Recontextualizing Third Wave Emo From an Underground / DIY Perspective - Overview

Boy howdy, is there a more controversial topic in this scene than Third Wave Emo? The maligned period in the genre’s great history was also Emo’s biggest commercial boom, with Emo-Pop and Emo-Adjacent juggernauts becoming household names. The story goes that once bands like Taking Back Sunday and My Chemical Romance burst onto the scene, Emo’s dwindling Second Wave immediately died off and the ethos of the genre perished with it until some brave Revivalists brought it back from the dead in the early 2010s. However, this simplistic view minimizes the hard work that the underground, basement and DIY Emo scenes around the world were putting in during this very same span.

Some bands looked at the 15+ year history of Emo to that point and continued to push those qualities. Others sought to innovate on Emo’s established sound, especially by fusing it with different genres. Others still invoked the relatively unknown Kinsella brothers’ unique approach to Emo and expanded upon it.

Many people believe no real Emo music was released during this time and, while the purpose of this series isn’t to discredit mainstream Emo-Pop or to define what “real Emo” is, I want to dispel that notion completely and recontextualize Emo as a continued underground movement from the Second Wave to the Fourth Wave instead of the disconnected death and revival of a genre.

A few notes before we continue:

• Splitting Emo into different waves isn’t even a universally agreed-upon metric for defining the genre and its characteristics, but I find it to be a fairly useful way to categorize its history.

• The general timeline that’s agreed on for the Third Wave is roughly 2002-2008. I used these years as a basis for gathering releases.

• I am not a grand Emo historian who’s lived through every Wave and attended millions of shows throughout the world, so if you believe I’ve incorrectly categorized an artist or release, just let me know your opinions in the comments.

• I will be putting each section in roughly chronological order. Specific release dates can be hard to find so I’ll do my best to put these out in order.

• This version of the list will include all of the bonus records that I've included since I finished this project, so it'll be fairly comprehensive.

• 🎩 = Top-Tier release from the wave

• 💎 = Hidden Gem release from the wave

Part 1: Last Vestiges of the Second Wave

This section will cover Second Wave Emo artists who continued to release music between 2002-2008, especially those who utilized characteristics of that Wave’s sound.

Billy Music - Midwest Index (2/5/2002)

With one of the worst band names in existence (and a hair more googlable than their original band name “Billy”), Billy Music released their sole LP Midwest Index in 2002 after a couple of EPs and an appearance on one of the Emo Diaries compilations. At least the album name is appropriate for across 10 tracks is a sort of catalog of Midwest Emo tropes, collected together as sort of a primer for newer fans of the 90s Emo sound.

Kilowatthours - The Bright Side (2/12/2002)

Given the band had a lot more Post-Rock influences when they first released music in 1999, they nonetheless released an EP and LP before 2002 with strong Emo influence, so this album deserves to be in this section. Still employing a heaping tablespoon of Post-Rock in their music, this release is more grounded in Midwest Emo than anything they’ve done before. The vocals are soft so as not to disturb the atmosphere of each song.

Check this album out if you are looking for the cozier side of the Second Wave Emo sound and get a minute preview into the future of Emo during the Third Wave…

Piebald - We Are the Only Friends We Have (2/19/2002) 💎 (See Also: Part 7)

Piebald was firmly entrenched in Second Wave Emo canon by releasing several EPs and albums in the 90s. These quality Midwest Emo releases would ensure the band had a loyal cult following, but they arguably released their magnum opus in 2002 and changed the trajectory of their legacy forever.

Taking the bones of Midwest Emo and using different time signatures, they unlocked their melodic potential on this album by incorporating elements of the burgeoning Emo-Pop movement. The anthemic hooks only add to the experience, making this arguably their best album. Do not let the Emo-Pop influence deter you - the edginess in the production ensures this is Emo, through and through.

Pop Unknown - The August Division (3/5/2002)

Conventional wisdom says this album isn’t as good as Pop Unknown’s previous LP, but I’d like to think The August Division stands on its own next to its progenitor. Taking Midwest Emo, sprinkling in some Post-Punk elements and injecting the whole thing with a ton of infectious melody, Pop Unknown delivers with their swan song. This album immediately grabs your attention and refuses to let go.

Brandtson - Dial In Sounds (3/5/2002)

Utilizing classic Midwest Emo as a base and tossing mild Pop-Punk and Post-Hardcore elements is a winning formula with Dial In Sounds. With a career spanning from the late 90s into the mid-00s, Brandtson has released a prolific discography with somewhat mixed results, but this one is a definite notch in the “win” column.

The Gloria Record - Start Here (4/6/2002)

The successor to Mineral, The Gloria Record was a passionate Midwest Emo band with less Post-Hardcore than their predecessor. The band's sound is often compared to Radiohead, and not just because their songwriting is both excellent and TGR displays Indie traits, but because Start Here is this band's OK Computer.

The Emo bones of the band are present here, but the sonic exploration employed by Simpson and the boys is as vast as it is genre-defying. Perhaps calling this a “vestige of the Second Wave” isn’t exactly true as this album could have been revolutionary for the genre had it blown up in popularity. However, as a dying branch of the Second Wave, this underrated album deserves its place here for how forward-thinking it is.

Camber - Wake Up and Be Happy (4/9/2002)

Bursting onto the scene in 1997, Camber gained some notoriety by being in the first Emo Diaries compilation, along with a very good SDRE-inspired first LP. After a few more releases, they put out their last full-length in 2002 and is considered one of their weaker releases. However, I think there are some pretty decent ideas in here and the songs are pretty neat. Check it out if you’re itching for more authentic 90s Emo.

Pedro the Lion - Control (4/16/2002)

Put simply, this is a bummer album. The Indie Rock-soaked Emo of Pedro the Lion's previous releases is present with bitter, crunchy guitars and a melancholic storyline that weaves the album together. The slew of mid-tempo tracks with Bazan’s droning voice wears on you emotionally throughout 10 tracks.

Pedro the Lion is known for consistency, but this is perhaps their most solid and memorable outing as a band.

The Casket Lottery - Survival Is for Cowards (6/18/2002) 💎

The Casket Lottery is a band with amazing longevity and consistency, having made splits with the likes of Hot Water Music and Touche Amore. After some really good albums and EPs in the late 90s / early 00s, 2002 saw the release of (arguably) their magnum opus, Survival is for Cowards. A potent blend of Post-Hardcore and Midwest Emo, this LP borrows much from the Second Wave but introduces fresh songwriting ideas, making this a sort of breath of fresh air.

Extremely powerful vocals are driven by an exemplary rhythm section that keeps the listener engaged throughout its ~30-minute runtime.

Jawbreaker - Etc. (7/23/2002) (See Also: Part 3)

This one is cheating as Jawbreaker isn’t really a Second Wave band, but this is probably the best spot for it. A compilation of demos, outtakes, covers and alternate song versions recorded from the late 80s to the mid 90s, meaning B-Sides for every single Jawbreaker album are on here. Whether you call them Emocore, Emo Punk or something else, this unforgettable band has some truly classic tracks on this.

Kind of Like Spitting - Bridges Worth Burning (8/6/2002) 🚫NOTE: Ben Barnett has been accused of grooming recently

Since the mid-90s, Kind of Like Spitting occupied an unparalleled space during the Second Wave, playing Midwest Emo with heavy dosages of Indie and some Folksy elements for good measure. A prolific discography and a few magna opera later, we’re in 2002 with KoLS’s final Midwest Emo release, Bridges Worth Burning. This LP is arguably on the same level as their previous greatest releases, trending toward being more upbeat.

Beyond anything else, the passion with which this band plays, particularly in the vocals, is undeniable, much like the lyrics. Very few albums sound quite like this, so this is a must-listen. Soon thereafter, KoLS would veer hard into the Indie Folk direction, so this really serves as a denouement to their Emo career.

The Jim Yoshii Pile-Up - Homemade Drugs (10/11/2002)

Somehow, despite being brighter and overall more hopeful than their debut LP, Homemade Drugs is still a distressing, unhurried album. Tiny elements of Indie and Post-Rock are evident in this album, beginning to turn the Second Wave sound in a new direction.

Homemade Drugs isn’t the most well-known or beloved release in this section, but it is one of the best, especially if you’re looking for Emo music to sit back and dissociate to.

Jets to Brazil - Perfecting Loneliness (10/15/2002)

Emo weaved with equal parts Indie Rock, this late 90s Emo “supergroup” released their final LP Perfecting Loneliness in 2002. Little debate exists that Jets to Brazil's first album is their all-time musical accomplishment, but their final album is still worthy of praise. Fantastic lyricism and an overall softer tone characterize this album.

Songs regularly exceed 5 minutes of length on this album so if you’re searching for quick bursts of energy as songs, this one isn't for you. However, if you enjoy a mature take on Indie with inextricable Emo roots, this one is worth a listen.

Waxwing - Nobody Can Take What Everyone Owns (11/11/2002)

Waxwing produced Punk-leaning Emo goodness with their final LP. Although the album isn’t extraordinary, the songs are quite fun and energetic with pretty good vocals. Notably, one of the band’s guitarists, Cody Votolato, was working with The Blood Brothers at the same time.

Kid Brother Collective - Highway Miles (11/26/2002

Simple, old-school Emo that will make you yearn for simpler days. In the end, that’s all this genre needs. Nothing extraordinary on display, but more fare for those in the Mineral / Penfold camp.

Rainer Maria - Long Knives Drawn (1/28/2003)

Although Rainer Maria had changed fairly significantly since the band’s origins in the 90s, namely in the absence of male vocals, they had strong Emo ties in this 2003 LP. An Emo / Indie hybrid with the ethos of the Second Wave, what sets this album apart is how poppy Rainer Maria allows themselves to go, giving a memorable quality to the majority of the songs. This is an excellent addition to the band’s consistently good discography.

Cursive - The Ugly Organ (3/4/2003) 🎩

This one is probably one of the most well-known and beloved albums on this list, but I figure it’d be worth including it. Cursive began their career in the thick of the Second Wave, releasing two decent albums in the 90s before unleashing their first masterpiece Domestica in 2000. Following up on this unbelievable LP would be no small feat, but when Cursive released Ugly Organ in 2003, they did just that with an equally (if not more so) compelling album.

About 50/50 Post-Hardcore / Emo, Ugly Organ adds a cellist to the lineup, greatly expanding past the audio barriers of the genre’s typical instruments. Sinister, dissonant and brooding, this one needs to be heard to be believed. One of the best releases during the Third Wave. Fortunately, this band is still kicking and making awesome music.

Benton Falls - Guilt Beats Hate (4/13/2003) 💎

Calling this a prototypical Second Wave Emo would do this album a great disservice as it's filled to the brim with passion, feeling and poetry. Benton Falls doesn't quite reach the lofty heights of their debut album, but this release is only a notch below. The Post-Hardcore-tinged Emo that was popularized by bands like Texas is the Reason and Mineral is fully on display here with messy, loud guitars, occasional belted screams and shifting volume dynamics.

This was released in early 2003, making it sort of the swan song to Second Wave Emo. This album is a real tour de force for the genre and is recommended to anyone who misses that 90s sound.

Brandtson - Death and Taxes (4/13/2003) (See Also: Part 7)

Elliott - Song in the Air (4/29/2003)

The third and final full LP from Elliott, Song in the Air bookends their legendary (if somewhat obscure) discography with another great release, even if it perhaps falls short of the grandiosity of False Cathedrals. Regardless, this record encapsulates the evolution of a band from a more typical Mineral-like vibe to a dreamy, ethereal one. The vocals are smooth and gentle while the atmosphere provided by the instruments is dense and layered.

Elliott typifies Second Wave Emo in one respect while pushing the boundaries of the genre at the time. You can really feel that this band could have gotten big under the right circumstances.

Small Brown Bike - Nail Yourself to the Ground (4/29/2003)

2003 was Small Brown Bike’s biggest year, having released an LP and EP, both very well received. Utilizing that classic Post-Hardcore / Emo formula with their very own spin, Small Brown Bike sounds like no other on this EP. With only five songs (and one being a completely different folksy song with slide guitars), the band gave 2003 a huge opening salvo with this one.

The Appleseed Cast - Two Conversations (7/22/2003) 🎩 (See Also: Part 5)

The Appleseed Cast is one of the most prolific acts in all of Emo and, by the Third Wave, had already established themselves as one of Emo’s great innovators. They experimented with Post-Rock on Mare Vitalis and perfected the combination of Post-Rock and Emo with Low Level Owl Vol 1 and 2, all before 2002 even hit!

Two Conversations takes the grandiosity of Low Level Owl and strips it to its barest form, more personal and intimate than anything this band had released previously (and possibly since). A breakup concept album isn’t exactly ingenious, but it’s executed very well across 10 songs; each track is handcrafted to fit the album’s flow perfectly and they add up to be greater than the sum of their parts. This band, and especially this album, would have a huge effect on Third Wave Emo going forward.

The Casket Lottery - Possiblies and Maybes (8/12/2003)

Small Brown Bike - The River Bed (9/29/2003)

Expanding sonically on what they produced earlier in the year with Nail Yourself to the Ground, Small Brown Bike ended their first run as a band with an immensely influential full-length album. One could argue that the sound pallette all screams Post-Hardcore and doesn’t have much to do with Emo, but the album owes almost its entire structure to 90s Emo.

The catchiness of the vocals and instruments is juxtaposed perfectly with the rough Post-Hardcore edges of each track, sacrificing none of the heaviness of the band in the process of getting stuck in your head.

Kid Brother Collective - Snowball Fight In Death Valley (2003)

The Casket Lottery - Smoke and Mirrors (6/1/2004)

Brandtson - Send Us a Signal (6/15/2004)

Brandtson dives deeper into the Indie Rock sound but doesn’t lose its core Midwest Emo roots with this full-length. With more Emo-Pop influence than ever, the hooks are as catchy as they’ve ever been for this band. You can hear the evolution of their sound compared even to their previous record, and that’s definitely a good thing.

The Jim Yoshii Pile-Up - Picks Us Apart (7/26/2005)

I Hate Myself - 3 Songs (8/3/2005)

With almost no released music in the 2000s, I Hate Myself produced one final outing in 2005 with their 3 Songs EP. Gone are the half-Emo, half-Screamo days of yore and this one is pretty much pure Second Wave Midwest Emo. However, this leaves room for wonderful vocal melodies and driving songs. Definitely worth listening to this band’s final moments together.

Gods Reflex - When It's Down to This (2/12/2008)

Somewhat obscure Midwest Emo from northern Illinois, Gods Reflex played traditional Second Wave Emo with minute Pop influences, mostly in the very catchy vocals. After two great LPs, the band would undergo significant personnel changes in the new Millennium until they faded away before the Third Wave could officially begin.

The band would slowly and subtly begin to reunite, writing music together until they collectively decided to make one more Gods Reflex album. At worst, this record is as good as their previous efforts. At best, this is the band’s finest work.

Part 2: Carrying the Flag of the Second Wave

This next section covers albums and EPs released in the 3rd Wave that are heavily indebted to the 2nd Wave’s signature sound from bands that weren’t around for that time period. This should show that even though Emo was taking on an entirely different meaning in mainstream contexts, many acts were dedicated to keeping the older traditions alive.

Admirably, bands continued the trend of 2nd Wave Emo going throughout the 2000s, though that seemed to die off by 2005. Still, some of the best gems in this section are released post-2005.

.waterpistol. - Between Here and There is Everything (1/22/2002)

Debuting with a three-song EP in the year 2000, this relatively obscure band is far enough removed from the Second Wave to appear in this section, at least in my opinion. Fun, active prototypical Midwest Emo is what you’ll find on this album. This sounds like Hardcore kids doing softer Emo music and it shows in the ever-present energy of the instruments and vocals.

Rescue - Even People and Not the Odds (2/19/2002)

Rest of My Life - Rest of My Life (5/1/2002)

This is the first release from the How is Annie label in Norway, one that is very important to the Nordic Emo scene. Rest of My Life’s self-titled LP is heavily indebted to the sounds of Second Wave Midwest Emo with hints of Post-Rock throughout. This sound palette would be a staple of the How is Annie lineup of bands, some of which you’ll see later in this series.

A strong presence of Post-Hardcore in the occasional screams and heavier moments of this album gives the songs a sense of urgency while the Post-Rock influence ensures the serenity of the quieter moments. This small evolution in Emo’s sound helped pave the way for more great releases in the future.

Time Spent Driving - Just Enough Bright (5/7/2002)

One of the more popular albums on this list, Time Spent Driving played classic Midwest Emo with Emo-Pop sensibilities on this album, giving the release its own brand of charm. Situated perfectly at the edge where Emo went mainstream and where Emo remained underground.

Rescue - Volume Plus Volume (5/28/2002)

With their debut LP, Rescue took the Post-Hardcore / Emo combination that was so popular in the mid-late 90s, added Math Rock elements like changing time signatures and played almost every song with a sense of urgency. Had this released sometime in the late 90s and was picked up by the right people, we might be calling this a minor Emo classic today.

In 2004, the band rereleased this album as Volume Plus Volume Plus, which included a bonus CD featuring their 2002 EP Even People and Not the Odds and other unreleased tracks.

8-Bit Revival - Up & Atom (9/1/2002)

Standard 90s-sounding Midwest Emo fare, this debut EP is a great look into an up-and-coming underground Emo band. This group would change their name to Oh Condor but possibly changed it back at some point (not so sure about the name change history), so expect to see more of them in this series.

Time to Fly - Birth.Work.Death (11/5/2002)

On their sole release, Time to Fly utilized the blueprints left behind by bands like Penfold and injected it with a high dose of Emo-Pop, a burgeoning influence during this time period. Regardless, the LP stands on its own as a Second Wave-inspired Emo.

The vocals are catchy and melodic, juxtaposed by the occasional scream. There are tons of riffs and even some twinkles in there, adding to the diversity of dynamics found throughout the album.

Rockets and Bluelights - Close At Hand (2002)

The Autumn Year - It's Better To Leave Something While You Still Love It, Than To Leave Something Because You Hate It (2002)

susquatch - First Demo (1/1/2003) (See Also: Part 6)

Since the 90s, Japan has had a flourishing Emo scene. Most here are aware of the Japanese Post-Rock / Screamo combination made famous by envy. However, Japan also kept Punky / melodic Emo alive during the 00s, usually with unique influences.

susquatch is a band that gained notoriety in 2009 with their twinkly debut LP right at the beginning of the Revival, but most are not aware of their debut Demo EP. With just the smallest hints that this is Japanese Emo, susquatch plays tribute to the greatness of Second Wave Emo quite effectively here. This isn't their only appearance in this series, but with four years to go before releasing their next EP, their sound would undergo massive changes.

A Season Drive - Summer of ‘73 (3/19/2003)

On the lighter side of Emo without veering into Emo-Pop territory, A Season Drive delivers a fun Second Wave-esque album in the vein of Sunny Day Real Estate. This album is by no means a classic, but it does keep the old ways alive for just a little bit longer.

Settlefish - Dance A While, Upset (5/5/2003)

Extremely difficult to find, this album has about half the songs featured on other Deep Elm compilations, so you can still hear the masterful and somewhat bleak Midwest emo songwriting used throughout. Nothing here is exceptional, but this refreshing take on Second Wave Midwest Emo features its share of twinkles and fun, mathy moments.

Filmmaker - Invitation to an Accident (5/14/2003)

Plain and simple, this is Seam-esque Midwest Emo done right, with just the right amount of Indie Rock influence to give the vocalist some fun melodies to play with. This band had one other EP released in 2001, but this would be their final release. Though this album is very short of groundbreaking, it’s a worthy listen for 90s Emo fans.

.waterpistol. - The Subway EP (5/20/2003)

The Jealous Sound - Kill Them With Kindness (6/3/2003)

Quite jealous I am, indeed! To create such pure, unadulterated fun is an underappreciated aspect of Emo but The Jealous Sound does so with very simple song structures. Now yes, let’s clear the elephant in the room: Brian Shehan of Knapsack fame reprises his role as frontman of this band, utilizing a familiar Indie Rock / Emo approach. Knapsack’s unique qualities made them a very influential Emo band from the mid-90s, but few could hope to replicate them. Even The Jealous Sound doesn’t exactly…sound like Knapsack.

Fear not, for while The Jealous Sound is inherently indebted to Brian’s earlier project, they stand on their own two feet. With less overtly-Punk-influenced songs than Knapsack, a healthy use of synths and a few Emo-Pop sensibilities, they definitely are beginning to grow out of the shadow of Second Wave Emo. Still, they perhaps are too intertwined with the time period to be completely removed from it.

The December Drive - Handslikegunsandcrashingsounds (6/10/2003) 💎

Releasing in 2003, this album was allegedly in the works for about three years and DAMN does that seem right! At its core, Handslikegunsandcrashingsounds is a Second Wave-inspired Emo / Post-Hardcore tour de force. Small elements of Post-Rock seep into the album, generating a powerful aura around each song. Powerful guitarwork lays the foundation for a truly unforgettable vocal performance.

Although this album takes a lot of direction from the Second Wave classics, The December Drive injects this album with their own flavor, giving this album a slightly forward-thinking edge compared to many of the true 90s Emo bands. This is without a doubt one of the best albums in this entire section.

Dead Letter Auction - Cancer of Time (7/1/2003)

Dissonant and noisy, Cancer of Time is Dead Letter Auction’s only full-length and boy, is it a doozy! If you like technical Post-Hardcore with a 90s Emo foundation, you’ve come to the right band. The shouty vocals add to the cacophonous atmosphere as much as the dynamic shifts to quiet.

Outsmarting Simon - Silent Sober and Sound (8/5/2003)

Taking as much influence from Mineral and Penfold as they did from early Jimmy Eat World and The Get Up Kids, Outsmarting Simon debuted with this great traditional Emo LP. Silent Sober and Sound showcases the band's propensity for quiet-loud dynamics and dreamy atmospheres. Not the most memorable album, but definitely one with a pulse on the genre.

Rockets and Bluelights - A Smashed City with Flames and Music in the Air (9/12/2003) 💎

One of the most criminally underlooked and underrated Midwest Emo releases ever, it’s also ludicrously short with only four songs. The Post-Hardcore guitar tone is punchy and robust, leaning into the Emo clean dynamic seamlessly from the heavy distortion. The rhythm section does wonders in giving the songs style, keeping up with the spastic energy of the highs and the subtly of the lows.

Rudimentary Post-Rock song structures come into play in this EP, giving each track its own identity.

Halos for Martyrs - A Rush of Sound and the Silence That Follows (2003) 💎

Make no mistake: this EP is a love letter to Second Wave Emo in both production and style. The ever-present Post-Hardcore accompanies Halos for Martyrs through an Emo musical journey while Math Rock influences seep in through the cracks, particularly in the twinkly riffs scattered about. This release was definitely an overlooked gem in 2003.

Kid Kilowatt - Guitar Method (3/4/2004) (See Also: Part 1)

Wow, this stuff is great! It almost sounds like it was ACTUALLY recorded between 1996 and 1999! Oh…well, it looks like it actually WAS recorded during that time! I’m not sure if this album should count on this list as it’s more of a compilation of the band’s recorded material from that time, released in CD format a half-decade after their breakup, Regardless, Kid Kilowatt featured members of Cave In, Piebald and even Converge. Despite that sort of street cred, they played fairly straightforward Indie-influenced Emo.

This LP can feel a bit disjointed at times, a consequence of releasing all of the band’s material at once in LP format. However, if this album had come out in the late 90s while the band was still around, we might be calling this one of the best undiscovered Emo bands of the 90s (I guess we can technically still call them that).

Rescue - Flamingo Minutes (7/13/2004)

The 101 - Green Street (10/13/2004) (See Also: Part 7)

The 101 use analog-sounding production that would be at home with the 90s Emo greats, utilizing some primitive Emo-Pop elements such as great use of melody and the odd synth here or there. The individual songs may not have much to write home about, but the flow of the album is actually quite good, making the sum greater than its parts.

This is especially good if you dig Christie Front Drive.

Settlefish - The Plural of the Choir (3/29/2005)

Outsmarting Simon - Stand Up Straight (4/12/2005)

Baltimore In Love - Lick The Stars (6/5/2005) (See Also: Part 3)

Harkens back to the rough edges of mid-90s DIY Emo, with just a little bit of Emocore in the mix.

The Moirai - Bury Yourself (8/1/2005) 💎

Brian Carley, vocalist and guitarist of Penfold, refused to let Emo go by the wayside in the 2000s. Somehow, in the year 2005, The Moirai managed to unveil a 90s Emo classic that seemed lost to time and had just been unearthed. Midwest Emo had all but perished from the face of the Earth at this point, especially in the form of 90s Second Wave Emo, but The Moirai’s sole release aimed to inject the dying genre with one last super boost.

Bury Yourself is a true successor to Penfold’s two classic Second Wave albums, featuring almost every member of the aforementioned band in the credits. The complexity of the compositions appears deceptively simple to the untrained ear, but the quiet-loud dynamics that Penfold made a career of are all here in spades. Brian’s vocal performance is as good as it ever has been; legitimately, one of the best vocal performances you’re going to hear in this entire series. The vocal mastery is only matched by the intelligent, passionate lyrics it delivers. Alas, the Second Wave can finally rest easy knowing The Moirai gave it a proper sendoff.

Build Nest, Sleep - Build Nest, Sleep (6/26/2006)

Another early release from the How Is Annie record label, Build Nest, Sleep produces old school Emo with a Noise Rock twist! The production is relatively lofi and the songs are smartly built around this. It creates a somewhat dense atmosphere, and atmosphere is what Norway’s infamous label does best. Perhaps not the greatest album on this list, but it is certainly quite an interesting one.

Relative - The Progress of Stagnation (11/29/2006)

This is arguably more Post-Hardcore at times, but the Second Wave Emo stank seems to have reached this band in the mid-aughts. Look out for lush sections of Emo atmosphere get broken up by chaotic outbursts throughout.

Minor Ache - Black Hours Surround You (2006)

This gem comes by way of Melbourne, Australia! It seemed as though once the US gave up on Second Wave Midwest Emo completely, the international community stepped up and released a few bangers in the genre’s honor.

Time Spent Driving - I’m Your Stab in the Back (7/3/2007)

Everton - Floorsleepers (9/27/2007)

Our journey brings us to Austria with Everton. Floorsleepers features songs of varying lengths, but they always give the compositions time to breathe and create a true individual identity. The clean, chunky guitars provide a nice base for the sound while the rhythm section, particularly the drums, are active and lively, even during quiet moments.

Amazing, the production is also very reminiscent of the period they’re trying to visit. There must be a comparable “Midwest” area of Austria because these talented folks must be from there. The sad vibes are real.

The Brightest Comet - Demo (2007)

Female-fronted, Indie Rock-driven and unabashedly 90s in style, The Brightest Comet is a throwback Emo band in the vein of Rainer Maria or Eldritch Anisette. Their talented vocalist, Andi Camp, also performed vocal and bass duties for a 90s Emo band Ribbon Fix, so definitely check them out if you like this.

By 2007, Revival and Proto-Revival bands were coming together and started making music. The Brightest Comet decided to do it their own way and Second Wave lovers have every reason to be thankful.

Aura… - Enquanto houver sentimentos (2007)

Maybe news didn't travel that fast to Brazil back in the day; Aura… didn't seem to know the Second Wave was long gone and the Fourth Wave was already looming. But damn, did they ever release a 90s-inspired gem with Enquanto Houver Sentimentos.

The analog recording gives this a true DIY feel while the compositions are familiar yet somewhat complex. They sound like they could have opened up for Mineral back in the day.

Jacket Weather - Jacket Weather (2/9/2008)

Initially recorded over a period between 2000 and 2003, Jacket Weather’s unreleased recorded s/t finally saw the light of day in 2008! Given the time period during recording, the songs on this record are entrenched in that late 90s Midwest Emo sound, including delightfully layered guitarwork, fantastic crescendos and crashes, cathartic lyrics and an average song length that would make Jets to Brazil blush.

The artists would also release a split with fellow Utah bands in 2008 and another archival album in 2016. This neat objet d'art of Emo should be listened to at least once.

Lindsay Minton - Past is Prelude (4/20/2008)

A year before starting influential Emo Revival band football, etc., Lindsay Minton came out with a solo album. I’d fully anticipated this being an unknown Proto-Revival jam but was pleasantly surprised with how traditional this album’s approach to Emo is. Lindsay drew strength from female-fronted Midwest Emo bands like Ribbon Fix, Eldritch Anisette and Friends Unseen while adding more modern sensibilities, particularly in production. Perhaps it could just as easily fit in the Proto-Revival department - after all, much of the categorization on this list is just me splitting hairs - but I believe this to be too close a tribute to the fantastic bands of the Second Wave.

Expect varied song structures, dynamic volume switches and bummer tempos, the latter of which is what truly distinguishes Past is Prelude from any other football, etc. content.

Part 3: Re:Emocore Reemergence

One massive issue with Third Wave Emo is that a lot of it seems to have lost its hardcore roots; this point is constantly blasted at us by Emo purists. “True” Emo from that time period, if it did include some hardcore influence, was often cleanly produced and crisp, diametrically opposing the very ethos of Hardcore. Fortunately, heavy Emo music was still very prolific during the 2000s, and I wanted to talk about a particularly palatable Emo subgenre during that span.

Please note there’s a dearth of knowledge on Emocore, especially after the mid-90s, so please excuse me if I slip up a bit in this section. Due to increasing access to the internet, Emocore remained alive in the 90s and actually had some real bangers in the 2000s. Here's a few of them.

Twelve Hour Turn - Perfect Progress, Perfect Destruction (6/1/2002)

Despite releasing only two full-length albums and two extended plays, Twelve Hour Turn has quite the prolific discography for a band that only lived five years, having performed in numerous splits and compilations. They rode the Emocore wave that started in the late 90s and are one of the most well-known non-80s bands in the genre. This would be their final full-length album and, to my knowledge, their last release as a band until an archival live album came out in 2016.

This one is filled with tons of mid-tempo Hardcore, dynamic volume switches and signature solitary somber guitar riffs. If you enjoy your Emocore to be on the Punkier side, this is absolutely one to check out!

Cavalry - Outnumbered is Outflanked (7/4/2002)

Cavalry combined that classic Emocore sound - the mid-tempo Hardcore with melody and catharsis - with elements of Post-Punk, from the vocal delivery to the bouncy basslines to the atmosphere. The elements are woven together so well that even Emocore purists will find something to like on here.

Aghast - Polaroid (8/1/2002)

Emocore from France, Aghast takes the traditional Emocore formula and fuses it with early 00s Screamo production elements and creates a relatively fresh record that, while not breaking any crazy ground, is quite solid and stands out a bit from the pack.

End on End - Why Evolve When We Can Go Sideways (8/13/2002)

Some good Rites of Spring worship, evident by their band name. If you like the transition from traditional, slower Hardcore and Post-Hardcoreish sections of quiet, brooding riffage, this is worth a listen.

The band has a fair amount of splits, as well as a few other EPs and albums that are worth a listen.

The Pine - Lead Blocks for Feet (12/1/2002)

One of the most celebrated Emocore artists during the 2000s, The Pine creates authentic music like we’re still living the Revolution Summer: extremely rough, analog recordings with old-school Hardcore writing in mind, a singer who’s doing his damnedest Evergreen impression and music that sounds like a long-lost The Hated demo. The mixing on this is truly woeful, and I mean that in the best way possible. The cacophony surpasses the wall-of-noise state that Shoegaze loves to produce and few, if any, recognizable melody comes through. For discerning ears, you’re welcome to frequent high-range basslines that complement the simple, driving guitar, all overpowered by the ludicrous crash cymbal.

From the description, this sounds like an uncontainable mess, and it is. However, the passion behind this album is unmistakable. If you’ve yet to dip your toes into the Emocore pond, I’d highly suggest giving these guys a go.

Złodzieje Rowerów - Ten Moment (2002)

Polish Emocore. VERY old school in their songwriting mindset. Check it out if it sounds intriguing.

The Shivering - Wires of Storm and Song (2002)

End on End - European Tour 12” (5/5/2003)

Sinaloa - Fathers and Sons (7/4/2003) 💎

The debut LP from criminally underrated Sinaloa, Fathers and Sons is classic Emocore with more modern Screamo sensibilities. I wouldn’t go as far as to say the band plays Screamo, but their revered split with Ampere should give some insight as to the cred this band has. A heavy focus on melodic lead guitar lines is underscored by the desperate, shouted vocals and a very active drummer who drives the music forward. Breaking up this band’s incredible dedication to melody is the harmony’s often-grizzly sense of dissonance. With 15 songs and only 36 minutes of runtime, the album’s surprising creativity will keep you hooked.

93 Million Miles - 93 Million Miles (9/23/2003)

With more than half of the band’s discography fitting into this five-track EP, this 90s Emocore project released some songs they’d recorded in the late 90s in 2003, and the world of Emo is forever thankful! 93 Million Miles is bona fide classic Emocore paced moderately and played passionately. The band is keen on their Hardcore roots, especially in the latter half of the EP, but loves exploring multiple volume dynamics throughout the songs.

1000 Travels of Jawaharlal - Owari Wa Konai (10/28/2003) 💎

You only need one word to describe Owari Wa Konai: relentless. The heavily distorted guitar plays nonstop Emocore riffage with the occasional angular, twinkly melody to break apart the unrelenting tedium. The drummer absolutely refuses to be quiet and subdued, instead expressing their emotions by banging the Hell out of their kit. Tying this all together immaculately is the brutal vocalist, screaming his voice raw with passion and angst.

Owari wa Konai is almost prototypical Emocore, though advanced into a new age with tiny elements of Screamo and Post-Hardcore.

The Shivering - To The Ground (2003)

Fairly typical mid-tempo Emocore stuff from The Shivering. If you like Punky chord progressions, the odd twinkle and stuff that doesn’t veer too far from tradition, this one is worth a listen. The Shivering also released two small EPs before and after this album.

Cold Like December - Oh My God, It’s Full of Stars (2003)

This release is an interesting footnote in history, being the Emocore band of Kevin DeFranoco, guitarist for legendary bands like Harrison Bergeron, Street Smart Cyclist and Boy Problems. The guitarwork on this release doesn’t exactly live up to those artists, but Cold Like December plays a vigorous Emocore style that shares some similarities with early 00s Metalcore. Check this out if you like Emocore to be on the more aggressive side.

The Pine - The Pine (2003) 💎

I wasn’t originally going to cover this release, but what the Hell! This is actually a compilation album, remastering their debut LP (also called The Pine) and original 2000 EP (also called The Pine). Raucous and cacophonous, this noisy record shows a band with zeal playing music that the average ear could only hope to suss out. If you like any of the band’s other work, this album is likely their most varied and, in my opinion, their finest effort.

Dance of Days - A valsa de águas vivas (2/1/2004)

Perhaps the most important Emocore band to come out of Brazil, Dance of Days began their career in the late 90s and is still kicking, having just released an album in 2023! Their discography is plethoric with no fewer than 10 full-length albums and several EPs, many of which came out during this Third Wave Emo time period.

Punky Emocore with very melodic guitar riffs, Dance of Days employs a healthy dose of Melodic Hardcore to keep the somewhat stale nature of Emocore very fresh. The vocals stand out as particularly palatable for those who don’t enjoy screaming or shouting and are filled with tons of emotion.

Life At These Speeds - Life At These Speeds (6/1/2004) 🎩

Perhaps one of the most underappreciated Emocore releases of all time, Life at These Speeds could be talked about in the same breath as Lyburnum Wits and Indian Summer. At its very core, the band members are true Punkers, but they definitely understand how to make an incredible Emo album. A perfect guitar tone throughout sets the mood and allows the crescendos to really hit hard.

The vocalist is introspective and aggressive, relaying the emotional gravity of the music. This album sounds as if Emocore continued as a strong movement through the 90s into the 00s, bringing over a decade of influence with it.

The Pine - Days Slipping By (9/20/2004)

Following up on their self-titled compilation album, which included the entirety of their first album plus more tracks, The Pine released their next full-length album in 2004. The first note I have is that the recording and production quality has improved marginally, though still not enough to sound like anything other than “Basement Emo.” Regardless, what you hear is what you get with this band, so even though the songs do come off as sort of similar to each other, Roger King’s immense ardor is present in every note his voice hits, and his voice is clearer than ever. This one invokes a feeling of isolation that Level Blocks for Feet didn’t quite do. Another amazing entry in their legendary discography.

End of a Year - Disappear Here (10/25/2004)

End of a Year’s debut LP is Emocore distilled into its purist form with only small hints of Post-Hardcore to offer a counterbalance. Rites of Spring worship? Absolutely. That doesn’t make this unappealing to listen to, however. The band’s commitment to the mid-tempo Hardcore of the Revolution Summer is admirable, as is their focus on incredibly powerful guitar melodies.

Believe it or not, this band would go on to release an abundance of music between 2004 and 2011, including a couple more albums, several EPs and countless splits with other bands. After 2011, they would reform under their far more popular moniker - Self Defense Family.

Metamorphosis - Solo en mí (12/1/2004)

Metamorphosis was an Emocore band out of Lima, Peru, not to be confused with the likely many bands with the same or a similar name. The first thing you’re going to notice is that this album takes its traditional Hardcore seriously, indulging in a Punkish Hardcore that defined the earliest of Emocore bands. Their standout feature is the vocalist - the dude is insane, switching flawlessly between growly screaming and eclectic singing.

The Pine - Don’t Need Regret (4/25/2005)

The Pine’s final formal release, Don’t Need Regret might just be the band’s most dynamic work yet. The bookends to this album are quite possibly The Pine’s best songs ever, though the overall quality of the LP is quite good. This is also the Punkiest The Pine has ever been, indulging in those strong Punk drum beats.

The Pine would release an acoustic album in 2005 before disbanding, randomly releasing Some Unreleased Stuff in 2011. Just last year (2023), they remastered a couple of their albums, so fortunately for us, the band seems keen on preserving their legacy.

Sinaloa - Footprints on Floorboards (9/7/2005)

Despite the urgency that Sinaloa exudes with their music, caused by the dissonant chord progressions, desperate vocals and syncopated drums, Footprints on Floorboards is somewhat of a subdued album. Perhaps the lack of a bassist holds the punchiness back, or maybe it’s the unwavering tempo that doesn’t shift into truly depressive territory, nor does it reach blistering speeds. These may sound like criticisms, but they’re actually the album’s biggest strengths—a worthy follow-up to Fathers and Sons with less attention paid to sweeping guitar melodies.

Sinaloa would carry the grand Emo tradition of having legendary splits, recording with bands like Ampere and Life at These Speeds. They would also release two more full-length albums and an EP before calling it quits in the 10s.

Dance of Days - L​í​rios Aos Anjos (10/15/2005)

Arguably, the band is more Melodic Hardcore than Emocore during this period, but I still think it’s worth listening to all of their other stuff.

Frammenti - Propizia è perseveranza (2005)

Italian Emocore. Surprisingly varied. The band started in the 90s, so I’m unsure if this is a comeback album, old material or what.

End of a Year - Sincerely (7/11/2006)

End of a Year evolved on this album, employing some new songwriting tricks in the last two years. Fortunately, they continue to play that good old Emocore straight out of the mid-80s. The dynamic shifts are executed well and give the album a really nice overall flow.

Life At These Speeds - To Your Health (9/19/2006)

Life at These Speeds proves once again why they are one of the premier Emocore bands of this period with this incredible follow-up album. More modern Post-Hardcore influences are showing up on this album, once again showcasing the genre’s ability to transcend the rigidity of 80s DC Emocore. The lauded dynamic volume interplay from their first album is perfected on this release, ensuring the album never succumbs to the “samey” complaint some have of Emocore albums.

If you liked the first album, you’ll like this one. If you enjoyed their work, be sure to check out their splits with End on End, Sinaloa and Science of Yarba.

Aghast - Consumer (2006)

Seasoned after splits with 1000 Travels of Jawaharlal and Sed Non Satiata, Aghast returned with their sole LP Consumer in 2006, and it’s quite the accomplishment. Aghast once again zig-zag the border between Emocore and European Screamo, though they’re heavier than ever on this record. Taking the straightforwardness and quiet-loud dynamics of Emocore and imbuing them with the aggression and melodic beauty of French Skramz creates a real winner with Consumer.

Fine Before You Came - Fine Before You Came (2006) 💎

Fine Before You Came is one of the most important Italian Emocore bands of all time, having gained complete underground cred when they unleashed Sfortuna upon the world in 2009. However, this self-titled album is actually sung in English, as opposed to Sfortuna. The album features Emocore with a fair bit of Post-Hardcore influence, but the masterful dynamic switches are telling of which genre this is in.

The somewhat subdued nature of the tracks belies their tension, though it could be argued that the band never goes into that next gear with their crescendos. However, Jacopo’s powerful vocals make up for any of the music’s shortcomings. This album is a glimpse into one of Italy’s premier Emocore bands.

Sinaloa - Oceans of Islands (3/25/2008)

Part 4: The Midwest Screamo Matriculation

Today, I’d like to cover another relatively niche but nonetheless very influential aspect of Emo: Midwest Screamo. Unlike most other Screamo, Midwest Screamo will be the most familiar for non-Screamo listeners, all while providing a direction for Emo’s trajectory during this time period. Some releases would feel at home to Second Wave Midwest Emo enjoyers while others embraced a mathy proto-revival outlook.

I’d like to clarify one thing before I get started: I will not be covering Screamo in this series comprehensively. Even though Screamo was having a major boon during the 2000s and kept the spirit of Emo alive, that genre deserves its very own series and is so exhaustive that I just don’t have the time to do that right now.

Some of the releases on this list veer more into traditional Screamo territory - sorry in advance for that. This is such a niche subgenre that has very little structure to its rules and elements.

…And None of Them Knew They Were Robots - And None of Them Knew They Were Robots (5/6/2002)

In 2002, Midwest Screamo was technically around but was extremely niche and underdeveloped. ANOTKTWR aren’t some godfather of the genre or anything, but their blend of Midwest Emo and Post-Hardcore, along with bits of Math Rock and Screamo, ensure this release stands out from the pack. They’re somewhat reminiscent of On the Might of Princes, and that’s not a bad thing. When those clean dynamics kick in, whew boy is this one a beaut.

The Little Explorer - The Little Explorer (1/7/2003) 🎩

The Little Explorer’s self-titled debut LP is an anomaly, a release that sounds like it could have been released 10 years later and it’d feel at home. Somehow coming out in the year 2003, this album is one of the best Emo releases of that year - a true testament to its greatness. The English Emo trio manages to craft surprisingly uplifting songs with tons of complexity, time-signature bending and twinkly guitar riffs with unexpectedly good production values. These disparate elements are weaved together with gorgeous Post-Rock, making this a remarkable outing vastly ahead of its time.

The Little Explorer would release their second LP in 2013, though it was actually recorded in 2006. It’s definitely worth checking out. This band would go on to become Crash of Rhinos, an amazing Emo Revival band. With all of this Emo cred, you have no choice but to check this out.

Neoteny 64 - Neoteny 64 (2003)

Ahead of its time aesthetically.

Five Fingers Half a Hand - Exotic Dances for Wives and Lovers (2003)

Released in 2003, this album was supposedly recorded a few years earlier, which makes the forward-thinking nature of this full-length all the more impressive. This fits in quite well with Second Wave Midwest Emo with some gnarly screaming in place of clean vocals in a lot of spots. The oft-found serene moments of this album are cut down by raw, emotional Screamo. This is an early example of the genre done right.

Make Me - Demo (2004) 💎

Hailing from New Jersey, Make Me plays traditional late-90s Screamo with a mathy, almost jazzy approach. Between abrasive, straightforward bouts of Hardcore fury are serene moments of quiet, usually accompanied by Kinsella-esque riffing. The committee of clean and screamed vocals adds to the insanity while the dynamic song structures keep this four-track demo lively and original. Simply put, stuff like this wasn’t really coming out at this time, so Make Me is an innovator in the scene.

Tamiroff - Demo (2004)

Featuring bandmates that would eventually form Post-Hardcore standouts Polar Bear Club, Tamiroff’s demo is a unique twinkly romp through screamed Midwest Emo. Tamiroff showed off a sound similar to that of Make Me on this release, but they tend to prefer the softer end of the spectrum, in particular with the Kinsella-inspired guitar. There’s less than 12 minutes of music, but it’s an integral look at the development of the Kinsella-inspired sound that would start with a few Proto-Revival artists in the mid-2000s before it became the dominant sound of the Emo Revival.

Full Surrender - The Distance Between (2004) 💎

Acoustic guitar in Emo is somewhat of an anomaly, especially in Screamo from this era. Even in the Second Wave, Midwest Emo would often be bereft of acoustic guitars, even from more indie-leaning Emo acts. This might have something to do with Emo’s history being deeply rooted in Hardcore, but in 2004, Full Surrender combined Screamo, Midwest Emo and the acoustic guitar to craft a one-of-a-kind aural experience.

Full Surrender plays to the quiet-loud nature of traditional Midwest Emo and has many clean vocal sections with incredible harmony, but adding in screamed vocals and the odd spastic drum moment give this EP exceptional contrast. With relatively clean production and a forward-thinking genre-bending combination of sounds, this sounds like it came from the Fifth Wave.

The Last Will Be the First - The Last Will Be the First (2005)

Admittedly, this one is mostly traditional American Screamo with Midwest Emo influences rather than a truly cohesive combined sound. That said, the slower, cleaner Emo sections break up the cacophony that’s usually going about. Still worth a listen for those curious.

Kidcrash - Demo 06 (3/1/2006)

Before removing the definite article “The” from the front of their name, Kidcrash released their debut LP in 2004, playing more of an Emo-Pop / Midwest Emo fusion with no screaming. Following this up was a three-song EP in 2005 that upped the ante in terms of heaviness, sort of bridging the gap between their Emo-Pop sound and what they produced on this demo.

Although this isn’t strictly Midwest Screamo, more akin to a lighter Hot Cross, the elements are all there. The vocalist has finally started to tear it up with screamed vocals while the aggression pushes further. There aren’t a ton of twinkles here, but the mathy rhythms more than make up for it. Kidcrash was just about ready to evolve into their final form, and this demo gives a clear picture of where they’re about to go.

Peter & Craig - Aliens, Blizzards & Thieves (10/6/2006)

From the ashes of Ryerose, Peter Helmis and Craig Woods came together for a Midwest Screamo project. It’s noisy, youthful, irreverent and a pretty cool relic of Emo history. This comes out the same year as Algernon’s debut demo and Ryerose, meaning Helmis was a busy boy in the mid 00s! This particular release showcases the ethos of DIY Emo perfectly in less than 10 minutes, but don’t forget to check out the band’s other songs, which came out on two splits and a compilation album.

We Are the Colossus - Demo (2006)

Jack Senff’s very first Midwest Screamo project, We Are The Colossus only released two songs on their demo but it sort of unintentionally serves as a blueprint for future Senff projects. Combining the insanity of Merchant Ships, the rawness of Midwest Pen Pals and the heaviness of William Bonney, this feels like a Senff project through and through. If you like any of his other bands, do yourself a favor and scope this demo.

Ladders - Ladders (2006)

Perhaps one of the most obscure releases I’ve been able to review, this mid-aughts Screamo project produced only one EP, but damn does it kick ass. Ladders plays a more traditional style of Screamo, but elements of Midwest Emo, particularly in the guitar and the volume dynamics, tend to creep in. This is one of the rawest and most Hardcore of the releases on this list, but with just enough Midwest Emo influence, this makes the cut!

With Horses in Her Eyes - Prologue (2006)

A prologue that serves as the band’s only release (under this name), With Horses in Her Eyes combines traditional Screamo with Post-Rock, but not in the same way as many European bands of the day; With Horses utilized Midwest Emo tropes to tie the disparate genres together. If you like heavy sections of unhinged Screamo juxtaposed with beautiful sections of clean music (you know, Emo), then you’ll like this release.

The band would rename themselves to Histories after this EP, releasing three more songs. Those tracks have less Midwest Emo influence but are great Screamo songs nonetheless.

Paris Hilton on Fire - Sacrificing Small Animals to Please the Prince of Darkness (4/1/2007)

Paris Hilton on Fire flirts with the more extreme side of Midwest Screamo in this 2007 EP. With clear Emoviolence influence, particularly in the frantic drumming found throughout the album, Sacrificing Small Animals is four songs of melodic destruction that will stay with you for quite some time, though I’d be hard-pressed to call it as ludicrous as Father Figure. The Math Rock guitar riffs add to the discord while the vocalist is content to scream his head off for the record’s duration. This band would release another EP 12 years later, but these were the band’s only outings.

Lion of the North - The Compass Calls (6/2/2007)

Lion of the North was a short-lived band steeped in Emo history, with connections to bands like Grown Ups and La Dispute. They made splits with bands like Lautrec and MANS., but first came out with an EP of their own. The Compass Calls showcases the band at their best: brutal, punishing sections of Screamo with blistering Math Rock riffs, organized loosely by Midwest Emo principles. For fans of Screamo, this one delivers and keeps you on your toes.

Kidcrash - Jokes (6/23/2007) 🎩

Channeling the best Screamo artists of the 2000s, adding copious elements of Math Rock and pouring their entire soul into the project, Kidcrash evolves into their final form on Jokes. Time signature and volume dynamics are at play throughout the album’s runtime. If you like riffs, this release has them in spades.

Like their demo, this isn’t strictly Midwest Screamo, but I believe this to be about as close as you can get the genre.

What Price, Wonderland? - Thirty With a Wink (2007)

This is more Post-Hardcore / Screamo, but it’s played in such a unique way, it can easily be lumped into this genre. The unpredictable and fun nature of Cap’n Jazz’s music is a huge influence on this band, meaning their songwriting is actually top-notch. Expect a heavy Post-Hardcore bass tone to accompany a varied and frenzied drumming while the guitarist is losing his mind. The vocalist enjoys shouting out the lyrics with all of his might. This is an underrated release in the legacy of UK Emo.

James Dean - James Dean (2007)

One of the least Googlable band / album name combinations of all time, James Dean was a short-lived Australian Midwest Screamo band, plaything the genre perfectly as intended. The band very much plays into the soft, noodly guitar-driven Proto-Revival sound, infusing it with some screaming and impressively noisy drums. They would release another EP the next year with arguably an even worse name combination.

Fiction Like Non-Fiction - Fiction Like Non-Fiction (2007)

The enigmatic sound of Bay Area Screamo cannot be accurately defined by mere words alone. Despite the monumental task, I’ll take a crack at it with this amazing self-titled release. Rough, lofi production techniques give this one a unique atmosphere while the switches between madman Hardcore and slower, Midwest Emo give the EP an identity. This can’t be strictly considered Midwest Screamo, but it’s damn sure a fine album for fans of the subgenre.

The Reptilian - We Have Become (4/10/2008)

The Reptilian would go on to become one of the premier Midwest Screamo artists of the Emo Revival, but they made their relatively small-time debut in 2008 by participating in a split with Lautrec, Boy Problems and Osceola and releasing their debut EP, We Have Become. The four tracks on display here offer a preview into the future of the niche subgenre at the time, including the Mathy, Kinsella-esque guitar riffs that are heard throughout. Compared to some of the other Midwest Screamo releases on this list, The Reptilian doesn’t play particularly heavy music, perhaps more on the level of 1994! Regardless, the band showcases on this EP why their reputation precedes them.

Age Sixteen - Spring 2008 Demo (6/23/2008)

Heavily inspired by Suis La Lune, particularly in the melodic, active guitar riffs, Age Sixteen debuts with just three songs, but they show a clear trajectory to where the band was headed. Unlike their influence, however, Age Sixteen knows exactly when to get a little crazier, a trait their European counterparts don’t typically indulge in. If you like passionate shouted vocals, unforgettable guitarwork and epic, dynamic switches, do not ignore this demo!

Merchant Ships - The LOL Cats Demo (7/1/2008)

At only seven minutes in length, Merchant Ships makes an immediate impression, showcasing to the world why they were about to become one of the most beloved bands of the Emo Revival. Jack Senff’s passionate, raw shouted vocals are the highlight of these tracks, serenading the listener with unfiltered poetic lyrics. The first two tracks are originals only found on this demo, but the third track is a demo version of one of their most famous songs. The pulse-pounding percussion is complemented well by the noodling, active guitar.

1994! - Thank You Arms and Fingers (11/11/2008)

Some may claim this is more of a Punk-oriented Post-Hardcore / Math Rock fusion, but with slightly less hair-splitting, this fits alright in the Midwest Screamo category! The band would go on to be a not-insignificant part of the Emo Revival, but they released their first album in 2008. Filled with highly energetic drumming and blistering guitar riffs, the Punky nature of the songs just gives the chaos a little bit of structure. This is some truly heralding stuff for a two-person band!

Boy Problems - Summer Tour Songs (2008) 🎩

Boy Problems only released a handful of songs, but their legacy is forever enshrined in the mythos of this subgenre; hailing for Philly they featured former bandmates from groups like Make Me, Harrison Bergeron and Street Smart Cyclist. Summer Tour Songs opens with a sample from Superbad, speaking volumes to their intention to make a true Emo classic. From there, we find five rough recordings that contain the perfect blend of Screamo and twinkly Midwest Emo.

Many Emo Revival bands would take cues from Midwest Screamo artists, but Boy Problems seems to be an especially prominent influence on the movement, especially as it came out right at the forefront. With noodling riffs, shifting dynamics and an overall “warm” feeling, this is an essential demo to listen to if you’re into the Emo Revival sound.

Jupiter Lander - Jupiter Lander (2008)

Named after an obscure Commodore 64 title and with only a few songs to their name, Jupiter Lander touched down in 2008 and left the world as quickly as they came. However, this self-titled gem, consisting only of three songs, is a testament to their skill and cements their legacy. With a more traditional Midwest Emo approach, combined with raw, longing Screamo elements, Jupiter Lander is a lofi Midwest Screamo experience worth listening to.

Also released later that year was their Final Recordings EP, which I’m not sure was ever an official release. Regardless, four more excellent songs are on that release and I’d suggest listening to it if you liked their s/t.

Tiny Moving Parts - Waves Rise, Waves Recede, The OceanI s Full of Waves (2008)

What’s Tiny Moving Parts doing here in the Midwest Screamo zone? Well, their very first album features the band experimenting with many different genres, including Midwest Emo, Math Rock, Post-Hardcore and even Screamo. On this album, clean vocals are the exception, not the rule, and Dylan’s voice has never been so consistently insane, sort of like a more hoarse Jack Senff. The instrumental sections transition haphazardly between beautiful Emo twinkles, brooding Post-Hardcore and chaotic snippets of Screamo.

Although the band wouldn’t continue with this exact trajectory, this album lays the blueprint for what the band would become in the near future.

James Dean - James Deen (2008)

Another short release from obscure Australian Screamo Twinklers James Dean, another Proto-Revival release with screamed vocals and the occasional harsh instrumental section. This band was at the right place at the right time, but they didn’t stick around long enough for their work to reach the Revival. This EP is also known as "James Deen," just to make the naming conventions even worse.

Cowboys Became Folk Heroes - Cowboys Became Folk Heroes (2008)

A compilation consisting of five tracks from a 2002 split and an unreleased 2005 track that’s almost 10 minutes long, Cowboys Became Folk Heroes could say the same thing about themselves. Extremely obscure, this release has more edge than most of the Midwest Screamo on here, but the dynamics are nonetheless excellent.

Part 5: Beauty in Tragedy: The Marriage of Emo and Post-Rock

Today, we’re covering one of the most distinct and influential movements in Emo. The Appleseed Cast is likely the godfather of the Post-Rock / Emo hybrid, and they released several albums to explore that combination in various ways. Rolling into the 2000s, underground and basement Emo seemed to love this powerful fusion of genres as well, prompting artists from around the world to put their own spin on that sound.

Primarily, Screamo was the beneficiary of this movement worldwide. European bands like Daitro, Japanese bands like envy and American bands like City of Caterpillar forged legendary careers through the aggression of Screamo and the atmosphere of Post-Rock. Undoubtedly, this would trickle down into the non-Screamo Emo scenes as well. Some of the greatest releases of Third Wave Emo, and perhaps the genre as a whole, can be found in this section.

This section is one of my favorites, and I think my write-ups prove it. Post-Rock / Emo is one of the first kinds of Emo I really got into so this section holds a little special place in my heart.

Eyes of Autumn - Hello (8/1/2002)

Hello is the sole release from Eyes of Autumn, Emos out of Washington. Influence from bands like The Appleseed Cast are immediately evident with the airy Post-Rock instrumentation, the floaty, fleeting vocals and the syncopated rhythm section. However, Eyes of Autumn often visit the jazzier side of Math Rock, which is evident in the masterful drumming performance and the soft guitar tone. The singer’s voice is on the lower end, bucking Emo’s penchant for high-pitched whiny vocals. This band may not have been treading completely original ground, but they were an early innovator in what would become a legendary pairing of genres.

Pretty the Quick Black Eyes - Pretty the Quick Black Eyes (2002)

Combining traditional Second Wave Midwest Emo with spacey Post-Rock sounds with hints of electronics, this small project is a powerful listen.

Pinebender - The High Price of Living Too Long With a Single Dream (8/4/2003)

Pinebender released their debut LP in 1999, an interesting combination of Midwest Emo, Post-Rock, Slowcore and Indie Rock. Although none of those combinations were truly groundbreaking at that time, they had their unique twist on the formula. The High Price of Living compounds upon their first outing, focusing primarily on the Post-Rock atmosphere this time around. Huge, droning walls of sound meet the listener head-on while the vocalist’s soft singing voice serenades you with depressive lyrics. You’ll hear that Shoegaze influence if you listen to it long enough.

Simple acts of repetition give the songs here some sonic depth, somewhat making Post-Rock music with Slowcore as a guide, all while sticking to those beautiful Midwest Emo principles.

Statistics - Leave Your Name (1/20/2004)

Denver Dalley, best known for his stint as lead guitarist for Desaparecidos (who we will get to later), created his solo project Statistics after they disbanded. These two bands are extremely different, but Emo DNA is still found in both. Dalley utilizes Indietronica techniques to create a Post-Rock atmosphere while the meat and potatoes is just Midwest Emo goodness with a soft voice.

Mixing Emo with electronic elements, especially as a solo act, seems to be quite in vogue now, so it’s pretty neat that this exact experiment was done about two decades prior. If you enjoy the electronic components and the Post-Rock soundscapes, be sure to check out Statistics’ s/t EP, which contains a fair bit less Emo.

K.C. Milian - K.C. Milian (4/1/2004)

Italian Post-Rockers K.C. Milian could be considered silent legends in their scene, having come out with two mostly instrumental Emo-infused Post-Rock albums and a split with Italian Skramz legends La Quiete. The songs themselves are composed like Post-Rock songs with an emphasis on grandiosity, structurelessness and long instrumental passages; the actual timbre and style is Midwest Emo, including noodling riffs, trumpet and cathartic sections of vocals. This album is an interesting peek into what could have been if “Instrumental Emo” ever took off.

The Jesus Years - Are Matthew, Mark, Luke and John (10/1/2004)

You know exactly what you’re getting yourself into as you listen to the opening salvo, a 30-second superfluous drum solo that leads into some wonderful twinkles. The Jesus Years’ sole release as a band came out mere months after fellow European K.C. Milian released their nearly completely instrumental Emo album, although the core of the band had already debuted in the Emo scene a year prior as part of The Little Explorer, who I talked about in the Midwest Screamo section.

The actual music on offer is fantastic, a combination of Post-Rock and blistering Math Rock, all while low-key defining the Emo Revival sound. Perhaps they could be considered a Proto-Revival band, but this being instrumental gives the band a huge Post-Rock feel, so that’s why they’re here.

Youth Pictures of Florence Henderson - Unnoticeable in a Tiny Town, Invisible in the City (5/21/2005)

Youth Pictures is one of the most beloved and recognized acts in the How is Annie catalog of artists. Perhaps their best one. Unnoticeable in a Tiny Town is much more of a Post-Rock record than an Emo one, but with the twinkling with which they play, as well as the more traditional moments with vocals, the Emo influence stands out. The album is a scenic road trip in 45 minutes, showing the listener many beautiful sounds along the way. Post-Rock fans cannot miss out on this one.

Inválido - Regreso a Córdoba (6/25/2005)

One of the premier Mexican Emo artists of this time, Inválido did something that a lot in this section haven’t done: they created a Midwest Emo / Post-Rock fusion that features very little in the way of extra instruments or ambient tones. Rather, Inválido is a Midwest Emo band that plays Post-Rock. Regreso is a monstrous album at over one hour in length, each song averaging almost seven minutes!

Subdued but yearning vocals add ambiance to the Midwest Emo instrumentation, often rocking out in long vocal-less sections. Inválido managed to craft something that could fit in with American Emo and something unique to their country. If this description sounds good to you, do not miss out on this one!

Turpentine - Our Way Back To Chaos (7/26/2005)

A short-lived Emo / Post-Rock outfit out of Argentina, Turpentine lay the Post-Rock instrumentation on thick, but not without passing through some Emo corridors on the way there. The band’s feminine vocals are delivered in a rather restrained capacity but occasionally enter a different stratosphere together. There aren’t a ton of ambient tones in this one, but rather a collection of Emo songs that comprise a Post-Rock album.

The band would release two more EPs in as many years before calling it quits in 2007. The Post-Rock influence only grows from their first release, so if you enjoyed this one, be sure to check out their other material.

The Summer We Went West - Following The Holy Moon Goddess (8/20/2005) 💎 (See Also: Part 9)

When I started doing research for this project months ago, I’d already known about and enjoyed TSWWW and their hidden gem album in 2005. However, I’d pegged this album as being a part of the Proto-Revival section and, while it could still fit in there, I think the Post-Rock section actually fits more accurately, for reasons I’ll detail below.

The band opts for an experimental writing approach to Midwest Emo, including both acoustic and electronic instrumentation retrofit to classic Emo. There's a slightly folksy vibe about them, but Post-Rock seems to be the most powerful influence; the Turn trilogy feels out of place without acknowledging how much they owe to the genre. The vocals are embarrassingly raw and confessional, grounding this somewhat floaty record. This little-known release stands the test of time, being a wholly original piece of Emo history when no one expected it.

Johnny Foreigner - We Left You Sleeping and Gone Now (2005) 💎

A unique, eclectic and highly personal collection of songs, this is the one and only time the world would ever hear Johnny Foreigner this way. The UK Emo-Pop legends released this full-length demo several years before their official debut LP, and the differences in sound are stark. Noticeably, the production is more lofi and basement than their future work, which would come to sound very polished.

Catchy vocal melodies were also less of a priority, instead making way for the anxiety-inducing Post-Rock atmosphere and twinkly Math Rock noodling that permeate this release. If you are looking for an album that encapsulates the subdued dread of early Spring, please give this one a listen. Their next demo would come out two years later and feature a sound much closer to their Emo-Pop greatness.

Empty Siolos Echo War - Inner Working Mechanics of a Failed Construct with Puritan Cement (2005)

We’ve seen Post-Rock / Emo artists create their atmospheres in various ways on this list. Empty Silos does so with pensive buildups and tumultuous crescendos.

The Newfound Interest in Connecticut - Tell Me About the Long Dark Path Home (2005) 🎩

Cold, urgent, anxious and cryptic are how I’d describe the atmosphere of a typical song on this album, which doesn’t even describe the actual music in the songs! Newfound Interest in Connecticut is one of the most legendary bands on this list, having only released one LP that has since garnered an insane cult following.

The songs are about a 50/50 Post-Rock / Midwest Emo split in terms of genre dynamics. You will be lost in the seemingly endless sonic corridors, allowing your mind to race frantically in anticipation of the busy, mathy Emo sections. The drummer is the star of the show here, constantly performing complex and spazzy beats. The bassist does their best to keep up with the insane rhythms while at times being a lead instrument. The guitar tones are impeccable and give the band a signature sound. If that all doesn’t sound like a panic-inducing nightmare, the vocalist’s stressed-out singing style certainly will.

The Appleseed Cast - Peregrine (3/21/2006)

T-Tauri - Infinite Motion (5/16/2006)

T-Tauri was an obscure Emo band from Colorado who formed at the forefront of the Second Wave in 1993! After releasing an album in 1997, they recorded their final work, Infinite Motion, in 1999 before disbanding. In 2006, it finally surfaced. Taking cues from early Post-Rock / Screamo combinations and utilizing some truly basement-sounding production values, they create a dark and dingy atmosphere. The vocalist belts out mysterious, longing melodies that add cryptic elements to the music. The band never quite pushes into the next gear like other Screamo contemporaries, including in the scream-less vocal performance. Overall, if you enjoy mid-tempo chaos, long, repetitive instrumental passages and lofi production, you owe it to yourself to listen to this intriguing relic of Emo and Post-Rock history.

The Summer We Went West - 2006 Tour CDr (6/1/2006)

A Bunny’s Caravan - Draining Puddles, Retrieving Treasures (8/21/2006) 💎

Possibly the best and most well-known release from the How is Annie catalog, Draining Puddles, Retrieving Treasures is the band’s sole release and is legendary in the Norwegian Emo scene. And yet, it was as renowned as it was enigmatic; the band was only made up of two members who recorded this album and dropped off the face of the Earth without so much as rehearsing for a show.

“Epic” might undersell the grandiosity that A Bunny’s Caravan aimed for on this LP, and they hit the bullseye. When the band turns up the atmosphere, you can feel yourself completely engulfed in a wall of sound. They’ll then switch into a quiet, melodic passage that feels so intimate that it’s wrong to listen to. If you ever wanted a peek into the Norwegian Emo scene, this is probably the best place to start.

The December Drive - Arrivals/Departures (12/22/2006)

Although The December Drive have crafted lush musical atmospheres since their inception as a band, Post-Rock was more window dressing than a truly substantive part of their sound. However, on their first and only EP Arrivals/Departures, Post-Rock influence is far more prominent. In particular, the spacey guitar tone does a lot of the heavy lifting. The music itself is a nice combo of Emo and Post-Hardcore, though I’d be hard-pressed to say anything measures up to the immense heights of their debut LP. Regardless, this is still a worthy release deserving of your time.

Rika - Rika (2006)

This self-titled album is the debut LP for Rika, Austrian Emos partial to Post-Rock. Rather than employing synthesized ambient tones to artificially create a musical atmosphere, Rika utilizes time-tested Emo tropes - twinkly riffs, quiet-loud dynamics, raw production - and incorporates elongated instrumental passages, lengthy, dreamy song structures and the occasional horn section, to concoct a nearly-one hour aural experience.

Rika would go on to have a few more releases, notably a split with fellow Austrians in Everton. If you enjoy a naturally rich sonic environment filled with sadness, Rika’s s/t might be the album for you.

Turpentine - Honey Births, A Salt Troupe (2006)

Moving Mountains - Demo (2006)

Before Gregory Dunn’s voice would deepen for Moving Mountains’ debut LP (and subsequently deepen again by the time they released their next EP), a young high school Greg almost singlehandedly created the prelude to the genre-defining Pnuema. Some tracks are demo versions of future songs with a select few basically being alternate versions of the main tracks, while some are exclusive to this release. If you can stomach the higher-pitched voice and the poor production quality, this is an interesting preview into what would become a legendary band.

Moving Mountains - Pnuema (2/5/2007) 🎩

In truth, I’ve been somewhat dreading getting to this part of the series. Moving Mountain’s seminal 2007 debut LP Pnuema is special to me and has been in my rotation for almost half of my life. This album almost singlehandedly got me into Emo and Post-Rock, even if my insane affection for Emo bloomed some years later. It melts my brain that Gregory Dunn, while in high school, wrote the entirety of this album sans the drums.

From start to finish, the music captures that fleeting feeling of grief on a late night in early autumn, largely through the nature-laden allegories of the lyrics and brilliant atmosphere. In true Emo fashion, the music constantly builds to varying crescendos, only to level out in equal measure during the quiet sections. The guitar tone is perfect for the brisk yet melancholy riffs and the singer’s incredible passion seeps from every note he hits.

Pneuma is a diary, each song a painful entry that ends with catharsis.

Rest of My Life - All Pretty People Live in Airports (4/16/2007)

Rest of My Life makes another appearance in this project, five years after their debut s/t LP. In that time, Rest of My Life began to shed their Second Wave shell to reveal more modern production, more pronounced Post-Rock influences and some Indie Rock tropes thrown in for good measure. Whether you prefer their first album or this one is irrelevant as both are pretty awesome for different reasons. The band would pretty much run out of steam following this up, though, as their next album would be their final - and it’s generally not received too well.

Make Amends - Because Nobody's Real (7/10//2007)

With their sole release, Make Amends unleashes a forward-thinking piece of Emo. Generous usage of dreamy synths and guitar tricks makes this an airy listen but don’t confuse that with complacency. Make Amends spearheads their music with plenty of experimentation, from Indietronica influence to Chiptunes, Dream-Pop to Post-Hardcore. At times, this may feel like more of a Post-Rock album, but you’re quickly reminded that this is Emo when the depressive vocals kick in with cathartic choruses over a masterful demonstration of quiet / loud dynamics. Beware the massive 1+ hour length.

City Breathing - Look How It’s Snowing Upwards, Look How They Move Towards Heaven (4/4/2008)

City Breathing falls much closer to the Post-Rock side of the spectrum, but their Midwest Emo influences - such as in the vocals and guitar riffs - are prominent enough for me to put them on this list. If you enjoy lengthy songs with ethereal atmospheres sung with a soothing yet solemn voice, City Breathing has you covered with this debut LP. This release is hypnotizing but is bereft of that edge that good Emo tends to have. Regardless, if you enjoyed this, check out their other recorded material.

Charge Group - Escaping Mankind (8/23/2008)

Rising from the ashes of obscure Sydney Post-Rock outfit The Instant (which in and of itself rose from the ashes of Purplene, who we will see a bit later on in this list), this is heavily Post-Rock-infused Emo is about as chill as it gets, many thanks to the Slowcore influence that’s been present in these musicians since the late 90s. In addition to clean, sly guitar riffs, there is an abundance of string sections in most of the songs that create a dynamic sense of ambiance. The constant crescendoing and mellowing out of the music shows the range of volumes these Aussies can play.

Matt Blackman, Adam Jesson and Matt Rossetti should be proud of themselves for carrying the underground Sydney music scene for so many years, especially with their sadboi vibes. Charge Group would release one more album in 2012 before calling it quits.

Part 6: Eclectic, Electric and Alive: Japan’s Take on Emo

The international Emo scene during the 2000s kept the ethos of the genre alive and well through its Mainstream period in the Third Wave, but perhaps no country has done more for Emo’s preservation than Japan. Everyone knows what envy did for Screamo and the variety of Japanese Math Rock bands out there, but some Emo goes a step further with their Japanese influence. J-Rock was a popular mixer, but other genres such as Math Rock, Post-Hardcore and even Post-Rock were integrated with the traditional Emo sound to astonishing results. This next section features Emo songs that are most likely to be used in an anime intro.

ART-SCHOOL - Charlotte (4/5/2002)

ART-SCHOOL - Requiem for Innocence (11/27/2002)

ART-SCHOOL are Alternative Rock legends in Japan with deep roots playing Midwest Emo. On their first album, Requiem for Innocence, you’d be hard-pressed to find any obvious Alternative influence. If anything, this is a Noise-Pop-esque approach to Japanese Emo, carrying the flag for bands like Eastern Youth.

On this album, the production is dirty, the riffs are simple and the vocals are brimming with youthful passion. ART-SCHOOL would metamorphose, incorporating Shoegaze and Dream Pop into future releases. By 2007, Emo was in the rearview mirror for this act as they transitioned into more Alternative and later Indie Rock.

Burger Nuds - Symphony (8/27/2003)

Extremely upbeat and J-Rock-influenced, Burger Nuds debut LP Symphony is about as warm as you can get for an Emo album. The Indie Rock and Alternative appreciation is notable, but Emo seems to be among their biggest influences. Burger Nuds doesn’t do anything extraordinary here, but the tenderness with which they play is admirable.

The band would stop releasing music for over a decade until their second LP released in 2017!

Balloons - 9:40 p.m. (10/1/2003)

Allegedly, Balloons formed as a band in 1996, but 9:40 P.M. is actually their debut album. During all that time, the band must have been hard at work refining their sound as they’re one of the smoothest Japanese Emo bands I’ve heard so far. In large part, this is due to the Indie Rock influence, the timbre of which is reminiscent of British Indie artists of the time, as well as the proficient twinkly Math Rock riffs. The vocalist is more than serviceable but often withholds his voice for the pure melancholy of the instrumentals.

Balloons would release two more full-length albums and an EP, though the Emo influence on these releases is a lot less prominent if it exists at all.

Kiwiroll - その青写真 (12/3/2003)

Taking influence equally from Japanese bands like Number Girl and American bands like Fugazi, Kiwiroll plays messy, noisy and disorienting Emo fused with Post-Hardcore on this record. The brooding, heavy guitar tones balance perfectly with the clean Emo passages, setting up perfect loud / quiet interplay. The vocalist belts out the lyrics with passion and carelessness, perfectly encapsulating the feeling of desperate loneliness.

The band had steadily been releasing music since 1998, but this album, translated to English as “The Blueprint,” is perhaps their best. They would come out with one other Third Wave release, and it would be the last original material the band would ever release.

Blgtz - Blueprint for Unmanned TV (2/18/2004) (See Also: Part 5)

This record could likely have belonged in the Post-Rock section; there are only seven songs, but they each average over six minutes in length and feature plenty of instrumental atmosphere. That said, there also appears to be this enigmatic force of something else, especially in the off-kilter vocal delivery that sort of just screams “Japan.”

Between melancholic sections of spacey guitar playing are fits of Midwest Emo fury, accented by noisy chord progressions and an unhinged singing voice. If you want to listen to Japanese Emo for what makes it “different” than Western Emo, this is a great example.

Kiwiroll - 4Count (12/3/2004)

Veltpunch - Question No. 13 (12/14/2004)

After releasing their first album in 2000 with significantly less Emo influence, Veltpunch returned in 2004 with quite possibly the creepiest album cover in Emo history. On Question No. 13, Veltpunch provides supercharged Emo music with some fun J-Rock on the side, as a treat. The result is catchy and crude full-length that isn’t afraid to be as noisy as it is memorable. The band would still utilize Emo in their music, but would sway much closer to Alternative and Power-Pop following this release. Simply put, this rocks.

He - Further Shore (2/16/2005)

Japanese Math rockers He released their very first EP in 2005 with copious amounts of Post-Hardcore and Emo influence. The production is fairly raw, but the musical ideas on offer are nuanced and well-executed, especially regarding the raucous guitar playing, switching often from heavy, syncopated chord progressions to slidey, bendy and otherwise playful riffs. For Math Rock fans, this one should feel right at home.

He would go on to release several albums and a split with susquatch. Although good, I’d have to do some real hair-splitting to put the rest under the Emo umbrella.

Toe - The Book About My Idle Plot on a Vague Anxiety (9/31/2005)

First of all, what kind of name is toe?! Second of all, are they even Emo? I mean, they’re a combination of Math Rock and Post-Rock, which winds up radiating Midwest Emo vibes. This sort of reminds me of The Jesus Years in that way. Maybe we should just make Instrumental Emo an official genre, but I digress. Third of all, how in the WORLD did this band get SO popular? Like, ridiculously popular, one of the biggest bands in this entire project. Nonetheless, I think everyone needs to hear these guys at least once.

With an absence of vocals, the drummer actually takes center stage, demonstrating his otherworldly ability. However, the guitarists also get to show off with nonstop riffs and picturesque twinkles. If this isn’t Emo, it will absolutely still hit the same spot, especially if you like instrumental music. The band has several other LPs and EPs if this sound works for you.

Blgtz - Document of the Moment by Minus Generation (10/26/2005)

A year after their debut LP, Blgtz would release their second LP, roughly translated as Document of the Moment by Minus Generation. The eccentric Post-Rock / Emo fusion that Blgtz played with on their first album is expounded upon; the band crafts ethereal soundscapes, encapsulating formlessness and wistfulness in the open air. The band still turns it up for those pensive moments of aggression, especially with the singer going balls-to-the-wall with his voice.

The band would only release one more studio album but would have several more EPs recorded.

Ling Tosite Sigure - #4 (11/9/2005)

Ling Tosite Sigure makes music for Post-Apocalyptic-themed Anime Intros, and I cannot stress how much of a compliment that is. Emo, Post-Hardcore and J-Rock come together for this eclectic AnimEmo, featuring noisy instruments, blistering mathy passages, explosive youthful vocals and a wall of emotion coming at you at all times.

Behind the music is a trio of musicians, two of whom switch off between masculine and feminine vocals. Though they released three demos prior, #4 is their debut LP and they absolutely knocked it out of the park with this one. They’d go on to have a prolific career, some of which might be covered a bit further down…

Malegoat - Plan Infiltration (2005) 💎

Beloved in the Emo community due to its remastered rerelease in 2011, Plan Infiltration was originally released as a six-song EP all the way back in 2005! With strong Japanese Math Rock roots, this Emo album was forward-thinking and is among the greatest Proto-Revival releases of all time.

Combining proficient guitar twinkling with exploding passion results in some of the best songs to come out of the Japanese Emo scene. The band would go on to have splits with artists like Empire! Empire! and Into It. Over It., the latter of which was released in 2022.

Akutagawa - Akutagawa (2/9/2006) 💎

On their debut LP, Yamagata natives Akutagawa unleashed unto the world a minor Emo masterpiece. The little-known self-titled album greatly diversifies its sound by integrating multiple genres: the dark, heavy Post-Hardcore guitar tones, the near-Screamo bouts of insanity, the grandiose Post-Rock soundscapes, the mindbending time signature shenanigans of Math Rock, all of these combined with the very best of Emo songwriting to craft nearly an hour of unique music.

Not one song on this album sounds alike, each taking cues from different genres while maintaining that air of catharsis that only Emo can provide. There’s a lot of instrumental-only time on this one, but the vocalist is more than capable of keeping up with the ever-shifting dynamics.

Ling Tosite Sigure - Feeling your UFO (7/19/2006)

Feeling your UFO showcases a top-notch band evolving and maturing in real time; although cut from a similar cloth to their acclaimed debut LP, this EP replaces some of that youthful energy from #4 with world-weariness and a better-developed sense of songwriting. The five-song record is still quite boisterous, but the noisiness is cut down slightly in favor of melodic interplay, though the vocal performance is perhaps more unhinged than ever.

The overt J-Rock influences are less severe on this album, allowing the raw Emo and Post-Hardcore to flourish with little distraction.

Pegmap - Have a Nice Day (12/13/2006)

On their debut LP, Pegmap delivers scathing Emo goodness with noisy, dissonant guitars, pounding drums and passionate vocals. All of the Midwest Emo tropes that we love are present here, so when the band quiets down for a softer song or section, it stands out particularly nicely against the noisier dynamic. Elements of J-Rock pepper this release, giving some parts a certain anime intro vibe.

Even though the first couple of tracks are the main attraction here, this album is filled with really good Emo from top to bottom.

The cabs - 2 Song Demo (2006)

A small look into what would become an excellent Emo Revival band.

My Name Is… - 東京プラスチック (2006)

Utilizing a Screamo approach to writing music, this band is boisterous, dissonant and spastic. Vocally, they don't actually do much screaming. If you enjoy Screamo, you will probably love this album.

susquatch - Water Plant (5/2/2007) 💎 (See Also: Part 9)

With four years between this EP and their first demo, susquatch has shifted direction quite drastically on Water Plant. The distorted guitar tones of their demo, which borrowed heavily from that Second Wave sound, return, juxtaposed by twinkly guitar tones that would go on to define the Emo Revival just years later. Heavyhanded elements of Japanese Math Rock make their way onto this EP, showcasing the band’s playful side quite often. The vocalist’s passion is evident, even in all of the lyrics, which, if you’re having trouble discerning what they say, are actually in some broken English/Japanese fusion.

The group would find their biggest success right at the forefront of the Emo Revival with their 2009 debut LP In This World. The LP would ditch the rawer, distorted guitar tones for cleaner, more Indie-leaning ones, so if you like your Emo to have some crunch behind it, check this one out!

Pegmap - See You (8/8/2007)

Pegmap returned after their debut LP one year later with another stellar full-length outing. All of the scintillating musical elements from Have a Nice Day return with a renewed sense of balance. The cacophony of distorted guitars, powerful drumming and fiery vocals are juxtaposed next to twinkly riffs, a restrained rhythm section and quiet, somber singing. Midwest Emo tropes? Yes, but that’s really why we’re all here, right?

The album as a whole is more refined than their original: whereas Have a Nice Day opened up with the two very best tracks on the album, See You is a far more even sonic journey through waves of crescendos and comedown. The band would release another album and an EP in 2012 before calling it quits.

Ling Tosite Sigure - Inspiration is DEAD (8/22/2007) 🎩

After seemingly capturing lightning in a bottle with their explosive debut EP and refining their Emo songwriting abilities on Feeling your UFO, Ling Tosite Sigure returns with an absolute banger of an album. Taking even more cues from Post-Hardcore, Inspiration is DEAD cranks the mania of their first album up to the stratosphere. If it were not for the prominent J-Rock elements keeping the general tone of the music upbeat, this would be quite the dark album, somewhat reminiscent of the Progressive Post-Hardcore bands of yore like Fall of Troy. Hell, some tracks would have what I dare would call a “dancey” rhythm section!

This band’s monumental popularity during this time was warranted as they were the crown royalty of J-Rock / Emo. Fans still debate which album of theirs is best, and that includes pretty much every future release from this band. I highly recommend checking out at least one album from this group.

Bronbaba - Kinder Book (12/19/2007)

Bronbaba play depressing bummer Emo with heaping spoonfuls of Indie Rock and Slowcore influence, somewhat in the same vein as bands like The Jim Yoshii Pile-Up. The leisurely tempo, lower-register vocal performance and the overall depressive nature of the songs belie how beautiful and evocative the tracks are. Nothing on this album will set the world on fire, and that’s okay - Bronbaba is perfectly content to sit on the ashes and share their story.

Blgtz - Blgtz (7/23/2008)

Sora - Miminari to Sono Wake (8/23/2008)

Beginning life as a Screamo band in 2003, Sora would drop pretty much all screaming in favor of melodic vocals on this debut LP, roughly translated to Tinnitus and Its Reasons. Though Sora lost some of their edge in the transition, they retained the melancholy, the aggression and the dynamism, pushing these in even further directions at times. I get reminded of Empire! Empire! while listening to this: the grandiosity, the range, the technicality, all of it falls into place exactly as it’s supposed to.

Sora would come out with another marvelous album in 2012 before calling it quits. Bands this good are only meant to last so long…

Folio - The Curve Causes a Shiver (9/26/2008) (See Also: Part 9)

This album arrived right at the forefront of the Emo Revival in late 2008, and it was released at the perfect time. The Curve Causes a Shiver is a very familiar album to Emo Revival fans, featuring glorious guitar twinkles, syncopated Math Rock drumming and somewhat whiny vocals. If you’re tired of hearing all of this Third Wave stuff and really can’t wait for the Fourth Wave, give this a listen.

Part 7: The Explosion of Emo-Pop

Perhaps controversially, I’ve decided to cover Emo-Pop in this section. After all, much of the Emo-Pop movement is uniquely Third Wave, and many artists stayed relatively obscure. Besides, there’s no other part in the series that could reasonably contain this information, and Emo-Pop deserves its fair share of attention. Many artists on this list have incorporated elements of other genres into their music, including Pop Punk, Alternative, Indie Rock and Post-Hardcore, which speaks to the genre-invading nature of Third Wave Emo.

The very essence of this particular section may betray everything else I’m trying to do here, but I wanted to be comprehensive in my coverage of the genre. Besides, more Emo has never really been a bad thing, has it?

Fun fact: I wasn't originally going to cover this section, but how can you have a Third Wave retrospective without the BIGGEST movement represented in some way?

Sunday’s Best - The Californian (5/14/2002)

Eschewing the harsher and more traditional Midwest Emo elements from their 2000 debut LP, Sunday’s Best injected clean production and infectious vocals into the mix for The Californian. Although bereft of most edge, the album is still a competent and catchy Emo record.

Counterfit - Super Amusement Machine for Your Exciting Heart (7/2/2002)

Early Emo-Pop from Connecticut, Counterfit only released one full-length album in 2002 after a few EPs before calling it quits in 2004. However, we should all be so grateful that they released anything at all! Simple and dirty Emo-Pop / Midwest Emo with just enough edge to capture the hearts of those fans of the early 00s era of Emo. There isn’t anything you haven’t heard before on here, but worthy of a listen nonetheless.

Hey Mercedes - The Weekend (7/16/2002)

Long Since Forgotten - All the Things You Said… (9/3/2002)

Northstar - Is This Thing Loaded? (10/22/2002)

Is This Thing Loaded? invokes that special early Vans Warped era, the time of Taking Back Sunday and Brand New starting to take over the industry. The youthful energy is captured in the rough production values with the guitar being a particular highlight. The very first song on the album is an instant classic, so even though the rest of the album fails to live up to those expectations, it’s still a super solid Emo-Pop album.

As a side note - Rigged and Ready supposedly really influenced TBS’s Cute Without the E, so perhaps we can at least partially attribute the immediate growth of Emo in the Third Wave to this band.

Gatsbys American Dream - Why We Fight (11/5/2002)

Newfound Interest in Connecticut - Less Is More or Less (2002) (See Also: Part 2)

Before compelling the world with their frigid take on the Post-Rock / Emo formula, Newfound Interest in Connecticut released a four-song EP in 2002. Unlike the brilliant soundscapes found on their LP, Less Is More or Less utilizes the Midwest Emo formula to craft Emo-Pop music. The vocals are more restrained and attempt poppier melodies, though the guitarwork and masterful drumming that the band would be known for is previewed on this EP quite nicely. If you’re looking for a Second Wave-esque Emo-Pop record or are just curious as to what the band used to sound like, look no further.

Moneen - Are We Really Happy With Who We Are Right Now? (1/17/2003) 💎

An adopter of the early Emo-Pop sound, Moneen as a band has a fascinating history as it relates to Third Wave Emo. The band came together in 1999, released a demo EP in 2000 and released their first full-length album in 2001. Perhaps this would mean they should be in the Second Wave section, but their forward-thinking Emo formula sounds fresh and “2000s,” for lack of a better term.

Emo-Pop influences on this album are subtle and mostly for the catchy verses and choruses. The production is reminiscent of a 90s Second Wave Emo record, giving Moneen a raw vibe on this album. Still, dynamic and time signature shifts occur regularly, showcasing the band’s penchant for writing a good Emo song. If you want to hear one of Canada’s very best Emo bands, please give this a listen.

The Movielife - Forty Hour Train Back to Penn (2/24/2003)

A fairly standard Pop-Punk / Emo-Pop combo from the fabled Long Island / New Jersey scene, The Movielife released music sparingly throughout the years but had only one release in the Third Wave officially. In the same vein as early Second Wave Emo artists, The Movielife consists of Hardcore kids who are trying to make non-Hardcore music but simply can’t escape their roots. This, of course, is only a huge positive as the spirit of Hardcore ensures this doesn’t become generic dreck. It’s a good album, but the bigger, faster songs tend to be the best on this record.

Breaking Pangaea - Phoenix (5/1/2003)

Breaking Pangaea is a little-known Emo band from Philly that came together at the turn of the century. After releasing their first LP in 2001, a traditional Midwest Emo affair, Phoenix would be the band’s final release. On this EP, Breaking Pangaea infused their sound with equal parts Emo-Pop, particularly in the guitar tone's crispness and the vocal melodies' poppiness. The results are infectious and feel distinctly 2000s.

Gatsbys American Dream - Ribbons and Sugar (7/22/2003)

Fresno - Quarto dos Libros (8/1/2003)

Simply put, Fresno is the biggest artist to come out of Brazil’s Emo scene. They’ve amassed 10 studio albums, numerous EPs, several live albums and tons of other recorded material. They are undoubtedly in that Jimmy Eat World position of playing Alternative after getting famous with Emo-Pop. Perhaps a band THIS BIG shouldn’t get coverage on this list, but even I’d never heard of Fresno before researching for this list, so I’d wager a lot of others need to know, too.

Their debut LP features a much rawer production sound than anything that came afterward, pairing their infectious Emo-Pop with Midwest Emo and Post-Hardcore elements. Notably, there was a dearth of Emo in Brazil when they formed and released this record, so it was groundbreaking in some ways. This is a rather auspicious start to a prolific career.

Park - Random and Scattered (9/26/2003)

Hey Mercedes - Lose Control (10/17/2003)

From the ashes of legendary Midwest Emo band Braid comes Hey Mercedes, an Emo-Pop band that flirts with Power Pop. If you’re expecting Braid with catchier choruses, I’m sorry to disappoint. However, the melodic vocals will worm their way into your ears. Hey Mercedes’ second and final full-length album is a testament to the tortuous path Emo bands partake in; even with everything going for them, the band just never reached the heights they deserved.

Park - It Won't Snow Where You're Going (11/4/2003) 💎

Listening to Park in the context of Third Wave Emo is bittersweet; with their radio-ready melodies, combination of popular genres and high average song quality, they could have and should have reached mainstream popularity in the US. Fortunately, that doesn’t stop their existing music from kicking ass, and very few songs in their discography kick as much ass as the opening track to this LP.

This album takes the raw instrumental tones of Post-Hardcore and wraps them around a Pop-Punk skeleton with Emo as the connective tissue. Is that too artsy of a description? Maybe, but once you hear this album, you’ll understand where I’m coming from.

Halfway to Holland - Halfway to Holland (2003)

Peter Helmis and, to a slightly lesser extent, Joe Reinhart are absolute legends in Emo, not only for the sheer massive quantity of bands they’ve been a part of but for the consistently good quality each of their releases possesses. The two are primarily known for Algernon Cadwallader, The Cap’n Jazz of the Emo Revival, but have participated in numerous other excellent acts. The first of which, however, was Halfway to Holland, started all the way back in 2001!

After a demo LP, they came out with their self-titled album in 2003, mixing the youthful energy of Pop-Punk, the catchiness and structure of Emo-Pop and the rawness of Midwest Emo into a fairly straightforward package. Vocalist Peter Helmis sounds exactly as you’d think, though the guitarwork is more focused on quick chord progressions and easy leads rather than anything twinkly or mathy.

Long Since Forgotten - Standing Room Only (1/24/2004)

Burns Out Bright - Distance and Darkness (2/24/2004)

Northstar - Pollyanna (4/20/2004) 💎

After their heralded debut album, Northstar would release their second and final album in 2004 - Pollyanna. This album is likely legendary among Emo fans of this era, truly in a tier only below albums like Tell All Your Friends, Deja Entendu and …Is a Real Boy. Northstar took everything that worked on their first outing and made the entire album a consistently good journey. The Pop-Punk is balanced very well on this album, taking a backseat at times for softer songs.

Sadly, the band broke up after this album was released, depriving the world of more good jams.

Slingshot Dakota - Keener Sighs (9/14/2004)

Slingshot Dakota was founded by Carly Comando and two members of Emo-leaning Punkers Latterman in 2003 before releasing their debut album a year later. Keener Signs is heavily influenced by Rainer Maria’s take on the Indie and Emo combo, especially in the dual masculine/feminine vocals, though Emo-Pop is the dominant force on this record. Gorgeous piano riffing is accompanied by admirable drumming and a dynamic guitar that goes from chord progressions to Emo twinkles.

Following this album, the two former Latterman members left the band, leading to a fundamental change in the band’s sound. Their next album wouldn’t be released until 2008, though the Emo influence would diminish exponentially across each subsequent release.

The Kidcrash - New Ruins (11/2/2004)

New Ruins sees THE Kidcrash in an unrecognizable light compared to their other legendary LPs Jokes and Snacks. Prior to becoming a legend in the Screamo genre for their complex and technical music, The Kidcrash was another Emo-Pop hopeful reminiscent of bands like Underoath, but with a critical ear, you can suss out the subtle intricacy of the layered guitars and the mathy syncopation of the rhythm section. The vocals are admittedly underwhelming, especially when you know what the singer is capable of later in his career. Besides, these vocals were in vogue around the mid 00s, so it isn’t too unexpected.

If you want to hear the humble beginnings of a band that would go on to be legends in the scene, check out this artifact of Emo history.

Fresno - O rio, a cidade, a árvore (12/10/2004)

Brazil’s biggest Emo band continues their search for a core identity on this album, featuring significantly better production values and the slow shedding of their Midwest Emo and Post-Hardcore influences. While this is a fine album and the volume dynamics make this a great roadmap for Emo-Pop, it’s lacking that little something; their first album took advantage of the raw recordings and infused them with youthful energy. Their next album…well, let’s wait to talk about that one.

Fightstar - They Liked You Better When You Were Dead (2/28/2005)

Whilst Charlie Simpson was performing as one of the poster children for UK boy band Busted, he began to write some Post-Hardcore music to scratch his rock itch. However, he got REALLY involved and would leave Busted in 2005, a month before this debut EP was released. Prominently showcased is Simpson’s strong voice, showcasing an entirely different side than what fans of his were used to. Moody Post-Hardcore is the basis of the music, but most melodic elements are derived from Emo-Pop. If for nothing else than novelty, I’d suggest checking out this stellar debut EP and the LPs that would follow.

Gatsbys American Dream - Volcano (4/12/2005)

With more than their fair share of Pop Punk seeping from the album, Volcano is one of the slickest Emo-Pop albums around. Gatsbys American Dream has reached their final form on their third LP, eschewing the more frenzied Pop Punk concoction to forge the perfect Pop Punk / Emo-Pop mixture. The production values, particularly in the sleek guitar tones, are quite polished and allow for both distorted and clean moments to shine. With several other albums that all came out during this time period, I’d recommend you check these Seattle natives out, though be aware this is probably their truest Emo-Pop effort.

Statistics - Often Lie (7/12/2005)

Less Indietronica and subsequently less Post-Rock than their debut LP. Regardless, there are some nice melodies on offer here, even if this is more on the chill side of Emo-Pop.

Burns Out Bright - Save Yourself a Lifetime (3/14/2006)

Moneen - The Red Tree (4/11/2006)

Following up on two acclaimed LPs, an EP and a Split with Alexisonfire was never going to be an easy task for Moneen, but after signing with Vagrant Records, Moneen released a cohesive album that’s at least as good as their previous stuff. The beautiful combination of Emo, Emo-Pop and 90s-era Post-Hardcore remains a winner for Moneen, but the lack of a true standout track amongst a sea of really good ones does mean this album isn’t quite as memorable as it should be. Regardless, this is Canada’s best Emo band for a reason.

Fresno - Ciano (6/1/2006) 🎩

Fresno has never sounded so confident, so sure of themselves as songwriters and performers than on this third full-length album. Traces of Midwest Emo and Post-Hardcore remain, but only as over-the-shoulder guides that ensure Fresno doesn’t stray too far from the very ethos of the genre. The melodies on offer here will get stuck in anyone’s head, regardless of what language you speak. Each note of the singer’s voice seems meticulously crafted around the enormous anthemic music, yet confusion, loneliness and anger seep through the euphony.

Simply put, this is what Emo-Pop is all about: taking the emotional catharsis of Emo and blending it into a palatable product. Indeed, this album launched Fresno into Brazil’s stratosphere. Fresno would start incorporating more and more elements of Alternative Rock into their music, effectively making this their last pure Emo-Pop album. It sure is one Hell of a way to go out, though.

Park - Building A Better (7/25/2006)

Park gives it one more go on their final studio album, flirting with experimentation along the way. This is perhaps their most varied album as a result, but also one that lacks the strength in identity as their other releases. Still, Park produces some of their very best songs on here.

Building a Better is a monument to the wonder of Emo, showcasing a band with all the talent, songwriting and opportunity to jump into superstardom, only for obscurity to be their fate ultimately. Bands like this are why I write about this amazing music scene.

Mozart Season - Is Heaven Everything You Thought It Would Be? (2006)

Brewing up an Emo-Pop, Post-Hardcore and Melodic Hardcore blend, Mozart Season was at the right place at the right time, but they actually briefly broke up following this EP. Their next two releases would focus more heavily and Metalcore, so this stands as their final Emo-Pop effort. If you enjoy the trappings of popular Emo-Pop / Post-Hardcore mixtures of this time, you’ll probably really enjoy this one.

The Graduate - Anhedonia (4/10/2007)

When The Graduate was around, there were comparisons made to Jimmy Eat World - and rightfully so! The band oozes melody and catchiness like no other, especially in the earworm choruses. Their second and final LP, Only Every Time, was analogous to Bleed American, so does that make Anhedonia this band’s Clarity? Not quite, failing to capture the magic of Only Every Time, but as a debut album goes, The Graduate really swung for the fences. If you enjoy extraordinarily captivating vocal performances or Emo-Pop with Alternative and Pop Rock influences, check this one out! Be warned that there’s very little edge to be found on this record.

Long Since Forgotten - The Theft (8/21/2007)

Johnny Foreigner - Waited Up ‘Til It Was Light (6/2/2008) 🎩

Exuberant, youthful, manic and catchy are just a few of the many descriptors that can be said about Johnny Foreigner’s exemplary debut LP. Three years after their first demo showcased the band’s Post-Rock writing chops, this release illustrates the band’s evolution into a premier Emo-Pop band. The dual male-female vocals greatly add to the diversity on display here with strong hints of Indie Rock, Pop Punk and even Math Rock. No two songs are alike, proving the songwriting in this band is exceptional.

Johnny Foreigner would go on to be one of the most prolific Emo / Indie artists in the UK, having released four more studio albums, numerous EPs and lots of other material. However, despite this legendary Emo-Pop output, the band would never quite reach the lofty heights of this debut LP. If you’re going to check out any Emo-Pop on this list, you should let it be this one.

Part 8: Other Uncategorized Emo

Finally, I’ve reached the point where I’m all out of clever sections and cute titles. These last few releases are all Emo releases that defy categorization based on what I’ve already written about.

There are just certain Emo records that sound uniquely Third Wave...here's where they are. Lots of Emo/Post-Hardcore combos from the time wound up on this list.

A Perfect Kiss- In Spite of Angels (9/1/2002)

This album sounds like Second Wave Emo birthing Third Wave Emo. I know that’s weird, but I don’t know how else to describe what this sounds like.

Desert City Soundtrack - Contents of Distraction (10/29/2002)

Desaparecidos - Read Music/Speak Spanish (11/25/2002) 💎

Many probably know the story of Bright Eyes’ frontman Conor Oberst’s OTHER band, but I’ll give you the quick and dirty if you don’t; Conor intended Desaparecidos to be his secondary band before Bright Eyes unexpectedly took off like crazy, dashing those plans. And it’s a shame since Read Music/Speak Spanish is cooler and more Emo than any of Conor’s other music. Emo with strong Punk leanings, Desaparacidos plays with anger pumping through their veins, to a level just below that of someone like Cursive.

Oberst’s vocal delivery carries strength and rage, highlighted by the frantic guitar riffs and active rhythm section. This doesn’t sound like a lot of other Emo music that came before it, even if it doesn’t do anything particularly innovative. If political-leaning Emo is your thing or you’re just pissed off about the United States, give this a listen.

Sheryl's Magnetic Aura - Sheryl's Magnetic Aura (2002)

Kickball - Huckleberry Eater (5/5/2003)

Kickball, a trio of Olympia natives, released their eclectic first album in 2003, combining docile Indie Rock with very subtle elements of Math Rock. The Emo influence on this one isn’t as pronounced as it is in future releases, but Huckleberry Eater radiates with awkwardness and depression from every corner. If you enjoy offbeat, slightly downer Emo with very little in the way of hard structure, check this out!

Purplene - Songs From the Marketplace (5/21/2003)

Woke Up Falling - It’s Only Your Ghost (6/24/2003)

Fairweather - Lusitania (7/1/2003)

Bear vs Shark – Right Now, You’re in the Best of Hands. And If Something Isn’t Quite Right, Your Doctor Will Know in a Hurry (7/27/2003)

I know what you’re thinking: Bear vs. Shark isn’t an Emo band, they’re Post-Hardcore! Well, they are Post-HXC, but they infuse it with a generous heaping of Emo, reminiscent of 90s At the Drive-In. The messy, noisy Post-Hardcore moments are perfectly juxtaposed next to the cleaner, more melodic Emo-leaning sections.

Although Emo and Post-Hardcore was a popular combination during the Second Wave, this band eschewed tradition with this release and crafted something far more modern and 2000s-sounding, for lack of a better term. From the production to the songwriting choices, this album represents a tiny window in 2000s history.

On the Might of Princes - Sirens (9/23/2003)

OtMoP might be one of the most eclectic Emo groups to ever exist. I just can’t categorize this release as anything other than Emo, and it’s absolutely fantastic. Pulling influences from 90s Midwest Emo, Post-Hardcore, Screamo and even some Post-Rock, Sirens is the final stellar record from this incredible and consistent band.

Desert City Soundtrack - Funeral Car (11/11/2003) 💎

From the first few seconds of this album, you could be forgiven for thinking this was some generic piano-driven Indie Rock, but you’ll reward yourself for continuing to listen as Funeral Car is an unexpectedly unique slice of Emo history. The piano lulls the listener into a false state of peace, but the piano doesn’t define the music found here, it’s the other way around; the piano is merely a tool to emphasize the tone, tempo and volume dynamics at play in this eclectic combination of songs.

The softer, Indie-leaning sections often give way to frenetic Post-Hardcore sections comprised of screaming and total instrumental upheaval. Following this up may be a serene trumpet melody or subdued vocal passage. If you like this, they also have an EP from 2002 that is a tad heavier overall.

Emo Side Project - Stay on Rewind (1/4/2004)

Starting out as a satirical take on Emo combining the humorous elements with the serious, Emo Side Project turned into a tour de force of AcousticEmo, having released dozens upon dozens of hours of music. I can’t possibly list which albums are better than others, so I’ll just say I enjoyed this particular album (yes, all 65+ minutes of it). The vocals are as whiny as they are sincere.

Sometime after 2010, ESP would add a full band. I don’t really know anything about that material, but it’s out there if you want to check it out.

Purplene - Purplene (5/17/2004) 💎

Purplene’s self-titled LP is also their final one, but they prove themselves to be quintessential OzzEmo (I hope the Australians don’t kill me for that…). Somewhat reminiscent of The Jim Yoshii Pile-Up due to their combination of melancholy Midwest Emo and smooth Slowcore, Purplene also adds in elements of Math Rock with shifting time signatures and Post-Rock with extended instrumental passages. What’s left in the rubble is a uniquely-crafted work of Emo history.

If you like your Emo to be more on the bummer side of the spectrum and love really polished guitarwork, this is definitely one that you can’t miss.

Colossal - Welcome The Problems (6/1/2004) 🎩

To Chicago-area Midwest Emo fans, Colossal is the faint but familiar name of a legendary band that came and went during Midwest Emo’s lowest period. Comprised of Chicago Punk royalty, Colossal’s debut LP is an experience unlike any other. Some of the most virtuosic guitar playing in the entire genre of Emo can be found on this album, enough to make any Kinsella brother blush.

Speaking of Kinsella, Colossal sounds like American Football if they actually rocked out instead of sticking to the softer Indie Rock-influenced stuff. Pat’s singing voice is also quite distinct among Emo, showcasing a lower register than average. If you enjoy Midwest Emo, proficient instrumentals and incredible songwriting, this is a must-listen.

Woke Up Falling - Woke Up Falling (6/15/2004)

I know this looks like a 2004 Butt Rock album cover, but it's actually pretty good Emo.

The Progress - Golden State (6/23/2004)

The original band for Chicago-based Emo legend Evan Weiss (of Into It. Over It., Their / They’re / There and Pet Symmetry fame), The Progress released one fairly rough s/t EP in 2001 before coming out with Golden State in 2004. Traditional Midwest Emo with noticeable Pop Punk influences, this EP is the evolution of Second Wave Emo, especially in the vein of bands like The Get Up Kids. Though it isn’t anything wholly original or an essential release, the volume dynamics and amazingly catchy vocal performances will ensure this stays with you for a while.

Reubens Accomplice - The Bull, The Balloon, and the Family (9/20/2004)

With geographical ties to bands like Jimmy Eat World, Reubens Accomplice released Emo music that wasn’t nearly as popular as their contemporaries, though that didn’t stop the band from releasing some real hidden gems. Reportedly starting as a band as far back as 1994, they released a few songs at the turn of the century, including on The Emo Diaries Chapter Five. After an inauspicious 2001 debut LP, the band released what is arguably their masterpiece in 2004.

Combining Midwest Emo, Emo-Pop and hints of Indie Rock to fill the gaps, The Bull, The Balloon, and the Family is an eclectic album with 13 songs that are all distinct. Small bits of Alt-Country make their way onto this album too, giving the music a very slight folksy feel at times.

Shinobu - Herostratus vs Time (10/5/2004)

Shinobu is an interesting artifact of time; One of the founders, Matt Keegan, is a frequent friend and collaborator with Jeff Rosenstock, even having him on a Shinobu album at some point. They are also seen as a very influential band to artists like Joyce Manor and PUP, in no small part due to their debut album’s eclectic and somewhat depressing combination of Slacker Rock and Midwest Emo.

This LP never quite takes off to the races, but the constant bummer tempo, combined with the sunny facade that fails to convince the listener that anyone in this band is a happy person, ensures their place in Indie Punk history. Though Shinobu would release a fair few more albums, including another wonderful LP in 2006, the Emo influences would be hit or miss from that point onward.

A Perfect Kiss - The Olympians (11/3/2004)

The band utilizes more mid-2000s Post-Hardcore this time and adds tons of Emo-Pop sensibilities.

Slingshot Around the Moon - This Is Who We Are (2004)

The importance of music preservation is often diminished, especially when it comes to niche, local or otherwise unknown stuff. However, I think that’s what’s so beautiful about it; take Slingshot Around the Moon as a prime example. For a long time, most of the very few listeners of this band assumed they’d only released five songs total. However, including demos, remixes and live performances, the band has over three hours of stuff!

This Is Who We Are is the cleanest, most complete release of everything discovered so far. Taking Midwest Emo and adding in bleak elements of Post-Hardcore, this album is as jumpy as it is brooding. If you prefer faster-paced chord-heavy Emo with a 2000s feel, check this EP out, as well as this band’s other material.

The Maple State - At Least Until We’ve Settled In (3/2/2005)

At worst, this is Emo-Adjacent but fans of Indie and Emo should check this out.

Eniac - All That’s Left of Us (4/1/2005)

To most Emo fans, Eniac is an unknown, a band name in a nebulous sea of band names. To Emos of the early 2000s in Denton, Texas, Eniac are local legends. Though their first and only LP was released in 2005, they’d long been disbanded by then and the record had already been recorded years prior. The style and production owe quite a bit to Second Wave Emo, but there’s something a little more “modern” about them, for lack of a better term.

The lyrics might be a bit shallow, the instrumentation slightly simple. However, like any good Emo, you can always feel the passion emanating from their music. To those with special memories of Eniac playing under a starry Texas night, these songs will always hold a special place in their heart.

Meneguar - I Was Born At Night (6/10/2005)

Formerly named Sheryl’s Magnetic Aura, a pretty standard Midwest Emo band, they changed their name in 2004 to Meneguar and never looked back. After a demo that same year, they released their first full-length LP - I Was Born At Night. Cohesively fusing mid-00s Indie Rock with twinkly Midwest Emo like the genres were long lost brothers, Meneguar perfect this combination. Dancey songs with beautiful Emo riffs and volume dynamics populate this 30-minute release.

Sadly for us, their Emo influence would fade significantly on subsequent releases, making this their best. However, I’d still highly recommend giving at least this album a listen and their future works if you’re into Indie Rock.

Million Dead - Harmony No Harmony (6/15/2005)

Before becoming a certified Folk legend, Frank Turner found himself in a UK-based Post-Hardcore band named Million Dead. After a noisy and chaotic first album that saw them dip their toes into Emo waters, Million Dead returned in 2005 with their second LP with significantly more Emo influence, I’d say 50/50 with Post-Hardcore. The boisterousness found on A Song to Ruin remains a fixture on this album, but the Emo influence allows for more contrast with moments of clean serenity.

Frank Turner does belt out some gnarly screams on this album, but his use of melody and bombast has significantly improved, previewing why he’s attained such a large cult following over the years. Check out both of these albums - they’re both worth it, even if their first is only questionably Emo.

The Progress - Merit (6/23/2005)

If you enjoyed Golden State by Chicago’s own The Progress, you’ll enjoy this one. The traditional Midwest Emo elements - mixed in excellently with Pop-Punk influence - are all written and performed beautifully. What Merit does as an album is showcase how you can have memorable melodies in a radio-friendly framework without dipping into the increasingly popular Emo-Pop well. If you’re looking for some really solid Emo to add to your collection, check this one out.

Desert City Soundtrack - Perfect Addiction (9/13/2005)

Perfect Addiction is a perfect example of what many in the Indie Rock scene would call “maturity.” The songwriting is generally softer and more focused, though at the loss of some truly unhinged musical moments. The piano is more prominent than ever, flaunting the Indie influences highly on this album. The batshit crazy stuff found on Desert City Soundtrack’s debut LP is mostly lost in translation, though some heaviness still remains. Overall, I’d say this isn’t as good as their first album, but more of something this unique is always a good thing.

8-Bit Revival - Under the Fairweather (10/13/2006)

Four years after their debut EP Up & Atom, which we covered earlier in the series, 8-Bit Revival returns with their first full-length Under the Fairweather. While perhaps this could also have belonged in the same section, I found this to be a bit more unique and “2000s” so I’m putting it here. The dingy Post-Hardcore vibes remain but are accompanied by fresher songwriting and a generous use of synths.

Kickball - ABCDEFGHIJKickball (10/14/2005) 💎

After releasing their mellowed-out debut LP with questionable amounts of Emo influence, Kickball followed up with a Midwest Emo album that’s simultaneously more experimental and more straightforward than Huckleberry Eater. This album features more fun Emo riffs, intricate drum patterns and overall a more dynamic song structure. If you weren’t a fan of the more subdued first album, this one utilizes a more traditional approach to Emo songwriting.

The Vermicious Knid - Smalltown Devotion/Hometown Compulsion (10/29/2005)

Smalltown Devotion is the sole full-length album from The Vermicious Knid, offbeat Emos from Ontario, Canada. The band is named after an obscure species in the works of Roald Dahl, so you can expect that sort of wackiness in the music as well. With dual-male vocalists, relatively raw production and a dancey backbone, this album really has to be heard to be believed. The band also has an EP they released in 2002 that previews the weirdness to come.

Owen - At Home With Owen (11/7/2006) 🎩

I would be remiss if I didn’t mention one of the most important figures in Emo history in this section: Mike Kinsella. For those who don’t know, Mike Kinsella’s legacy is crucial to the development of the genre; he was the drummer for Cap’n Jazz, the lead singer and guitarist of American Football and is a featured member in bands like Joan of Arc and Their / They’re / There. However, his most prolific series of work is as a solo artist under the name Owen.

Now people can argue all they want about whether or not this music is truly Emo, Indie Rock, Indie Folk or anything else, but I’m an AcousticEmo believer and this release is its quintessential album. Mike’s jazzy approach to instrumentation creates interesting and dynamic interactions between multiple instruments. At Home With Owen is perhaps his best and most memorable work, but he’s also released countless other LPs, EPs, splits and compilations over the years, including in the Third Wave.

Germans - Cape Fear (2/13/2007)

The lovechild of Midwest Emo and Indie Rock, Germans’ sole release is a joyous romp through surprisingly unique uptempo music.

Dear and the Headlights - Small Steps Heavy Hooves (2/6/2007) 💎

Perhaps Equal Vision Records doesn’t count as “Underground,” but Dear and the Headlights might just be the biggest and best band that no one has heard of. Combining Midwest Emo with Indie Rock and Folkish elements proves to be a refreshing, original and poignant take on the Emo formula; the usual loud-quiet dynamics that characterize Emo are here with a vocalist that scales with them. Ian Metzger serenades the listener with soft vocals during the cleaner, lighter parts of the album while the crescendos showcase how powerful his voice can get.

The warm, bittersweet tones create a sense of longing, accompanied by lyrical content revolving around heartbreak. While not groundbreaking, it’s done with earnestness and passion, not to mention some quality melodies. If you wanna sing your post-breakup feelings with all of your heart, learning these songs is a must.

Dartz! - This Is My Ship (2/12/2007)

One thing before I start - has anyone seen Dartz! and Bloc Party in the same room? Or do all British Indie-Adjacent bands sound like “that?” Either way, Dartz! takes that British Indie Rock formula, mixes it with a healthy dose of Math Rock and produces unique Emo goodness. The Mathy riffs almost make this one feel like Proto-Revival stuff, but the Indie Rock structure and tone keep this from sounding too similar to other such UK acts. Much like Bloc Party, vocalist William Anderson injects his lyrics with tons of melody and catchiness. Overall, this is an interesting take on the Emo formula and is worth your time if you think it sounds good.

Rescue - Paranoid (3/8/2007)

Kickball - Everything is a Miracle Nothing is a Miracle Everything Is (8/1/2007)

Is there a more idiosyncratic Third Wave Emo band than Kickball? Huckleberry Eater in 2003 was a soft-Indie Midwest Emo project and ABCD was a slightly off-kilter Emo release, so where does that leave this, their final album? Believe it or not, Everything is a Miracle balances the two dominant sounds quite well while radiating with more emotion than on either of their previous records. The eccentricity reaches new heights with experimental production techniques, oddball instrumental sections and an admirable carelessness that allows the songs to flow naturally together.

Kickball would cease releasing new music after this, right before the Emo Revival rolled around. The band existed entirely in Emo’s Third Wave, embracing the kind of sounds that would characterize some Fourth Wave bands. They missed their chance to be a hidden gem of the Emo Revival, but I hope that you listen to at least one of their albums.

The Maple State - Say, Scientist (2/25/2008)

Verse En Coma - Rialto (8/12/2008)

Dear and the Headlights - Drunk like Bible Times (9/30/2008)

Following up on Small Steps Heavy Hooves was never going to be easy - Emo bands LOVE coming out with an amazing first album before either dropping off the face of the Earth or create a poor, unmemorable follow-up album. Dear and the Headlights, however, does an admirable job staving away this stereotype with Drunk Like Bible Times, releasing only a year after their debut. Is it as Emo as their previous LP? Not quite for the album leans slightly more into its Indie Rock influences this time around. However, the passion and the emotion is present in spades on this record and that alone is worth a listen.

Unfortunately, the group would disband some time after this album, never releasing another record aside from their two legendary outings.

Kumarenino - Tren camino a casa, mis errores y el numero 7 (12/7/2007)

Hailing from Mexico, Kumarenino is an obscure Emo band that came about during Emo's rise to prominence in the 2000s. They play traditional Midwest Emo with generous infusions of Indietronica. Their experimentation with electronic elements could be tied to the Emo-Pop explosion in Emo's mainstream period, but they are played in a way that reminds me of Fifth Wave Emo or Brave Little Abacus. Give these experimental Emos a listen!

Polara - Polara - Inacabado (2008)

Following up on their hidden gem Proto-Revival release three years later, Inacabado drops a lot of the overt Midwest Emo elements, puts emphasis on their Indie Rock leanings and overall smoothens out the sound quite well. The band would seemingly stop playing after this album, all the way until their 2023 comeback album.

Part 9: Parsing Through Proto-Revival to Bridge the Gap

Today we are covering Emo Proto-Revival. Now, just what in the Hell is that? To be honest, I don’t actually know. It’s a term thrown around to describe pre-Emo Revival bands that have a similar sound, a great influence on the Revival itself, feature Revival band members in older projects, or otherwise just sound like they could be Emo Revival albums yet predate them. There’s naturally going to be some crossover with the Carrying the Second Wave section, given their goals of emulating the OG Midwest Emo sound. However, Proto-Revival usually has something more “modern” to set it apart, whether in production or in genre integrations. Math Rock in particular was a popular ingredient in the concoction for many of these bands, leading to the popularity of Math Rock influence in Fourth Wave Emo.

Thank the Kinsellas for this section. Their influence from bands like Cap 'N Jazz and American Football cannot be overstated, especially as you listen to the music in this section.

Colossal - Brave The Elements (1/13/2003)

Admittedly, I could have put Colossal’s LP in this section as well and perhaps should have. However, I wanted to highlight just how unique their 2004 album was, even among other Proto-Revival releases. Their debut EP, on the other hand, is a bit more in line with what you’d imagine a Proto-Revival release would sound like: gorgeous guitar twinkles, fluctuating volume dynamics, strong trumpet presence and overall less Jazzy than their later work. However you characterize this band’s sound, you owe it to yourself as a fan of Emo to give them a listen, even if I’d be lying by saying there was any “Proto-Revival” when the genre’s dirt was still fresh.

Dugong - Hat Danko (9/1/2003)

This sounds like classic 90s Midwest Emo mixed with British Indie and a small sense of Emo-Pop. This is somewhere between Proto-Revival and Keeping the Second Wave Alive.

Up Up Down Down Left Right Left Right B A Start - Perris, CA (9/16/2003)

Up Up Down Down Left Right Left Right B A Start - And Nothing is #1 (9/23/2003)

How can I possibly categorize this release? Though the band was technically formed at the tail-end of the Second Wave, they did release a few songs pre-2003. Perhaps this means I should have put them in Part 1 of this series, either as a Second Wave Band or one strongly influenced by that sound. Regardless, Up Up Down Down is commonly (as common as this obscure band can be) referred to as a Proto-Revival sound and a small but profound influence on upcoming Emo Revivalists. Primitive twinkles can be found in the guitar playing while all of the good ol’ Midwest Emo elements are here. Uncommon time signatures and switches can also be heard by the discerning ear.

In addition to the pre-Third Wave releases, this band also came out with several EPs during this time period. Perhaps the best one would be released four years later…

Andy, Glenn & Ritch - Escape From the Bastille (2/1/2004)

Twinkly Math-Rock goodness with lots of Midwest Emo sensibilities.

Tamiroff - Bittersweet and Strange (2004)

Surprised to see them here? Faithful followers of this series will note that Tamiroff came out with their Demo in 2004, a Midwest Screamo affair. However, this band’s extremely limited discography is a microcosm of the influence of that particular subgenre as they found themselves coming out with an early Proto-Revival EP! Admittedly, I don’t know which record actually released first, but I’m willing to believe it was their demo.

There's the odd 2000s Post-Hardcore section here and there between the crashes and waves of Math Rock-laden Midwest Emo. This release accentuates the positives of traditional Midwest Emo, previews the future of the genre with twinkly Math Rock influences and showcases the Post-Hardcore tendencies that would lead into Polar Bear Club.

Up Up Down Down Left Right Left Right B A Start - The Internet EP (1/7/2005)

Special Noise - Special Noise (1/8/2005)

A noisy and dissonant take on Proto-Revival Emo, Special Noise enters with a guitarist who has actually experimented with his guitar's lower three strings, utilizing cool Mathy riffs without relying on the genre’s ever-present twinkles. The basement aesthetics are strong with this release, but that says nothing of each song’s individual quality. The band would come out with another EP in 2008 before calling it quits.

Everybell and Whistle - Everybody Wrestle (2/1/2005)

Recorded at an ill Nate Kinsella's commune warehouse space in Chicago with a makeshift drum kit and a guitar passed through two different amps to act as a bass, this record exemplifies the DIY spirit of Midwest Emo, especially during the early Revival and Proto-Revival period. The production values reflect the DIY recording approach to a tee, but that says nothing of the excellent musical quality found within the record.

Feeding off 90s Midwest Emo as much as Kinsella projects like Joan of Arc, the jangly riffs, volume dynamics and Hardcore kid-clean vocals define this 20+ minute aural jaunt.

Decmebers Architects - ,Apiary Ennui and Curiosas. The Brew Shakes (8/13/2005)

Forget ambition, what Nate Kinsella and Co were attempting with this album is nothing short of visionary, even if the towering heights they aimed for weren’t quite reached. Although this album was released in 2005, the LP was the final recording of this late 90s Midwest Emo project from 2001. Naturally, the guitar tones are quite gritty, matching the aesthetic of late Second Wave Emo. However, the experimentation here goes beyond what most Emo bands would call “experimentation,” including instruments like the turntable!

The Math Rock twinkles are there as expected, juxtaposed by harsh guitars, weird noises and interesting song structures. Even though this may not technically be Proto-Revival, it will be appreciated by anyone into that sound.

Saleontomorrow - Demo (2005)

Only three tracks in length, this release further cements the 00s British Emo scene as one of the most underrated. Saleontomorrow’s demo is slightly rough around the edges, but the cool Mathy song structures, impressive lead guitar riffs and careless vocals make for a breezy listen. Make sure you check out their compilation of unfinished songs as well.

Polara - Tempestade bipolar (2005)

Tonally, the band is reminiscent of Colossal, which seems to make sense as they were active at the same time, but they were separated by over 5,000 miles (almost 8,500 km) on different hemispheres! This could not have been possible without drawing from the same well of influence in old school Emo.

Polara executes quite differently from Colossal, keeping the riffs simpler and injecting a dose of lighthearted Indie into the concoction. The occasional hint of 90s Post-Hardcore pops up to give the music some weight. These Brazilians definitely did Emo proud with this release.

Cowboys Aren't Indians - Cowboys Aren't Indians (2005)

Diamonds in the rough from Utah, the horribly named Cowboys Aren't Indians played chill yet active music in the Math Rock vein with Midwest Emo as a guide. The music tends to move by at a brisk pace thanks to the masterful and quirky guitar playing, the muted explosiveness of the drummer and the frankness of the vocalist.

With lofi production values and an emphasis on vocal-less sections of music, there almost seems to be a Post-Rock influence tucked away in there somewhere. After some years of inactivity, the band would release another EP in 2010. It seems the band was just at the wrong place at the wrong time to gain much notoriety.

oh my god elephant - oh my god elephant (2/1/2006)

Had oh my god elephant released this EP in 2010 with slightly better production values, you’d be bombarded with this release on every hidden gem of the Emo Revival list out there. Instead, we received this masterful yet subdued Midwest Emo EP in 2006 with almost zero attention given. Although Emo was about as popular as it ever would be in 2006, basement-style Midwest Emo like this was completely out of vogue.

The band impressively fuses the Indie-leaning Emo sound of the late 90s with soft, mathy guitar riffs that keep the otherwise relatively slow music fairly lively. Whiny vocals and somewhat absurdist lyrics may turn off some listeners, but Emo Revival fans will greatly enjoy this effort.

The One Up Downstairs - The One Up Downstairs (4/25/2006)

Ok, calling this Proto-Revival would be disingenuous, even though it seemingly fits the bill with a 2006 release date. However, this is a Mike Kinsella project that predates even American Football! Proto-Proto Revival? I don't know, but this is the best place to put this for now.

These three tracks were recorded in 1997 but didn't see the light of day until almost a decade later. Though reminiscent of AF, the songs are slightly more upbeat in comparison, especially Rememories. If you like jazzier Emo or just want to check this intriguing release for its novelty, it's worth at least one spin.

Street Smart Cyclist - Demo 2006! (12/1/2006) 💎

SSC's legacy upon Emo history will never be appreciated enough. With only eight songs to their name spread across less than two years of activity, band members would go on to create Snowing and Boy Problems, two extremely influential Revival bands in their own right.

On this first three-song EP, the band shows off their immense musical talents with Hardcore-leaning Midwest Emo mixed with scathing Math Rock sensibilities. Production values are intentionally harsh, adding to the noisiness and musical chaos. The guitar and rhythm instruments are played with equal parts passion and complexity.

Pirouette - Sometimes Sad Isn’t Funny (2006)

Unexpectedly catchy, free-flowing and noodly, Pirouette’s debut EP displays the Proto-Revival sound exactly like you’d expect it. The guitarist, of course, is one of the great highlights of this release, utilizing a proficient mix of fun chord progressions and jangly guitar riffs. Although the vocal performance isn’t the cleanest, the vocal melodies in these songs are excellent and will worm their way into your ears and your heart.

The band was only around between 2006-2008, just in time to miss their signature sound exploding in the scene. They would come out with two more EPs, both excellent in their own right, and an almost-acoustic LP.

Ryerose - Ryerose (2006) (See Also: Part 2)

A release filled to the brim with such passion that it could rival Penfold, Ryerose is the brainchild of Craig Woods and, who else, Peter Helmis. Unlike the youthful explosiveness found in much of Helmis’ other work, Woods really seems to ground him with this melancholic, layered guitar approach. Vocals are also handled primarily by Woods, who sings similarly to other bands like Benton Falls or Mineral.

You can hear every ounce of blood, sweat and tears that was put into this project, featuring brilliant twinkles and disparate volume dynamics. This release might just be the best of a surprisingly robust discography from Helmis in 2006.

Up Up Down Down Left Right Left Right B A Start - Worst Band Name Ever (5/15/2007)

The band's final album reflects their playful attitude toward Emo while simultaneously taking Emo music seriously. Utilizing more acoustic guitars than their first LP, the Math Rock influence is a bit more subtle but nonetheless quite present. Keen ears will hear all of the sly musical techniques the band makes use of on this very short 20 minute album.
This band exemplifies the Proto-Revival to a tee: a band with all the talent in the world and forward-thinking (ironically by looking back), only to be at the wrong place at the wrong time. This exact album could have made them them Emo legends in 2010.

Marquette - Waxing / Waning (5/29/2007)

After releasing a so-so EP in 2006, true Midwest Emo band Marquette would release this EP a year later and it is as serene as it is rough around the edges. Utilizing decent but definitely DIY production techniques, Waxing / Waning is filled to the brim with some of the coolest guitar playing in this entire wave. Although the vocal performance is more than serviceable, the sheer focus on extended instrumental passages, led by near-virtuosic dual guitar lines, showcases the true star of the show.

The band would fold after this release, but from the ashes, a couple of the ex-bandmates would start the underrated Emo Revival band Penpal. Though similar in style, the Slowcore and American Football influence was far more pronounced.

Avast! - Faultlines (6/1/2007)

Avast! was a Scottish Emo band that only existed for a short time in the mid aughts. However, we can hear the infamous British Indie influence on this, no matter how hard they tried to hide it; unlike Dartz!, TTNG and the like, Avast!’s Faultlines harken back to more classic Midwest Emo, even if it’s with a slightly more modern approach. This is the band’s sole release, but I’d recommend it to anyone who is interested in the description.

Look Mexico - This Is Animal Music (7/20/2007)

I don't know what kind of Animals they have in Florida, but it sounds remarkably close to some Chicagoland Emos from the mid to late 90s. Look Mexico’s debut album has Kinsella fingerprints all over it, from the twinkly riffs to that very specific late 90s Indie Rock x Midwest Emo timbre. The vocals are of course of a whiny nature, though all is produced and mastered quite well.

Unlike many other Proto-Revival artists on this list, Look Mexico continued releasing music until 2016, the end of the Revival. Unfortunately, they pivoted to a more Indie-leaning sound while eschewing the Emo influence. Had their music remained American Football-inspired, this band could be legendary in the scene.

Meet Me in St. Louis - Variations on Swing (9/24/2007)

If I’m being honest, this isn’t actually Emo Proto-Revival. In reality, this is a calculated mix of Post-Hardcore, Math Rock and Midwest Emo with ample Kinsella influences. Look, Proto-Revival wasn’t really a scene, it was just a bunch of disconnected bands taking influence from the same people at the same time, hoping to make awesome music. It just so happened that this led to the Emo Revival, but I think Meet Me in St. Louis exhibits enough Emo sensibilities on this record to make it on this list - much like fellow UK Post-Hardcore band Million Dead.

Ambitious guitar riffs, song structures, tempo shifts and time signature changes are sprawled across the varied musical landscapes found on this LP. The Midwest Emo elements help weave together the more elaborate and lofty techniques and influences here. Even if it doesn’t fit in with this section exactly, it’s more than worth a listen.

Street Smart Cyclist - Lint Traps (2007)

SSC employs a similar songwriting style to their first EP, though these three tracks are all acoustic and feature significantly less percussion. Galm's singing is still as off-kilter as ever, though reduced in aggression. It's unclear if these songs were always intended to be acoustic or if they were previewing a more traditional song to be released later, such as We Lack Science. An offbeat experimental release for sure, it should be heard at least once.

oh my god elephant - Fancy Cookies (2007) 💎

Prior to this album’s release, the band temporarily changed their name to Rainow Tornado, and boy does this album feel like one. From production to songwriting to instrumental virtuosity, this album trumps their 2006 EP in just about every way (save for personal taste) while somehow being significantly more obscure, quite the feat considering how unpopular their s/t EP is. Lengthy instrumental passages litter this record, putting you into a near-meditative state. This peacefulness is juxtaposed with the silliest, most irrational lyrical moments in Emo.

This album could very well be the logical extreme to the American Football sound, given the unremarkable but confessional vocals, spirited Math Rock riffs and overall lackadaisical pace. The band does well to step out from merely being a Kinsella clone, though, and this album is their magnum opus.

Pennines - Demo Feb 08 (2/1/2008)

From the UK Emo scene that brought bands like TTNG and saleontomorrow, Pennines is a Mathy Midwest Emo band that isn’t afraid to get playful with their songs. This demo is only two songs but shows the tremendous promise that the band possessed with the Indie guitar riffs, mathy twinkles and signature British Indie singing voice. If you like the Math Pop-influenced Midwest Emo scene of mid-late 00s UK, check these guys out! They have some later-released demos and a split with TTNG.

Good Luck - Into Lake Griffy (5/18/2008)

Into Lake Griffy is the expert result of merging hyper-energetic Pop-Punk with Math-infused Indie-leaning Midwest Emo. The first thing you'll notice is the neverending guitar riffage and blistering chord progressions, followed up by some of the catchiest vocals this side of the Third Wave. The drummer and bassist both manage to stand out distinctly in their own right, essentially acting as the backbone for the Midwest Emo volume elements.

At 13 songs and almost 40 minutes of length, this album will breeze by and no two songs will sound too similar. The band would release one more album in 2011, though it was more restrained than this record.

Little Lungs - Hoist Me Up! (8/1/2008)

Cute, catchy and mixed with obvious Pop-Punk influence, this fun and breezy EP features infectious female vocals, driving yet straightforward melodies and riffs, and the odd Math Rock element hanging around here and there. What else is there to say? At 12 minutes, this one deserves at least one listen.

Gentlemen - Demo (8/24/2008)

Featuring a few members of The Summer We Went West, Gentlemen’s sole release is a demo from 2008. This is Midwest Emo in the classic vein with a few Proto-Revival trappings. With nine songs and a total runtime of less than 20 minutes, this demo is worth a listen. Gentlemen had the potential to be a really cool Emo Revival band, but they stopped just short of the goal line.

It’s an Icicle - L’Chaim (12/16/2008)

Emos out of Fresno, whose music scene was on fire during the late 2000s, It’s an Icicle emerged from the burgeoning Mathy Midwest Emo movement, citing Algernon Cadwallader, other Kinsella projects and Math Rock bands like Giraffes? Giraffes! as their primary inspiration. With dingey production, constant riffing and complete formlessness, the band’s debut LP is a sign of the changing times where DIY Emo artists were forming the core sounds of the Emo Revival.

Before becoming a three-piece, the band released a couple of EPs as a duo. Though not quite as good as this album, they’re both super solid Emo releases in their own right.

Bad Times Ending - Bad Times Ending (2008)

Extraordinarily obscure Proto-Revival, I can only find one record of their existence and it’s the YouTube video where you can hear it. Not much to say at only 17 minutes, but you’ll immediately notice the twinkling of the guitar, the sincerity of the vocals and the pretty good grasp on volume dynamics.

Street Smart Cyclist - Final Mixes (2008) 💎

The final two songs of the band’s discography are an evolution of the tracks from their demo; the boys supercharge their Midwest Emo / Math Rock hybrid, sounding like hardcore kids playing freestyle Jazz. The riffs are twinklier and more intricate, the song structures are looser. Had the band stuck around, who knows how good their output could have been.

Proto-Revival to the core, they, directly and indirectly, shaped the upcoming Revival while having a unique sound all their own. The best way to hear the band's stuff is to listen to their Discography, released in a neat package in 2014.

Instruments (Make Music) - Instruments (Make Music) (2008)

A band name so unsearchable that I am only 70% sure it even came out in 2008, the burgeoning UK Midwest Emo scene produces more Mathy goodness with this EP. It's a little quirky and littered with instrumental-only sections, but it fits in well with other similar releases from this time and place. If you like cool Math Rock riffs, look no further.

Part 10: The Flames of the Fourth Wave Begin With a Spark

We have now reached our final section of this series. We opened up the very first part by discussing Second Wave Emo artists who were still releasing Second Wave-inspired Emo in the Third Wave. Naturally, I will bookend this entire project by talking about Fourth Wave Emo artists who got their start sometime before 2009. Many of Fourth Wave Emo’s earliest classic albums actually came out in 2008 in particular, a landmark year for the genre. After reviewing everything else in this whole series, these releases are sort of the denouement of Third Wave Emo, showing how the underground / basement / DIY scenes all over the world kept its spirit alive.

Algernon Cadwallader - Demo (4/15/2006)

Following up on projects like Halfway to Holland and Ryerose, Peter Helmis and Joe Reinhart reunite for a more traditional take on Midwest Emo. Their first four-song demo was released in 2006, featuring what can only be described as Kinsella worship. It’s been said to death, but Algernon exhibits copious amounts of Cap’n Jazz influence in their music, from the reckless abandon of the vocals and lyrics to the jangly, twinkly riffs. Although the band’s best and most memorable work was yet to come, this EP left the door ajar for the Emo Revival to later bust down.

TTNG - Hippy Jam Fest (4/28/2006)

TTNG actually released their first piece of music in 2003, a demo that showcased their mathy preclivities, though harsher than their future releases. Even this, their first proper EP, is a bit more rugged than their more Math-Pop-laden work later on, although the evolution into the band they’d become was well underway. Generous use of volume dynamics, irregular time signature usage, cool riffs and saidboi vibes are all here. The band would go on to be one of the most important UK Emo / Math Rock bands of all time, and we’ll see why later on in this list.

Empire! Empire! (I Was a Loney Estate) - When the Sea Became a Giant (1/16/2007) (See Also: Part 2)

The first outing for Emo Revival Juggernauts Empire! Empire!, the band’s legacy for crafting biting, poignant Midwest Emo begins with the opening salvo on the first track of this record. The bittersweet magnificence that defines the band’s sound is created with a heartrending guitar tone, emotionally raw vocals, abreactive lyrics and awe-inspiring song builds. While building off the legends of the genre such as Mineral, Empire! injects their own energy into their music, and it’s readily apparent even with their first EP.

The band would become legends in the genre with a cavalcade of releases, many of which being splits with fellow legends and hidden gems of the genre. Does this EP touch What It Takes to Move Forward? I mean, can anything? That said, the building blocks were there from the start.

By Surprise - Four on Seven in Eight (AKA 478) (4/1/2007)

Despite leaving their indelible mark on the Emo Revival with a 2009 LP split with Hightide Hotel, the band is still a nightmare to Google. As such, this Indie-laden Midwest Emo release has very little information. There seems to be conflicting reports on this release date, but I personally believe the 2007 date.

With raw production, reckless yet catchy vocals, refreshing chord progressions and at less than 10 minutes, this is an easy listen to future underrated Revivalists.

Weatherbox - American Art (5/9/2007) 💎

After releasing two proof-of-concept EPs, Weatherbox's debut LP was released in 2007. Whether you consider this band Proto-Revival, Emo Revival or something else, it doesn't really matter. Warren's tortured voice, his world-weary lyrics and the deceptive complexity of the music provide for one Hell of a release from these San Diego natives.

At 50 minutes, this album is actually quite an easy listen. The variety of songs on offer, as well as the general flow of the record, transports the listener into the world of American Art seamlessly. Weatherbox would continue releasing music until 2014, right at the height of the Revival. Fortunately, they just released a new single this year!

Annabel - Now That We’re Alive (11/17/2007)

Humble beginnings for under-the-radar Emo Revival outfit Annabel, their demo EP Now That We’re Alive showed all the promise that this band possessed, even in their early days. A nice little variety of sounds punctuate this ultimately laid back and inoffensive release. I’d recommend giving their discography a shot if you enjoy this demo.

A Great Big Pile of Leaves - The Fiery Works (11/20/2007)

Slidey, bendy, mathy and just plain fun, A Great Big Pile of Leaves’ debut EP showcases all of the band’s strengths in a neat sub-20-minute package. AGBPOL managed to craft a slice of Emo all their own with their defining guitar techniques, catchy vocal melodies and syncopated rhythms. While somewhat poppy at times, they seem to be capitalizing more on Math-Pop than Emo-Pop.

The band would go on to release another EP before the Third Wave was up - and are still around to this day!

Everyone Everywhere - Pants (2007)

The debut EP from Philly-natives in Everyone Everywhere, the band’s signature approach to writing music is on full display with an airy combination Emo, Indie Rock, Post-Rock and Math Rock. The band would go on to release two criminally-underrated Emo Revival albums in the early 2010s, expanding off of this already-impressive debut.

Brave Little Abacus - Demo? (3/1/2008)

Monumental doesn’t even begin to cover what Brave Little Abacus’ contribution to the Emo scene truly means. Solidly an Emo Revival band, Brave Little Abacus’ ultra-experimental guide to creating Emo music is still influencing artists today, being the basis for much of the Fifth Wave. Chiptunes, strange samples, weird noises, all of this is mixed in with unfiltered vocal hysteria. Literally, I cannot describe to you what this sounds like, you have to hear it for yourself.

This debut EP is somehow more unhinged and more straightforward than their future work, both at the same time. Don’t know what I mean? Give this legendary band a spin to see for yourself.

Transit - This Will Not Define Us (3/18/2008)

Stalwarts of the Soft Grunge movement during Emo’s Fourth Wave, Transit began their career with a strong Emo / Pop-Punk hybrid. Although some variation of those genres would be a part of their primary playstyle for the duration of their run, nothing would quite sound like this record. Quick lead melodies and straightforward rhythms drive the record forward.

TTNG - This Town Needs Guns (4/1/2008) 🎩

TTNG, then known as This Town Needs Guns, released a self-titled compilation album in early 2008 with songs from their full-length split with Cats and Cats and Cats and other unreleased tracks. With just eight songs and without a designed sense of flow, this somehow manages to be the best TTNG record ever. This album includes a wonderful variety, from acoustic tracks to Math Pop jaunts to heavier Emo sections.

If you are a fan of Math Rock’s association with Midwest Emo, this album might just be the pinnacle of that sound. The twinkly riffs are impossibly clean and the subtly mathy song structures add sophistication and technicality to the project. This stands as possibly the best and most important British Emo releases of all time.

A Great Big Pile of Leaves - The Fiery Works II (4/22/2008)

While not utilizing quite as many guitar tricks as the band's debut EP, there is an admirable variety of songs on this short record. In particular, they embrace their inner Math-Pop band a ton. It's personal preference whether you prefer part 1 or part 2, but they both tickle that same spot in your brain that says, “Neat!”

Despite these respectable Emo releases, the band's best work was yet to come. Their sound was an injection of carelessness and vitality to the Emo Revival.

Algernon Cadwallader - Some Kind of Cadwallader (4/25/2008) 🎩

Some will say that the Emo Revival officially began with the release of this album, and I have no basis on which to argue. However, for the purposes of this series, I’m including everything from the year 2008, so here it comes at the tail end of Third Wave Emo! What more can I say about this record that hasn’t been recounted tirelessly by other Emo fans? Many will point to popular songs like Casual Discussion in a Dome or the title track being clones of the Cap’n Jazz sound, but if you listen to the entire album, you actually get an exceptionally solid and wonderfully varied work of art.

Algernon’s whimsical take on Emo consists of playful vocals, neverending guitar jangles, daring song structures and the perfect album flow. Surprising elements of Post-Rock can be found on this record, especially with a near-14 minute closing track. The music speaks directly to the yearning one feels deep inside for life to be simpler again.

La Dispute - Here, Hear (5/18/2008)

Following up on a forgotten debut EP that was entirely entrenched in a raw Post-Hardcore sound, La Dispute would pivot directions by the time their debut LP was released. Before that, the first of their Here, Hear EPs dropped, stripping away the frantic aggression and going into near-acoustic mode.

The vocals are exclusively even-keeled poetic spoken word while the rest of the band seemed content to create subdued mood music to accompany the artistic stories.

Balance and Composure - I Just Want to Be Pure (7/1/2008)

Before becoming a Soft Grunge powerhouse during Emo’s Fourth Wave, Balance & Composure (with an ampersand) released a demo EP, fusing the predominant sounds of the Second Wave ala Braid or Mineral and the Third Wave ala Taking Back Sunday and Brand New. The results are quite a fresh mix that shows how influential all Emo music has been over the years, even the dreaded 2000s era. This EP predates the band’s use of Post-Hardcore and occasional hint of Shoegaze, so it is somewhat simpler and more straightforward.

Hightide Hotel - Porch Luck (8/14/2008)

Like several other prominent Emo Revival bands, Hightide Hotel put out a small proof of concept EP, including one song that would later be used for their debut LP. What the band lacked in tightness they made up for in pure desire to create Basement Emo and all that it entails. Although not the band’s best release, it’s a solid roadmap to their early, unpolished sound while providing a true classic in the s/t track.

Tigers Jaw - Tigers Jaw (9/10/2008) 🎩

Progenitors to the Soft-Grunge movement that includes bands like Joyce Manor, Basement and Modern Baseball, Tigers Jaw's s/t is a masterful exploration of the intersection between Emo, Pop-Punk and Indie Rock. Their first album actually released in 2006, but was more of a subdued Indie and Slacker Rock record. Nonetheless, the band rerecorded a few of the tracks on that album to fit more closely with their new sound.

The vocals are often double-tracked or have tons of harmony, giving the otherwise chill and unassuming vocal melodies some richness and depth. And trust me, these words will get stuck in your head. There’s just a sincerity to the music, lying somewhere within the rhythm-oriented chord progressions and simple lead guitar melodies. This remains the band’s finest accomplishment.

TTNG - Animals (10/13/2008)

Extracting everything they could from both Midwest Emo and Math Rock, Animals is an ambitious concept album that pushes these genre classifications to the limit. Each song represents a different animal, so each song has a different flow and timbre. They capture the playfulness of a rabbit, the majesty of an Elk and the quiet nature of a Zebra, among others.

If this album had any sense of flow, it would be one of the top releases in this project. Regardless, this is a milestone Math Rock record and an integral part of the early Emo Revival.

Arrows - Modern Art & Politics (11/3/2008) (See Also: Part 2)

Criminally underrated Emos from Australia, Arrows debut album is perhaps their best work, seamlessly blending Midwest Emo with hints of Post-Rock, though done with a more modern Emo framework in mind. This album sounds like a slightly restrained Empire! Empire! release, perhaps only stopping short in terms of grandiosity. However, at 55 minutes and with calculated switches in volume dynamics, Arrows does a more than admirable job in that department.

The band would continue releasing albums until 2012, whereupon they’d appropriately been signed to Count Your Lucky Stars. However, after a promising split with Empire!, the band would cease to exist.

La Dispute - Somewhere at the Bottom of the River Between Vega and Altair (11/11/2008) 🎩

La Dispute's status as an Emo band is hotly disputed, but it doesn’t really matter to me either way. This band utilizes dynamic volume changes, has passionate vocals with cathartic lyrics and is tied to the Hardcore scene. And even though this album is equally indebted to Post-Hardcore, this album came out at the right time to help push Emo back to the glory days.

Spoken words and shouting are the methods Dreyer uses to punch the listener with raw emotion, heavily reinforced by the technical and varied instrumental accompaniment. Forget Emo - this is a must-hear album for anyone into heavier music.

La Dispute - Here, Hear II (11/11/2008)

Releasing the very same day as their acclaimed debut LP, the second volume in this EP series ups the ante from the first. The stories on offer are strong and are told in dramatic prose fashion and the tracks are quite memorable, thanks to the more varied instrumental approach. From Jazz to Post-Rock, this band's influences seem infinite.

A year later, they’d release the final Here, Hear in the miniseries. Fifteen years after that, they finally released another Here, Hear EP. They’re all excellent. Please check them out.

Glocca Morra - Museum Mouth (12/1/2008)

Legendary Twinkledaddies Glocca Morra formed in 2008 and managed to come out with a demo EP of sorts before the year had ended! Fortunately for us, this means more awesome Emo music to cover! Now, what’s a Twinkledaddy? Simple, really! Bands like Algernon and TTNG definitely fit, along with Revival bands like Snowing and The World Is a Beautiful Place, the latter of which coined the term jokingly.

With contemporaries like that, how could this not be awesome? Well it is, even if it’s only three proper songs and an acoustic song. Nonetheless, the band’s seemingly endless potential is showcased as soon as the first track. Despite the twinkling, this EP is a bit rough around the edges, giving it a tad of Punk cred (along with the singer’s gnarly voice).

Shapes Like Dinosaurs - Jurassic Geometry (12/21/2008)

Somewhat obscure Emo Revivalists Shapes Like Dinosaurs gave the burgeoning Emo Revival movement an early Christmas present with their debut LP, effortlessly encapsulating that Midwest Emo / Math Rock fusion that was about to blow up in the underground music scene. Despite hyperactive guitar and basslines, the tempo is quite passive, aided by the low-volume drum recording and simple vocal delivery. If you like some of the Proto-Revival releases on this list, you’ll probably really enjoy this one.

CSTVT - I Know What a Lion Is (2008)

Before releasing their landmark 2009 LP Summer Fences, three of the four first tracks on the album were previewed in this promotional demo. Castavet, later known as CSTVT, utilized Post-Rock extensively, shaping soundscapes and pulling great emotion from the listener. Midwest Emo is the meat and Post-Rock is the potato, the two genres complement each other perfectly. Although these tracks are amazing, they are only a sample of what was to come.