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.

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.

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.

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.

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.

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.

Swing Kids - Swing Kids | Holy Grails 1997

The Artifact:

1997
Three One G Records
Runtime: 19:58
Tracks: 9

Artifact Characteristics:

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

Artifact Archeologists:

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

Artifact Contents:

Every track from their 1994 s/t
Every track from a split with Spanakorzo
An original track that would feature in a future comp

Artifact Echoes:

Spastic, experimental and playful Screamo is all you're going to find on this record, documenting every song from the band thus far. Although you can still piece out the traditional Hardcore influence, dissonance, rhythmic unpredictability and general chaos are all elements these early pioneers utilized to keep listeners on their toes. The band can transition between a rapid-fire verse fueled by unhinged screaming and overwhelming drums to a sarcastic jazzy number played with great skill and technicality.

Artifact Legacy:

Justin Pearson is an important figure to underground music, especially in San Diego. He started Three One G Records, starred in Swing Kids as their vocalist and went on to form Sass and Hardcore legends The Locust. However, Swing Kids’ Discography is enough of a reason to celebrate; the mark this band left on San Diego, Hardcore music, Screamo. Sasscore and underground music as a whole cannot be ignored. Swing Kids achieved levels of pandemonium very few before them could have hoped for while injecting heaps of personality, a brutal and fun concoction that we are still enjoying the influence of over 30 years later.

Artifact Value:

Originally released in 1997 in CD format, there were several reissues, including a notable one in 2002. The original CD is pretty obtainable, though a 2003 vinyl pressing could be difficult to obtain these days. The band made a few random comebacks in later years, releasing two new songs along the way and necessitating another compilation release in 2020. Whether or not that makes this release less valuable, it's absolutely worth obtaining for fans of the band, early Screamo or the San Diego sound.

Angel Hair - Pregnant With the Senior Class | Holy Grails 1997

The Artifact:

1997
Gravity Records
Runtime: 46:36
Tracks: 18

Artifact Characteristics:

Screamo, Post-Hardcore, Noise Rock, Dissonant, Frantic, Sassy

Artifact Archeologists:

Sonny Kay (Vocals)
Joshua Hughes (Guitar)
Andy Arahood (Guitar)
Todd Corbett (Bass)
Paul Iannacito (Drums)

Artifact Contents:

Every track from Insect Mortality
Both tracks from a split with The Fisticuff Bluffs
Their track from a split with Kerosene 454
Every track from their 1994 s/t
Both tracks from a split with Begin Cancer Run
An untitled original track

Artifact Echoes:

Angel Hair’s Noise-oriented mid-90s Screamo sound is reminiscent of early greats like Heroin and Mohinder, but even darker and more vile. Sonny Kay’s signature screams are diabolical and passionate, matching the dissonant, dark guitar riffs and the uneasy feedback. In typical Gravity Records fashion, the band is experimental and shows off quite a bit of personality. They aren’t quite as “out there” as Antioch Arrow, keeping themselves grounded in a punishing mid-tempo assault that occasionally pushes into spastic territory.

Artifact Legacy:

This discography compiled their random, fragmented releases together into a neat package with quite the legacy behind it. This might just be the earliest Screamo comp to secure a band’s legacy and their influential contributions to the genre - which by 1997 was still in its formative years. Supposedly, all of the content on here was recorded in the year 1994, showcasing how eclectic the Gravity Records scene was at the time. The band would break up at the onset of 1995, so this Holy Grail serves to honor a noisy and depraved early entry into Screamo Canon. In fact, by the time this compilation was released, The VSS (the Sasscore successor to Angel Hair) had already come and gone, leaving an indelible mark on Sass as well.

Artifact Value:

This compilation was released as a CD and was never reissued. It doesn’t seem to be that rare or expensive these days so grab this up if you can!

Stack / Carol - Welcome to Bremen / South of Hessen | Connective Tissue 1997

Stack

(Germany)

Bernd Bohrmann (Vocals)
Chris King (Guitar)
Marcel Hammenman (Guitar)
Michael Araya (Bass)
Ralf Lombardo (Drums)

Carol

(Bremen, Bremen, Germany)

Björn Schmidt (Vocals)
Andy Lehmann (Guitar)
Matthias Trenne (Bass)
André Wendelken (Drums)

Basic Info:

Release Date: 1997
Label: Summersault Records
Runtime: 9:34
-Stack: 5:43
-Carol: 3:51
Tracks: 4
-Stack: 3
-Carol: 1

Genres, Influences and Characteristics:

Powerviolence, Screamo, Metalcore, Heavy, Frantic, Playful

Points on the Timeline:

Stack had sporadically released demos, EPs and splits from the mid-late 90s, with this being one of those splits. They would release their magnum opus in 2001, their first LP and final official record. meanwhile, Carol was a short-lived Screamo project that begat one solid EP in ‘95 and this split two years later. This would be their final release until a comp came out many, many years later.

Shapes in the Sound:

Stack is a bona fide Powerviolence outfit with fast, short tracks, tempo shifts and frenzied drumming. Still, there is a carefree side to the band - after all, having an album title and cover referencing Slayer and including a cheesy Power Metal sample isn't very typical in striving brutality. By contrast, Carol's side is concentrated Screamo fury, beginning with a tense, slow intro before devolving into utter chaos. This is perhaps the darkest, craziest track from this band yet.

Threads in the Tapestry:

North and Central German Hardcore scenes merge in this wonderful split. These two obscure bands decided to come together and showcase the German Hardcore scene, its variety and the sheer quality that it was capable of. This would not be Stack's final foray with Screamo, and we will see them again soon.

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.

In/Humanity - The History Behind the Mystory: Music to Kill Yourself By | SCreamo Hall of Fame Class of 1997 Nominee

Release Information:

1997
Mountain Records
Columbia, SC (Southeast)
Runtime: 38:45
Tracks: 13

Band Members:

Chris Bickel (Vocals)
Paul Swanson (Guitar)
Will Zaledeski (Bass)
Ben Roth (Drums)

Genres, Influences and Characteristics:

Emoviolence, Chaotic, Atmospheric, Frantic, Abstract, Dissonant

Musical Analysis:

In/Humanity once again innovatively iterate on the Emoviolence formula, doubling down on the musical chaos, freneticism and experimentation. The album begins with longer-than-average songs for this band, some of which are over three minutes in length. They showcase the dichotomous quiet-loud dynamics In/Humanity helped establish in years prior but with a certain atmosphere and formlessness not found anywhere else in their discography. Almost half of the album is part of a 15-minute song slapped right in the middle, muddying the shapeliness of this album with the band more-or-less fooling around.

Historical Analysis

With their second and final LP, In/Humanity firmly establishes themselves as one of the most prolific early Emoviolence outfits out there. Each LP and EP shapes the blooming genre in its own way. The History Behind the Mystery approaches the genre with an experimental eye, using abstract song structures, atmosphere and even more carelessness than ever before. Although this was an important album in the formation of Emoviolence, the statement made is more relevant to In/Humanity as a band than to the genre as a whole, hence its nominee status.

Lyrical Analysis:

*Please note that due to the obscurity of some of these tracks, I wasn’t able to find lyrics for 3-4 songs. Regardless, because there’s so much other lyrical material to analyze, I’ll be focusing on those. If I can dig up more lyrics, I’ll consider giving this a quick redo.*

Reaching absurd levels of satire, crudeness and general carelessness, In/Humanity’s lyrics are nonetheless biting and aimed at society’s many, MANY problems. From questioning the glorification of authority, the blindness of justice and the performative rebellion of Punk culture to hurting the ones you love, dehumanization and the futility of artistic expression. In true late 90s Screamo fashion, In/Humanity’s lyrics express both personal anguish and dissatisfaction with the world around them.

Guyver-One - Guyver-One | Screamo Hall of Fame Class of 1996 Inductee

Release Information:

1996
Inchworm Records
San Diego, CA (SoCal)
Runtime: 10:22
Tracks: 5

Band Members:

Eddie Castro (Vocals)
Kory Ross (Guitar)
Jim LaValle (Guitar)
Matty Rue Morgue (Bass)
Michael Cooper (Drums)

Genres, Influences and Characteristics:

Screamo, Emoviolence, Chaotic, Frantic, Dissonant, Playful

Musical Analysis:

Simply put, Guyver-One’s debut EP is chaotic and boisterous. They played their own brand of Emoviolence featuring loud, dissonant chord progressions, tumultuous song structures, a helter-skelter drumming performance and gnarly, scratchy screamed vocals. The San Diego natives put this in a blender, added in Grandmaster Flash samples between songs and called it a day.

Historical Analysis:

Coming from the fabled San Diego scene, this particular band is often overlooked in the crowded legacy of this scene. Regardless, Guyver-One put out one of the most demented pieces of Screamo / Emoviolence until the likes of Orchid would take the mantle. The sampled interludes are one of the only measures of reprieve on this entire record. Unfortunately, this release was destined for obscurity, even by today’s standards where Zoomers will seemingly find any and all good obscure 90s Emo.

Lyrical Analysis:

Underneath Eddie’s nearly indecipherable screaming lies inescapable existential dread. Eddie brutally conveys the futility of searching for meaning, shared suffering in silence and the cycles of misery that we as humans face. If nihilistic cynicism was a band, it’d be Guyver-One.

Combatwoundedveteran - 11 Song 7” | Screamo Hall of Fame Class of 1996 Nominee

Release Information:

1996
Suppose I Break Your Neck Records
Tampa, FL
Runtime: 10:16
Tracks: 11

Band Members:

Christopher Norris (Vocals)
Davey Bartlett (Guitar, Vocals)
Dan Ponch (Bass, Vocals)
Mar Muenchinger (Drums)

Genres, Influences and Characteristics:

Emoviolence, Grindcore, Frantic, Dissonant, Chaotic

Musical Analysis:

With the average track being less than a minute, CWV attempts the most extreme version of Screamo we've heard yet. Taking the metallic nastiness of Grind and the unpredictability and dynamism of Powerviolence, CWV threads these elements together with politically charged sampled interludes and merciless guttural screeches from three different vocalists.

Historical Analysis:

This debut EP is one of the first examples of Emoviolence getting fleshed out. Although Grindcore wouldn't be the most popular mixer for this genre, its inclusion as a strong influence showcases the desire for early Emoviolence to branch away from its humble beginnings into its own plane of musical insanity.

Lyrical Analysis:

With sarcastic song titles and critical, biting lyrics, Comwbatwoundedveteran are unabashedly Hardcore in their approach to song themes. Touching on issues of consumerism, authority, conformity, toxic masculinity and toxic work culture, among others, in a straightforward and pissed-off way puts the listener right n the zeitgeist of early Screamo.

Reversal of Man - Reversal of Man | Screamo Hall of Fame Class of 1996 Nominee

Release Information:

1996
Valrico Records
Tampa, FL
Runtime: 7:15
Tracks: 4

Band Members:

Matt Coplon (Vocals)
Christopher Norris (Guitar)
Joe Camacho (Guitar)
Jason Crittenden (Bass)
John Wiley (Drums)

Genres, Influences and Characteristics:

Screamo, Emoviolence, Ominous, Frantic, Intense, Dynamic

Musical Analysis:

On this 1996 s/t, Reversal of Man crafted three different ideas to switch between dynamically: slow, sinister and clean guitar melodies with light accompaniment, crushing, dissonant, mid-tempo Screamo that bares its fangs, and blistering, extreme, turbulent Emoviolence. Does this formula simplify the actual music found on here? Yes, but putting this together with a keen sense of songwriting, harrowing high-pitched screams and endless passion transforms this from formulaic to trailblazing.

Historical Analysis:

Reversal of Man pushed forth with their blistering take on Screamo, emerging as one of the early trendsetters of the Emoviolence movement, even before it had a name. Taking spastic elements of Powerviolence and combining them with the emerging and dynamic force of Screamo was quite novel, even if several bands around the US were also pushing similar boundaries.

Lyrical Analysis:

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

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.

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.

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.

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.