Yaphet Kotto - The Killer Was in the Government Blankets | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

1999
Ebullition Records
Santa Cruz, CA (NorCal)
Runtime: 33:01
Tracks: 9

Band Members:

Casey Watson (Guitar, Vocals)
Mag Delana (Guitar, Vocals)
Pat Crowley (Bass)
Scott Batiste (Drums)

At a Glance:

Screamo, Post-Hardcore, Emocore, Melodic, Energetic, Technical

Musical Analysis:

This record definitely gives off “Bay Area Screamo” vibes, though perhaps a hair older than some of the other NorCal classics. It takes the dynamic and emotional nature of Screamo, combines it with the melody, clean vocals, and riffs of late 90s Post-Hardcore, brings in a few elements of Emocore, and unveiled it to the world with this, their debut LP. There are tons of memorable riffs and strong melodies from the guitarists, seemingly the primary focus of this project, and the screamed / clean vocal combination amps the emotionality up severalfold. Some more traditional “Punky” moments come in where you can hear the blatant Emocore influence, contrasting the otherwise quite technical performance in most tracks.

Historical Analysis:

Although not the first album (or band) you’d consider when discussing the legacy of Bay Area Screamo, this seedling of a concept would continue to get fleshed out by legends like Funeral Diner and City of Caterpillar. This enigmatic Hardcore cocktail would serve as the basis for a melodic and experimental approach to the genre that this region would eventually be known for. Despite this quality and its forward-thinkingness, this record comes just shy of a proper HoF induction.

Lyrical Analysis:

Just by giving the cover of this record a brief glance, you can tell this is inherently political. These harrowing lyrics explore the relations between imperialism and religion, noting the historial revisionism that enables it, paradoxically working within a system that grinds you down and the myth of meritocracy. With violence so woven into the fabric of American life, we are all complicit in the sins of our history. Even when discussing interpersonal relationships, Yaphet Kotto can’t help but compare this to a war with no winners, each side assuring mutual destruction.

Reversal of Man - This Is Medicine | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

8/9/1999
Ebullition Records
Tampa. FL (Southeast)
Runtime: 18:41
Tracks: 16

Band Members:

Matt Coplon (Vocals)
Dan Radde (Guitar, Vocals)
Jason Crittenden (Guitar)
Jeff Howe (Bass, Vocals)
John Wiley (Drums)

At a Glance:

Emoviolence, Raw, Dark, Dissonant, Frenetic

Musical Analysis:

This record encapsulates suffering unlike anything before it, utilizing dynamic aggression, dissonant guitar and boisterous drumming. Most songs have only two gears: quieter, intense and dissonant sections that build the music up, and the most frantic and dissonant bursts of anger and chaos. Wrapping this gnarly package up are sinister screamed vocals, headed by Matt Coplon.

The entire listen breezes through in large part due to this album's impeccable sense of flow and kineticism; each track emanates with danger in equal measure to the energy put in, and, combined with the songs seamlessly bridging together, gives a small measure of accessibility to an otherwise unholy package.

Historical Analysis:

This release solidified Reversal of Man as one of the great Emoviolence artists of the 90s. Its influence on the local scene and beyond, and the extraordinarily high musical standards they set, are still revered to this day.

This EP also demonstrates a different aspect of the genre than fellow Tampanians Combatwoundedveteran, eschewing Grindcore in favor of dissonance and dynamism. While you can argue which is the better album, This Is Medicine seems to have slid more into obscurity, possibly a cult classic or hidden gem. By my own admittedly arbitrary standards, I have to leave this one out of the Hall and it makes me sad.

Lyrical Analysis:

Matt Coplon’s brevity and directness are at the core of his lyricism, aiming at political and social injustices with decided rage and worldly allusions and references. The primary antagonist of this album is the corrosive power of fascism and capitalism. We see how, in the calculus of power, human life is disposable, war is theft, justice is selective, morality justifies violence, and technology tightens like a noose around society’s neck. Personal issues like guilt over failing relationships and the grief of untimely death rear their ugly heads in this mess as well, while other systems and communities are thrown strays: the news is indoctrination, not information; the Punk scene has fallen to branding over rebellion; the absence of personal connection powers the deadly machine of consumerism. These are not the most original lyrical topics in this scene, but they’re executed succinctly and in line with the amazing instrumentals.

Orchid - Chaos Is Me | Screamo HAll of Fame Class of 1999 Inductee

Release Information:

6/21/1999
Ebullition Records
Amherst, MA (New England)
Runtime: 18:24
Tracks: 11

Band Members:

Jayson Green (Vocals)
Will Killingsworth (Guitar)
Brad Wallace (Bass)
Jeff Salane (Drums)

At a Glance:

Emoviolence, Chaotic, Disorienting, Dense, Complex, Noisy

Musical Summary:

Orchid unleashed one of the darkest and most explosive Emoviolence ever with this album, establishing absolute anarchy with dense, overwhelming guitar, complex rhythms, blistering tempos, intense emotive screaming and a wall of sound approach to production that you can easily get lost in. These studio choices mirror the chaotic nature of the songwriting, crank up the immediacy and add a foreboding atmosphere to songs that already feel dangerous to listen to.

Structurally, many of the songs on here are somewhat similar, but Will Killingsworth and Jeff Salene craft technical, memorable chord progressions and rapid-fire syncopation to differentiate the songs. These masterful arrangements are tied together by Jayson Green's brutal and harrowing vocal performance, imparting bitterness and anger with every syllable. Putting a bow on this package are brief respites of melodic guitar and calmer tempos which build tension and contrast the chaotic moments further.

Historical Summary:

Simply put, there may not be a more important Emoviolence or Screamo record than Chaos Is Me. Not only is this release revered in the Screamo community, it’s one or the biggest records in the genre, period. Although Emoviolence was developing without them, Orchid may very well be the biggest Emoviolence band ever, and this is the record that began their legendary run of releases.

The genre would never be the same again, eschewing the overt Grind influence and developing a signature sound of its own in the mold of this chaotic beast. The quest for “heaviness” in the Emoviolence was a burden that this album put to rest in favor of more dissonance, more emotion and more experimentation.

Lyrical Summary:

"Chaos Is Me" translates from the French phrase “le désordre, c’est moi,” a slogan coined during the period of civil unrest and general strikes across France known as May '68. During this time, leftists, students, and unions fought against capitalism and imperialism. Starting the album with a title track (of sorts) serves as a powerful opening salvo for Orchid’s manifesto of frustration. Jayson’s lyrics convey disdain for punk's descent into materialism and insincerity, an urgent call to rebel against gentrification and commercialism, and a lament for his failing relationships — including his relationship with himself. These confrontational words are aimed at the music scene, society and institutions of power. Simply put, they're PISSED at EVERYTHING.

Portraits of Past - 01010101 | Screamo Hall of Fame Class of 1996 Inductee

Release Information:

1996
Ebullition Records
San Francisco, CA (SoCal)
Runtime: 36:44
Tracks: 7

Band Members:

Robert Pettersen (Vocals)
Rex Shelverton (Guitar, Vocals)
Jonah Buffa (Guitar)
Jeremy Bringetto (Bass)
Matthew Bajda (Drums)

Genres, Influences and Characteristics:

Screamo, Post-Rock, Post-Hardcore, Melodic, Dynamic, Atmospheric, Melancholic, Frantic

Musical Analysis:

From the opening salvo, a dark, barring bassline that transitions into an all-out assault of dissonance, chaos and an emotionally intense vocal delivery, you can tell Portraits of Past meant business. As the lightning-fast intro song fizzles out as quickly as it came, the chunky, melodic guitar of Bang Yer Head begins and opens up the universe to the listener. Lengthy, dynamic tracks filled with melody, atmosphere and passion comprise the bulk of this album while Emoviolence-esque outbursts give the music vigor and boisterousness. Expect monumental peaks and crescendos against dark, frenetic valleys as you listen through this behemoth. Although definitely influenced by Post-Hardcore, this album was a huge sonic step forward toward carving Screamo’s unique identity.

Historical Analysis:

Although the term “Screamo” wasn't even in use yet, these Bay Area legends managed to craft the first truly great, epic Screamo album on 01010101. The band wore their influences on their sleeves with punishing, angular Post-Hardcore riffs, masterful use of Emo quiet-loud dynamics and elongated, atmospheric passages of serene Post-Rock instrumental goodness - the sum of which was truly as groundbreaking and absolutely captivating for 1996 as it Is today.

Although Portraits of Past wasn't launched directly into underground superstardom from this record, countless bands would emulate and iterate upon the formula. Long, dynamic, brutal songs with tons of Post-Rock worship would be Screamo's defining sound in the early 2000s, arguably the genre's creative apex. For this album's timelessness, legacy and impact upon the genre, 01010101 rightfully deserves to be the very first Screamo Hall of Fame inductee!

Lyrical Analysis:

Portraits of Past’s lyrics demonstrate Screamo’s penchant for emotional truth over narrative clarity. The mantra-like repetition of certain phrases emphasizes the gravity of their feelings and message, even if the message is more ambiguous and less focused. Like many of the greats that shaped this genre, Portraits of Past marries personal and internal pain with the outside social and political forces to speak on frustrations with individual and collective failures, self-loathing in a system designed for just that, the futility against violence and even losing your own ideals. The personal struggle is created by society’s evils and vice-versa. The pain isn’t an issue to be solved but a powerful, cathartic emotion to experience and share.

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.