Capturing the Human Element
Jayway on Producing Hardcore Music
Hardcore music has always thrived on its unbridled, almost dangerous energy. In the late 1970s and early 1980s, bands like Bad Brains and Minor Threat built a reputation for speed, volume, and an uncompromising DIY ethos—ideas that would later take root in the Tri-State area with New York and northern New Jersey–based acts like Agnostic Front, Gorilla Biscuits, and E-Town Concrete. Despite the music’s evolution over the decades, that essential fierceness remains. But translating the raw surge of a live set into a studio recording is one of the great challenges for any band or producer.
Producer and musician Jayway stands among those who relish that challenge, believing the real magic of hardcore lies in capturing the imperfections and spontaneity that define both the genre and the region’s music culture. We asked Jay some questions about producing the hardcore songs and the result is a top-tier conversation about hardcore, production, and taking music seriously. He talked about what it takes to bottle live intensity in a studio setting and explored how the hardcore sound has changed since its early days.
Preserving Imperfection and Energy
“To me hardcore is very much about the human experience,” Jayway explains. “A lot of the current product being put out doesn't even sound human… The raw aspect of hardcore is what drew me in as a listener many years ago and it's most important in my opinion to capture the true performance of the song in that moment.” His approach is consistent with the way early hardcore was recorded in New York’s Lower East Side or in New Jersey basements—quickly, cheaply, and with minimal fuss.
That rawness, however, isn't just about aiming a few microphones at a loud band and letting chaos ensue. It’s about putting the spotlight on the feel of the performance rather than striving for the perfect take. “I don’t stress the timing or the little mistakes,” he says. “I focus heavily on capturing the vibe of the moment and what is happening between the people creating it.”
Historically, classic records like Gorilla Biscuits’ debut Start Today (1989) and Hatebreed’s Satisfaction Is the Death of Desire (1997) found success by blending precision with urgency. But even these relatively “polished” takes held onto an almost ragged edge, ensuring listeners could still feel the sweat from the venues that birthed the songs.
Evolving as a Producer: From Fostex to Full-Scale Studio
Jayway’s own journey mirrors the DIY routes of many East Coast hardcore musicians. He started on a Fostex (“it might have had four or six tracks and it was super raw”), recording in a friend’s basement and mixing directly on the machine. He recalls the early days: “I just was poor and couldn't afford to be in a studio, so little by little I purchased stuff until I was able to build one of my own.”
Working at Birch Hill and Starland Ballroom, both iconic New Jersey venues, helped him pick up mic’ing techniques suited for harsh, high-energy music. Over time, he upgraded gear (with a nod to “Sweetwater two years 0% interest”) and refined his unique style through hard work. “Most of what I know now is from the old school trial and error. I didn't have a mentor or someone to bring me up in this shit.”
Songwriting, Performing, and Producing
Like many producers in punk, alternative, and hardcore, Jayway’s approach is deeply connected to his time onstage. “I started out as a drummer when I was five, then moved to guitar in my early teens, learned a few covers and immediately thought of myself as a writer,” he shares. This would impact his role in the bands he played with. “I noticed that naturally no matter which band I was involved with I assumed this role of the person who put together the songs.” Overseeing the creative process naturally led him to production: “I remember producing a record for a band called Fall Back in my moms basement and its when I realized that I was producing, I was going over the lyrics and how the song was to be sang with the singer and really arranging the track the way I thought it should be done.”
His mindset draws heavily on the excitement of live performance. “Seeing what worked live helped to shape the way I produced music. Having a knack for getting a crowd to move certainly influenced the way I look at songwriting and production. Many people have said to me that I have the ability to see music as a whole. Sort of like seeing the bigger picture. Understanding where a song is going is definitely a direct result of writing and performing before producing.”
Blending Old-School Grit with Modern Touches
Hardcore production has undoubtedly changed since the days of CBGB matinees and VFW hall shows around the Garden State. The line between hardcore, metalcore, and punk has blurred, and many modern recordings rely heavily on digital enhancements. Jayway admits that “much of today’s music production sounds the same,” referencing the common reliance on MIDI drums.
He points to a lineage of records that managed to push hardcore’s sonic envelope without compromising its spirit. “I really like the way the first Gorilla Biscuits record sounds,” he recalls. “In the 90s I really enjoyed the production on the Downset record as well as Hatebreeds Satisfaction is the Death of Desire. In the 2000's I thought Hatebreeds Perseverance really took the production of a hardcore band to the next level.”
This balance between clarity and grit informs Jayway’s own work. “When recording Bayway's early stuff I just wanted to emulate that stuff I loved growing up, and now it's more about getting an actual snare tone instead of dropping a track to MIDI and using the same Joey Jordison snare that everyone on earth can get their hands on.”
Live Recordings Over Click Tracks
Jayway sees the studio as an extension of the stage, which is why he prefers to record a band in a live setting when possible. “When you start to involve a click, although easier when it's time to edit, you lose the natural feel of the song,” he says.
He cites tempo fluctuations—once considered “mistakes”—as a vital tool for modern hardcore. “In hardcore, especially present day, the tempo changes are very important in terms of keeping a listener engaged and I haven't found too much success in the creation of a tempo map when shooting for a raw and real feel.” This stance harkens back to the earliest days of 1980s hardcore, where rushing or dragging was part of the thrill. Even some 1990s albums, like Downset’s self-titled record, showcased these organic shifts to reinforce the rawness of the recording.
The Snare that Cracks and Claps
An ongoing characteristic of Jayway’s production is his love for a loud, attention-grabbing snare drum. “The first hardcore record I truly fell in love with was E-Town Concrete’s Time 2 Shine,” he says, referencing the iconic 1997 album from the Elizabeth, NJ outfit. E-Town’s cross-pollination of rap, metal, and hardcore introduced a uniquely pitched snare that cut through even the densest mix.
Jayway acknowledges the influence of other genres, especially hip-hop, where the snare is a pivotal focal point. “Listening to hip hop as a kid, the snare is such a focal point on every record and they always had these layered clap, stick hit, rim shot sounds. This is used in a lot of hip hop influenced records.”
Advice for Up-and-Coming Hardcore Bands
For new bands stepping into a recording studio for the first time, Jayway emphasizes preparation and openness:
Be prepared: “Have your shit together. Don't walk into the studio with unfinished songs/lyrics unless it's been previously discussed that writing will be taking place.”
Be open-minded: “Be open to ideas and suggestions remembering that while you are in love with what you are doing there may be a good idea other than the original idea that sparked it.”
Change your strings and rehearse: “Change your strings and rehearse the songs with your drummer so you can save time and not have to rush your vocalist.”
Don’t chase perfection: “Follow your gut instinct and don't mix anything 50 times. Chances are the third one where you made the guitars slightly louder and removed all the reverb you thought was cool on the vocals fucking rules.”
He also warns against the kind of self-doubt that can plague musicians in a studio environment. “I have struggled for years with imposter syndrome. What I have found is that as a unique individual I have something to offer the world no one else can. I am me and there is no other person that is exactly like me.”
Continuing the Tradition
Hardcore’s sonic DNA can be traced from the sweaty clubs of Manhattan’s Lower East Side and the gritty basements of suburban New Jersey through generations of independent labels, zines, and record shops. As production tools advance, the debate over “keeping it real” versus leveraging modern technology continues. “I had an eye opening conversation with Ant Martini [vocals, E Town Concrete] about what I will do when music is taken over by AI that changed my perspective on mixing and really pushed me to think outside the box.” But at the end of the day, this doesn’t deter Jay at all: “I think a lot of my success has come from not being afraid to be different.”
Producers like Jayway stand at the center of that conversation—using all the methods at their disposal without losing sight of what makes hardcore hardcore: the controlled chaos, the urgency, and the living, breathing human pulse beneath it all.
Whether it’s high-pitched snare sounds, tempo fluctuations, or preserving off-the-cuff imperfections, Jayway’s work reminds us of the long tradition of forward-thinking yet raw recordings. As he puts it, “Never allow yourself to feel like you can’t do something someone else is doing.” That decidedly DIY, anything-is-possible spirit is the backbone of hardcore—a genre defined by its willingness to evolve while staying rooted in authenticity.
Thank you, Jay, for the awesome answers 🙏
Additional Source:
Rap-infused hardcore pack BAYWAY break down The Newport Sessions EP, out now on DAZE and RTF Records