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 - Lírios 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)