View Full Version : what emo and screamo are

03-26-2006, 05:34 PM
i know this issue has been posted ten thousand times but i found this really informative on what emo origanially was and what band is responsible for transforming it into the pop punish type stuff it is today

Emo is a subgenre of hardcore punk music. Since its inception, emo has come to describe several independent variations, linked loosely but with common ancestry. As such, use of the term (and which musicians should be so classified) has been the subject of much debate.

In its original incarnation, the term emo was used to describe the music of the mid-1980s Washington, DC scene and its associated bands. In later years, the term emocore, short for "emotional hardcore", was also used to describe the DC scene and some of the regional scenes that spawned from it. The term emo was derived from the fact that, on occasion, members of a band would become spontaneously and literally emotional during performances. The most recognizable names of the period included Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and, slightly later, Moss Icon. The first wave of emo began to fade after the breakups of most of the involved bands in the early 1990s.

Starting in the mid-1990s, the term emo began to reflect the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate and Texas Is the Reason put forth a more indie rock style of emo, more melodic and less chaotic in nature than its predecessor. The so-called "indie emo" scene survived until the late 1990s, as many of the bands either disbanded or shifted to mainstream styles.

As the remaining indie emo bands entered the mainstream, newer bands began to emulate the more mainstream style, creating a style of music that has now earned the moniker emo within popular culture. Whereas, even in the past, the term emo was used to identify a wide variety of bands, the breadth of bands listed under today's emo is even more vast, leaving the term "emo" as more of a loose identifier than as a specific genre of music.

* 1 History
o 1.1 The First Wave (1985–1994)
o 1.2 Early Emo's Influence
o 1.3 The Second Wave (1994–2000)
o 1.4 The Third Wave (2000–Present)
* 2 Backlash
* 3 See also
* 4 Sources
* 5 External links



The First Wave (1985–1994)

In 1985 in Washington, D.C., Ian MacKaye and Guy Picciotto, veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye's Embrace and Picciotto's Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (Hüsker Dü's 1984 album Zen Arcade is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as "Revolution Summer".

Within a short time, the DC emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Shudder To Think, Fire Party, Marginal Man, and Gray Matter, many of which were released on MacKaye's Dischord Records. The original wave of DC emo finally ended in late 1994 with the collapse of Hoover.

Where the term emo actually originated is uncertain, but members of Rites of Spring mentioned in a 1985 interview in Flipside Magazine that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as emo-core, though it's unclear when the term shifted.

As the DC scene expanded, other scenes began to develop with a similar sound and DIY ethic. In San Diego in the early 1990s, Gravity Records released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common.

At the same time, in the New York/New Jersey era, bands such as Native Nod, Merel, 1.6 Band, Policy of 3, Rye Coalition and Rorschach were feeling the same impulse. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed screamo.

By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as Four Hundred Years and Yaphet Kotto. Also, a handful of modern bands continue to reflect emo's hardcore origins, including Circle Takes the Square, Hot Cross, City of Caterpillar, Funeral Diner, and A Day in Black and White.

Back in DC, following the disbanding of both Rites of Spring and Embrace, MacKaye and Picciotto decided to join forces in a new band, called Fugazi. While Fugazi itself was not categorized as emo, the music it created would soon influence the second major wave of emo.

Early Emo's Influence

In California, particularly in the Bay Area, bands like Jawbreaker and Samiam began to mix the DC influence with pop punk to come up with their own take on the classic DC emo sound. On Jawbreaker's album Bivouac, singer Blake Schwarzenbach evolved from the traditional hardcore vocal sound into a more melodic crooning, which displayed a more emotional feeling of loss than the desperation and frantic nature of MacKaye's voice. Other bands soon reflected the same sense of rough melody, including Still Life and New Jersey's Garden Variety. The style continued to evolve into the 2000s through bands like Avail and Hot Water Music.

Also in the early 90s, bands like Lifetime reacted in their own way to the demise of youth crew styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be melodic hardcore. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime's sound, lyrics, and style were a virtual blueprint for later bands, including Saves The Day and The Movielife.

Similarly, bands such as Converge, heavily influential on modern metalcore, drew inspiration from East Coast emo bands and added a sense of catharsis and atypically introspective lyrics.

The Second Wave (1994–2000)

As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the post-punk influences of Mission of Burma and Hüsker Dü, a new genre of emo emerged.

Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop's then-recent success with Nirvana and Soundgarden, the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in Rolling Stone. The heavier label support allowed the band to secure performances on TV shows, including The Jon Stewart Show. As a result, the album received widespread national attention.

As more and more people learned about the band, particularly via the fledgling Internet, the band was given the tag emo. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more indie rock style of emo. It wasn't uncommon for Sunny Day and its peers to be labelled with the full "emo-core". However, when pressed to explain "emo", many fans split the genre into two brands: the "hardcore emo" practiced in the early days and the newer "indie emo".

In the years that followed, several major regions of "indie emo" emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as "Midwestern emo" given the geographic location of the bands, with several of the best-known bands hailing from the areas around Chicago, Kansas City, and Milwaukee. The initial bands in this category included Boy's Life and Cap'n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, and The Get Up Kids emerged from the same scene and gained national attention.

The area around Phoenix, Arizona became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers Jimmy Eat World began stirring in emo influences into their music, eventually releasing the album Static Prevails in 1996. The album was arguably the first emo record released by a major label, as the band had signed with Capitol Records in 1995.

Other bands that followed the "indie emo" model included Colorado's Christie Front Drive, New York's Texas Is the Reason and Rainer Maria, California's Knapsack and Sense Field, Austin's Mineral, and Boston's Piebald and Jejune.

Strangely, as "indie emo" became more widespread, a number of acts who otherwise would not have been considered part of the "indie emo" scene had their albums referred to as emo because of their similarity to the sound. The hallmark example was Weezer's 1996 album Pinkerton, which, in later years, was considered one of the defining "emo" records of the 90s.

As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including Jade Tree Records, Saddle Creek, and Big Wheel Recreation. California's Crank Records released what many considered the defining compilation of 90s emo in 1997, titled (Don't Forget to) Breathe, which featured tracks by The Promise Ring, Christie Front Drive, Mineral, Knapsack, and Arizona's Seven Storey Mountain. In 1998, Deep Elm Records released the first in a series of compilations called Emo Diaries, which featured tracks from Jimmy Eat World, Samiam, and Jejune. In 1999, famed 70s compilation label K-tel even released an emo compilation titled Nowcore: The Punk Rock Evolution, which, regardless of its source, was surprisingly comprehensive. (Nowcore included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, Braid, At the Drive-In, and Jawbox, among others.)

With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre's popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral.

By the end of the decade, the word emo cropped up in mainstream circles. In the summer of 1998, Teen People magazine ran an article declaring "emo" the newest "hip" style of music, with The Promise Ring a band worth watching. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums.

While "indie emo" almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hüsker Dü model, including Thursday, The Juliana Theory, and Sparta.

The Third Wave (2000–Present)

At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World.

However, towards the end of the 1990s, Jimmy Eat World had begun to shift in a more mainstream direction. Where Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had almost completely removed its emo influences. As the public had become aware of the word emo and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an "emo" band. Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.

2003 saw the success of Chris Carrabba and Dashboard Confessional. Carrabba's music featured lyrics founded in deep diary-like outpourings of emotion. Where earlier emo had featured lyrics of a more dark and painful direction, Carrabba's featured a greater focus on love won and lost and the inability to cope. While certainly emotional, the new "emo" had a far greater appeal amongst teenagers experiencing love for the first time, who found insight and solace in Carrabba's words and music.

With Dashboard Confessional and Jimmy Eat World's success, major labels began seeking out similar sounding bands. Just as Nirvana, Pearl Jam, and the other Seattle scene bands of the early 1990s were unwillingly lumped into the genre "grunge", some record labels wanted to be able to market a new sound under the word emo. Which sound that was didn't particularly matter.

In an even more expanded way than in the 90s, emo has come to encompass an extremely wide variety of bands, many of whom have very little in common. The term has become so wide-ranging that it has become nearly impossible to describe what exactly qualifies as "emo".

Correctly or not, emo has often been used to describe such bands as AFI, Alexisonfire, A Static Lullaby, Brand New, Coheed and Cambria, Fall Out Boy, Finch, From Autumn To Ashes, From First To Last, Funeral for a Friend, Hawthorne Heights, Matchbook Romance, My Chemical Romance, Silverstein, Something Corporate, The Starting Line, Taking Back Sunday, The Used, and Thrice. Fans of several of these bands have recoiled at the use of the "emo" tag, and have gone to great lengths to explain why they don't qualify as "emo". (The revulsion of some bands from the term emo is not unlike the retreat from the genre by the bands in the indie emo scene near the end of the 90s.)

In some cases, "new emo" bands are simply trying to pursue their own version of the "emo" that came before on their own terms. However, the backlash stemming from the success of a few seemingly "less emo" (and more popular in the mainstream) bands, including Dashboard Confessional and The Used, has brought an increasingly substantial pool of detractors.

In a strange twist, screamo, a sub-genre of the new emo, has found greater popularity in recent years through bands such as Thrice and Glassjaw. (As a reference, see Jim DeRogatis' November 2002 article about Screamo.) The term screamo, however, was used to describe an entirely different genre in the early 1990s, and the new screamo bands more resemble the emo of the early 1990s. Complicating matters further is that several small scenes devoted to original screamo still exist in the underground. However, the new use of "screamo" demonstrates how the shift in terms connected to "emo" has made the varying genres difficult to categorize.

As a result of the continuing shift of "emo" over the years, a serious schism has emerged between those who ascribe to particular eras of "emo". Those who were closely attached to the hardcore origins recoil when another type of music is called "emo". Many involved in the independent nature of both 80s and 90s emo are upset at the perceived hijacking of the word emo to sell a new generation of major label music. Regardless, popular culture appears to have embraced the terms of "emo" far beyond its original intentions, out of the control of the independent-minded.

Screamo is a musical genre which evolved from emo, more specifically hardcore emo in the early 1990s. Characteristic of the genre are anguished screaming vocals and fast, harmonized guitars. Breakdowns in screamo songs are often slower and more melodic than in other genres, less of a "beatdown" and more an opportunity for introspection (and rest for the musicians). Other than that, it is fairly hard to classify (particularly since the rule about screaming vocals is bent fairly often). It is sometimes also mistakenly referred to as emo violence, which is closely related (although bands in both genres borrow ideas from each other). Lyrically, screamo topics are often times introspective, although it is not uncommon to see a screamo band with political lyrics. Most screamo songs use imagery and metaphors to communicate lost love or failed friendships.


In California in the early 1990s, Gravity Records from San Diego released many defining records of this style. Significant Emo bands from this time include Heroin, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. In the New York/New Jersey era, bands such as Native Nod, Merel, 1.6 Band, Rye Coalition and Rorschach were feeling the same impulse. The labels Gern Blandsten Records and Troubleman Records released many of the influential records from that region and era. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time.

There was an explosion of bands, some who influenced this were: Indian Summer, Evergreen, Current, Shotmaker, Portraits of Past, and Julia. These bands eventually became what is known as Emo, a style which intensified the dramatic aspects of vocal performances in order to achieve a cathartic breakthrough with the audience. Their music backgrounds differ, Julia and Evergreen both produced some of the richest Emo sounds, while Shotmaker railed off hardcore punk and found their niches in the brutal honesty of the human voice. Done well, the result was powerful emotional release that often left Emo bands and their audiences crying or screaming or very quiet at the end of performances. While effective, such open displays of emotion made many traditional hardcore fans uncomfortable, and caused much friction between the two camps.

In recent years, the internet has helped spread word of screamo through websites and through online distributions. Many fans of the genre have turned to eBay to expand their collections of rare and out-of-print records. This leads to very high prices on records that often cost a meager $10 or less when they were first released. Some members of bands who have broken up have expressed displeasure in these high prices and urge fans not to buy them, or buy a posthumously released discography instead. There are alternatives to eBay including vivalavinyl.org, a website dedicated to fairly trading and selling hardcore records, and providing accurate pressing information on releases.

In recent years, the term screamo has been very commonly used to describe emo, post-punk, alternative rock, metalcore, or hardcore bands with emo influences.

Many "Screamo" bands have broken up but in the late 90s and early 2000s, another wave of Screamo bands began. But even then, many of these new bands have already broken up. These include bands such as Pg. 99, Orchid, Caught in the Fall and City of Caterpillar.

Despite how short-lived most recent screamo bands are, the underground screamo scene is still very large and is thriving throughout Europe and the United States.

03-26-2006, 05:37 PM
wow this is really really really long!

03-26-2006, 05:55 PM
You could have just posted the Wikipedia links...

03-26-2006, 05:59 PM
Why do you people all make these pointless long ass threads. No one reads even a sentence more once they find out it is that long anyway. And you must have no life..Even if you copy + pasted.

03-26-2006, 06:02 PM
i should have just posted the wik link but oh well

03-26-2006, 06:39 PM
that was a worthwhile read.

03-27-2006, 12:11 AM
Nobody will read that.

And copying straight from wiki is not cool.

Having said that, i do recall that you're one of the few who knows what you're on about.

NoStyle SR
03-27-2006, 06:35 AM
I really don't care what emo is, all I know is that the people who are emo are gay. People who think their lives suck too much, so they attempt suicide... Time to grow up and realize life doesn't always go your way.

03-27-2006, 08:28 AM
That is more in depth here is the short version. Which no one will probably read.

DC Scene: This is where the emotional hardcore scene
began. Bands such as Rites of Spring and Embrace took hardcore punk to the
next level. The vocal style became much more emotional, ranging from yelling
to full blown screaming at times. Another significant part of the early emo
scene were the introspective lyrics. Bands sang about things that they
themselves face. Moss Icon is the best example of this emo scene. Moss
Icon's vocal style ranged from spoken word to bouts of screaming. This style
influenced many bands that followed them, and became an emo trademark. In
'85 the scene began to expand and many bands started to catch on, which is
why 1985 was called "revolution summer." This revolution of hardcore punk
soon spread to places such as San Diego, and the Midwest. San Diego
Scene: The San Diego expanded on the DC scene by adding even more
intensity. Most of the bands form this scene were on Gravity Records, and
pure chaos. Antioch Arrow best demonstrated this, often having haphazard
instrumentation, but intensifying the vocals. This scene soon influenced the
modern wave of emotional hardcore, often called "screamo." Midwest Scene:
While the San Diego was energizing the emo scene, bands emerging from the
Midwest took a more laid back approach. You could tell they were influenced
by more than just the emo scene. The vocals were still emotional, but not
nearly as screamy. The music was much quieter instead of the raging twin
guitars. The midwest scene was more of a blend between emo and indie. (

Go Wida Flow
03-27-2006, 08:45 AM
are they really like that though? I mean, when they are together they probably enjoy life. Its just people that dont like what they listen to RUIN it for them.

For all we know emos could be happy and actually pretty cool.

One more thing - do they actually cut themselves? I think thats a rumour but I would like to know.

03-27-2006, 08:50 AM
The whole emo kids cutting themselves comes from a song called Wrist meet Razor by a Screamo band called Usurp Synapse.

Most emo bands are probably disgusted at how people think emo kids cut.

Go Wida Flow
03-27-2006, 09:07 AM
To be honest, i kinda like the way they dress. black tight jeans etc.

Valo Negroth
03-27-2006, 09:15 AM
We already have an emo sticky, its been there for like almost a year now I think (but hey Ive been wrong before)

God Im glad the bands I listen to the fans don't cut themselves, they kill other people!:)

03-27-2006, 09:37 AM
A screamo
Never heard of it:confused:

Ok I listen to emo bands but I don't cut myself. That's a sterotype:-{ :mad: :-{

03-27-2006, 09:40 AM
Haha, you failure...

its not A Screamo, Screamo is a genre.


03-27-2006, 10:39 AM
I really don't care what emo is, all I know is that the people who are emo are gay. People who think their lives suck too much, so they attempt suicide... Time to grow up and realize life doesn't always go your way.
thats not what emo is, thats what hawthorne heights are,which is just a pop punk band with stupid haircuts

03-28-2006, 04:46 AM

03-28-2006, 04:48 AM

Cann't go myspace is blocked

Cold Shoulder
03-28-2006, 05:49 AM
i what people say about emo's is stupid