Breakwater - Demo | The Shape of Screamo to Come

Release Information:

1995
Independent
Victoria, BC, Canada
Runtime: 25:12
Tracks: 5

Band Members:

Jode Shortreed
Steve Simard
Dave Truscott
Dave Wenger

Genres, Influences and Characteristics:

Screamo, Post-Hardcore, Post-Rock, Midwest Emo, Lofi, Dynamic, Atmospheric, Cold

Musical Analysis:

Despite its less-than-ideal recording conditions, Breakwater’s Demo showcases a potent Punk cocktail of Screamo, Post-Hardcore, Post-Rock and Midwest Emo, many of these genres in their infancy. Extended instrumental passages of twinkly arpeggios comprise the bulk of the softer, quieter sections, acting as a depressive glue for the fiercer, louder moments. The interplay between these intensities is as suffocating and disorienting as it is beautiful, and with each song averaging just over five minutes, there’s lots of room for each track to breathe and reach its destination naturally.

Historical Analysis:

Straddling the line between burgeoning genres like Screamo and Midwest Emo, their eclectic mix is fairly common now, but in 1995, this was revolutionary. If anything, this release showcases the shared history of all Emo subgenres and their connection to Post-Hardcore and Hardcore Punk. In that sense, this obscure Canadian collection of songs is a revolutionary album, despite being lesser-known than their Five / Seven single (which are both on this demo). Introducing lengthy Post-Rock elements was also quite novel, though it would become genre-defining in just a few short years.

Lyrical Analysis:

Breakwater's straightforward and frank lyrics may not seem all that special at first glance, but spouting such introspective rhetoric wasn't hugely common, at least without some social or political underpinnings. That isn’t to say the songs are apolitical, rather they focus on the personal side of generational hardships, helplessness, corrosive love and even the sting of truth. Their directness and sincerity make the lyrics digestible for almost anyone who listens.

One Eyed God Prophecy - One Eyed God Prophecy | The Shape of Screamo to Come

Release Information:

1995
The Great American Steak Religion Records
Sherbrooke, QC, Canada
Runtime: 33:00
Tracks: 7

Band Members:

Dom Poulin (Vocals)
Seb Philbert (Guitar)
Ugo Desgreniers (Guitar)
Alex Bibeau (Bass)
J-P Dionne (Drums)

Genres, Influences and Characteristics:

Screamo, Sludge Metal, Noise Rock, Dark, Atmospheric, Dense, Crusty

Musical Analysis:

This album sounds EVIL. There’s a sinister air to the songs on this record, exhibited perfectly by the intimidating intro song. However, judging this album based on the heavy, dark first track would belie the dynamism and atmosphere that the album takes time to establish. The fuzzy guitar tones make them sound insurmountable during moments of musical mayhem, though the clean twinkly sections that plague this release are as serene as they come. The drums are consistent and are played exactly as they’re needed in the moment, whether that’s burning the house down with Emoviolence-esque chaos or building atmosphere with spaced-out cymbals. The harrowing vocal performance is definitely high-register, though it is fairly low in the mix.

Historical Analysis:

Despite only being a cult favorite in Screamo, the influence this release has had cannot be understated. Few Screamo albums before this emphasized cultivating an atmospheric sound rather than aiming strictly for brutality and heaviness. Additionally, OEGP sneaked high-class musicianship into the equation, adding to the chaos and technicality that would soon become commonplace. Although Sludge and Crust influences in Screamo were never omnipotent, enough artists from the 90s til now owe their livelihood to what this album accomplished.

Lyrical Analysis:

Despite the obscurity of the screamed lyrics, the emotional veracity and intensity is never lost by the vocal performance or the words themselves. One Eyed God Prophecy blends social critique, existential dread and emotional vulnerability into an explosive cocktail of poetry and prose. The singer desperately searches for authenticity in a world of greed and falsehoods, though he invokes personal responsibility to solve the problem. He criticizes Capitalism for destroying the ecosystem, but also for destroying local communities and alienating us. He even speaks about the desperate dance of hope and despair, romantic longing and generational tension, just to name a few of the many thematic subjects brought forth. This varied commentary on the human condition and the sociopolitical climate behind it would become a staple of Screamo in the 90s into the early 00s.

Antioch Arrow - In Love With Jetts

Release Information:

1994
Gravity Records
San Diego, CA (SoCal)
Runtime: 13:46
Tracks: 9

Band Members:

Aaron Montaigne (Vocals)
Jeff Winterberg (Guitar)
Andy Ward (Guitar)
Mac Mann (Bass)
Ron Avila (Drums)

Genres, Influences and Characteristics:

Post-Hardcore, Proto-Sass, Screamo, Noise Rock, Eclectic, Dynamic, Chaotic, Playful

Musical Analysis:

Anxiety-inducing music from trailblazers Antioch Arrrow in the form of noisy, chaotic, quirky Hardcore, In Love With Jetts is THE seminal Sasscore album. This quintessential release is playful, effeminate and downright weird at times, aimless and formless at others. The pandemonium pendulums between tense quietus and manic outbursts, exploding with personality all the while. This is one of the most absurd releases of this time.

Historical Analysis:

Avant-Garde is an overused term these days, but by 1994 standards, this was quite the leap forward for Punk and its many subgenres. It not only added more dimensions to Post-Hardcore mythos, they further established the more chaotic and dynamic aspects of Screamo. Calling this a Screamo release feels a bit disingenuous considering most lyrics aren't screamed, but these mischievous clean vocals, along with the general recklessness of the songwriting and performing, basically introduced the world to the wonderful world of Sasscore, Screamo's sexy redheaded stepsister.

Lyrical Analysis:

Antioch Arrow's lyrical themes and meanings are almost unimportant compared to the flamboyant diction, nonsensical imagery and lighthearted tone. The stream-of-consciousness writing style is rife for interpretation, but general themes of uncertain love, lost spirituality and desire for genuine connection creep into light. These lyrics contrast the confessional, confrontational lyrics of early Screamo thus far, veering into territory often covered by Sass.

Malva - Malva | The Shape of Screamo to Come

Release Information:

1994
Independent
Leverkusen, Nordrhein-Westfalen, Germany
Runtime: 13:30
Tracks: 5

Band Members:

Martino Palazzo (vocals)
Christian Schneider (guitar)
Florian Reiss (guitar)
Alexander Jahn (bass)
Alexander Bokelmann (drums)

Genres, Influences and Characteristics:

Screamo, Emocore, Passionate, Raw, Melodic, Lofi

Musical Analysis:

The first thing you'll likely notice is the melody and quiet intensity of the band; the second thing is invariably the passionate and coarse vocal delivery from Martino, who at times is on the verge of emotional collapse while putting the maximum strain his vocal cords will allow. Other times, the vocal performance is clean and resigned, as if completely defeated. The muddy production values actually work in favor of the arrangements, allowing the treble to be prominent and emphasize the high end that the band is comfortable playing in.

Historical Analysis:

Outside of a burgeoning French Screamo scene, Germany was the next beneficiary of this movement and one of the earliest examples of Screamo from the region is Malva’s self-titled demo. Eschewing the Hardcore Punk influence of older Screamo, such as Ivich, I wouldn’t describe the sound as “lighter,” but rather its focus is different. Malva utilizes disharmony, distorted melodic lead lines and a higher-register screaming style compared to traditional Hardcore, but it’s as impactful. In particular, the vocal performance is among the most raw in the genre’s infancy.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I cannot locate lyrics for any of these songs. If more lyrics can be dug out, I will reevaluate the lyrical analysis.*

Reach Out - Reach Out | The Shape of Screamo to Come

Release Information:

1994
The Great American Steak Religion Records
NorCal
Runtime: 12:04
Tracks: 4

Band Members:

Philip Scott (Vocals)
Mike Martinez (Guitar)
Mikel Garmendia (Guitar)
Stacey Iguchj (Bass)
Bob Beck (Drums)

Genres, Influences and Characteristics:

Screamo, Emocore, Noise Rock, Gloomy, Melodic, Atmospheric, Lofi

Musical Analysis:

Unlike the majority of the Screamo and Proto-Screamo in existence to this point, Reach Out’s s/t is the least beholden to the traditions and tropes of Hardcore Punk. Instead, the NorCal quintet utilizes time-tested Emocore values and cranks up the tunefulness with grandiose, sweeping melodies before adding atmospheric elements of raw, aggressive and dense Screamo. Topping off this aromatic concoction is basement-level recording and production,adding to the bulk of this forward-thinking release, and harrowing, gnarly screamed vocals.

Historical Analysis:

Little information is available on these Screamo trailblazers, save that they had another Demo with significantly more songs that seem lost to time. Although this EP remains a curious obscurity in the grand scheme of Screamo Canon, this band took innovative leaps forward that would become genre standard in the years to come, such as a brutal focus on melody and atmosphere. This release also further legitimizes California as the King of early Screamo.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I cannot locate lyrics for any of these songs. If more lyrics can be dug out, I will reevaluate the lyrical analysis.*

Swing Kids - Swing Kids | The Shape of Screamo to Come

Release Information:

1994
Three One G Records
San Diego, CA (SoCal)
Runtime: 10:23
Tracks: 5

Band Members:

Justin Pearson (Vocals)
Eric Allen (Guitar)
John Brady (Bass)
Jose Palafox (Drums)

Genres, Influences and Characteristics:

Post-Hardcore, Screamo, Proto-Sass, Hardcore Punk, Eclectic, Frantic, Chaotic, Jazzy

Musical Analysis:

Early on, Swing Kids live up to their name with a jazzy little number before launching into chaotic and unpredictable Hardcore territory. Such is the nature of this whirlwind release, at times sounding like Emoviolence with frenzied drums, breakneck chord progressions and unrestrained screams before delving into more traditional Hardcore territory. Other times still you can piece out sassy vocals over quirky music, all wrapped in a bow of bedlam.

Historical Analysis:

With a fleeting but scintillating run as a band, Swing Kids left an indelible mark on Punk's DNA. With their sole solo release, Swing Kids further etched Screamo fundamentals in lto stone, became progenitors to the Emoviolence movement with their frenetic musicianship and sewed the seeds for Screamo's redheaded step sister genre Sasscore. This s/t marvel advances San Diego's reputation as a bastion for forward-thinking Hardcore music.

Lyrical Analysis:

With a cover of Joy Division's Warsaw prominently positioned on this tracklist, the political undertones are inescapably sprawled across the intense lyrics on this album. However, much like Screamo contemporaries of the time, the turmoil is turned inward and the laments are of a more personal nature. Yes, humans are a disease, but there is an inescapable dread that comes with being part of humanity. Its high price includes pervasive numbness, yearning for authenticity in life and wanting to be put out of your misery.

Ivich - La mort heureuse | The Shape of Screamo to Come

Release Information:

1994
Pikaϊa Records
Saint Maurice, Île-de-France, France
Runtime: 28:00
Tracks: 9

Band Members:

Eric (Vocals)
Yann Maisonneuve (Guitar)
Cedric (Bass)
Yves Maisonneuve (Drums)
Thierry (Trumpet)

Genres, Influences and Characteristics:

Screamo, Hardcore Punk, Lofi, Chaotic, Melodic, Offbeat

Musical Analysis:

As evidenced by the truly ludicrous drumming, Hardcore is the guide with which Ivich brought forth Screamo; blistering beats and thunderous fills characterize the vast majority of the drumming on here, though the guitars often drop the typical Punkish chord progressions in favor of more melody, dissonance and/or ambiance. The discord manifested by these insane elements is further intensified with offbeat trumpeting and rapid-fire vocal delivery, dropping the listener into a warzone of racket.

Historical Analysis:

Ivich debuted in 1992 with Sculpteur de cris, a weird and expressive Hardcore album with primitive Screamo inklings all masked by truly horrid production. Their 1993 EP featured the French Screamo pioneers pushing European Hardcore to its brink. Their sophomore full-length goes further as a hidden gem spearheading France's burgeoning Screamo scene. Pretty much every French Screamo band ever owes Ivich a huge debt of gratitude for basically inventing the genre out in Europe.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I cannot locate lyrics for any of these songs. If more lyrics can be dug out, I will reevaluate the lyrical analysis. Please note any lyrical analysis on my end will lack cultural nuance and accuracy in the translation.*

Mohinder - O Nation, You Bleed From Many Wounds, 1896 | The Shape of Screamo to Come

Release Information:

11/1993
Unleaded Records
Cupertino, CA (NorCal)
Runtime: 8:51
Tracks: 5

Band Members:

Canaan Amber
Clay Parton
Albert Menduno
James Uhring

Genres, Influences and Characteristics:

Post-Hardcore, Screamo, Noise Rock, Emocore, Unnerving, Frantic, Lofi

Musical Analysis:

A haunting, driving bassline is the harbinger of things to come on Mohinder’s debut EP, showcasing both the menacing, dissonant nature of the harmonies and the galvanic pace. The restless drumming, active guitar riffs, noisy dissonance and strained screaming vocals create a sinister atmosphere. The band often oscillates between intimidating slow-tempo Screamo and breakneck Hardcore passages, done in a manner that emphasizes each instrument in one way or the other. Despite the short runtime, the songs are varied enough to stand out for one reason or another. In particular, Mohinder infect several songs with short, lofi sections of utter noise and chaos, contrasting with the better-produced higher-intensity moments.

Historical Analysis:

Let’s get the obvious out of the way - much of this band would go on to form influential Indie Rockers Duster, but that’s not what this project is about. Mohinder pushed beyond the constraints of Hardcore Punk while also elevating the intensity of the moodier Emocore influences, giving us both a Post-Hardcore masterclass and a seminal Screamo starting point. They would expand upon their explosivity in future releases, but their debut showcases the differences between Hardcore Punk, Emocore and early Screamo while showcasing how clearly and closely they’re related.

Lyrical Analysis:

The singer’s confrontational nature is sprawled across all of the verses, succinctly exhorting of humanity’s neverending pursuit of materialism, warning the greedy, questioning the purpose of our constant suffering and the dredge of helplessness, isolation and anger he harbors, perhaps at society or inward at himself. The aggression is always directed at something in these lyrics, and with both personal and social ills addressed, this would be a common thematic roadmap for Screamo bands.

Indian Summer - Indian Summer | The Shape of Screamo to Come

Release Information:

1993
Repercussion Records
Oakland, CA (NorCal)
Runtime: 14:40
Tracks: 3

Band Members:

Marc Binachi (Guitar, Vocals)
Adam Nanaa (Guitar, Vocals)
Seth Nanaa (Bass, Vocals)
Eyad Kaileh (Drums)

Genres, Influences and Characteristics:

Emocore, Post-Hardcore, Proto-Screamo, Post-Rock, Bleak, Dynamic, Cathartic, Samplecore

Musical Analysis:

An old-timey melancholy Blues number by Bessie Smith starts our album off before a delicate arpeggio and shaky clean vocals enter, playing call-and-response with the prolific sampled artist. This moves into a seesaw of dark and foreboding tension and manic outbursts. The sample acts as a connective thread for the rest of the 7”, adding to the jarring dynamics and unsteady atmosphere. This interplay is executed perfectly on the final track, a 7+ minute sojourn that crescendos into a cacophonous outpouring of sentimentality.

Historical Analysis:

Forget Screamo, this record is one of the most influential releases in all of Emo history, leaving a legendary footprint that many have tread over but few have matched. Eight years and nearly three thousand miles separate Emocore's origins from Indian Summer's s/t, and the musical growth from rigid Revolution Summer worship was not only a turning point for Emocore, which had never been quite this dynamic or original, but for Emo, which was in its infancy, and Screamo, showcasing a blend of violence and melody. The band pushed Emocore to its absolute extremes and has far surpassed the legacy envisioned by 90s fans.

Lyrical Analysis:

By grounding this album with Bessie Smith’s sample throughout, it anchors the timeless feelings of unrequited love, loss and longing that plague the lyrics on this release. A common trope for all Emo, the poetic self-reflection about a failing relationship, uncertainty, questioning the morals of loved ones, and ultimately, the search for meaning in life give the music entirely new dimensions. While not groundbreaking topics in any sense, they engender powerful human emotions. In particular, the cathartic reckoning of the last track would become a hallmark of the greatest Emo and Screamo releases.

Honeywell - Industry | The Shape of Screamo to Come

Release Information:

1993
Mollycoddle Records
Corona, CA (SoCal)
Runtime: 33:02
Tracks: 9

Band Members:

Bobby Sell (Vocals, Bass)
Ryan Hilderbrand (Guitar)
Jimmy Lewis (Guitar)
Ryan Elliot (Drums)

Genres, Influences and Characteristics:

Screamo, Noise Rock, Proto-Emoviolence, Hardcore, Chaotic, Frantic, Menacing, Dynamic

Musical Analysis:

Holy Hell is this a tremendous leap forward for the genre! Discord is the objective for this album and through a mix of frenzied Powerviolen e-esque tracks radiating with malice, ominous mid-tempo songs that journey through darkness and agony, and noisy, formless sections that impart tension unto the listener. Buttoning up this intimidating combination of elements is a sensational screamer who uses higher register vocals and various samples that fill in the gaps. These dynamics blend seamlessly, creating a robust package with harsh but surprisingly clear production values.

Historical Analysis:

Is this the first Screamo album? Arguably, yes! Previous iterations of this genre in practice tended to haphazardly combine the brutality of Hardcore with the melody and dynamics of Emocore to mixed results. This full-length is one of the very first to synthesize the two together so smoothly, actually sounding like a proper Screamo album. Furthermore, Honeywell took it up a notch by adding in elements of Powerviolence, earlier than pretty much anyone else. Couple all of that with the foreboding atmosphere of the Noise sections and you have

Lyrical Analysis:

Honeywell’s direct and confrontational lyrics, screamed with intensity and emotion, are relatively standard in terms of subject matter in the Hardcore scene at this time. Bobby Sell’s lyrics deal with social issues like homophobia, religious indoctrination, capitalism and oppression. The anger of his delivery invokes immediacy on all of these outward problems, but self-reflection is an important part of this album’s lyrical journey as well. Holding yourself accountable for shitty thoughts, being stuck in perpetual depressive cycles and living under collective misery are a few of the introspective concepts dissected through this prose.

Sleeping Body - Awaken | The Shape of Screamo to Come

Release Information:

1992
Vermin Scum Records
Fort Worth, TX
Runtime: 11:33
Tracks: 4

Band Members:

Chad Percy (Vocals)
Carl Hollowell (Drums, Vocals)
Justin Wood (Guitar, Vocals)
Jeff Leeper (Guitar)
Jeff Hunt (Bass)

Genres, Influences and Characteristics:

Proto-Screamo, Noise Rock, Emocore, Lofi, Dissonant, Ominous

Musical Analysis:

The band’s name is exemplified in a quiet bass-led intro and the album’s title is embodied by the abrasive and gritty music that pops up after about 15 seconds. The noise rock influence, coupled with low-level production, gives the instruments, particularly the interplay between the guitars and drums, a clamorous quality that only experienced ears can fully suss out. What can be heard resembles a further melding of the dynamic interplay of Emocore with the heaviness of Hardcore music. In fact, even the screamed vocals are at a higher register than your typical Hardcore of this time, indicative of the future vocal stylings of this genre.

Historical Analysis:

Sleeping Body was among the first bands outside of the coasts to take influence from the emerging Post-Hardcore scenes on the East Coast and early Gravity Records bands like Heroin. To exist in Texas as a Leftist in the Hardcore scene is to exist in protest, and Sleeping Body’s brief but prolific career included playing a protest show across the street from the RNC. Though their existence didn’t singlehandedly change the trajectory of Screamo, nor did it transform the once-bustling Hardcore scene into a Screamo stronghold, this seminal early release has been a cathartic record for underground fans for decades now. In more recent times, younger Millennials and Gen Zers have unearthed some incredible obscure Emo, including this record.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Hardcore history, I can’t actually locate any lyrics for the songs proper. As such, my lyrical analysis will be me pontificating on the band’s philosphy. If lyrics can be dug out, I will reevaluate the lyrical analysis*

Sleeping Body believes this world is a body and that we are all vital components to keep that body going. However, this body is “asleep” due to man-made horrors like war, pollution and discrimination. With their debut EP, the band is telling that Sleeping Body to Awaken, staying woke about 25 years earlier than all of us. The only way to accomplish this is cooperation, working together as a human species to better life for us all.

Iconoclast - Iconoclast | The Shape of Screamo to Come

Release Information:

1992
Ebullition Records
Freehold, NJ
Runtime: 9:10
Tracks: 4

Band Members:

Dan Roberts
Ian Williams
Kevin Kajetzke
Pat Kelsey
Kevin Sabarese

Genres, Influences and Characteristics:

Metalcore, Hardcore Punk, Proto-Screamo, Emocore, Dissonant, Raw

Musical Analysis:

On their debut release, Iconoclast pushed their brand of metallic octave chords, Hardcore progressions and gnarly screamed vocals forward with multiple intensity levels. This, in essence, gives off major Screamo vibes, particularly when transitioning between quick-tempo Hardcore to slower disharmonic Proto-Screamo. The drums are active and jangly, not content to play sterile beats at ridiculous tempos. Although by today’s standards, the guitar playing isn’t anything special, the layered guitarwork in the quieter sections contrasts nicely with the chugging chords.

Historical Analysis:

Building off of bands like Merel who haphazardly fused Hardcore with Emocore, Iconoclast’s debut is a more seamless blend of melody and aggression, with a couple of chugs thrown in for good effect. Iconoclast rides the line between NY and DC hardcore well, blending them into one of Screamo's near predecessors. Although other parts of the country like SD get credit for launching Screamo, NJ proves to be an invaluable scene in the early formation of genre tropes that would become standard just years later.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I can't locate lyrics for one song. As such, my lyrical analysis will focus on the first three tracks. If more lyrics can be dug out, I will reevaluate the lyrical analysis*

Typical for Hardcore Punk, social ills are the primary focus of this band's philosophies; the strained screams convey anger and disappointment at the hollow rebellion and hypocritical attitudes of his fellow “revolutionaries” and claims the only way to end our sickness as a society is to take ourselves out. However, there are also instances of introspection, a key development from Hardcore's movement toward Screamo.

Heroin - Heroin | The Shape of Screamo to Come

Release Information:

1992
Gravity Records
San Diego, CA (SoCal)
Runtime - 6:50
Tracks: 4

Band Members:

Matt Anderson - Vocals
Scott Bartoloni - Guitar
Ron Johnson - Bass
Aaron Montaigne - Drums

Genres, Influences and Characteristics:

Post-Hardcore, Proto-Screamo, Emocore, Hardcore, Noisy, Raw, Intense, Dissonant

Musical Analysis:

At times, this release showcases its prominent Punk roots with blistering and simple chord progressions, rapid-fire shouted lyrics and short song lengths. However, utilizing Emocore influences gives this EP a different tone and allows for stronger uses of melody in the guitar. Toward the end of the EP in particular, there seems to be a movement away from the simplicity of traditional Hardcore into more chaotic and emotive stuff; Blind emits some Powerviolence influence while With No Name is deliberately paced and features dynamic intensities, a staple of Screamo.

Historical Analysis:

Heroin’s self-titled 1992 7” is one of the premiere releases from Gravity Records, one of the most influential record labels with respect to Hardcore, Post-Hardcore and Screamo. San Diego was a groundswell of innovation in the scene and Heroin’s harrowing combination of Post-Hardcore, Emocore and Hardcore would influence countless bands in the area. I’d be remiss if I referred to this as proper Screamo, but their sound was trending into what early Screamo would become.

Lyrical Analysis:

*Note that because this is an old DIY release during the early 90s, I can only locate lyrics for the first two songs. As such, my lyrical analysis will focus on those. If more lyrics can be dug out, I will reevaluate the lyrical analysis*

Heroin’s direct yet poignant lyrics center around social complacency and finding your place in the world. The search for authenticity continues, especially in an increasingly self-centered world. Interestingly, Heroin’s lyrics suggest self-reflection on their own privilege in this world as “middle-class white kids,” though this does nothing to stop the existential dread.

Merel - Merel | The Shape of Screamo to Come

Release Information:

1991
Gern Blandsten Records
New Jersey
Runtime - 11:36
Tracks: 5

Band Members:

Jose Ruiz (Vocals)
Mike Solski (Guitar)
Jon Ariz (Guitar)
David Leto (Bass)
Greg Leto (Drums)

Genres, Influences and Characteristics:

Hardcore Punk, Emocore, Proto-Screamo, Lofi, Traditional, Raw, Dynamic, Political

Musical Analysis:

Merel's self-titled debut demo is a rough recording, totaling approximately 11 ½ minutes, featuring what we would call “standard” Hardcore these days with blistering tempos, heavy tones and shouted vocals slapdashed with more deliberate mid-tempo Emocore. These dynamics are somewhat disparate, but at times these genres combine to form one of the earliest-recorded examples of Proto-Screamo.

Historical Analysis:

New Jersey has been credited as being a “Hardcore Highway,” bridging the gap between New York's brutal approach to the genre and D.C.’s slower-tempo and methodical style; though exhibited plentily throughout the 80s, the most pertinent early example to this evaluation of Screamo comes by way of Merel's 1991 debut demo EP. Most would not credit this band (nor this release) as the Godfather of the genre, but few can trace the Shape of Screamo to earlier roots, thanks in large part to this band's geographical location adjacent to larger well-defined scenes.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Punk history, I can only locate lyrics for one song. As such, my lyrical analysis will focus on this song. If more lyrics can be dug out, I will reevaluate the lyrical analysis*

It should come as no surprise that Merel's lyrics would be political in nature given their proximity to Punk. On Roadkill, Merel is disillusioned with the powers of the world, wondering how they can commit such atrocities while being able to live with themselves. Jose Ruiz's direct lyrical messaging invokes anger and malice towards them, thematically consistent with much of Hardcore during this time.