Song of Zarathustra - Discography Vol. 1 | Holy Grails 1999

The Artifact:

Release: 1999
Blood of the Young Records
Runtime: 19:26
Tracks: 10

Artifact DNA:

Screamo. Emoviolence, Post-Hardcore, Manic, Sassy, Dissonant

Artifact Archeologists:

Trevor McInnis (Vocals, Guitar)
Travis Bos (Vocals, Keyboard)
James Munsen (Vocals, Bass)
David Seaman (Drums)

Artifact Contents:

Both tracks from a split with Johnny Angel
Their track from a split with Spread the Disease
All tracks from their 1998 s/t EP
Two versions of an original track

Artifact Echoes:

Song of Zarathustra employs dissonance, syncopation, synths, noisiness, blistering tempos, and several vocalists to achieve their signature sound. Their earlier tracks are filled with personality and synthy sections, whereas their later work is a bit more straightforward but utilizes Screamo tropes very well, such as greater dynamics and more discordance.

Artifact Legacy:

Song of Zarathustra is a relatively unknown band in the grand scheme of Screamo, but this compilation excellently highlights a snapshot of Screamo from the Midwest. Sharing a scene with such bands as The Book of Dead Names and The Khayembii Communiqué, with whom they have some cross-pollination in their rosters, they showcase the power, ferocity and unique qualities of this area. Sadly, this excellent slice of American Screamo wound die out around 2003, where all three would disband.

Artifact Value:

The original vinyl run was pressed onto a picture disc (which is somewhat controversial) and was given about 3,000 copies. You can purchase it these days for under $10, same for the repress. Meanwhile, the 28 test prints seem impossible to find. Later on, this would be rereleased in CD format, making it even cheaper to own and more accessible.

The Swarm / ForceFedGlass - The Self-Destruct EP | Connective Tissue 1999

The Swarm

(Burlington, ON, Canada)

Chris Colohan (Vocals)
Adam Bratt (Guitar)
Christian McMaster (Guitar)
Lou Oliveras (Bass)
Mike Maxymuik (Drums)

ForceFedGlass

(Richmond, VA)

Pat Masteron (Vocals)
Evan Plante (Guitar)
Justin Conlon (Bass)
Ben Koller (Drums)

Basic Info:

Release Date: 1999
Label: The Electric Human Project
Runtime: 6:29
-The Swarm: 3:30
-ForceFedGlass: 2:59
Tracks: 6
-The Swarm: 4
-ForceFedGlass: 2

At a Glance:

Metalcore, Emoviolence, Hardcore Punk, Energetic, Frantic, Punky, Technical

Points on the Timeline:

Both bands formed in the late 90s, releasing the bulk of their discographies before the turn of the century. By 2000, both artists will disband.

Shapes in the Sound:

The Swarm, tangentially related to the Screamo scene by way of guitarist Kyle Bishop, who does vocal duties for fellow Ontarians Grade, plays fairly straightforward Metalcore on here with a few traditional Punk leanings. Somewhat melodic, somewhat driving and brimming with energy and passion, their four tracks breeze through. ForceFedGlass’ two tracks are far more complex, noisier and more dynamic, playing their signature brand of blistering, technical Emoviolence with heavy, slow sections spacing out the chaos.

Threads in the Tapestry:

Although both artists would fizzle out soon after this split was released, it nonetheless catalogs these two distinct Hardcore artists from 550 miles apart at the end of their short-lived musical careers. While neither would be groundbreaking in their genre, they both remain underrated aspects of genres that would leave them behind.

Joshua Fit for Battle / Love Lost But Not Forgotten | Connective Tissue 1999

Joshua Fit for Battle

(Newark, DE)

Joe Breitenbach (Vocals)
Larry Everett (Vocals)
Geoff Matheison (Guitar)
John Fasano (Guitar)
Dan Bogart (Bass)
Kevin Hardy (Drums)

Love Lost But Not Forgotten

(St. Louis, MO)

Mike Schmidt (Vocals)
Scott Fogelbach (Guitar, Vocals)
Jason Emerick (Guitar)
Chris Grady (Bass)
Matt Prater (Drums)

Basic Info:

Release Date: 1999
Label: Normal Records
Runtime: 10:37
-Joshua Fit for Battle: 5:03
-Love Lost but Not Forgotten: 5:34
Tracks: 4
-Joshua Fit for Battle: 2
-Love Lost but Not Forgotten: 2

At a Glance:

Screamo, Emoviolence, Driving, Dissonant, Dynamic

Points on the Timeline:

Both of these bands had only recently formed, both releasing their debut EPs and this split in 1999. Humble beginnings for two bands who would define the genre in the early 00s; Love Lost would release their unforgettable debut LP in 2000 while Joshua would have to wait until 2002 to get their moment in the sun.

Shapes in the Sound:

Uniquely, Joshua Fit for Battle has the first track on this split, followed by two back-to-back entries from Love Lost but Not Forgotten. Finally, the album ends with another Joshua Fit for Battle song. Their styles are distinct, but it’s nice to have a sort of bookend to this thing. JFFB’s side is a bit slower and warmer than LLBNF’s tracks, featuring a tad more starkness in the dynamic contrasts. Love Lost has fiery moments of Emoviolence passion that fizzle out as quickly as they come, tinged with plenty of dissonance.

Threads in the Tapestry:

This particular split was a great harbinger of what’s to come for the genre in the early 2000s. LLBNF’s two songs were demos for tracks that wound up on their seminal 2000 LP while JFFB perserved their early work in a comp later on.

Index for Potential Suicide / Usurp Synapse | Connective Tissue 1999

Index for Potential Suicide

(Charleston, SC)

Christopher Ashley (Guitar, Vocals, Keyboards)
Shawn Williams (Bass, Vocals, Keyboard)
Robert Findlater (Drums)
Brian Cooper (Keyboards)

Usurp Synapse

(Lafayette, IN)

Antonio Leiaro (Vocals)
John Scott (Vocals)
Brandon Harris (Guitar)
Donald Kirkland (Guitar)
Tony Dryer (Bass)
Travis Chance (Drums)

Basic Info:

Release Date: 1999
Label: Witching Hour Records
Runtime: 8:46
-Index for Potential Suicide: 5:07
-Usurp Synapse: 3:39
Tracks: 6
-Index for Potential Suicide: 2
-Usurp Synapse: 4

At a Glance:

Emoviolence, Frantic, Synthy, Dynamic, Crushing

Points on the Timeline:

Both artists were relatively new to the scene, forming in 1998. Index released an EP in ‘98 while Usurp debuted their material in ‘99. Index wouldn’t last too much longer than the year 2000, while Usurp would stick around for a couple of years until 2003.

Shapes in the Sound:

These two burgeoning Emoviolence acts have pretty different styles, but they come together perfectly in this cozy little package of destruction. Index for Potential Suicide utilizes synths (some more subtle than others) to layer their music and give it a unique twist. The core of the music is somewhat dynamic, switching from deep breakdowns to manic sections of pure chaos to some weird artificial sounds that are all out of place while simultaneously feeling right at home.

Usurp Synapse’s side features four songs that hover around the 1-minute mark but are played at such blistering tempos that there are tons of musical ideas on offer, with some room for cleaner, slower sections that counterbalance the rest of the insanity.

Threads in the Tapestry:

A staggering 800-mile trek separates South Carolina from Indiana, but that didn’t stop these two small-time acts from coming together early in their careers and ripping out some banger tracks. Although Index’s efforts tend to fly under the radar, Usurp Synapse has been on an on-again, off-again path of terror for decades. However, the majority of their material can be found on various splits, the first of which was with Index for Potential Suicide.

Jeromes Dream / July - Connective Tissue 1999

Jeromes Dream

(West Haven, CT)

Jeff Smith (Bass, Vocals)
Nick Antonopulous (Guitar)
Erik Ratensperger (Drums)

July

(Apex, NC)

Gabe Johnson
Herb Harris

Basic Info:

Release Date: 1999
Label: Witching Hour Records
Runtime: 10:13
-Jeromes Dream: 3:50
-July: 6:23
Tracks: 2
-Jeromes Dream: 1
-July: 1

At a Glance:

Emoviolence, Post-Rock, Midwest Emo, Slowcore, Atmospheric

Points on the Timeline:

Jeromes Dream had just released their first split with Amalgamation in December of 1998, so this was still one of the earliest tracks they ever released. They would stick around for a couple of years before disbanding in the early 00s, whereby they’d release their signature material. Meanwhile, July is a duo with this one song and possibly a demo somewhere in the wild. They’re quite obscure.

Shapes in the Sound:

Jeromes’ side opens with one of their typical ferocious Emoviolence intros with utter insanity on the guitar and drums. Jeff Smith’s signature destructive vocals complete the package, though there’s also a bit of a second half to this one; the back end of this track is mostly atmospheric noise with dynamic aggression. Meanwhile, July’s track is quiet, blessed with just a guitar, some keyboard and the human voice. These nearly six-and-a-half minutes of Post-Rock goodness with Emo-style vocals are beautiful, but contrast Jeromes’ side completely.

Threads in the Tapestry:

How this obscure band linked with Jeromes Dream with almost zero music to their credit and living 600 miles apart is truly a mystery, but the world of Emo should be thankful for this contribution. While obviously not Jeromes’ greatest or most memorable work, it does feature a repetitive chord progression that the end that would become a hallmark of their sound for years to come.

Combatwoundedveteran / Orchid - Split 6” | Connective Tissue 1999

Combatwoundedveteran

(Tampa, FL)

Christopher Norris (Vocals)
Dan Raade (Guitar)
Bill (Guitar)
Dan Ponch (Bass, Vocals)
Mark Muenchinger (Drums)

Orchid

(Amherst, MA)

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

Basic Info:

Release Date: 1999
Label: Clean Plate Records
Runtime: 5:03
-Combatwoundedveteran: 2:53
-Orchid: 2:10
Tracks: 7
-Combatwoundedveteran: 5
-Orchid: 2

At a Glance:

Emoviolence, Grindcore, Screamo, Noisy, Chaotic, Frantic

Points on the Timeline:

These two Emoviolence legends were both peaking in 1999, with CVW and Orchid delivering Hall of Fame-worthy LPs, shaping the genre in their drastically different images. For Combatwoundedveteran, this year would be the absolute pinnacle of their careers, releasing their celebrated LP, this split with fellow seminal Emoviolence act Orchid and one more insane split with Scrotum Grinder.

Meanwhile, Orchid’s unbeatable run of releases would only start here; Dance Tonight! was in the works for next year, along with the legendary Skull Split with Jeromes Dream and a swan song in 2002. By 2003, both artists would disband, leaving immense legacies behind.

Shapes in the Sound:

This split moves a blistering pace, squeezing in seven songs in five minutes! CVW’s side is an absolute wall of sound from the frenetic instrumentation and manic screaming. The guitar is all-encompassing and the drums seem to suck the air out of whatever’s left. It’s very devastating and boisterous, even when not playing full-on Grindy Emoviolence.

Orchid’s sound has evolved from their last EP with Pig Destroyer, resembling Chaos Is Me in sound and production without the warm guitars. The format is much more dynamic, with just two songs totaling two minutes, and with the sudden tempo, aggression and volume shifts, it really does begin to embody chaos.

Threads in the Tapestry:

While this split isn’t the most well-known split from either artist, it demonstrates two influential Emoviolence acts coming together from one part of the East Coast to another during their primes and just absolutely tearing it up. The genre had been fleshed out for years prior, but this showcase just showcases the strength of its heavy-hitters.

Neil Perry - Neil Perry | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

1999
Spiritfall Records
New Jersey
Runtime: 9:40
Tracks: 9

Band Members:

Josh Jakubowski (Vocals)
Chris Smith (Guitar)
Justin Graves (Bass, Vocals)
Derek Luckenbach (Drums)
Justin Graves

At a Glance:

Screamo, Emoviolence, Noisy, Chaotic, Complex

Musical Analysis:

Neil Perry's debut is noisy and unstable, resembling a thousand jagged shards of glass crashing across the fretboard. The songs tend to shift back and forth between boisterous mid-tempo heaviness and insane, nigh-indecipherable freneticism, switched jarringly in a Powerviolent manner. The manic vocal performance puts this over the top while the occasional clean arpeggio sneaks into the mix to fill the gaps.

Historical Analysis:

Neil Perry's name is synonymous with Screamo greatness in the late 90s-early 00s, though this debut LP is the closest they've ever been to a proper solo release. From here on out, Neil Perry would only release splits with a who's who of Screamo royalty and sprinkle in the occasional single. They would later cement their legacy with an era-defining comp, which we will eventually cover. However, despite not making a large impact with this individual release, it deserves a mention among the other greats.

Lyrical Analysis:

*Please note that the lyrics for this EP have never materialized, so I won’t be able to do a lyrical analysis. If the lyrics can ever be dug up, I’ll reevaluate this.*

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Usurp Synapse - This Endless Breath | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

09/1999
Happy Couples Never Last Records
Lafayette, IN (Midwest)
Runtime: 11:41
Tracks: 8

Band Members:

John Scott (Vocals)
Don Kirkland (Guitar)
Dustin Redington
Tony Dyer (Bass)
Travis Chance (Drums)

At a Glance:

Emoviolence, Grindcore, Dussonant, Noisy, Dynamic

Musical Analysis:

This Endless Breath is one of the nastiest Emoviolence releases of the 20th century, taking cues from both the dynamism of bands like Reversal of Man and the brutality of artists like CWV, meeting somewhere in the middle compared to those bands’ 1999 efforts. Harmony is very distant from this project, rooting itself in discord and depravity. Even when the Grindy blastbeats are held at bay, the tension in their quieter sections almost matches the intensity of their explosiveness. The brutal and hoarse vocal performance seals the deal by pushing the insanity of the music into overdrive.

Historical Analysis:

This record is the very first blast of solo material for this infamous band, and it stands as some of their best. Their at-the-time unique approach to the genre fleshed out Screamo as a whole that much more. Even though the band is still kicking in one form or another, this contribution definitely flies under the radar in the grandness of Screamo Canon.

Lyrical Analysis:

Usurp Synapse uses brevity and absurdism in their lyrics to touch on some grizzly subjects, such as snapping under the weight of being “good,” the lie of nostalgia and how life is scripted. There’s a real sense of nihilism in these lyrics where the entire world sucks and/or is out to get you - can one mistake really ruin your life and legacy? Is the future really just a broken mirror? Is human affection just a performance? The band certainly seems to believe so, with their rabid emotions transferring from the lyrics sheet to the music.

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.

Combatwoundedveteran - I KNow a Girl Who Develops Crime Scene Photos | Screamo HAll of Fame Class of 1999 Inductee

Release Information:

7/1/1998
No Idea. Records
Tampa, FL (Southeast)
Runtime: 19:09
Tracks: 19

Band Members:

Christopher Norris (Vocals)
Dan Raade (Guitar)
Bill (Guitar)
Dan Ponch (Bass, Vocals)
Mark Muenchinger (Drums)

At a Glance:

Emoviolence, Grindcore, Noisy, Manic, Aggressive, Sassy, Suffocating

Musical Analysis:

CWV delivers a noisy and oppressive Emoviolence album with this, their sole full-length effort. The Grindcore and Powerviolence influences are more prominent than ever with the distorted, metallic guitar riffs and chugs operating at a near-incomprehensible level, matching the suffocating and cacophonous drum performance. Tying the whole package together is the personality-and-brutality-driven vocals of Chris Norris (with backup from Dan), bringing the entire concoction to a fever pitch.

The only reprieve you get while listening to this record are the various samples that bridge some of the tracks together. Even then, most of these samples are strong political statements (or something silly to the same effect).

Historical Analysis:

This album is infamous for how deranged and stifling it is, integrating the heaviest of late 90s Hardcore and bashing it against their own fiery brand of Emoviolence. This release contrasts with Orchid’s 1999 classic Chaos Is Me on the production side, favoring the heaviness and sharpness of their distortion while Orchid’s wall of sound possesses a warmer tone. Both of these albums would be seminal for Emoviolence’s success in 1999 and beyond, but Grindcore would soon fall out of favor as a mixer. Because of this, even today, this is one of the heaviest and most insane Emoviolence records ever released.

Lyrical Analysis:

Confrontational, absurdist, self-deprecating and violent don’t even begin to describe the many, many lyrics on this album. Christopher Norris takes aim at everybody and everything; a constant thread is late-stage Capitalism, its dehumanizing nature, the manufacturing of desires, the destruction of authenticity, its pervasive control over all systems in life, human bodies being treated like machines, and modern Manifest Destiny. The Punk scene is also a common victim, as their lyrics spout about toxic masculinity in the scene and the anesthetic nature of mainstream art.

However, among the grotesque body horror imagery and biting metaphors lie messages of hope: even if civility is a lie, heroism is a joke, perfection is a lie and failure is guaranteed, in a world built for control, what they call weakness is your true strength. Use it to end cyclical violence, religious indoctrination and even destroy yourself - and everything you believed up to this point.

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.

Orchid / Encyclopedia of American Traitors | Connective Tissue 1998

Orchid

(Amherst, MA)

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

Encyclopedia of American Traitors

(Millersville, PA)

Andrew Martin
Keith Miller
Ryan Suffort
Steve " Yuletide" Sakasitz
Zachary Martin

Basic Info:

Release Date: 1998
Label: Witching Hour Records
Runtime: 9:36
-Orchid: 4:37
-Encyclopedia of American Traitors: 4:59
Tracks: 5
-Orchid: 3
-Encyclopedia of American Traitors: 2

At a Glance:

Screamo, Emoviolence, Frenetic, Dark, Metallic

Points on the Timeline:

Orchid was still only a year or so into their time as a band, still finding their signature sound. This Split actually includes a song from their 1997 demo as well as two originals, showcasing a somewhat metallic-sounding Orchid with slightly less chaos. EOAT would release another split this year before coming out with a second EP in 1999 and a comp in 2002.

Shapes in the Sound:

Orchid’s signature chaotic, noisy guitarwork is present here in their early material, switching between sinister melodic lead lines and heavy chord progressions. The singer’s hoarse screams leave an unmistakable impact on the songs, though besides these two elements, this is pretty standard manic Screamo fare. EOAT’s production values are a fair bit lower than their counterparts, but the insanity is more prominent in their songs than Orchid’s side. The lead singer sounds like his head is going to explode from belching out those crazy screams. The heavy chugging makes its way to their side too, though their songs have less emphasis on short, violent bursts and are a bit more fully-formed.

Threads in the Tapestry:

EOAT would live in Screamo obscurity, propped up primarily by their split with future-legends in Orchid. However, you can feel their fingerprints across the dissonant and wily Tri-State Screamo scene. Meanwhile, Orchid was a mere year away from taking the Hardcore community by storm with their first legendary album. Although you could preview their quality in these early releases, nothing could have prepared the scene for their upcoming level of Screamo mastery.

Encyclopedia of American Traitors / Kwisatz Haderach - The Case of Joe Hill | Connective Tissue 1998

Encyclopedia of American Traitors

(Millersville, PA)

Andrew Martin
Keith Miller
Ryan Suffort
Steve " Yuletide" Sakasitz
Zachary Martin

Kwisatz Haderach

(Arlington, VA)

Geoffrey Todd Culbertson
Lucia Forte
Sam Gutterman
Todd Hoffman
Todd Neece
Yannis Stephanopoulos

Basic Info:

Release Date: 1998
Label: N/A
Runtime: 11:03
-Encyclopedia of American Traitors: 4:55
-Kwisatz Haderach: 6:08
Tracks: 4
-Encyclopedia of American Traitors: 2
-Kwisatz Haderach: 2

At a Glance:

Emoviolence, Frenetic, Atmospheric, Dynamic

Points on the Timeline:

Both of these small-time Emoviolence bands existed solely in the late 90s. EOAT was two splits and one EP deep into their career in 1998, with one more EP and a discography comp in their future. Kwisatz Haderach would only release an EP this year outside of this Split before calling it quits.

Shapes in the Sound:

Both of these bands execute dynamic Emoviolence with long, atmospheric buildups with some gnarly screams. EOAT tends to have more of a dichotomy between melody and dissonance, sounding somewhat like Saetia performing Emoviolence at times, while Kwisatz is a bit more “Hardcore,” for lack of a better term. Regardless, both of these artists took great care to ensure the hectic sections were balanced out.

Threads in the Tapestry:

This quick East Coast connection wasn’t well known, but both bands would flesh out Emoviolence in their respective regions. Though quite small time, members would go on to flourish in other Hardcore bands like Yaphet Kotto, Tiny Hawks and Virgina Black Lung.

Orchid / Pig Destoryer | Connective Tissue 1998

Orchid

(Amherst, MA)

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

Pig Destroyer

(Washington, D.C.)

J.R. Hayes (Vocals)
Scott Hull (Guitar)
John Evans (Drums)

Basic Info:

Release Date: 1998
Label: Amendment Records
Runtime: 10:13
-Orchid: 5:29
-Pig Destroyer: 4:44
Tracks:
-Orchid: 3
-Pig Destroyer: 8

At a Glance:

Grindcore, Emoviolence, Screamo, Frantic, Metallic

Points on the Timeline:

Both of these bands started life in 1997; all three of Orchid’s songs come from their previous We Hate You demo, while Pig Destroyer threw in three songs from their own 1997 demo and a few originals. Both sides showcase young Hardcore bands poised to become defining figures in their respective genres.

Shapes in the Sound:

Orchid’s contribution features a more metallic-leaning sound than you’d expect, with the chugs you’d hope for and a gritty guitar tone that dominates the songs. Let’s not take away from the admirable drumming performance that keeps up with the guitar’s madness and a brutal vocalist whose every lyric is torture to the ears. Meanwhile, Pig Destroyer put out rapid-fire Grindcore tracks with the faintest of Sludge sensibilities. Their anger and appetite for destruction was quite high on this. Expect rapid-fire blastbeats and piercing shrieking vocals.

Threads in the Tapestry:

Although not the best representation of either band, these early works showcase the potential that these Hardcore pioneers possessed. While Orchid would drop much of the Metal influence from their legendary works, these songs were structurally similar to what they’d go on to create. Similarly, though they would change the influences on subsequent records, they kept the Grindcore grinding through and through.

This release doesn’t get the recognition it deserves for having two legends in their early incarnations showing off the future of Hardcore music, but it’s at the very least an important footnote in the history of the scenes.

Amalgamation / Jeromes Dream | Connective Tissue 1998

Amalgamation

(Washington, D.C.)

Forbes Graham (Vocals)
Jacob Long (Vocals)
Chad Matheny (Guitar)
Chris Chang (Guitar)
Adam Witt
Eazy

Jeromes Dream

(West Haven, CT)

Jeff Smith (Vocals, Bass)
Nick Antonopulous (Guitar)
Erik Ratensperger (Drums)

Basic Info:

Release Date: 12/1998
Label: Ricecontrol Records
Runtime: 10:21
-Amalgamation: 5:40
-Jeromes Dream: 4:41
Tracks: 4
-Amalgamation: 2
-Jeromes Dream: 2

At a Glance:

Screamo, Emoviolence, Chaotic, Manic, Dynamic

Points on the Timeline:

Amalgamation exists only through two splits, this being their second and final release. Conversely, this was the very first taste of Jeromes Dream that the world was blessed with. They would have a fruitful and prolific career for several years before making a comeback two decades later.

Shapes in the Sound:

With tense, sinister buildups and dissonant, explosive crescendos, this chaotic release showcases two bands with a lot to prove. The split begins with Amalgamation’s unhinged trumpeter performing over truly chaotic Emoviolence, and the weirdness doesn’t stop there. The two vocalists are both gnarly and high-pitched, adding to the depravity of their sound. The trumpet continues on, adding both melody and discord to the driving and unpredictable songs.

Jeromes Dream sounds surprisingly fully-formed for this being their first release, pushing forth with unbelievably noisy arrangements, syncopated and raw chord progressions, a deep, buzzing bass that fills the recording, a dynamic drummer capable of the quietest, most fragile beats and the most spastic sections of drumming put to record in Screamo thus far, all tied together by a manic, high-pitched vocalist whose screams are as painful on delivery as they are in purpose. Aside from that, their two tracks flow remarkably well together.

Threads in the Tapestry:

Amalgamation is a band seemingly lost to time, but they were an innovative late-90s Emoviolence band with some sweet trumpets and embodied unpredictability. Without some D.C. oldheads and this very split with the one and only Jeromes Dream keeping their memory alive, we probably wouldn’t be listening to their kickass songs.

Meanwhile, Jeromes Dream would go on to have a legendary and prolific career in Screamo, initially disbanding a few years after this. While their splits would be legendary and eclipse what they accomplished here in 1998 (not to mention the legendary LP due to shock the system), this is still a worthy listen for fans of Screamo, Emoviolence and especially Jeromes Dream.

Reversal of Man - Revolution Summer | Screamo Hall of Fame Class of 1998 Nominee

Release Information:

1998
Schematics Records
Tampa, FL (Southwest)
Runtime: 17:12
Tracks: 7

Band Members:

Matt Coplon (Vocals)
Jasen Weitekamp (Guitar)
Jason Crittenden (Guitar)
Jeff Howe (Bass, Vocals)
John Willey (Drums)

Genres, Influences and Characteristics:

Screamo, Emoviolence, Hardcore Punk, Manic, Dissonant, Noisy, Intense

Musical Analysis:

This album is a musical gut punch that rarely relents and always keeps you guessing with sudden tempo changes and dynamic volume switches. The dissonant guitar tones perfectly encapsulate the feelings of desperation and unease while the drummer hammers home the immediacy. The bass is refreshingly well-mixed and adds a powerful undercurrent to the songs. The vocals are brimming with passion and reach unhinged levels of depravity during the most chaotic and cathartic moments on this release.

Historical Analysis:

This EP represents the growth of both Reversal of Man and Emoviolence in the last few years; having solidified the lineup for this release a year prior on a split with Enemy Soil, they expanded on that sound with faster and harsher conviction. However, the dynamism found here further shaped Emoviolence away from the more chaotic and grindy stuff. However good this is, Emoviolence was on the cusp of breaking out and this EP remains a hidden gem on the shores of the Hall.

Lyrical Analysis:

*Note that because this is an old release in the grand scheme of Screamo history, I cannot locate lyrics for about half of these songs. I’ll be basing my analysis on the available lyrics*

Lyrically, this record has a simple and direct message: they love the scene, but the scene is dying. Titling the album Revolution Summer invokes the very beginning of Emo in 1985, with Punk’s ethos firmly intact. However, 13 years on from Rites of Spring, The Hated and Gray Matter, Punk has started falling into corruption and hypocrisy. Relationships are futile, nostalgia is a lie and the scene has been betrayed by those who embody the opposite of their message. The only salvation we have is to remember our humanity.

Orchid - Orchid | Screamo HAll of FAme Class of 1998 Nominee

Release Information:

1998
Hand Held Apart Records
Amherst, MA (New England)
Runtime: 10:01
Tracks: 5

Band Members:

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

Genres, Influences and Characteristics:

Screamo, Emoviolence, Metallic, Chaotic

Musical Analysis:

It’s Orchid! Suffocating guitar, powerful screamed vocals and dynamic switches from brutal, mid-tempo Screamo to all-out Emoviolence are all present and accounted for on this EP. The guitar tone is heavy and occasionally breaks out into some metallic chugging. The beginnings of their signature chaotic style were starting to form, but with slower builds, metallic elements and slightly less violence than you’d expect.

Historical Analysis:

One year removed from a somewhat mediocre debut demo, Orchid honed in on the sounds they’d soon become infamous for. Diehard fans of the band love this EP, and Stagnant, in particular, seems to be a bona fide Orchid classic. However, the band was moments away from being the most celebrated artists in the entire genre, and this release would be left in the dust (and out of the Hall).

Lyrical Analysis:

Confrontational wouldn’t begin to describe Orchid’s lyrical style, represented here by songs about failing relationships, the lie of capitalism and the insincerity of the Punk scene in the late 90s. In particular, Jayson’s grave disdain with the scene politics would lead to many, many manifestos of frustration, with two on this five-song EP! This biting critique is accompanied by social issues - such as scripted rebellion - and personal issues.

Combatwoundedveteran - What Flavor Is Your Death Squad Leader? | Screamo Hall of FAme Class of 1998 Nominee

Release Information:

1998
Schematics Records
Tampa, FL (Southeast)
Runtime: 7:13
Tracks: 10

Band Members:

Christopher Norris (Vocals)
Davy Bartlett (Guitar, Vocals)
Dan Ponch (Bass, Vocals)
Mark Muenchinger (Drums)

Genres, Influences and Characteristics:

Emoviolence, Grindcore, Frantic, Noisy, Chaotic, Dissonant

Musical Analysis:

With such a brief runtime and several tracks clocking in at under 30 seconds, the band utilizes immediacy to its fullest extent. Plentiful with noisy guitar feedback, blast beats, grotesque screaming from multiple vocalists and extremely heavy metallic guitar tones, the band throws caution to the wind and blends the quickest, most intense three seconds of explosive music with chaotic, formless sections of noise.

Historical Analysis:

With cleaner production than their 1996 EP, this ups the ante that the 11 Song 7” started, featuring some of the most brutal and punishing Emoviolence put to record yet. However, the band was still on the cusp of their biggest year by far with two excellent EPs under their belt.

Lyrical Analysis:

Once again, Combatwoundedveteran’s scathing take on Capitalism, Colonialism and overall Western culture produces genius, sardonic and quick lyrics. With topics like war as entertainment, violence as censorship and rebellion as commodification, you’d be hard-pressed to think the band ever had a positive thought. Still, the band presses on with even more daring subjects like how colonialist logic is self-destructive, how pain and suffering are used for profit, the choices we have in Captialism are illusory. These are among the most biting sociopolitical lyrics in the history of the genre to this point.

ForceFedGlass - When Backs Are Turned, Knives ARe Pulled | Screamo HAll of Fame Class of 1998 Nominee

Release Information:

1998
Pensive Recording Group
Falmouth, MA (New England)
Runtime: 18:45
Tracks: 12

Band Members:

Evan Plante (Vocals, Guitar)
Zac Davis (Bass)
Ben Koller (Drums)

Genres, Influences and Characteristics:

Emoviolence, Mathcore, Chaotic, Technical, Dissonant, Frantic

Musical Analysis:

Instrumental proficiency, musical technicality and syncopated chaos are found in the opening minutes of this destructive album. The frantic, complex sections pass by at a blistering pace, contrasting the brutal, breakdown-heavy parts with precision Powerviolence-esque bursts. The intricate guitarwork and noisy, proficient drumming are synchronized in mayhem and deliver some heavy body blows on the listener. Tying it all together is a reckless vocalist whose voice is ripped apart with each new screamed syllable.

Historical Analysis:

ForceFedGlass’ furious LP showcases the genre's increasing propensity for musical technicality and experimentation. This is not to say Screamo and Emoviolence were simple or basic by any means, but Math Rick and Mathcore influences were becoming more popular, as demonstrated by FFG.

The seminal project turned out to be a Hardcore breeding ground; bassist Zac Davis would go on to play guitar for Hassan I Sabbath while drummer Ben Koller would have a legendary career in numerous bands, most notably as the drummer for Converge.

Lyrical Analysis:

ForceFedGlass are masters of lyrical brevity, saying a lot with a few simple words. Like many in Screamo before them, the lyrics are combative and vindictive against social ills and personal issues. The band conveys a lot of negative - your body is a prison, relationships are performative, the past buries you alive and having no hope for life, only endurance. However, mixed in with the pessimism are drastic calls for action; Revolt! Embrace the power of refusal! Wake the sleeping suburbanites! We won’t mourn your mistakes.

Enemy Soil / Reversal of Man | Connective Tissue 1997

Enemy Soil

(Sterling, VA)

J.R. Hayes (Vocals)
Richard Johnson (Guitar, Vocals)
Russ Mason (Bass, Vocals)
Brian Harvey (Drums)

Reversal of Man

(Tampa, FL)

Matt Coplon (Vocals)
Jasen Weitekamp (Guitar)
Jason Crittenden (Guitar)
Jeff Howe (Bass)
John Wiley (Drums)

Basic Info:

Release Date: 1997
Label: Fist Held High Records
Runtime: 9:21
-Enemy Soil: 4:38
-Reversal of Man: 4:43
Tracks: 5
-Enemy Soil: 3
-Reversal of Man: 2

Genres, Influences and Characteristics:

Grindcore, Screamo, Emoviolence, Dissonant, Frantic

Points on the Timeline:

Prolific Grindcore stalwarts Enemy Soil were in the midst of a career-defining year in 1997. This release was one of four splits, one EP and one live EP to come out, almost doubling the previous five years of recorded material unleashed unto the world. However, they’d only be releasing music for a couple more years following this. Regardless, this was their first (and not only) sideswipe into the world of Screamo. Reversal of Man continued their relentless onslaught of releases, with this being their seventh in three years. Their very best work had yet to arrive, however.

Shapes in the Sound:

Enemy Soil's half of the split begins with a ruckus; heavy, deep guitar tones introduce us to the ways of Grindcore while the drums drift into a series of blast beats. The singer carelessly throws his screams around for maximum brutality. Seriously, these songs are sort of insane. Reversal of Man keeps things relatively even-keeled, utilizing a slower Screamo sound often to contrast the bursts of Emoviolence. RoM play with melody on here quite a bit for how aggressive and emotionally intense their songs are.

Threads in the Tapestry:

Although Grindcore wouldn't be the definitive influence on Screamo's development, the Emoviolence boom of the late 90s can undoubtedly give some credit to this subgenre for its speed, ferocity and generally chaotic aesthetic. And, much like how mixed old Hardcore show bills used to be, this split represents the unadulterated mayhem of both Grind and Emoviolence as subsects of Hardcore.