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| date =July 7, 2008}}</ref>. The scene was also notable for its distinctive fashion sense, inspired by [[mod (lifestyle)|mod]] culture<ref>Interview with Justin Pearson on Skatepunk.net, [http://www.skatepunk.net/articles/jpiview.html] Access date: June 13, 2008</ref>. Screamo bands became increasingly theatrical, and re-appropriated aspects of [[Gothic rock]] and [[synthpop]] in groups such as the VSS, Pleasure Forever<ref name=Heller>Jason Heller, "Feast of Reason". ''Denver Westword'', June 20, 2002. [http://www.westword.com/2002-06-20/music/feast-of-reason/print] Access date: June 15, 2008</ref>, the Crimson Curse, [[the Locust]]<ref>Matt Schild, "Going to Extremes", ''Aversion'', May 19, 2003. [http://www.aversion.com/bands/interviews.cfm?f_id=198] Access date: June 16, 2008</ref>, and [[the Rapture (band)|the Rapture]]<ref>Sub Pop biography, [http://www.subpop.com/artists/the_rapture] Access date: June 16, 2008.</ref>. Much as emo was, the term "screamo" was always controversial in the scene<ref name=Heller>Jason Heller, "Feast of Reason". ''Denver Westword'', June 20, 2002. [http://www.westword.com/2002-06-20/music/feast-of-reason/print] Access date: June 15, 2008</ref>. [[The Plot to Blow Up the Eiffel Tower]] incorporated the style into [[punk jazz]]<ref>Joel Caris, Concert Review, Blogcritics Magazine, February 21, 2005. [http://blogcritics.org/archives/2005/02/21/134418.php] Access date: June 17, 2008</ref>.
| date =July 7, 2008}}</ref>. The scene was also notable for its distinctive fashion sense, inspired by [[mod (lifestyle)|mod]] culture<ref>Interview with Justin Pearson on Skatepunk.net, [http://www.skatepunk.net/articles/jpiview.html] Access date: June 13, 2008</ref>. Screamo bands became increasingly theatrical, and re-appropriated aspects of [[Gothic rock]] and [[synthpop]] in groups such as the VSS, Pleasure Forever<ref name=Heller>Jason Heller, "Feast of Reason". ''Denver Westword'', June 20, 2002. [http://www.westword.com/2002-06-20/music/feast-of-reason/print] Access date: June 15, 2008</ref>, the Crimson Curse, [[the Locust]]<ref>Matt Schild, "Going to Extremes", ''Aversion'', May 19, 2003. [http://www.aversion.com/bands/interviews.cfm?f_id=198] Access date: June 16, 2008</ref>, and [[the Rapture (band)|the Rapture]]<ref>Sub Pop biography, [http://www.subpop.com/artists/the_rapture] Access date: June 16, 2008.</ref>. Much as emo was, the term "screamo" was always controversial in the scene<ref name=Heller>Jason Heller, "Feast of Reason". ''Denver Westword'', June 20, 2002. [http://www.westword.com/2002-06-20/music/feast-of-reason/print] Access date: June 15, 2008</ref>. [[The Plot to Blow Up the Eiffel Tower]] incorporated the style into [[punk jazz]]<ref>Joel Caris, Concert Review, Blogcritics Magazine, February 21, 2005. [http://blogcritics.org/archives/2005/02/21/134418.php] Access date: June 17, 2008</ref>.


The innovations of the San Diego scene eventually spread elsewhere, such as to the Seattle group [[the Blood Brothers (band)|Blood Brothers]]<ref>Matt Schild, "Bleeding Hearts." Aversion.com. March 3, 2003. [http://www.aversion.com/bands/interviews.cfm?f_id=189] Access date: June 15, 2008.</ref>. East Coast groups, such as [[Orchid (band)|Orchid]]<ref>"Orchid always was, and always will be the quintessential screamo band of the late 90s, as they encompassed everything people like me love about the genre, and throw their own unique spin on it" - Anchors; Review of Orchid's ''Totality'', December 27, 2005. Access date: June 16, 2008. [http://www.punknews.org/review/4842]</ref>, [[Black Dice]]<ref>Nick Catucci, ''The New Rolling Stone Album Guide'', 2004. [http://www.rollingstone.com/artists/blackdice/biography] Access date: June 17, 2008.</ref>, [[Circle Takes the Square]], [[pg. 99]], [[Hot Cross]], and [[Saetia]] were influential in the continual development and reinvention of the style<ref name=RB>Ryan Buege, "Circle Takes the Square is in the Studio". ''Metal Injection'', June 15, 2008. [http://metalinjection.net/latest-news/circle-takes-the-square-is-in-the-studio] Access date: June 17, 2008</ref>. These groups tended to be much closer to [[grindcore]] than their forebears<ref name=RB>Ryan Buege, "Circle Takes the Square is in the Studio". ''Metal Injection'', June 15, 2008. [http://metalinjection.net/latest-news/circle-takes-the-square-is-in-the-studio] Access date: June 17, 2008</ref>. Powerviolence-inflected screamo is sometimes referred to as ''emo violence'', a name half-jokingly proposed by [[In/Humanity]]<ref>Jason Thompson, ''Violent Resignation'' review, ''PopMatters''. [http://www.popmatters.com/music/reviews/i/inhumanity-violent.shtml] Access date: June 17, 2008.</ref>.
The innovations of the San Diego scene eventually spread elsewhere, such as to the Seattle group [[the Blood Brothers (band)|Blood Brothers]]<ref>Matt Schild, "Bleeding Hearts." Aversion.com. March 3, 2003. [http://www.aversion.com/bands/interviews.cfm?f_id=189] Access date: June 15, 2008.</ref>. East Coast groups, such as [[Orchid (band)|Orchid]]<ref>"Orchid always was, and always will be the quintessential screamo band of the late 90s, as they encompassed everything people like me love about the genre, and throw their own unique spin on it" - Anchors; Review of Orchid's ''Totality'', December 27, 2005. Access date: June 16, 2008. [http://www.punknews.org/review/4842]</ref>, [[Black Dice]]<ref>Nick Catucci, ''The New Rolling Stone Album Guide'', 2004. [http://www.rollingstone.com/artists/blackdice/biography] Access date: June 17, 2008.</ref>, [[Circle Takes the Square]], [[pg. 99]], [[Hot Cross]], and [[Saetia]] were influential in the continual development and reinvention of the style<ref name=RB>Ryan Buege, "Circle Takes the Square is in the Studio". ''Metal Injection'', June 15, 2008. [http://metalinjection.net/latest-news/circle-takes-the-square-is-in-the-studio] Access date: June 17, 2008</ref>. These groups tended to be much closer to [[grindcore]] than their forebears<ref name=RB>Ryan Buege, "Circle Takes the Square is in the Studio". ''Metal Injection'', June 15, 2008. [http://metalinjection.net/latest-news/circle-takes-the-square-is-in-the-studio] Access date: June 17, 2008</ref>. Grindcore-inflected screamo is sometimes referred to as ''emo violence'', a name half-jokingly proposed by [[In/Humanity]]<ref>Jason Thompson, ''Violent Resignation'' review, ''PopMatters''. [http://www.popmatters.com/music/reviews/i/inhumanity-violent.shtml] Access date: June 17, 2008.</ref>.


====Conceptual elements====
====Conceptual elements====
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| pages =WEEKEND PLUS; NEWS; LIVE; Pg. 5
| pages =WEEKEND PLUS; NEWS; LIVE; Pg. 5
| publisher =Chicago Sun-Times
| publisher =Chicago Sun-Times
| date =September 19, 2003 }}</ref> as well as using screaming vocals "as a kind of crescendo element, a sonic weapon to be trotted out when the music and lyrics (every bit as evolved and autobiographically sincere as emo's were) reach a particular emotional pitch."<ref name=Dee>{{cite news
| date =September 19, 2003 }}</ref> as well as using screaming vocals "as a kind of crescendo element, a sonic weapon to be trotted out when the music and lyrics (every bit as evolved and autobiographically sincere as emo's were) reach a particular emotional pitch"<ref name=Dee>{{cite news
| last =Dee
| last =Dee
| first =Jonathan
| first =Jonathan
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| publisher =The New York Times
| publisher =The New York Times
| date =June 29, 2003}}</ref>.
| date =June 29, 2003}}</ref>.

This "second wave screamo" is actually called Post-Hardcore, not screamo, or in some cases when they don't even scream or growl, like my chemical romance, it's pop punk.
==References==
==References==
{{reflist}}
{{reflist}}

Revision as of 02:13, 19 June 2008

Screamo
Stylistic originsHardcore punk
Emo
Post-hardcore[1]
Post-punk[2]
Cultural originsEarly 1990s California
Typical instrumentsDrums, Bass, Guitar, Vocals

Screamo is a subgenre of rock music which evolved from hardcore punk and emo in the early 1990s.

History

First wave (c.1991-Present)

The term "screamo" was initially applied to a more aggressive offshoot of emo that began in 1991, in San Diego, at the Ché Café, with groups such as Heroin, Antioch Arrow[4], Angel Hair, Mohinder, and Swing Kids, who were influenced by D.C. hardcore (particularly the Nation of Ulysses and Fugazi[5]), straight edge, the Chicago group Articles of Faith[6], and post-punk, such as Joy Division[7] and Bauhaus[8]. Gravity Records released this more chaotic and expressive style of hardcore[6]. The scene was also notable for its distinctive fashion sense, inspired by mod culture[9]. Screamo bands became increasingly theatrical, and re-appropriated aspects of Gothic rock and synthpop in groups such as the VSS, Pleasure Forever[10], the Crimson Curse, the Locust[11], and the Rapture[12]. Much as emo was, the term "screamo" was always controversial in the scene[10]. The Plot to Blow Up the Eiffel Tower incorporated the style into punk jazz[13].

The innovations of the San Diego scene eventually spread elsewhere, such as to the Seattle group Blood Brothers[14]. East Coast groups, such as Orchid[15], Black Dice[16], Circle Takes the Square, pg. 99, Hot Cross, and Saetia were influential in the continual development and reinvention of the style[17]. These groups tended to be much closer to grindcore than their forebears[17]. Grindcore-inflected screamo is sometimes referred to as emo violence, a name half-jokingly proposed by In/Humanity[18].

Conceptual elements

Many first-wave screamo groups saw themselves as implicitly political, and as a reaction against the turn to the right embodied by California politicians, such as Roger Hedgecock[19]. Some groups were also unusually theoretical in inspiration: Angel Hair cited surrealist writers Antonin Artaud and Georges Bataille[10], and Orchid lyrically name-checked French new wave icon Anna Karina, philosopher Friedrich Nietzsche, and critical theory originators the Frankfurt School[20].

Characteristics

First-wave screamo uses typical rock instrumentation, but is notable for its brief compositions and chaotic execution. It has been described, by music journalist Jason Heller, as "graft[ing] spastic intensity to willfully experimental dissonance and dynamics"[10], indicating a kinship with noise rock. Later groups sometimes included synthesizers and other electronic sounds[10].

Second wave (c.2003-Present)

By 2003, the genre name drifted into the mainstream and began to be used to describe a different, much slower and less dissonant style that borrowed from alternative rock[21]. The Sacramento band Far[21] and the Canadian group Grade were among the first bands to practice this variety of screamo[22]. The second outcropping of groups to be given the name included Thursday, the Used[23], and My Chemical Romance[24]. Thursday also cited post-punk (Joy Division) and post-hardcore (Fugazi) as crucial, but also had an appreciation for the alternative rock of Radiohead and U2[25]. Melodic metalcore groups, such as Atreyu, Unearth, and Avenged Sevenfold, are sometimes also associated with this second brand of screamo[26].

Characteristics

Second-wave screamo typically makes use of dual guitars and eschews guitar solos, and is most identifiable by its "frequent shifts in tempo and dynamics and by tension-and-release catharses" [27]. Unlike the first wave of screamo, these bands often compose ballads[28]. Second-wave screamo has been described as "mixing the literate, poetic lyrics of hardcore punk with a harsher and more metallic brand of sonic thrash"[29] as well as using screaming vocals "as a kind of crescendo element, a sonic weapon to be trotted out when the music and lyrics (every bit as evolved and autobiographically sincere as emo's were) reach a particular emotional pitch"[27].

References

  1. ^ "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. p. 126.
  2. ^ Interview with Justin Pearson on Skatepunk.net, [1] Access date: June 13, 2008
  3. ^ Hill, Ian (April 2, 2008). "Screamo rules the 209". 209Vibe.
  4. ^ Local Cut, Q&A with Aaron Montaigne. [2] May 14, 2008. Access date: June 11, 2008.
  5. ^ Jason Heller, "Feast of Reason". Denver Westword, June 20, 2002. [3] Access date: June 15, 2008
  6. ^ a b "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. p. 126.
  7. ^ Swing Kids covered "Warsaw"; Justin Pearson discusses Joy Division's influence in an interview on Skatepunk.net, [4] Access date: June 13, 2008
  8. ^ Jason Heller, "Feast of Reason". Denver Westword, June 20, 2002. [5] Access date: June 15, 2008
  9. ^ Interview with Justin Pearson on Skatepunk.net, [6] Access date: June 13, 2008
  10. ^ a b c d e Jason Heller, "Feast of Reason". Denver Westword, June 20, 2002. [7] Access date: June 15, 2008
  11. ^ Matt Schild, "Going to Extremes", Aversion, May 19, 2003. [8] Access date: June 16, 2008
  12. ^ Sub Pop biography, [9] Access date: June 16, 2008.
  13. ^ Joel Caris, Concert Review, Blogcritics Magazine, February 21, 2005. [10] Access date: June 17, 2008
  14. ^ Matt Schild, "Bleeding Hearts." Aversion.com. March 3, 2003. [11] Access date: June 15, 2008.
  15. ^ "Orchid always was, and always will be the quintessential screamo band of the late 90s, as they encompassed everything people like me love about the genre, and throw their own unique spin on it" - Anchors; Review of Orchid's Totality, December 27, 2005. Access date: June 16, 2008. [12]
  16. ^ Nick Catucci, The New Rolling Stone Album Guide, 2004. [13] Access date: June 17, 2008.
  17. ^ a b Ryan Buege, "Circle Takes the Square is in the Studio". Metal Injection, June 15, 2008. [14] Access date: June 17, 2008
  18. ^ Jason Thompson, Violent Resignation review, PopMatters. [15] Access date: June 17, 2008.
  19. ^ Interview with Justin Pearson on Skatepunk.net, [16] Access date: June 13, 2008
  20. ^ Orchid, Dance Tonight, Revolution Tomorrow. Allmusic Guide. [17] Access date: June 17, 2008.
  21. ^ a b San Diego Weekly Reader, 11-22-2006. [18] Access date: June 16, 2008
  22. ^ "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. p. 142.
  23. ^ Dee, Jonathan (June 29, 2003). "The Summer of Screamo". The New York Times. pp. Section 6, Column 1, Magazine Desk, Pg. 26.
  24. ^ "Jersey screamo kings My Chemical Romance transcended the cliche ..." Andy Greenwald, "My Chemical Romance: Kings of Pain", Blender, December 2006. [19] Access date: June 15, 2008
  25. ^ Interview with Thursday on The PunkSite.com, [20] Access date: June 13, 2008.
  26. ^ "Dubbed 'screamo' or 'extreme' by those who invent categories for such things, the groups write scathing, turbulent songs rooted equally in hardcore, metal and emo." Jon Wiederhorn, "Screamo Hits the Big Time", MTV News, May 4, 2004. [21] Access date: June 15, 2008
  27. ^ a b Dee, Jonathan (June 29, 2003). "The Summer of Screamo". The New York Times. pp. Section 6, Column 1, Magazine Desk, Pg. 26.
  28. ^ "Plus, what screamo band doesn't have ballads?" -Troy Davis. San Diego Weekly Reader, 11-22-2006. [22] Access date: June 16, 2008
  29. ^ DeRogatis, Jim (September 19, 2003). "Keep Thursday in mind". Chicago Sun-Times. pp. WEEKEND PLUS, NEWS, LIVE, Pg. 5.
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