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.

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.

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.

You and I - Saturday’s Cab Ride Home | Screamo Hall of FAme Class of 1997 Nominee

Release Information:

10/18/1997
Spiritfall Records
New Brunswick, NJ
Runtime: 25:34
Tracks: 9

Band Members:

Justin Hock (Vocals)
Casey Boland (Guitar)
Thomas Schlatter (Guitar)
Jonathan Marinari (Bass)
Charles Butera (Drums)

Genres, Influences and Characteristics:

Screamo, Metalcore, Energetic, Melodic, Chaotic, Noisy

Musical Analysis:

Metalcore was a tremendous influence for this band on this record, featuring some genuinely powerful guitarwork filled with melody and technicality. Accentuating the twisted and chaotic screaming is a cheesy, somewhat off key clean vocal performance. Rarely does the band sit still, even when transitioning to lower-intensity levels, largely due to the aforementioned active guitar and the tremendous drumming clinic.

Historical Analysis:

You And I's debut LP marks an evolving genre that further injects brutality with melody and technicality, somewhat similarly to Saeita. Particularly, the guitar work on this record transcends earlier Screamo and previews the intensity and technicality that the genre would be known for. Perhaps this is too much of a Metalcore album to deserve its place in the Screamo Hall of Fame but nonetheless deserves to be recognized for its quality and forward-thinkingness.

Lyrical Analysis:

With a band name like You And I, it’s no wonder that the majority of their lyrics tend to veer into the personal emotional side of the spectrum. Particularly, interpersonal relationships are the dominant topic, reaching into subjects like longing, vulnerability and the search for connection, the cruel passage of time, and the weight of emotional baggage. Of course, being a 90s Screamo band, they still touch up on political topics such as critiquing colonialism, but Hock’s words tend to expose inner-turmoil.

Anomie - Anomie | Screamo HAll of FAme Class of 1997 Nominee

Release Information:

1997
Anima Records
Orléans, Centre-Val de Loire, France
Runtime: 25:46
Tracks: 8

Band Members:

Kathleen Simonneau (Vocals)
Johnny Vellaine (Guitar)
Gilles Auvinet (Bass, Vocals)
Rémi Chaumet (Drums)

Genres, Influences and Characteristics:

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

Musical Analysis:

Anomie’s sole LP features driving Screamo music, tons of melodic interplay, chugging riffs and an emotional blend of yelling and screaming from the masculine / feminine dual vocals. Seriously, the energy never seems to die down on this one; even when they lower the intensity, the songs tend to keep a brisk and spirited pace. The vocals of Kathleen are particularly harrowing and emotionally resonant and represent an early example of women tearing it up in Hardcore and Screamo. The band experimented by adding elements of Metalcore, acoustic guitars and even whipping up a weird but surprisingly well-fitting electronic interlude.

Historical Analysis:

Simply put, this album is premier 90s French Screamo. To this point, France was a stronghold for the burgeoning genre, and, although this region's peak was still many years away, there was a prolific output from a variety of bands. Among those releases is Anomie's s/t album, which married energetic Hardcore with gorgeous melody in a way no one in Europe had quite done. Despite this, this release just misses HoF contention due to the band’s relative obscurity in the face of a scene poised to blow up without them.

Lyrical Analysis:

*Please note any lyrical analysis on my end may lack cultural nuance and accuracy in the translation.*

In true French fashion, Anomie’s lyrics lean heavily into Leftist ethos; topics for these lyrics include abortion rights and body shaming, though the political discourse is spruced up by social commentary. The cost of detached modern relationships, the perils of conformity and rising above indifference. Utilizing both prose and poetry in their lyrics, Anomie posits that resistance, reclaiming your existence and fighting back against our oppressors might be our only solutions.

Finger Print - Discography | Holy Grails 1996

The Artifact:

1996
Stonehenge Records
Runtime: 1:03:32
Tracks: 19

Artifact Characteristics:

Screamo, Hardcore Punk, Metalcore, Driving, Raw, Dynamic

Artifact Archeologists:

Nicolas Fisseau (Vocals)
Christophe Mora (Guitar, Vocals)
Thomas Guillanton (Bass)
Jérôme Bessout (Drums)

Artifact Contents:

Every track from their 1993 S/T
Every track from their 1994 S/T
Three original tracks
Four tracks from various comps
Two live recordings

Artifact Echoes:

Despite only being active for two years, Finger Print was a surprisingly prolific band. Though very influenced by the straightforward nature of early 90s Hardcore, Finger Print was one of the first artists in Europe to add such a level of dynamism and melody to their songs, incorporating acoustic guitars and intensity switches. Following closely behind the gnarly emotive screeches from the vocalist is a chugging guitar that breaks things up with some early Metalcore riffage. The further into this comp you get, the stronger the presence of melody is, marrying it with the aggression you’d expect to find in Hardcore. Refreshingly, the bassist is quite prominent in the mix, giving the songs a sense of immediacy and danger. The two EPs are both great, showcasing the band’s evolution as they helped shape Screamo history, though the comp tracks, original tracks and even the live versions (although quite roughly recorded) are all recommended.

Artifact Legacy:

While obscure, Finger Print was one of the originators of Screamo, not just in Europe but globally. Their brand of melody-and-riff-infused Hardcore would give credence to the upcoming sound of Screamo. Emotional intensity, quiet-loud dynamics and surprisingly-crisp production make this primitive Screamo record endlessly replayable, even in the modern day. Their influence can be heard in genre contemporaries like Anomie, Carol, Ivich and beyond. Once they disbanded, Christophe Mora would form obscure-but-influential Screamo band Jasemine.

Artifact Value:

This was originally released on CD in France and, despite its obscurity, is relatively cheap to import. Interestingly, this also came out as a cassette in Southwest Asia, with that version also being affordable but even harder to come by.

December / Puritan - A Split Record | Connective Tissue 1996

December

(Bethlehem, PA)

Jeremy (Vocals)
Seth (Guitar)
Joe (Guitar)
Dan (Bass)
Matt (Drums)

Puritan

(State College, PA)

Chad Pfeiffer
Demian Fenton
Doug Savour
Tyler Lotz
Vijay Hariharan

Basic Info:

Release Date: 1996
Label: Giving Tree Records
Runtime: 9:31
-December: 4:09
-Puritan: 5:22
Tracks: 4
-December: 2
-Puritan: 2

Genres, Influences and Characteristics:

Screamo, Emoviolence, Metalcore, Dissonant, Aggressive, Dynamic, Noisy

Points on the Timeline:

December’s only known material is on this split, two songs that add up to a little more than four minutes. Meanwhile, Puritan had a rewarding year with a demo and two splits released. However, they’d only release an EP in 1997 before calling it quits.

Shapes in the Sound:

Two similar bands whose style is a cross between the emotive dynamism of Screamo and the more extreme side of Emoviolence, combined with some truly Metalcore chugging riffs. The screams from both bands on this quick split are gnarly and high-pitched while the music is a constant tug-of-war between wailing, dissonant guitar and tense moments of quiet, just waiting for the insanity to ensue.

Threads in the Tapestry:

Emoviolence was just emerging during this year, and this split put a heaping teaspoon of Pennsylvania in the mix, with both bands only within a couple hours’ drive from each other. Although this split didn’t singlehandedly put the state on the map as a Screamo hotbed, it does showcase 10 invaluable minutes of Emoviolence history.

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.