Saetia - Saetia | Screamo Hall of Fame Class of 1998 Inductee

Release Information:

1998
Mountain Records
New York, NY
Runtime: 28:45
Tracks: 9

Band Members:

Billy Werner - Vocals
Adam Marino - Guitar
Jaime Behar - Guitar
Colin Bartoldus - Bass
Gregory Drudy - Drums

Genres, Influences and Characteristics:

Screamo, Midwest Emo, Math Rock, Complex, Dynamic, Melodic, Raw, Aggressive

Musical Analysis:

Coming a year off the heels of their revered demo, Saetia’s 1998 s/t LP is a revelation of Screamo music, taking their formula and supercharging it. The dynamic song forms return with more intensity than ever, balancing perfectly with the softer melodic parts of the album. Introduced in this release are strong Math Rock influences, giving their songs more unpredictability, varying odd time signatures, rhythmic complexity and an overall higher level of technicality than ever. This intricacy adds even more dynamism to their songs, emphasizing the poignant melodies and depravity more than before.

Historical Analysis:

The opening salvo of their discography was a monumental step forward for Screamo, but this album is perhaps one of the most influential works in the genre's history. This bold statement basically defined what Screamo would sound like at its peak and turned the somewhat silly subgenre into one capable of high art. The final shackles of Hardcore Punk and Post-Hardcore that held the genre together early on have evaporated and Screamo genre conventions were truly their own.

This album is the blueprint for which countless Screamo bands took inspiration, even if we’d have to work through a few more years of Emoviolence prominence before Saetia’s influence would be the defining sound. Besides this legendary status, the music itself is exceptional and would likely qualify for the Screamo Hall of Fame even without its legacy.

Lyrical Analysis:

Saetia fully embraces nihilism on this s/t. From just the title of the first song, the band reflects on how language is a lie we use to deceive ourselves, the destructive power of words and the failure of human systems. It sure seems like personal and collective misery is at the forefront of their lyrical themes, but their nihilistic worldview cuts both ways: sure, words are a lie and they tend to destroy relationships, but they also compose art - and art is a divine struggle. Yes, relationships can fail and you can subsequently fall, but there is power in rising above. Of course, the body exists as a tool of self-hatred and a reminder of our temporary mortal condition, but there is freedom in the emptiness. These are among the most poetic and artistic lyrics in the entire genre to this point.