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.

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.

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.