Spotify
CHECK OUT: “Outcast Stomp,” “Masculine Artifice,” “G.L.O.S.S. (We’re From The Future)”

Repping the name Girls Living Outside Society’s Shit should tell you enough about the hardcore quintet’s view on the world. Although they’re the only band on this list not currently active, their effect reaching past their demise is substantial enough that it would feel wrong not to include them. G.L.O.S.S. took the punk purist path, playing fast and loud while branding their ethos permanently in the ears of their cult fanbase. Their music proved it’s not only OK to be different, but you should also be celebrating it. Now go listen to “Outcast Stomp” and mourn how you never got to see them live.

5. Queen Zee

HQ: Liverpool, England
Facebook | Instagram | Spotify
CHECK OUT: “Loner,” “Sissy Fists,” “Sass Or Die”

When you catch the attention of Iggy Pop, you know you’re doing something right. Described by Iggy as “Strange people from Liverpool…but they rock like crazy,” the English five-piece seem to not only play under the wild moniker but live it as well. Glam-rock to the eye but gritty garage rock to the ear, Queen Zee’s brand of weird has them championed as the latest promising rock act to emerge from the U.K.

6. GRLwood

HQ: Louisville, Kentucky
Facebook | Instagram | Spotify
CHECK OUT: “Bisexual,” “Vaccines Made Me Gay,” “I’m Yer Dad”

GRLwood don’t need to be labeled as anything except kick-ass music makers. Blazing trails with their unique brand of “scream-pop,” the best genre to lump them in is one all their own. The duo combine pop, garage and punk while screaming their opinions for anyone within a five-mile radius to hear. Drop everything you think you know about music, and just listen to GRLwood on repeat.

7. Size Of Sadness

HQ: Chicago, IL
Facebook | Instagram | Spotify
CHECK OUT: “Trans Punx (no bullshit,)” “Take Another,” “Stumble On”

Size Of Sadness only have one EP, but they make a louder statement in six songs than some bands do in their entire discography. Not only commenting on trans and LGBTQ+ topics, they also set their musical sights on addiction and substance abuse through emotion-packed lyrics at a breakneck pace. Their venom-filled words carry more weight coming from a trans trio who aren’t just singing about persecution but living through it.

8. Worriers

HQ: Brooklyn, New York
Facebook | Instagram | Spotify
CHECK OUT: “Most Space,” “They / Them / Theirs,” “The Saddest Little Waffle House In Eastern Pennsylvania”

Worriers’ band name can be misleading, but with the quality and grace applied to their melodic punk sound, they have no reason to sweat. The Laura Jane Grace-backed four-piece also aren’t shy about their message, drawing clear lines on pronouns, gender neutrality and the state of modern punk. At points, it’s hard to emphasize with a message in a genre heavily driven by aggressiveness, but Worriers have found a magnificent balance between their rock-solid cause and downright awesome sound.

9. The HIRS Collective

HQ: Philadelphia, Pennsylvania
Facebook | Instagram | Spotify
CHECK OUT: “It’s Ok To Be Sick,” “Wake Up Tomorrow,” “Last Acrylic Nail In The Coffin”

Queercore’s resident supergroup, the grindcore-inspired HIRS Collective, actually have no solidified members. While shared photos of the group show blurred-out faces, we do know that the collective is a revolving door of LGBTQ+ rock icons. Among the long list of contributors are Against Me!’s Laura Jane Grace, Garbage’s Shirley Manson and G.L.O.S.S.’ Sadie Switchblade. Plain and simple, HIRS Collective offer an opportunity for musicians to lash out at the system however the fuck they want.

10. Kera & The Lesbians

HQ: Los Angeles, California
Facebook | Instagram | Spotify
CHECK OUT: “November,” “Year Past 23,” “Witch’s Tit”

Highlighting an extensive community of folk-inspired queercore acts, Kera & The Lesbians provide a relaxed acoustic backdrop for the fiery vocals of Kera Armendariz. What began as an inside joke between Armendariz and her bandmates has turned into a rallying cry for herself and listeners, refusing to be quiet about their identities. Putting aside albums in favor of focusing on individual tracks, be on the lookout for the Kera’s next finely tuned single.

See more: 10 most iconic music video looks

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