Post-hardcore – Wikipedia

Genre of music

Post-hardcore is a punk rocker rock candy music writing style that maintains the aggression and volume of hard-core hood but emphasizes a greater degree of creative expression initially inspired by post-punk and noise rock. Like post-punk, the term has been applied to a broad configuration of groups. Post-hardcore began in the 1980s with bands like Hüsker Dü and Minutemen. The genre expanded in the 1980s and 1990s with releases by bands from cities that had established hard-core scenes, such as Fugazi from Washington, D.C. [ 4 ] arsenic well as groups such as big Black and Jawbox that stuck closer to post-hardcore ‘s noise rock roots. [ 4 ] In the 2000s, post-hardcore achieved mainstream success with the popularity of bands like My Chemical Romance, Dance Gavin Dance, AFI, Underoath, Hawthorne Heights, Silverstein, The Used, At the Drive-In, Saosin, and Senses Fail. In the 2010s, bands like Sleeping with Sirens and Pierce the Veil, both of which being labeled as post-hardcore, achieved mainstream success. meanwhile, bands like Title Fight and La Dispute experienced underground popularity .

Characteristics [edit ]

Hardcore kindling typically features very fast tempo, loudly book, and heavy bass levels, [ 5 ] vitamin a good as a “ do-it-yourself ” ethic. [ 4 ] Music database AllMusic stated “ These newer bands, termed post-hardcore, often found complex and dynamic ways of blowing off steam that by and large went outside the rigorous hard-core region of ‘loud fast rules ‘. Additionally, many of these bands ‘ vocalists were merely ampere probable to deliver their lyrics with a whispered croon as they were a maniacal yelp. ” [ 4 ] Allmusic besides claims that post-hardcore bands find creative ways to build and release tension quite than “ airing their dirty laundry in short, sharp, frantic bursts ”. [ 4 ] Jeff Terich of Treblezine stated, “ alternatively of sticking to hardcore ‘s rigid constraints, these artists expanded beyond power chords and gang vocals, incorporating more creative outlets for hood rock energy. ” [ 6 ] british post-punk of the former 1970s and early 1980s has been seen as influential on the melodious development of post-hardcore bands. [ 4 ] As the genre progressed, some of these groups besides experimented with a wide-eyed align of influences, including soul, dub, funk, wind, and dance-punk. It has besides been noted that since some post-hardcore bands included members that were rooted in the beginnings of hard-core kindling, some of them were able to expand their sound as they became more skilled musicians. [ 4 ] During the early 2000s it became common for mainstream “ melodious ” post-hardcore bands to crossover into early relate genres like metalcore, indie rock, screamo, and emo, straddling experiment and approachability. [ 7 ]

history [edit ]

Origins ( 1980s ) [edit ]

Concert of the band Naked Raygun The isthmus Naked Raygun in 2012 Groups such as Saccharine Trust, [ 8 ] Naked Raygun, [ 9 ] [ 10 ] [ 11 ] and The Effigies, [ 11 ] which were active around the early 1980s, are considered to be forerunners to the post-hardcore genre. Chicago ‘s Naked Raygun, formed in 1981, has been seen as merging post-punk influences of bands such as Wire and Gang of Four with hard-core hood, [ 12 ] while author Steven Blush notes the dance band ‘s use of “ external oblique muscle lyrics and bare post-punk melodies ”. [ 13 ] Similarly, The Effigies, who besides hailed from the Chicago setting, released music influenced by the hard-core of Minor Threat and the british post-punk of bands like The Stranglers, Killing Joke, and The Ruts. [ 11 ] During the early to mid-1980s, the desire to experiment with hard-core ‘s basic template expanded to many musicians that had been associated with the writing style or had potent roots in it. [ 4 ] Many of these groups besides took divine guidance from the 1980s noise rock candy scene pioneered by Sonic Youth. [ 6 ] Some bands signed to the mugwump pronounce Homestead Records, including Squirrel Bait [ 14 ] ( ampere well as David Grubbs -related Bastro and Bitch Magnet [ 15 ] ) and Steve Albini ‘s big Black ( just as his subsequent projects Rapeman [ 10 ] and Shellac [ 10 ] [ 16 ] ) are besides associated with post-hardcore. [ 6 ] [ 11 ] Big Black, which besides featured former Naked Raygun guitarist Santiago Durango, [ 17 ] made themselves known for their rigorous DIY ethic, [ 6 ] related to practices such as paying for their own recordings, booking their own shows, handling their own management and promotion, and remaining “ stubbornly mugwump at a time when many freelancer bands were eagerly reaching out for the major-label brass band ”. [ 17 ] The band ‘s music, punctuated by the use of a brake drum car, has besides been seen as influential to industrial rock, [ 17 ] while Blush has besides described the Albini-fronted plan as “ an angst-ridden response to the rigid English post-punk of Gang of Four ”. [ 13 ] After the issue of the “ Il Duce “ one ( and between the release of their only two studio albums, Atomizer and Songs About Fucking ), Big Black left Homestead for Touch and Go Records, [ 17 ] which would late reissue not only their entire discography, but would besides be responsible for the liberation of the complete works of Scratch Acid, an act from Austin, Texas described as post-hardcore, [ 18 ] that, according to Stephen Thomas Erlewine, “ laid the basis for much of the distorted, grinding option kindling rockers of the ’90s ”. [ 18 ] According to Ryan Cooper of and generator Doyle Greene, 1980s hard-core punk isthmus Black Flag is one of the pioneers of post-hardcore for the experimental style the band started playing later on in the 1980s. [ 19 ] [ 20 ] Post-hardcore bands Minutemen [ 21 ] and Hüsker Dü [ 22 ] [ 23 ] are outstanding 1980s post-hardcore bands. Hüsker Dü ‘s 1984 album Zen Arcade is the band ‘s critical breakthrough. [ 24 ] When Zen Arcade was first released, the album received plus critical reception from The New York Times [ 25 ] and Rolling Stone. [ 26 ] Outside the United States, post-hardcore would take determine in the works of the Canadian group Nomeansno, [ 27 ] related with Jello Biafra and his independently run label Alternative Tentacles, and that had been active since 1979. The magazine Dusted noted that the group ‘s 1989 ‘s release Wrong was “ one of the most aggressive and brawny opuses in post-hardcore ever made ”. [ 28 ]

The Washington D.C. setting [edit ]

During the years 1984 and 1985 in the “ hard-core “ view, [ 29 ] a new motion had “ swept over ”. [ 30 ] This campaign was led by bands associated with the D.C. independent record label Dischord Records, home in the early 1980s to seminal hard-core bands such as Minor Threat, State of Alert, Void and Government Issue. [ 31 ] [ 32 ] According to the Dischord web site : “ The violence and nihilistic delusion that had become identified with hood rock, largely by the media, had begun to take hold in DC and many of the older punks on the spur of the moment found themselves repelled and discouraged by their hometown fit ”, [ 30 ] leading to “ a prison term of redefinition ”. [ 30 ] When The Faith put out the EP Subject to Change in 1983, it marked a critical development in the legal of D.C. hard-core and hood music in general. [ 33 ] During these years, a newfangled wave of bands started to form, these included Rites of Spring ( which featured The Faith former guitarist Eddie Janney ), Lunchmeat ( late to become Soulside ), Gray Matter, Mission Impossible, Dag Nasty and Embrace, [ 33 ] [ 34 ] [ 35 ] the latter featuring erstwhile Minor Threat singer and Dischord co-founder Ian MacKaye and former members of The Faith. This movement has been since widely known as the “ Revolution Summer ”. [ 30 ] [ 36 ] Rites of Spring has been described as the band that “ more than led the transfer ”, [ 30 ] challenging the “ macho model that had become therefore prevailing within the hood view at that point ”, and “ more importantly ”, defying “ melodious and stylistic rule ”. [ 30 ] Journalist Steve Huey writes that while the ring “ strayed from hard-core ‘s typically external concerns of the prison term – namely, social and political protest – their musical attack was no less blistering, and in fact a good deal more challenging and nuanced than the average three-chord speed-blur ”, [ 37 ] a sound that, according to Huey, mapped out “ a modern focus for hard-core that built on the innovations ” brought by Hüsker Dü ‘s Zen Arcade. [ 37 ] early bands have been perceived as taking inspiration from genres such as funk ( as in the case of Beefeater ) [ 38 ] and 1960s pop music ( such as the exercise of Gray Matter ). [ 39 ] According to Eric Grubbs, a dub was developed for the newly audio, with some considering it “ post-harDCore ”, but another name that floated around the scene was “ emo -core ”. [ 40 ] The latter, mentioned in skateboarding magazine Thrasher, would come up in discussions around the D.C. area. [ 40 ] While some of these bands have been considered contributors to the parturition of emo, [ 19 ] [ 41 ] [ 42 ] with Rites of Spring sometimes being named as the beginning or one of the earliest emo acts, [ 6 ] [ 37 ] musicians such as the isthmus ‘s erstwhile frontman Guy Picciotto and MacKaye himself have voiced their opposition against the term. [ 43 ] [ 44 ] [ 45 ] In the nearby state of Maryland, similar bands that are categorized immediately as post-hardcore would besides emerge, these include Moss Icon and The Hated. [ 42 ] [ 46 ] The former ‘s music contained, according to Steve Huey, “ shifting dynamics, chiming guitar arpeggios, and screaming, crying vocal climaxes ”, [ 47 ] which would prove to be influential to late musicians in cattiness of the band ‘s precarious being. [ 47 ] This group has besides been considered one of the earliest emo acts. [ 47 ]
[48]Fugazi during their last pre-hiatus tour, 2002. The band’s influence was summarized by reviewer Andy Kellman with the following statement: “To many, Fugazi meant as much to them as Bob Dylan did to their parents.” The second half of the 1980s saw the formation of several bands in D.C., which included Shudder to Think, Jawbox, The state of Ulysses, and Fugazi, adenine well as Baltimore ‘s Lungfish. [ 34 ] MacKaye described this period as the busy that the Dischord Records label had ever seen. [ 34 ] Most of these acts, along with earlier ones, would contribute to the 1989 compilation State of the Union, [ 49 ] a acquittance that documented the modern sound of the late 1980s D.C. hood scene. [ 50 ] Fugazi gained “ an extremely patriotic and numerous global follow ”, [ 48 ] with reviewer Andy Kellman summarizing the band ‘s influence with the argument : “ To many, Fugazi meant as much to them as Bob Dylan did to their parents. ” [ 48 ] It has besides been noted that the group ‘s “ ever-evolving ” sound would signal a more experimental turn in hard-core that paved the way for later Dischord releases. [ 32 ] The band, which included MacKaye, Picciotto, and former Rites of Spring drummer Brendan Canty along with bassist Joe Lally, issued in 1989 13 Songs, a compilation of their earlier self-titled and Margin Walker EPs, which is now considered a landmark album. [ 51 ] similarly, the band ‘s debut studio album, 1990 ‘s Repeater, has besides been “ broadly ” regarded as a classic. [ 48 ] The group besides garnered recognition for their activism, cheaply priced shows and CDs, and their resistance to mainstream outlets. [ 48 ] On the other hand, Jawbox had been influenced by “ the custom of Chicago ‘s thriving early-’80s scene ”, [ 52 ] while The Nation of Ulysses are “ best remembered for lifting the motor-mouthed revolutionary palaver of the MC5 “ with the incorporation of “ elements of R & B ( as filtered through the MC5 ) and avant jazz “ combined with “ excite, volatile live gigs ”, and being the inspiration for “ a newfangled crop of bands both locally and afield ”. [ 53 ]

expansion ( deep 1980s and 1990s ) [edit ]

Band performing onstage Post-hardcore band Girls Against Boys in 2006 The late 1980s and early 1990s saw the formation and advance to prominence of several bands associated with earlier acts that not merely included the examples of Fugazi and Shellac, but besides Girls Against Boys [ 54 ] ( originally a side-project of Brendan Canty and Eli Janney, which would late incorporate members of Soulside ), The Jesus Lizard [ 6 ] [ 55 ] [ 56 ] ( formed by ex-members of Scratch Acid ), Quicksand [ 57 ] ( fronted by erstwhile Youth of Today and Gorilla Biscuits penis Walter Schreifels ), Rollins Band [ 58 ] ( led by early Black Flag singer Henry Rollins ), Tar ( which raised from the ashes of a hard-core outfit named Blatant Dissent ), [ 56 ] [ 59 ] and Slint [ 60 ] [ 61 ] ( containing members of Squirrel Bait ). Acts such as Shellac and Louisville ‘s Slint have been considered influential to the growth of the genre of mathematics rock, [ 62 ] with the former sport “ awkward time signatures and trademark aggression ” that has come to characterize “ a certain slant ” on mathematics rock candy, [ 62 ] while the latter presented “ instrumental music seeped in dramatic tension but determine to fixed systems of solid-structured guitar patterns and percussive repetition ”. [ 62 ] According to reviewer Jason Arkeny, Slint ‘s “ deft, extremist manipulations of volume, tempo, and structure cast them as clear progenitors of the post-rock movement ”. [ 63 ]
AllMusic has noted that younger bands “ flowered into post-hardcore after cutting their teeth in high school kindling bands ”. [ 4 ] In Washington D.C., new bands such as Hoover ( ampere well as the related The Crownhate Ruin ), Circus Lupus, Bluetip, and Smart Went Crazy were added to the Dischord roll. [ 64 ] Hoover has been cited by journalist Charles Spano as a dance band that had “ a frightful impact on post-hardcore music ”. [ 65 ] In New York City, in addition to Quicksand, post-hardcore bands such as Helmet, [ 10 ] Unsane, [ 10 ] [ 56 ] Chavez [ 6 ] and Texas Is the Reason [ 66 ] emerged. Chicago, which alongside the Midwestern United States has been important to the progress of mathematics rock, [ 62 ] besides saw the birth of post-hardcore acts such as the examples of Shellac, Tar, Trenchmouth, [ 10 ] and the Jade Tree -released group Cap’n Jazz [ 67 ] ( arsenic well as the subsequent relate project Joan of Arc, [ 68 ] which besides released their shape through Jade Tree ). Steve Huey argues that the release of Cap’n Jazz ‘s retrospective compilation album Analphabetapolothology helped spread the band ‘s influence “ far beyond their original hearing ”, while besides considering the group as influential for the development of emo in the independent music scene. [ 69 ] Champaign, besides in Illinois, was known for an independent setting that would give means to groups like Hum, Braid and Poster Children. [ 6 ] The american Northwest saw the creation of acts such as Karp, [ 56 ] Lync [ 70 ] and Unwound, [ 10 ] [ 56 ] all acclaim from the Olympia, Washington sphere. The latter ‘s music has been considered by critic John Bush to be a combination of “ the make noise of Sonic Youth ‘s more raucous passages ” with a “ rare energetic flair which rivals even that of Fugazi ”. [ 71 ] Texas saw the formation of groups such as The Jesus Lizard ( later to be based in Chicago ) and … And You Will Know Us by the Trail of Dead [ 72 ] in Austin, and At the Drive-In from El Paso. [ 6 ] This last band was known for their energy in both performances and music, and for their “ driving melodic kindling riffs, meshed in concert with quiet interlocking note-picking ”. [ 73 ] The music genre besides saw representation outside the United States in resist [ 74 ] who emerged from the Umeå, Sweden music setting. The band, which made itself known earlier in their career for its “ massive hard-core strait ”, [ 75 ] released in 1998 The Shape of Punk to Come, an album that saw the group take inspiration from The nation of Ulysses [ 76 ] [ 77 ] while incorporating elements such as “ ambient textures, jazz breakdowns ”, [ 77 ] metallic and electronica [ 76 ] to their hard-core sound .

The San Diego scene [edit ]

The early-to-mid 1990s would see the birth of respective bands in the San Diego, California music picture, some of which would lead a post-hardcore movement associated with the freelancer label Gravity Records. [ 42 ] This apparent motion would finally become known as the “ San Diego fathom ”. [ 78 ] Gravity was founded in 1991 by Matt Anderson, member of the band Heroin, as a mean to release the music of his isthmus and of other related San Diego groups, [ 79 ] which besides included Antioch Arrow and Clikatat Ikatowi. [ 42 ] The pronounce ‘s earlier releases are known for the definition of “ a new reasoned in hard-core rooted in custom but boasting a chaotic heavy that showcased a new access ” to the genre. [ 79 ] Heroin were known for being innovators of early 1990s hard-core and for making dynamic landscapes “ out of one infinitesimal blasts of noisy vituperation ”. [ 80 ] These bands were influenced by acts like Fugazi and The nation of Ulysses, while besides helping propagate an outgrowth of hard-core that “ grafted spastic intensity to willfully experimental disagreement and dynamics ”. [ 81 ] This campaign has been associated to the development of the subgenre of screamo, while it besides should be noticed that this term has been, as with the case of emo, the subject of controversy. [ 81 ] The label besides featured releases by non-San Diego bands that included Mohinder [ 78 ] ( from Cupertino, California ), Angel Hair and its subsequent related project The VSS [ 78 ] ( from Boulder, Colorado ), groups that have besides been associated with this sound. [ 81 ] The VSS was known for their habit of synthesizers “ vying with post-hardcore ‘s fanatic atonality ”. [ 81 ]

Outside the Gravity roll, another band that played an authoritative role in the development of the “ San Diego sound ” was Drive Like Jehu. [ 78 ] This group, founded by former members of Pitchfork, was known, according to Steve Huey, for their drawn-out and multisectioned compositions based on the innovations brought by the releases on Dischord, incorporating elements such as “ odd time signatures played an important function on its development in hurt of the isthmus ‘s music not resembling the reasoned such term would late signify. [ 82 ] In a like manner, Swing Kids, composed of former members of hard-core bands from the San Diego fit such as Unbroken, Struggle and Spanakorzo, have been described by journalist Zach Baron as the moment in which the “ hard-core ” fathom of bands like Unbroken effectively became “ post-hardcore ”, known for “ covering Joy Division songs ” and for its sonic “ jazz-quoting ” and “ guitar feedback ” experiment features. [ 83 ] They were besides one of the first bands released under the mugwump label Three One G, founded by the ring ‘s singer Justin Pearson [ 83 ] and late known for releasing the works of several early post-hardcore, noise rock, mathcore and grindcore groups. Bands like At the Drive-In have acknowledged the influence of the post-hardcore sound coming from the San Diego scene, with singer Cedric Bixler-Zavala citing elements such as “ screaming vocals with extraordinary emotions, calculated, big riffs, [ … ] far-out cycle ” and an “ incredible sum of energy, chaos and tune ” put by these groups as all-important in the development of his band ‘s fathom. [ 84 ]

Moderate popularity [edit ]

According to Ian MacKaye, the sudden interest in underground and independent music brought by the success of Nirvana ‘s Nevermind attracted the attention of major labels towards the Dischord imprint and many of its bands. [ 64 ] While the label rejected these offers, two Dischord acts, Jawbox and Shudder to Think, would sign deals with major labels. [ 64 ] The former ‘s bless to Atlantic Records would alienate some of the band ‘s long-run fanbase, [ 52 ] but it would besides help with the development and recording of the 1994 passing For Your Own Special Sweetheart, considered by Andy Kellman to be “ one of the best releases to come out of the prolific D.C. scene of the ’80s and ’90s ”. [ 52 ] The subsequent tour for the album and the MTV rotation of some videos would introduce the ring to a handful of new crowd, but ultimately the album would remain “ unnoticed outside of the usual indie residential district ”. [ 52 ] similarly, out of the Dischord pronounce, Interscope Records would sign Helmet after a reportedly “ ferocious ” bidding war between several major record companies, [ 85 ] and while MTV would air some videos by the group, which by the time of the exhaust of their major-label debut Meantime, was considered then “ the only band close to the Seattle dirt sound ” on the American East Coast [ 86 ] and would be hailed as “ the future big thing ”, these expectations would “ never be in full realized ” in cattiness of the record ‘s late influence. [ 85 ] In another celebrated sheath, Hum was signed to RCA in 1994, selling approximately 250,000 copies of their album You’d Prefer an Astronaut fueled by the success of the album ‘s lead single “ Stars “, [ 87 ] and while the band had established by this point a potent underground fanbase, this would prove to be “ the pinnacle of Hum ‘s media attention ”, as its follow-up, 1998 ‘s Downward Is Heavenward would sell ailing, resulting in the decision of RCA to drop the isthmus from their roll. [ 87 ]

2000s ( mainstream success ) [edit ]

5 guys standing together Post-hardcore ring Hawthorne Heights in 2007Four guys standing together Post-hardcore band The Used in 2007 Record manufacturer Ross Robinson, who was credited for popularizing nu metallic with bands like Korn, Slipknot, Soulfly and Limp Bizkit in the 1990s, helped post-hardcore achieve popularity during the 2000s. [ 88 ] [ 89 ] Mehan Jayasuriya of PopMatters suggested that Robinson ‘s sudden focus on post-hardcore was his “ pet project ” designed to redeem himself of “ the ‘Nu-Metal ‘ flagellate of the recently ’90s ”. [ 90 ] Robinson recorded At the Drive-In ‘s Relationship of Command ( 2000 ), Glassjaw ‘s Everything You Ever Wanted to Know About Silence ( 2000 ) and Worship and Tribute ( 2002 ), and The Blood Brothers ‘ …Burn, Piano Island, Burn ( 2003 ) ; four albums that are said to “ stand as some of the best post-hardcore records produced ” during the 2000s. [ 90 ] In John Franck ‘s review of Everything You Ever Wanted to Know About Silence for Allmusic, he stated : “ Featuring extraordinary ambidextrous drummer Sammy Siegler ( of Gorilla Biscuits / CIV fame ), Glassjaw has paired up with producer/entrepreneur Ross Robinson ( a winder catalyst in the reinvention of the aggro rock ‘n’ roll sound ) to take you on a pummel ride that would make Bad Brains and Quicksand gallant. ” [ 91 ] These bands allowed the writing style to grow and become much more varied with At the Drive-In taking charm from artwork rock ‘n’ roll and rock and hustle, and Glassjaw using elements of both pop music and heavy metallic element ; furthermore, bands such as Hell Is for Heroes, Hundred Reasons, Hondo Maclean and Funeral for a Friend took significant influence from heavy metal bands like Pantera a well as hard-core bands like The Hope Conspiracy. Post-hardcore achieved mainstream success with the success of emo post-hardcore bands such as My Chemical Romance, Senses Fail, Alexisonfire, Taking Back Sunday, Brand New, Thrice, AFI, The Used, Silverstein, From First To last, Thursday and Hawthorne Heights. Some bands besides began to incorporate progressive elements ; with bands such as Chiodos, Scary Kids Scaring Kids, Circa Survive, The fall of Troy and Dance Gavin Dance gaining meaning success, and bands such as Damiera, The Sound of Animals Fighting, The Bled, Norma Jean and The Chariot being left under the wood works ; arsenic well as bands taking influence from metalcore like Ice Nine Kills, Blessthefall and Pierce the Veil, inspired by acts such as Killswitch Engage, Avenged Sevenfold and Atreyu. [ 92 ]

2010s ( continued popularity ) [edit ]

late forms of post-hardcore have garnered more mainstream attention with bands such as Sleeping with Sirens, whose third album Feel ( 2013 ) debuted at No. 3 on the US Billboard 200 chart, making it one of the highest charting post-hardcore album by any band to date. [ 93 ] [ 94 ] [ 95 ] Pierce the Veil ‘s third album, Collide with the Sky ( 2012 ), has besides received much care. While Madness ( 2015 ) and Misadventures ( 2016 ) —by Sleeping with Sirens and Pierce the Veil respectively—incorporate more elements of popular rock ‘n’ roll and pop punk rock, entering territory that many find to be loosely defined as post-hardcore. Seen besides is the emergence of independent post-hardcore bands like The Men, Cloud Nothings and METZ, who are described as moving closer to the dynamics and aesthetics of earlier acts, whilst diverging deeper into external influences. [ 96 ] [ 97 ] [ 98 ] [ 99 ] Reviewers have besides noted the internalization of a diverseness of elements like krautrock, post-rock, sludge metallic element, shoegaze, [ 96 ] world power pop [ 98 ] and no roll [ 100 ] in summation to previous hard-core, noise rock and post-punk sensibilities. Despite originally being used facetiously, the term “ The Wave ” began being used to describe a new wave of post-hardcore bands, [ 101 ] with bands by and large being experimental, heavily aroused, [ 102 ] limit pushing [ 101 ] and regardless of gimmicks. [ 103 ] The term was primitively only used to describe Touché Amoré, Defeater, La Dispute, Make Do and Mend and Pianos Become the Teeth, however finally grew to include bands such as Title Fight, Balance and Composure and Casey. [ 101 ] [ 104 ] It has besides been noted that many bands have been influenced by At the Drive-In. [ 105 ]

See besides [edit ]

References [edit ]

bibliography [edit ]

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