Jeromes Dream / July - Connective Tissue 1999

Jeromes Dream

(West Haven, CT)

Jeff Smith (Bass, Vocals)
Nick Antonopulous (Guitar)
Erik Ratensperger (Drums)

July

(Apex, NC)

Gabe Johnson
Herb Harris

Basic Info:

Release Date: 1999
Label: Witching Hour Records
Runtime: 10:13
-Jeromes Dream: 3:50
-July: 6:23
Tracks: 2
-Jeromes Dream: 1
-July: 1

At a Glance:

Emoviolence, Post-Rock, Midwest Emo, Slowcore, Atmospheric

Points on the Timeline:

Jeromes Dream had just released their first split with Amalgamation in December of 1998, so this was still one of the earliest tracks they ever released. They would stick around for a couple of years before disbanding in the early 00s, whereby they’d release their signature material. Meanwhile, July is a duo with this one song and possibly a demo somewhere in the wild. They’re quite obscure.

Shapes in the Sound:

Jeromes’ side opens with one of their typical ferocious Emoviolence intros with utter insanity on the guitar and drums. Jeff Smith’s signature destructive vocals complete the package, though there’s also a bit of a second half to this one; the back end of this track is mostly atmospheric noise with dynamic aggression. Meanwhile, July’s track is quiet, blessed with just a guitar, some keyboard and the human voice. These nearly six-and-a-half minutes of Post-Rock goodness with Emo-style vocals are beautiful, but contrast Jeromes’ side completely.

Threads in the Tapestry:

How this obscure band linked with Jeromes Dream with almost zero music to their credit and living 600 miles apart is truly a mystery, but the world of Emo should be thankful for this contribution. While obviously not Jeromes’ greatest or most memorable work, it does feature a repetitive chord progression that the end that would become a hallmark of their sound for years to come.

Kulara - 5 Pieces Songs | Screamo HAll of Fame Class of 1999 Nominee

Release Information:

1999
Never Shown Face Records
Tokyo, Japan
Runtime: 24:56
Tracks: 5

Band Members:

Murase (Vocals)
Nakagawa (Guitar)
Tanaka (Guitar)
Takaya (Bass)
Kimura (Drums)

At a Glance:

Screamo, Prog, Math Rock, Post-Rock, Dissonant, Dynamic, Complex, Experimental, Noisy, Atmospheric, Dense

Musical Analysis:

The best word I can use to describe this sound is “disorienting,” as the musical complexity, masterclass dissonance and volume dynamics are all wrapped in this unique Progressive aura of experimentation. Slow, disharmonious sections composed from a tense atmosphere and a chilling melody will jarringly and frantically switch to a chaotic section of screaming and uncontrolled musical mayhem, a regular occurrence. It’s quite difficult to transcribe the sound of this beast into English, so I’m just going to recommend you listen for yourself and hear the magic unfold before your ears.

Historical Analysis:

Following Envy’s 1998 LP, Japanese Screamo began to experiment and refine itself, and no artist in the country represented that better than Kulara. After a few middling Screamo EPs, this 1999 release defined them as true innovators in Screamo with this Prog-adjacent masterpiece. The experimentation on here is unlike anything heard before OR after, evidenced by how difficult it was to conceptualize the sound in words. Although this particular release didn’t set the world on fire, it remains one of the crowning achievements of early Japanese Screamo and deserves to at least be mentioned in the same breath as other greats from the 90s.

Lyrical Analysis:

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

The EP takes you on a remarkable lyrical journey through anxiety and isolation, the violence of silence, losing sanity, the machinization of humanity and the illusion of autonomy. There’s a bitter sense of helplessness as language fails us and cycles of violence trap us. However, perhaps being insane in an insane society is the only true escape. Maybe, to break these miserable patterns chosen for our lives, we must shatter the patterns and destroy the self. Appropriately, this is a bit of Eastern wisdom after 25 minutes of catharsis.

Closure - Closure | Screamo Hall of Fame Class of 1997 Nominee

Release Information:

1997
Mountain Records
New York
Runtime: 31:31
Tracks: 6

Band Members:

Trevor Perry (Vocals)
Adam Gutwein (Guitar)
Mike Treff (Guitar)
Mark Spelbur (Bass)
Dave Spelbur (Drums)

Genres, Influences and Characteristics:

Screamo, Post-Rock, Cold, Melodic, Dynamic

Musical Analysis:

Closure's self-titled album represents the best tropes of late 90s Screamo, showcasing a dynamic mix of chilling, atmospheric instrumental sections of quiet melody, masterfully-crafted tense buildups and powerful, cathartic crescendos. Trevor’s gnarly screams add emotional depth to the songs, imparting unto the listener every ounce of pain that he’s internalized.

Historical Analysis:

Although quite obscure in the grand scheme of Screamo Canon, Closure’s one and only LP stands the test of time as an early example of Post-Rock creeping its way into Screamo music, in a similar vein to Portraits of Past and Breakwater (with whom they performed on a split with). Though this album predates some of the later classics with Post-Rock leanings, its niche popularity means not enough people were influenced by this incredible album to earn its place in the Hall.

Lyrical Analysis:

Closure keeps the lyrics simple to ensure the potent messages are digestible by all, despite the incomprehensibility of the vocalist at times. Utilizing short bits of prose and simply-structured poetic lyrics, themes of religious hypocrisy, abuse of power and the dehumanizing nature of work are solemnly explored. The doom and gloom lead to catharsis, though, with a rallying cries against willful ignorance, in favor of feeling genuine human emotion and pain, and to seek your own meaning in life.

Saetia - Saetia | Screamo Hall of Fame Class of 1997 Inductee

Release Information:

1997
Independent Release
New York City, NY (Tri-State)
Runtime: 14:42
Tracks: 4

Band Members:

Billy Werner (Vocals)
Adam Marino (Guitar)
Jaime Behar (Guitar)
Alex Madera (Bass)
Greg Drudy (Drums)

Genres, Influences and Characteristics:

Screamo, Midwest Emo, Post-Rock, Dynamic, Raw, Mysterious, Complex

Musical Analysis:

You come to understand the power of Saetia’s music within seconds of the intro track’s simple but harrowing intro, oscillating between complete silence and brash, distorted guitar. Entering next is Billy Werner’s iconic high-pitched screeches juxtaposed with frustrated, rapid-fire spoken word verses. As the songs progress, a profound sense of dynamic songwriting can be heard through the serene quiets and the frantic louds on this record. Saetia was definitely inspired by the style of Midwest Emo with intensity changes and twinkly guitar parts, more than the form.

This record isn’t just an establishment of Screamo tropes, though. It is a vibrant, seemingly-alive work of art that reflects the anguish of the band members. Despite each track going through its own arc, the entire EP seemingly builds up to an explosive crescendo in their final track. This is aided by the subtle Post-Rock influence that, while not as pronounced as in bands like Portraits of Past, gives this band the freedom to air out their emotions through extended instrumental passages.

Historical Analysis:

Whenever analyzing the discography of a Screamo band, never, and I mean NEVER, underestimate the power of a demo tape. Although this band would go on to have a legendary (if not short) career, this demo started it all. Featuring the two tracks from a single that would release that same year, this s/t Demo features some of the most beloved songs in the entire catalogue of the band. Countless artists would be inspired by these tracks alone, though Saetia would have quite the prolific career from here despite their brief run.

Lyrical Analysis:

Saetia’s prose-like approach to lyricism allows the band to tell extremely personal emotional tales through stream-of-consciousness verses, powerful repeated phrases and grandiose metaphors about regret and heartbreak. The band isn’t thematically novel, exploring the ideas of unrequited love, grief and nostalgia. Billy’s frenzied vocal delivery imparts desperation and immediacy upon the listener, only to slow things down with clean spoken words that are clearly and painfully understood. Many Screamo bands would blend in political and social ills with personal misery, but Saetia looked entirely inward for motivational torment for these lyrics.

Breakwater / Closure | Connective Tissue 1996

Breakwater

(Victoria, BC, Canada)

Jode Shortreed
Steve Simard
Carey Mercer

Closure

(New York)

Trevor Perry (Vocals)
Adam Gutwein (Guitar)
Mike Treff (Guitar)
Mark Spelbur (Bass)
Dave Spelbur (Drums)

Basic Info:

Release Date: 1996
Label: Mountain Records
Runtime: 9:31
-Breakwater: 7:12
-Closure: 6:44
Tracks: 3
-Breakwater: 1
-Closure: 2

Genres, Influences and Characteristics:

Screamo, Emo, Post-Rock, Melodic, Raw, Dynamic, Lofi

Points on the Timeline:

Almost all of Breakwater’s other material was released in 1995, a demo and a single that contains two songs from the demo. Barring the song Twelve that appears on a comp, this is their only other recorded track. Closure had just formed before this EP dropped and would only last one more year with a full-length album.

Shapes in the Sound:

Melodic, long-form, Post-Rock-driven Screamo with tons of dynamic intensity is found on both sides of this excellent split. Breakwater’s passionate track is a heartbreaking journey of soft vocals and cathartic screams, melodic lead lines and heavy, dissonant chord progressions and devastating crescendos. Closure is a bit more straightforward in their songwriting but features incredibly driving rhythms, heavier production and more bounciness. Though quite contrasted, these two bands complement each other. MAGIC TURTLE!

Threads in the Tapestry:

I initially assumed Victoria was on the East Coast of Canada, which would make sense considering the ties to New York. However, I learned that these two bands were at least 2,500 miles apart, so we’re spanning quite a bit of continent here. Breakwater contributed a track to the same Mountain Records comp as Closure, which is how I imagine they became connected. This split represents cross-country scene building and demonstrates Screamo’s other tendency towards melody and dynamism, compared with some of the heavier bands during this time pushing Emoviolence and other more extreme forms of Screamo.

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.

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.