If you have heard them all, maybe this list will make for a nice trip down memory lane and inspire you to revisit some old faves, and if you haven't, I hope you discover something new. They've got a rock-solid discography that remains worth exploring from start to finish, and I often find it hard to pick a favorite.
It didn't feel right to only represent JD on this list with four one-to-two minute songs, though, and since their whole discography clocks in at about an hour anyway, Completed really feels like the best way to consume this band's bone-rattling work. * 15 ’90s metalcore albums that still resonate today, * 25 essential screamo albums from the ’90s/’00s that still hold up today, * A brief history of emo bands making art rock, * If live shows are happening again by then, a few of these bands are playing Furnace Fest's 20th anniversary festival. As touched on in that Daïtro blurb, Envy became known for a complete fusion of screamo and post-rock, and almost any band who does that kind of thing today can be called Envy-esque. When he did scream, it sounded like even more of a cathartic release than it did when Cave In were primarily a hardcore band, because on Jupiter the screams only came when singing alone couldn't convey the raw emotion. Prior to forming Funeral Diner, drummer Matt Bajda had previously played in the pioneering screamo band Portraits of Past, so Funeral Diner already had some screamo royalty in the band from day one, but they really took the genre to new places by the time of their second and final album The Underdark. City of Caterpillar came out of the same fertile Virginia screamo scene as pg.99 and Majority Rule (and shared members with both bands at various points), and their sole full-length is one of the key albums in shaping the sound of the screamo/post-rock crossover. Also similar to Hot Cross, the members' roots were in turn-of-the-millennium screamo but Malady sounded extremely mid 2000s. It's a thick, heavy, atmospheric song but it's also beautiful and melodic and frankly I don't know what genre would best describe it. Instead, they're underrated even by niche screamo standards. As far as a balancing act between heavy music, fearless innovation, and pop songwriting goes, Alphabet.
You and I hailed from the storied New Brunswick punk scene; shared members with a handful of other key bands including Hot Cross, Neil Perry, and Joshua Fit For Battle (Tom Schlatter has played in like a dozen other bands and is still a key member of today's screamo scene, and is also known for the very memorable guest screams on Thursday's “Cross Out the Eyes” and “Autobiography of a Nation”); and broke up right before the sound they helped shape got very popular. As punk and its many offshoot genres were thriving in both the mainstream and the underground in the late '90s and early 2000s, a new version of a previously-existing subgenre started to take shape, and that genre was post-hardcore. These days, it's not unusual to hear bands revive turn-of-the-millennium screamo and metalcore at the exact same time (like SeeYouSpaceCowboy, .gif from god, and Wristmeetrazor, to name three), but Majority Rule were doing this back then. You and I had growls and riffs that could sound nearly metal at times, but they also didn't shy away from incorporating soaring, harmony-laden clean vocals and upbeat, pop punk-tinged sections that clearly paved the way for bands like the aforementioned Thursday. Part of that was the literary approach to their lyricism, and an even bigger part was the raw, honest emotion in their delivery. Music that scans as "intellectual" and music that scans as "emotional" can sometimes be at odds with each other, but the meticulously crafted, emotionally devastating Underdark appeals to the cerebral senses while always tugging at the heartstrings. Sometimes they're both screamed, sometimes one is low and gothy and the other is high-pitched and flamboyant like Cedric from At the Drive-In (and like Relationship of Command, ...Burn, Piano Island, Burn was produced by Ross Robinson).
Full Collapse was Thursday's second album and first for Victory, who at the time were still primarily known as a metalcore label. Like both post-hardcore and metalcore, screamo emerged out of hardcore, and -- as its name implies -- emo. As more of the bands in today's screamo underground start to bring in clean vocals -- which is already happening -- I won't be surprised if I Hate Myself pop back up as a major influence. Chaos Is Me is consistently referenced as a genre-defining album, and for good reason. It starts and ends with the same lyric, it has a recurring song that shows up in three different forms throughout the LP ("Yellow Spider," "Orange Spider," and "Brown Spider"), songs flow right into each other, and there's no better way to hear these songs than in the order mewithoutYou sequenced them. It includes the albums that defined the genre in the '90s as well as the ones who pushed the boundaries of the genre in the early/mid 2000s, and to count as "classic," I capped the cut-off year at 2006. But, compared to Combatwoundedveteran, Reversal of Man had much more of the tuneful, emotional side that puts the "emo" in "screamo." Infant Island are a killer new-ish screamo band from Virginia, and my favorite song of theirs at the moment is the 10-minute "Awoken" from their new mini-LP Sepulcher, but "Stare Spells" from their upcoming album Beneath condenses that same level of ambition into four and a half driving, fast-paced minutes, finding time for hard-hitting screamo, crystal clear post-rock, towering sludge riffs, tender acoustic guitar, and more. Cryonics is easily one of the most accessible albums on this list, but there's nothing wrong with songs you can sing along to, especially when they came from a few musicians who helped define screamo as we know it. (Its long songs and atypical song structures also most likely influenced that Circle Takes The Square album.)
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