Heroin - Heroin | Holy Grails 1997

The Artifact:

1/14/1997
Gravity Records
Runtime: 47:04
Tracks: 19

Artifact Characteristics:

Post-Hardcore, Proto-Screamo, Noise Rock, Hardcore Punk, Emocore, Raw, Intense

Artifact Archeologists

Matt Anderson (Vocals)
Scott Bartoloni (Guitar)
Ron Johnson (Bass)
Aaron Montaigne (Drums)

Artifact Contents:

Every track from All About Heroin
Every track from their 1992 s/t
Every track from their 1993 s/t
Three original tracks

Artifact Echoes:

Legends of early 90s Proto-Screamo and one of the original bands to explore this sonic space, Heroin took the power and fury of Hardcore, illuminated it with the melody and dynamism of Emocore and added in their own Post-Hardcore fixings to craft a noisy and raw discography. The singer’s shouted screams inject the music with even more immediacy and emotion, the guitarist didorients with breakneck chord progressions and heaps of noisy dissonance; the bass packs with it a sense of danger and the drumming is frantic and chaotic, effectively putting the formula in a blender. These pieces came together to from the early blueprints of the genre.

Artifact Legacy:

Listening through this compilation album showcases the band's evolution over the two years they were active, tracking their increased use of melody, dissonance and intensity. In addition to pioneering this genre and shaking up the early 90s Hardcore scene, Heroin's direct influences reached so many early Screamo bands, especially to the influential and genre-defining Gravity Records rostermates. Their drummer would form Antioch Arrow shortly after this band broke up, adding even more chaos and unease to the developing genre. However, that experimental edge was first put to use in Heroin.

Artifact Value:

Gravity Records released this comp in 1997 with several versions, allegedly including a rainbow pressing. All four versions I could find seem to be relatively inexpensive, with the price likely lowering a few years ago after Heroin released a new compilation album.

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!

Puritan / Reversal of Man | Connective Tissue 1996

Puritan:

(State College, PA)

Chad PfeifferDemian Fenton
Doug Savour
Tyler Lotz
Vijay Hariharan

Reversal of Man:

(Tampa, FL)

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

Basic Info:

Release Date: 1996
Label: King of the Monsters Records
Runtime: 34:07
-Puritan: 19:07
-Reversal of Man: 15:00
Tracks: 11
-Puritan: 5
-Reversal of Man: 6

Genres, Influences and Characteristics:

Screamo, Emoviolence, Noise Rock, Dissonant, Chaotic

Points on the Timeline:

At the time of release, Puritan was a brand new band with perhaps only a two-song tour demo released to their name. Reversal of Man, on the other hand, had already established themselves the year before across three releases and seven songs. Both artists would release another split this very same year.

Shapes in the Sound:

This split brings two very similar, very violence-oriented bands together, showcasing emotive hardcore’s evolution into Screamo and Emoviolence. Puritan’s punishing tracks emphasize the disparity between dissonance and melody with slower, discordant madness that changes to rapid-fire Emoviolence. By comparison, Reversal of Man is a bit more straightforward in their approach, but every bit of noisiness, dissonance, emotion and dynamism is present. Interestingly, they close their half out with the opener of their s/t EP of the same year, though I’m not sure which came out first.

Threads in the Tapestry:

With Emoviolence (and Screamo as a whole) in its infancy, these two burgeoning artists reached over 1,000 miles across the Atlantic to collaborate on this harrowing full-length split. While neither these tracks nor this split in general was revolutionary in the genre, this release further cemented genre conventions like liberal use of dissonance, quiet-loud dynamics and Powerviolence-like tempo switches.

One Eyed God Prophecy - One Eyed God Prophecy | The Shape of Screamo to Come

Release Information:

1995
The Great American Steak Religion Records
Sherbrooke, QC, Canada
Runtime: 33:00
Tracks: 7

Band Members:

Dom Poulin (Vocals)
Seb Philbert (Guitar)
Ugo Desgreniers (Guitar)
Alex Bibeau (Bass)
J-P Dionne (Drums)

Genres, Influences and Characteristics:

Screamo, Sludge Metal, Noise Rock, Dark, Atmospheric, Dense, Crusty

Musical Analysis:

This album sounds EVIL. There’s a sinister air to the songs on this record, exhibited perfectly by the intimidating intro song. However, judging this album based on the heavy, dark first track would belie the dynamism and atmosphere that the album takes time to establish. The fuzzy guitar tones make them sound insurmountable during moments of musical mayhem, though the clean twinkly sections that plague this release are as serene as they come. The drums are consistent and are played exactly as they’re needed in the moment, whether that’s burning the house down with Emoviolence-esque chaos or building atmosphere with spaced-out cymbals. The harrowing vocal performance is definitely high-register, though it is fairly low in the mix.

Historical Analysis:

Despite only being a cult favorite in Screamo, the influence this release has had cannot be understated. Few Screamo albums before this emphasized cultivating an atmospheric sound rather than aiming strictly for brutality and heaviness. Additionally, OEGP sneaked high-class musicianship into the equation, adding to the chaos and technicality that would soon become commonplace. Although Sludge and Crust influences in Screamo were never omnipotent, enough artists from the 90s til now owe their livelihood to what this album accomplished.

Lyrical Analysis:

Despite the obscurity of the screamed lyrics, the emotional veracity and intensity is never lost by the vocal performance or the words themselves. One Eyed God Prophecy blends social critique, existential dread and emotional vulnerability into an explosive cocktail of poetry and prose. The singer desperately searches for authenticity in a world of greed and falsehoods, though he invokes personal responsibility to solve the problem. He criticizes Capitalism for destroying the ecosystem, but also for destroying local communities and alienating us. He even speaks about the desperate dance of hope and despair, romantic longing and generational tension, just to name a few of the many thematic subjects brought forth. This varied commentary on the human condition and the sociopolitical climate behind it would become a staple of Screamo in the 90s into the early 00s.

Antioch Arrow - In Love With Jetts

Release Information:

1994
Gravity Records
San Diego, CA (SoCal)
Runtime: 13:46
Tracks: 9

Band Members:

Aaron Montaigne (Vocals)
Jeff Winterberg (Guitar)
Andy Ward (Guitar)
Mac Mann (Bass)
Ron Avila (Drums)

Genres, Influences and Characteristics:

Post-Hardcore, Proto-Sass, Screamo, Noise Rock, Eclectic, Dynamic, Chaotic, Playful

Musical Analysis:

Anxiety-inducing music from trailblazers Antioch Arrrow in the form of noisy, chaotic, quirky Hardcore, In Love With Jetts is THE seminal Sasscore album. This quintessential release is playful, effeminate and downright weird at times, aimless and formless at others. The pandemonium pendulums between tense quietus and manic outbursts, exploding with personality all the while. This is one of the most absurd releases of this time.

Historical Analysis:

Avant-Garde is an overused term these days, but by 1994 standards, this was quite the leap forward for Punk and its many subgenres. It not only added more dimensions to Post-Hardcore mythos, they further established the more chaotic and dynamic aspects of Screamo. Calling this a Screamo release feels a bit disingenuous considering most lyrics aren't screamed, but these mischievous clean vocals, along with the general recklessness of the songwriting and performing, basically introduced the world to the wonderful world of Sasscore, Screamo's sexy redheaded stepsister.

Lyrical Analysis:

Antioch Arrow's lyrical themes and meanings are almost unimportant compared to the flamboyant diction, nonsensical imagery and lighthearted tone. The stream-of-consciousness writing style is rife for interpretation, but general themes of uncertain love, lost spirituality and desire for genuine connection creep into light. These lyrics contrast the confessional, confrontational lyrics of early Screamo thus far, veering into territory often covered by Sass.

Reach Out - Reach Out | The Shape of Screamo to Come

Release Information:

1994
The Great American Steak Religion Records
NorCal
Runtime: 12:04
Tracks: 4

Band Members:

Philip Scott (Vocals)
Mike Martinez (Guitar)
Mikel Garmendia (Guitar)
Stacey Iguchj (Bass)
Bob Beck (Drums)

Genres, Influences and Characteristics:

Screamo, Emocore, Noise Rock, Gloomy, Melodic, Atmospheric, Lofi

Musical Analysis:

Unlike the majority of the Screamo and Proto-Screamo in existence to this point, Reach Out’s s/t is the least beholden to the traditions and tropes of Hardcore Punk. Instead, the NorCal quintet utilizes time-tested Emocore values and cranks up the tunefulness with grandiose, sweeping melodies before adding atmospheric elements of raw, aggressive and dense Screamo. Topping off this aromatic concoction is basement-level recording and production,adding to the bulk of this forward-thinking release, and harrowing, gnarly screamed vocals.

Historical Analysis:

Little information is available on these Screamo trailblazers, save that they had another Demo with significantly more songs that seem lost to time. Although this EP remains a curious obscurity in the grand scheme of Screamo Canon, this band took innovative leaps forward that would become genre standard in the years to come, such as a brutal focus on melody and atmosphere. This release also further legitimizes California as the King of early Screamo.

Lyrical Analysis:

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

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.

Sleeping Body - Awaken | The Shape of Screamo to Come

Release Information:

1992
Vermin Scum Records
Fort Worth, TX
Runtime: 11:33
Tracks: 4

Band Members:

Chad Percy (Vocals)
Carl Hollowell (Drums, Vocals)
Justin Wood (Guitar, Vocals)
Jeff Leeper (Guitar)
Jeff Hunt (Bass)

Genres, Influences and Characteristics:

Proto-Screamo, Noise Rock, Emocore, Lofi, Dissonant, Ominous

Musical Analysis:

The band’s name is exemplified in a quiet bass-led intro and the album’s title is embodied by the abrasive and gritty music that pops up after about 15 seconds. The noise rock influence, coupled with low-level production, gives the instruments, particularly the interplay between the guitars and drums, a clamorous quality that only experienced ears can fully suss out. What can be heard resembles a further melding of the dynamic interplay of Emocore with the heaviness of Hardcore music. In fact, even the screamed vocals are at a higher register than your typical Hardcore of this time, indicative of the future vocal stylings of this genre.

Historical Analysis:

Sleeping Body was among the first bands outside of the coasts to take influence from the emerging Post-Hardcore scenes on the East Coast and early Gravity Records bands like Heroin. To exist in Texas as a Leftist in the Hardcore scene is to exist in protest, and Sleeping Body’s brief but prolific career included playing a protest show across the street from the RNC. Though their existence didn’t singlehandedly change the trajectory of Screamo, nor did it transform the once-bustling Hardcore scene into a Screamo stronghold, this seminal early release has been a cathartic record for underground fans for decades now. In more recent times, younger Millennials and Gen Zers have unearthed some incredible obscure Emo, including this record.

Lyrical Analysis:

*Note that because this is an old, DIY and relatively minor release in the grand scheme of Emo and Hardcore history, I can’t actually locate any lyrics for the songs proper. As such, my lyrical analysis will be me pontificating on the band’s philosphy. If lyrics can be dug out, I will reevaluate the lyrical analysis*

Sleeping Body believes this world is a body and that we are all vital components to keep that body going. However, this body is “asleep” due to man-made horrors like war, pollution and discrimination. With their debut EP, the band is telling that Sleeping Body to Awaken, staying woke about 25 years earlier than all of us. The only way to accomplish this is cooperation, working together as a human species to better life for us all.