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.

You and I - The Curtain Falls | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

6/1/1999
Level Plane Records
New Brunswick, NJ (Tri-State)
Runtime: 22:12
Tracks: 8

Band Members:

Casey Boland (Guitar, Vocals)
Thomas Schlatter (Guitar, Vocals)
Justin Hock (Bass, Vocals)
Chris Boland (Drums)

At a Glance:

Screamo, Post-Hardcore, Metalcore, Noisy, Energetic, Melodic

Musical Analysis:

Compared to the precision metallic chugging of their last album, You and I incorporates messier production, more chaotic songwriting and less sharp guitar tones on their sophomore full-length. Despite the quiet-loud dynamics, You and I once again manage to instill their songs with boundless kinetic energy, aided by the powerful vocal performance that mixes screams and cleans. However, the lower volume shifts seem more solemn than before, perhaps giving this record the emotional edge. Taking cues from Indian Summer, much of the transitions between songs on this album sample an old Stevie Wonder song.

Historical Analysis:

By 1999, You and I had already established themselves as the Screamo Kings of the LI-NJ Hardcore scene, even far outpacing bands like Saetia. With the release of their swan song The Curtain Falls, they further cemented this notion. Their popularity began blossoming, playing shows as far as Chicago, IL, New Bedford, MA and Nottingham, UK! However, this legacy would soon be paved over and their immense contributions to the genre would be somewhat shoved to the wayside. Alas, this is why You and I again missed the Hall of Fame - but their two amazing LPs still deserve recognition.

Lyrical Analysis:

Utilizing multi-layered lyrics from multiple vocalists, You and I seems to take their name seriously. Their personal lyrics regarding ongoing trauma and the struggle for self-reclamation, the fear of confessing love and being vulnerable, trying to find meaning in a chaotic world - all of these are blended with political issues like the scripting of freedom in Capitalism and the corrosion of unity amidst rampant individualism. In the end, all they have left - individualism, love, family - collapses underneath them with little hope left.

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.

I Have Dreams - Three Days ‘Til Christmas | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

1999
Independent
Tallahassee, FL (Southeast)
Runtime: 15:53
Tracks: 5

Band Members:

Allen Compton (Vocals)
Mike Peters (Vocals)
Mike Hanson (Guitar)
Ben Seals (Bass)
Clayton Rychlik (Drums)

At a Glance:

Screamo, Metalcore, Midwest Emo, Dynamic, Energetic, Melodic

Musical Analysis:

Taking the bones of Screamo with emotionally intense screamed vocals and dynamic song structures, I Have Dreams concocted a formula all their own with plenty of chugging Metalcore riffage and the melodic sensibilities of Midwest Emo. Many of the songs swing jarringly between driving, intense sections, brutal breakdowns and clean, slightly cheesy concentrations of vocal and guitar melody. The entire record is gently wrapped in immutable youthful energy and raw, confessional emotional outpouring.

Historical Analysis:

The core of this band came together a year earlier, releasing a demo under the name New Ethic. Tragically, one of their guitarists would die young, leading to the formation of I Have Dreams and their sole release in 1999. This record serves as a tribute to their fallen friend, carrying on his musical legacy and allowing the young band members to express their deepest and saddest sentiments, the true basis of many great Emo artists.

Although a beloved cult classic now, it really took the Zoomers to bring this out of obscurity. While one of the best and most heartfelt releases of the entire 90s in Screamo, this one will be remembered as a hidden gem, not a Hall of Fame tour-de-force.

Lyrical Analysis:

With the aforementioned passing of this band’s former friend, the entire project revolved around their shared grief. After all, each band member was quite young during their time as I Have Dreams and DIY Hardcore was their outlet. Much like grief, the EP struggles as an emotional tide between bitter pain and joyous reverie. Grieving communally has allowed for healing, but the loss of their friend destroyed the future they all had together. The lifelong friendship has permanently shaped them as individuals, but the pain of grief leads to forgetting his face. Ultimately, the gratitude they have for him as a special part of their lives transcends the grief over losing their loved one. Grief strengthens love and vice versa.

Despite utilizing some truly playful screaming and cheesy clean vocals, the emotional vulnerability and rawness of the lyrics lead to well-earned catharsis. These are possibly the most personal lyrics on a release that we’ve covered yet.

Envy - From Here to Eternity | Screamo Hall of Fame Class of 1998 Nominee

Release Information:

8/11/1998
HG Fact Records
Tokyo, Japan
Runtime: 33:54
Tracks: 11

Band Members:

Tetsuya Fukagawa (Vocals)
Masahiro Tobita (Guitar)
Nobukata Kawai (Guitar)
Manabu Nakagawa (Bass)
Dairoku Seki (Drums)

Genres, Influences and Characteristics:

Screamo, Melodic, Energetic, Dynamic, Raw

Musical Analysis:

On this LP, Envy crafted gorgeous, pure, cathartic Screamo, just as you would expect. In particular, their dense, heavy guitars would overwhelm if not threaded with clean, standalone guitar arpeggios, tasteful melodic lead lines, dynamic song structures and endless kineticism. This all combines with Fukagawa's intense vocal performance to produce astonishing results.

Historical Analysis:

Simply put, this album is integral to the formation of Japanese Screamo. Although Envy's primary influence on the genre seems to be the integration of Post-Rock, that innovation in and of itself was spurred from Envy's injection of melody into heavy Screamo.

Prior to this album, Envy had undergone numerous lineup and stylistic changes since their 1992 formation, but they would have about two decades with this lineup, wherein all of their legendary material would be released. Special to Japan, this record serves as a harbinger of what's to come more than a standalone entry into the Hall.

Lyrical Analysis:

*Note that because this is an old release in the grand scheme of Emo and Screamo 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.*