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.

Constatine Sankathi - Discography | Holy Grails 1998

The Artifact:

1998
Council Records
Runtime: 59:51
Tracks: 20

Artifact DNA:

Screamo, Emocore, Melodic, Dynamic, Quirky

Artifact Archeologists:

Christopher Sprague
Ian Pirtola
Joe Mattson
Rich Miles

Artifact Contents:

Both tracks from a split with Bev.Clone
Two tracks from various comps
All tracks from their Demo (unknown release date)
All tracks from their 1994 EP Who Killed the Killed Kid?
All tracks from their 1995 EP Baby Unicorn Tripped Over a Rock and Hurt Its Throat and Then Vomited
An original track

Artifact Echoes:

Constatine Sankathi’s discography is surprisingly fully realized and even across its near-hour length. Taking the last decade of Emocore as a blueprint while adding aggression and one of the weirdest trumpets you've ever heard, Constatine Sankathi's output is emotionally potent and dynamic, chaotic at times and serene at others. Half the time, that serenity is broken up by a bonkers and frankly reckless trumpet that may turn some listeners off but adds to the discordant atmosphere.

Artifact Legacy:

The band represents Kalamazoo (and all of Michigan, by extension) with profound and forward-thinking early Screamo. They took what Emo scene compatriots Ordination of Aaron were doing and injected it with heaviness and aggression. By mid-90s Screamo standards, they were recording some truly crazy and forward-thinking stuff, but their legacy seems trapped in ice in the Great Lakes.

Artifact Value:

Approximately 1,500 copies of this CD were made available over a couple for different runs. Overall, while not as highly sought after as other Grails, this can still run you at least $20, if not closer to $30+. Not bad for some local Michigan boys!

Stack / Jasemine / Disclose | Holy Grails 1998

The Artifact:

1998
Independent
Runtime: 46:38
Tracks: 22

Artifact DNA:

Powerviolence, Screamo, D-Beat, Hardcore Punk, Emocore, Frantic, Melodic, Heavy

Artifact Archeologists:

Stack

Bernd Bohrmann (Vocals)
Chris King (Guitar)
Marcel Hammenman (Guitar)
Corey Von Villiez (Bass)
Ralf Lombardo (Drums)

Jasemine

Christophe Mora (Guitar, Vocals)
Thomas Guillanton (Bass)
Jérome Bessout (Drums, Vocals)

Disclose

Tsukasa (Vocals)
Kowakami (Guitar)
Yousei (Bass)
Naoto (Drums)

Artifact Contents:

All tracks from Stack’s 1994 Demo
All tracks from Jasemine’s 1994 Demo
All tracks from Disclose’s 1992 Crime Demo
All tracks from Disclose’s 1993 Conquest Demo

Artifact Echoes:

Uniquely a three-band split Comp, the first artist features strong, straightforward Hardcore, featuring some interesting buildups. Although far from the genre itself, they seem to borrow a bit from early German Screamo artists, a scene that the band would dip their feet into a few times.

The next artist represented is Jasemine, whose 1994 Screamo demo is quite revolutionary. This is one of the earliest true Screamo releases in France, borrowing the melodic Emocore aesthetic and combining it with some harsh Hardcore Punk in a way that resembles what Screamo would become far better than some of the earlier bands that attempted such a combination. Notably, the screaming is raw, emotional and intense, imparting profound feelings unto the listener. This forward-thinking piece of Screamo could easily pass for something in the late 90s with poor production.

Disclose’s early work is seminal D-Beat music with pounding drums, hyper, Hardcore chord progressions and deep, shouted vocals. If you know anything about D-Beat, and specifically Japanese D-Beat, this should do it for you. If you are unaware, think of Crust Punk (Metal-influenced Punk) but simpler.

Artifact Legacy:

Is this thing even a real release? There isn’t a lot of info on how this came together, with most sources saying this was never an official release from any of the bands. Regardless, this cassette represents early 90s international Hardcore in its various forms. Germany, France and Japan, three longstanding Hardcore sanctuaries, are on display in this excellent collaborative compilation.

Artifact Value:

As this is likely bootleg, I literally can’t find this on sale. I’d imagine if you can find a copy, it’d be a pretty nice rarity to have. This is quintessential international Hardcore from the early 90s.

Heroin - Heroin | Holy Grails 1997

The Artifact:

1/14/1997
Gravity Records
Runtime: 47:04
Tracks: 19

Artifact Characteristics:

Post-Hardcore, Proto-Screamo, Noise Rock, Hardcore Punk, Emocore, Raw, Intense

Artifact Archeologists

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

Artifact Contents:

Every track from All About Heroin
Every track from their 1992 s/t
Every track from their 1993 s/t
Three original tracks

Artifact Echoes:

Legends of early 90s Proto-Screamo and one of the original bands to explore this sonic space, Heroin took the power and fury of Hardcore, illuminated it with the melody and dynamism of Emocore and added in their own Post-Hardcore fixings to craft a noisy and raw discography. The singer’s shouted screams inject the music with even more immediacy and emotion, the guitarist didorients with breakneck chord progressions and heaps of noisy dissonance; the bass packs with it a sense of danger and the drumming is frantic and chaotic, effectively putting the formula in a blender. These pieces came together to from the early blueprints of the genre.

Artifact Legacy:

Listening through this compilation album showcases the band's evolution over the two years they were active, tracking their increased use of melody, dissonance and intensity. In addition to pioneering this genre and shaking up the early 90s Hardcore scene, Heroin's direct influences reached so many early Screamo bands, especially to the influential and genre-defining Gravity Records rostermates. Their drummer would form Antioch Arrow shortly after this band broke up, adding even more chaos and unease to the developing genre. However, that experimental edge was first put to use in Heroin.

Artifact Value:

Gravity Records released this comp in 1997 with several versions, allegedly including a rainbow pressing. All four versions I could find seem to be relatively inexpensive, with the price likely lowering a few years ago after Heroin released a new compilation album.

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.*

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.

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.