Song of Zarathustra - Discography Vol. 1 | Holy Grails 1999

The Artifact:

Release: 1999
Blood of the Young Records
Runtime: 19:26
Tracks: 10

Artifact DNA:

Screamo. Emoviolence, Post-Hardcore, Manic, Sassy, Dissonant

Artifact Archeologists:

Trevor McInnis (Vocals, Guitar)
Travis Bos (Vocals, Keyboard)
James Munsen (Vocals, Bass)
David Seaman (Drums)

Artifact Contents:

Both tracks from a split with Johnny Angel
Their track from a split with Spread the Disease
All tracks from their 1998 s/t EP
Two versions of an original track

Artifact Echoes:

Song of Zarathustra employs dissonance, syncopation, synths, noisiness, blistering tempos, and several vocalists to achieve their signature sound. Their earlier tracks are filled with personality and synthy sections, whereas their later work is a bit more straightforward but utilizes Screamo tropes very well, such as greater dynamics and more discordance.

Artifact Legacy:

Song of Zarathustra is a relatively unknown band in the grand scheme of Screamo, but this compilation excellently highlights a snapshot of Screamo from the Midwest. Sharing a scene with such bands as The Book of Dead Names and The Khayembii Communiqué, with whom they have some cross-pollination in their rosters, they showcase the power, ferocity and unique qualities of this area. Sadly, this excellent slice of American Screamo wound die out around 2003, where all three would disband.

Artifact Value:

The original vinyl run was pressed onto a picture disc (which is somewhat controversial) and was given about 3,000 copies. You can purchase it these days for under $10, same for the repress. Meanwhile, the 28 test prints seem impossible to find. Later on, this would be rereleased in CD format, making it even cheaper to own and more accessible.

You and I - The Curtain Falls | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

6/1/1999
Level Plane Records
New Brunswick, NJ (Tri-State)
Runtime: 22:12
Tracks: 8

Band Members:

Casey Boland (Guitar, Vocals)
Thomas Schlatter (Guitar, Vocals)
Justin Hock (Bass, Vocals)
Chris Boland (Drums)

At a Glance:

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

Musical Analysis:

Compared to the precision metallic chugging of their last album, You and I incorporates messier production, more chaotic songwriting and less sharp guitar tones on their sophomore full-length. Despite the quiet-loud dynamics, You and I once again manage to instill their songs with boundless kinetic energy, aided by the powerful vocal performance that mixes screams and cleans. However, the lower volume shifts seem more solemn than before, perhaps giving this record the emotional edge. Taking cues from Indian Summer, much of the transitions between songs on this album sample an old Stevie Wonder song.

Historical Analysis:

By 1999, You and I had already established themselves as the Screamo Kings of the LI-NJ Hardcore scene, even far outpacing bands like Saetia. With the release of their swan song The Curtain Falls, they further cemented this notion. Their popularity began blossoming, playing shows as far as Chicago, IL, New Bedford, MA and Nottingham, UK! However, this legacy would soon be paved over and their immense contributions to the genre would be somewhat shoved to the wayside. Alas, this is why You and I again missed the Hall of Fame - but their two amazing LPs still deserve recognition.

Lyrical Analysis:

Utilizing multi-layered lyrics from multiple vocalists, You and I seems to take their name seriously. Their personal lyrics regarding ongoing trauma and the struggle for self-reclamation, the fear of confessing love and being vulnerable, trying to find meaning in a chaotic world - all of these are blended with political issues like the scripting of freedom in Capitalism and the corrosion of unity amidst rampant individualism. In the end, all they have left - individualism, love, family - collapses underneath them with little hope left.

Yaphet Kotto - The Killer Was in the Government Blankets | Screamo Hall of Fame Class of 1999 Nominee

Release Information:

1999
Ebullition Records
Santa Cruz, CA (NorCal)
Runtime: 33:01
Tracks: 9

Band Members:

Casey Watson (Guitar, Vocals)
Mag Delana (Guitar, Vocals)
Pat Crowley (Bass)
Scott Batiste (Drums)

At a Glance:

Screamo, Post-Hardcore, Emocore, Melodic, Energetic, Technical

Musical Analysis:

This record definitely gives off “Bay Area Screamo” vibes, though perhaps a hair older than some of the other NorCal classics. It takes the dynamic and emotional nature of Screamo, combines it with the melody, clean vocals, and riffs of late 90s Post-Hardcore, brings in a few elements of Emocore, and unveiled it to the world with this, their debut LP. There are tons of memorable riffs and strong melodies from the guitarists, seemingly the primary focus of this project, and the screamed / clean vocal combination amps the emotionality up severalfold. Some more traditional “Punky” moments come in where you can hear the blatant Emocore influence, contrasting the otherwise quite technical performance in most tracks.

Historical Analysis:

Although not the first album (or band) you’d consider when discussing the legacy of Bay Area Screamo, this seedling of a concept would continue to get fleshed out by legends like Funeral Diner and City of Caterpillar. This enigmatic Hardcore cocktail would serve as the basis for a melodic and experimental approach to the genre that this region would eventually be known for. Despite this quality and its forward-thinkingness, this record comes just shy of a proper HoF induction.

Lyrical Analysis:

Just by giving the cover of this record a brief glance, you can tell this is inherently political. These harrowing lyrics explore the relations between imperialism and religion, noting the historial revisionism that enables it, paradoxically working within a system that grinds you down and the myth of meritocracy. With violence so woven into the fabric of American life, we are all complicit in the sins of our history. Even when discussing interpersonal relationships, Yaphet Kotto can’t help but compare this to a war with no winners, each side assuring mutual destruction.

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.

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!

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.

Sidekick Kato - 1st Class Chump | Screamo Hall of Fame Class of 1996 Nominee

Release Information:

1996
Johann’s Face Records
Des Plaines, IL (Midwest)
Runtime: 39:33
Tracks: 10

Band Members:

Tom Anderson (Vocals)
Franky Hryniewicz (Guitar)
Xaq (Guitar)
Joe Campagna (Bass)
Jay Dean (Drums)

Genres, Influences and Characteristics:

Midwest Emo, Screamo, Post-Hardcore, Melodic, Dynamic, Raw, Autumnal

Musical Analysis:

Sidekick Kato employs that early Post-Hardcore-influenced Midwest Emo sound, encapsulated by the first few seconds of the intro track: a loud, brazen chord progression transitions into a delicate, twinkly arpeggio with melodramatic crooning. This formula is quite reminiscent of Midwest Emo contemporaries like Texas Is The Reason, though these Illinois folks iterate even further by adding in some bold, cacophonous Screamo instrumentation and some emotionally resonant screams to the equation. I’d say the bulk of the music here leans Midwest Emo, however.

Historical Analysis:

To my knowledge, this is the very first attempt at weaving Midwest Emo with Screamo ever attempted, so kudos for that accomplishment right off the bat. Because Midwest Screamo wasn’t even an obscure subgenre of Emo yet and wouldn’t be for over a decade, this forward-thinking curiosity is an undeniable part of Screamo Canon, despite its minimal direct influence on the genre.

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.

Breakwater - Demo | The Shape of Screamo to Come

Release Information:

1995
Independent
Victoria, BC, Canada
Runtime: 25:12
Tracks: 5

Band Members:

Jode Shortreed
Steve Simard
Dave Truscott
Dave Wenger

Genres, Influences and Characteristics:

Screamo, Post-Hardcore, Post-Rock, Midwest Emo, Lofi, Dynamic, Atmospheric, Cold

Musical Analysis:

Despite its less-than-ideal recording conditions, Breakwater’s Demo showcases a potent Punk cocktail of Screamo, Post-Hardcore, Post-Rock and Midwest Emo, many of these genres in their infancy. Extended instrumental passages of twinkly arpeggios comprise the bulk of the softer, quieter sections, acting as a depressive glue for the fiercer, louder moments. The interplay between these intensities is as suffocating and disorienting as it is beautiful, and with each song averaging just over five minutes, there’s lots of room for each track to breathe and reach its destination naturally.

Historical Analysis:

Straddling the line between burgeoning genres like Screamo and Midwest Emo, their eclectic mix is fairly common now, but in 1995, this was revolutionary. If anything, this release showcases the shared history of all Emo subgenres and their connection to Post-Hardcore and Hardcore Punk. In that sense, this obscure Canadian collection of songs is a revolutionary album, despite being lesser-known than their Five / Seven single (which are both on this demo). Introducing lengthy Post-Rock elements was also quite novel, though it would become genre-defining in just a few short years.

Lyrical Analysis:

Breakwater's straightforward and frank lyrics may not seem all that special at first glance, but spouting such introspective rhetoric wasn't hugely common, at least without some social or political underpinnings. That isn’t to say the songs are apolitical, rather they focus on the personal side of generational hardships, helplessness, corrosive love and even the sting of truth. Their directness and sincerity make the lyrics digestible for almost anyone who listens.

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.

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.

Indian Summer - Indian Summer | The Shape of Screamo to Come

Release Information:

1993
Repercussion Records
Oakland, CA (NorCal)
Runtime: 14:40
Tracks: 3

Band Members:

Marc Binachi (Guitar, Vocals)
Adam Nanaa (Guitar, Vocals)
Seth Nanaa (Bass, Vocals)
Eyad Kaileh (Drums)

Genres, Influences and Characteristics:

Emocore, Post-Hardcore, Proto-Screamo, Post-Rock, Bleak, Dynamic, Cathartic, Samplecore

Musical Analysis:

An old-timey melancholy Blues number by Bessie Smith starts our album off before a delicate arpeggio and shaky clean vocals enter, playing call-and-response with the prolific sampled artist. This moves into a seesaw of dark and foreboding tension and manic outbursts. The sample acts as a connective thread for the rest of the 7”, adding to the jarring dynamics and unsteady atmosphere. This interplay is executed perfectly on the final track, a 7+ minute sojourn that crescendos into a cacophonous outpouring of sentimentality.

Historical Analysis:

Forget Screamo, this record is one of the most influential releases in all of Emo history, leaving a legendary footprint that many have tread over but few have matched. Eight years and nearly three thousand miles separate Emocore's origins from Indian Summer's s/t, and the musical growth from rigid Revolution Summer worship was not only a turning point for Emocore, which had never been quite this dynamic or original, but for Emo, which was in its infancy, and Screamo, showcasing a blend of violence and melody. The band pushed Emocore to its absolute extremes and has far surpassed the legacy envisioned by 90s fans.

Lyrical Analysis:

By grounding this album with Bessie Smith’s sample throughout, it anchors the timeless feelings of unrequited love, loss and longing that plague the lyrics on this release. A common trope for all Emo, the poetic self-reflection about a failing relationship, uncertainty, questioning the morals of loved ones, and ultimately, the search for meaning in life give the music entirely new dimensions. While not groundbreaking topics in any sense, they engender powerful human emotions. In particular, the cathartic reckoning of the last track would become a hallmark of the greatest Emo and Screamo releases.

Heroin - Heroin | The Shape of Screamo to Come

Release Information:

1992
Gravity Records
San Diego, CA (SoCal)
Runtime - 6:50
Tracks: 4

Band Members:

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

Genres, Influences and Characteristics:

Post-Hardcore, Proto-Screamo, Emocore, Hardcore, Noisy, Raw, Intense, Dissonant

Musical Analysis:

At times, this release showcases its prominent Punk roots with blistering and simple chord progressions, rapid-fire shouted lyrics and short song lengths. However, utilizing Emocore influences gives this EP a different tone and allows for stronger uses of melody in the guitar. Toward the end of the EP in particular, there seems to be a movement away from the simplicity of traditional Hardcore into more chaotic and emotive stuff; Blind emits some Powerviolence influence while With No Name is deliberately paced and features dynamic intensities, a staple of Screamo.

Historical Analysis:

Heroin’s self-titled 1992 7” is one of the premiere releases from Gravity Records, one of the most influential record labels with respect to Hardcore, Post-Hardcore and Screamo. San Diego was a groundswell of innovation in the scene and Heroin’s harrowing combination of Post-Hardcore, Emocore and Hardcore would influence countless bands in the area. I’d be remiss if I referred to this as proper Screamo, but their sound was trending into what early Screamo would become.

Lyrical Analysis:

*Note that because this is an old DIY release during the early 90s, I can only locate lyrics for the first two songs. As such, my lyrical analysis will focus on those. If more lyrics can be dug out, I will reevaluate the lyrical analysis*

Heroin’s direct yet poignant lyrics center around social complacency and finding your place in the world. The search for authenticity continues, especially in an increasingly self-centered world. Interestingly, Heroin’s lyrics suggest self-reflection on their own privilege in this world as “middle-class white kids,” though this does nothing to stop the existential dread.