Screamo

Screamo, a subgenre of the emo genre, has its roots in the 1990s hardcore punk scene. Screamo originally referred to a specific style of hardcore punk that featured emotive and cathartic vocals. Bands such as Orchid and Pg.99 were pioneers of this sound, characterized by intense, high-pitched screams and yelps. Screamo began to gain popularity in the early 2000s, with bands like Thursday and At the Drive-In incorporating elements of the genre into their music. These bands helped to popularize the combination of heavy, aggressive music with emotional lyrics and vocal delivery. As screamo continued to develop, bands began to incorporate more melodic elements into their music. Bands like Saetia and City of Caterpillar added clean singing to their songs, while still maintaining the intense screams and yelps of the genre. This melding of melody and aggression became a defining characteristic of screamo. The mid-2000s saw a surge in popularity for screamo, with bands like The Used and My Chemical Romance achieving mainstream success with a more polished and pop-oriented version of the genre. While these bands received criticism from purists for diluting the genre's original sound, they also helped to bring screamo to a wider audience. Despite its popularity, screamo remains a niche genre, with a dedicated fanbase and a thriving underground scene. Today, bands like Touché Amoré and La Dispute continue to carry the torch for the genre, incorporating elements of post-hardcore, post-rock, and other genres into their music. Critics of screamo often point to the genre's intensity as a reason to dismiss it, but for fans of the genre, that intensity is part of its appeal. Screamo is cathartic and emotional, a genre that expresses raw and honest feelings in a way that few other styles of music can.

Saetia: One of the pioneers of the screamo genre, Saetia produced some of the most influential music in the scene during their brief time together in the late 90s. Their combination of emotional vocal delivery, shifting time signatures, and complex guitar-based melodies have made them a legend amongst fans of the genre. Pg.99: Known for their frenetic performances and chaotic live shows, Pg.99 are another highly respected band in the screamo scene. Their music is characterised by the use of dissonant chords and unconventional song structures, creating a sound that is at once thrilling and unsettling. City of Caterpillar: Drawing on elements of post-rock, City of Caterpillar are one of the more experimental bands in the screamo genre. Their music is characterised by intricate guitar work, irregular rhythms and a general sense of unease that sees them frequently compared to post-punk pioneers Joy Division. Circle Takes the Square: One of the more eclectic bands in the screamo scene, Circle Takes the Square incorporate elements of jazz and prog-rock into their dense, chaotic music. Their lyrics are generally poetic and deeply introspective, exploring themes of personal growth and self-discovery. Pianos Become the Teeth: One of the newer bands on this list, Pianos Become the Teeth have gained a reputation for their powerful, emotionally charged performances. Their music is characterised by complex polyrhythms and a unique vocal style that incorporates elements of both screaming and singing. The Saddest Landscape: Known for their raw, emotional sound and intense, cathartic performances, The Saddest Landscape have been a mainstay of the screamo scene for over a decade. Their music is characterised by intricate guitar work, explosive drumming and impassioned vocals that frequently veer into screams. Envy: Hailing from Japan, Envy are one of the few bands in the screamo scene to incorporate elements of post-hardcore and traditional Japanese music into their sound. Their music is characterised by intricate guitar work, driving rhythms, and an intense, emotional delivery that has made them one of the most beloved bands in the genre. Off Minor: Known for their intricate, heavily jazz-influenced music, Off Minor are one of the more experimental bands on this list. Their music is characterised by complex time signatures, unconventional chord progressions and a general sense of technical virtuosity. William Bonney: One of the more obscure bands on this list, William Bonney nonetheless produced some of the most innovative music in the screamo genre during their brief time together in the mid-2000s. Their music is characterised by explosive, cathartic performances and lyrics that explore themes of personal growth and self-discovery. Loma Prieta: With their intense, driving rhythms and heavily political lyrics, Loma Prieta are one of the few bands in the screamo genre to make explicit statements about their social and political beliefs. Their music is characterised by jagged, angular guitar lines and a sense of emotional urgency that makes them one of the most rewarding bands in the genre to listen to.

1. "The Black Parade" by My Chemical Romance 2. "The Used" by The Used 3. "Discovering the Waterfront" by Silverstein 4. "Is a Real Boy" by Say Anything 5. "Three Cheers for Sweet Revenge" by My Chemical Romance 6. "Where You Want to Be" by Taking Back Sunday 7. "A Fever You Can't Sweat Out" by Panic! At the Disco 8. "Let It Enfold You" by Senses Fail 9. "From Under the Cork Tree" by Fall Out Boy 10. "If Only You Were Lonely" by Hawthorne Heights 11. "The Emptiness" by Alesana 12. "Too Weird to Live, Too Rare to Die!" by Panic! At the Disco 13. "Translating the Name" by Saosin 14. "New Again" by Taking Back Sunday 15. "Dusk and Summer" by Dashboard Confessional 16. "Louder Now" by Taking Back Sunday 17. "The Silence in Black and White" by Hawthorne Heights 18. "Understanding What We've Grown to Be" by We Came as Romans 19. "The Curse" by Atreyu 20. "Get What You Give" by The Ghost Inside 21. "Decisions" by Hopes Die Last 22. "For Those Who Have Heart" by A Day to Remember 23. "In Love and Death" by The Used 24. "Rareform" by After the Burial 25. "What Separates Me from You" by A Day to Remember

In their book “Nothing Feels Good: Punk Rock, Teenagers, and Emo,” Andy Greenwald and Chris Ryan offer a tongue-in-cheek definition of screamo: “A type of rock music that, to the untrained ear, sounds like a temper tantrum filtered through guitar pedals.” They also note that the genre has a polarizing effect. “Either you get it, and you’re in, or you don’t, and you’re bored or annoyed,” they write. Journalist Tom Bryant characterizes screamo as “a genre that eschewed the polished pop-punk of the likes of Blink-182 in favor of a raw, cathartic sound.” His book, “Scream: The Rise of Alternative Music in the ‘90s,” explores various genres that emerged during the time, including screamo. “It was emotional to the point of hysteria, with emo’s confessional lyrical bent married to bursts of intense screaming.” On the other hand, there are also those who have been critical of the genre. Music critic Dorian Lynskey, for example, has labeled screamo as “libido music for the culturally impotent.” Similarly, in her book “Ghosts of My Friends,” Emily Kendal Frey writes, “I don't understand why anyone would want to listen to the sound of someone's voice being damaged.” Despite the criticism, screamo has its devoted fans. In his memoir “Hunger Makes Me a Modern Girl,” musician Carrie Brownstein recalls her introduction to screamo. “I fell in love with its raw vulnerability, its capacity for honesty,” she writes. “It’s the sound of a youth culture not yet jaded, still charged with the electricity of discovery and the intensity of new emotion.” Further, some see screamo as an important element of punk rock, challenging its boundaries. As musician Ian MacKaye, a founding member of bands like Minor Threat and Fugazi, has said, “Punk is about bringing society down to its knees, making it acknowledge itself.” Screamo, with its intense emotions and raw vocals, certainly has an ability to do just that.

The social context of Screamo lies in the state of youth culture in the early 1990s. The youth of that time gravitated towards counter-culture movements, including punk. Punk was a symbol of rebellion, disillusionment, and dissatisfaction with the social order. This attitude fostered a sense of freedom and individualism that transcended beyond music. The punk music industry was influenced by this attitude, and it became a platform for many sub-genres like Screamo to emerge. The Screamo subgenre developed from the post-hardcore punk scene, with the Washington D.C. band, Rites of Spring, recognized as one of the pioneers of the genre. The band's sound was too punk for the alternative genre and too alternative for the punk scene, leading to the creation of a sub-genre that united these two worlds. Other notable bands that influenced Screamo's development include Portraits of Past, Indian Summer, Heroin, and Saetia. In addition to the bands who pioneered the screamo subgenre, notable record labels also played a significant role in its development. The most prominent of the early-era Screamo labels is Gravity Records, which was instrumental in promoting bands in the genre. Many iconic Screamo records were released by this label, such as Saetia's "A Retrospective," Antioch Arrow's "Gems of Masochism" and Swing Kids' self-titled EP. Technological advancements have also played a significant role in shaping the Screamo subgenre. The internet allowed for a greater audience to access underground music, thereby increasing the popularity of Screamo. Many online music communities, message boards, and independent music promotion websites played a vital role in promoting the screamo subgenre. Notable journalists and writers such as Brian Peterson and in particular, David Anthony of AV Club have also contributed significantly to the development and recognition of the Screamo subgenre and its bands. In addition, the influential webzine Punk Planet, which was noted for its advocacy of grassroots music, also published numerous articles covering the development of Screamo.