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hottopicnirvanatshirt · 5 years ago

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(open in private browsing to read for free) at some point several years ago i discovered this nyt article first published in 2003 exploring the then-nascent genre known as “screamo” (or, to hardcore kids, pop-screamo, to differentiate it from it’s predecessor known as “real screamo”, “late 90s screamo”, or “skramz”), mainly focusing on the used, thursday, and glassjaw. it’s a really fascinating look into the early days of 2000s emo before it fully broke into the mainstream.

It's not about anger, or about anarchy (not punk, in other words, though the sound has an antecedent there), but instead a kind of declaration of emotional unguardedness, a risk-taking intimacy that's less apparent in the music than in the lyrics, which are so trustingly earnest that at first blush they don't seem to sync up to the music at all. ''As long as you're alive and care/I promise I will take you there'' -- McCracken sings the line directly to the fist-pumping, sun-baked crowd, who sing it back to him; then he screams it. At the end of the set, he lies down across the monitors at the front of the stage and pants like a bellows, whereupon, in what has become something of a staple of the Used's live shows (though tonight no doubt with a certain extra spontaneity), he vomits. The crowd responds adoringly.

In the whole spectacle there's an element not just of novelty but also of purity, of a scene that's not yet a scene because it has only recently been picked up by music-industry radar. There are 12,000 ecstatic young people in Sam Boyd Stadium; they make a tremendous noise and yet, in cultural terms, relatively few people know they're here.

Not for long, though. The Used are among the highest-profile practitioners of a genre of music that fans, writers and record-company executives have christened ''screamo,'' music that's inventive and melodic and yet more than satisfies the primal rock 'n' roll requirement, which is that its devotees' parents find it completely unlistenable.

#music #emo #the used #glassjaw #thursday #re: my last reblog i THOUGHT this was the article that compared bert mccracken to avril lavigne aesthetically But skimming i cannot find it #it might have been andy greenwald's profile on the used come to think of it?#anyway. enjoy this article #everyone's asleep so i will rb this in the morning

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howwearestories · 5 years ago

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Thursday, July 18th we photographed the Great South Bay Music Festival in Patchogue, Long Island, NY. The festival, now in its thirteenth year, runs over four days and features artists from a variety of music genres.

Despite the forecast calling for rain, the crowds were packed for the first day of the festival. We caught sets from Frank Iero and the Future Violents, The Menzingers, and Long Island locals A Farewell Fire, Glassjaw and Taking Back Sunday.

Be sure to check out the full photo gallery from the festival on our Facebook page here.

All photos © Andy Jimenez/How We Are 2019

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blacktopmemories · 5 years ago

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Playlist for Saturday, February 22, 2020

Big Thief - “Replaced” The Good Graces - “Mar Vista Point” Low Hum - “Nebraska” Jump, Little Children - “X-Raying Flowers” The Frames - “Seven Mile Day” Brand New - “In the Water” Cold War Kids - “Beyond the Pale” The Hold Steady - “Entitlement Crew” Jimmy Eat World - “All the Way (Stay)” Limbeck - “Tan + Blue” Better Oblivion Community Center - “My City” Dashboard Confessional - “The Good Fight” Kevin Devine - “Magic Magnet” Wilco - “Bright Leaves” City and Colour - “Imagination” Andy Jenkins - “Don’t Dance” Glassjaw - “When One Eight Becomes Two Zeros” I Am the Avalanche - “Dead and Gone” Sparta - “Cut Your Ribbon” Lagwagon - “Pray for Them” Guided by Voices - “The Very Second” The Futureheads - “Across the Border” Chris Conley - “A Change is Gonna Come (Sam Cooke cover) John Lennon - “Bring it on Home to Me / Send Me Some Lovin’“ (Sam Cooke covers) Cat Stevens - “Another Saturday Night” (Sam Cooke cover) xo - b.

#radio #college radio #the core #rutgers #rutgers university #music #playlists

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rockrevoltmagazine · 7 years ago

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SHOW REVIEW/PHOTOS - WE CAME AS ROMANS IN BIRMINGHAM, ALABAMA

SHOW REVIEW/PHOTOS – WE CAME AS ROMANS IN BIRMINGHAM, ALABAMA

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83gigsof90semocore-blog · 5 years ago

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Bonus post: Everybody Hurts - Review

So the letter D is going along nicely, but before that I'm going to do something quite different, namely a book review.

My hope is that my pseudo-academic academic style will be complemented nicely by exploring what other people have written on the genre. I hope to do more of these eventually, but probably not at a too steady rate because I can be rather lazy when it comes to reading.

Everybody hurts is a book published in 2007 that was written by Leslie Simon, who at the time worked as an editor for Alternative Press and Trevor Kelly who worked as a staff writer, also for Alternative Press. The book is actually quite different from my blog in many respects. Aside from the obvious ones, it isn't specifically focused on 90's emo but instead on what in 2007 was considered contemporary emo. Also unlike my blog it's focused on emo culture (the cover says "an essential guide to emo culture") as opposed to just music.

Some background: The 4th wave, Real Emo and the death of Scene culture

Part of what makes this book interesting to me is that it's very much a product of its time. The story that it tells about the music and community surrounding it is incredibly different than what would have been told in the 90's and even more so today.

So, first some basics: Emo is a very broad term that at many points have meant different things. One popular way to categorize it is by splitting it into 4 (or 5) waves. We have the first wave which refers to the offshoot of hardcore-punk that is the origin of the genre. The second wave is much more influenced by indie, alt-rock and pop. It's much less overtly punky, depending on where you draw the line between first and second wave. The third wave (which corresponds to the time period when this book was written) consists to a large degree of pop-punk and poppy post-hardcore. This is the period of time in which emo music was the most commercially successful and emo culture was properly cemented in the public conciousness. Finally, we have the fourth wave also known as the "emo revival". Now, this is where things get interesting.

As the name implies, emo revival was a movement concerned with bringing back emo to an earlier stage, namely the second wave. As such, many people associated with the revival where to some degree self-concious about the way "their" genre was misinterpreted as being about something else, namely third wave emo. Emo culture at the time was often mocked and the more commercial emo music wasn't looked upon favourably in underground circles. Fourth wave wasn't just a re-embrace of the values of the second wave but a rejection of the third wave.

I should also mention that this isn't nearly as true as it used to be now that enough time has passed for people to be nostalgic sooner than derisive, although it's an assumption that is very much woven into contemporary emo culture.

The history of emo as told from a fourth wave perspective would generally look on the third wave as an embarrassing parenthesis that we'd be better of forgetting. Some people have even gone as far as referring to the bulk of the third wave as "fake emo", being emo in name only while failing to embrace the core values of the genre sufficiently to be considered part of it.

So, this is where this book comes in. Being written in 2007, instead of viewing third wave emo as a heretical misstep, it's treated as the logical conclusion of the genre.

Emo as an identity

Another contrast with modern-day emo culture is it's treatment of emo as almost more of an identity than a music genre. This is also very typical of the time period. I'm born in the mid 90's, and my first exposure to the word emo (as I remember it) was when I was perhaps 10 or so and a friend told me about "a group of mentally ill people who dress in black and self harm". Not even a mention of the music! From then on my pre-pubescent self was mostly exposed to Emo as an identity. Sure, they had a special type of music that they listened to, but it wasn't any more integral to their emo-ness than their fashion for example.

Fast forward to today and I would never unironically call myself or anyone else "an emo", and I don't think almost anyone else would either. The understanding of emo that you find by modern fans is of something that might have cultural connotations, but is ultimately a style of music at heart.

While the authors where a lot more familiar with what emo in general than my 10 year old self and also saw music as a more central part of it, it is very informed by the view of Emo as a broader identity and only a small part of the book is actually about music.

My impression

The book starts of with a foreword by Andy Greenwald, author of Nothing feels good: Punk Rock, Teenagers, And Emo, a book that I'm hoping to eventually cover on this blog.

Then we get to the first chapter, titled ideology. For a second I (foolishly) thought that it would be a Žižek-style examination of pop-culture or something, and got very exited. Reading a few words below, we get a faux dictionary definition of the word:

ide•ol•o•gy n a body of ideas and social needs that separates you from your parents, the pep squad, and Dave Matthews Band fans.

Žižek was never this snarky.

After appropriately adjusting my expectations, snark is a constant background noise in the book. It's sometimes funny, sometimes making fun of a target that deserves it, sometimes an excuse to not treat a subject seriously and sometimes something that has aged quite poorly (ableist slurs stand out like a sore thumb, something it generally didn't in 2007).

The book is divided in 9 chapters, discussing everything from emo ideology, emo fashion, emo literature to emo eating habits and oh right, actual emo music. I generally found that the book was quite well researched (although it is an entertainment book, so it's not exactly done with any academic rigor) and that the authors where happy on going in to detail on most of the subjects they brought up. The facts and anecdotes that make up every chapter are accompanied by either helpful advice ("Don't put on a band shirt right after buying it from the merch table, you'll look like an emo novice") or snarky commentary ("Let's say that a guy and his crush watched One Tree Hill a week earlier with a group of seven of their friends. Never mind that there where nine people in the room. In emo terms, this was a date.")

One section of the book is about emo blogs. Just for fun, let's see how my emo blog measures up:

[From the section "how to emo-fy your blog" [...] you're going to want to look over your text and ask yourself a series of questions before hitting the "submit" button and releasing your deepest, most intimate thoughts into the world. Those questions are as follows:

Does this read well?

Am I making my points in a clear and efficient way?

Did I use actual paragraphs?

Did I capitalize all the words that need capitalisation?

Is this what my life is actually like?

Ok, 5. doesn't really apply but for the others it seems like I'm doing fine. So far, so good.

If you answered "yes" to any of these questions, you should probably scrap your post and start over. Ideally, a good emo blog post should be over dramatic and a bit abstruse. You know the magnets you see on fridges that people sometimes assemble into bizarre phrases? That's what emo posts are supposed to look like

Well, fuck.

Chapter 6: Music - a review

While it can be anywhere from amusing to interesting to read about everything from proper show etiquette to Emo porn sites (yes, seriously), this being a music blog first and foremost I'm gonna give some extra attention to their taste in music.

They have a section titled "Essential Emo Records 101". So what does it consist of and what do I think of it?

Rites of Spring, S/T

Embrace, S/T

Sunny Day Real Estate, Diary

Jawbreaker, Dear You

Lifetime, Hello Bastards

Texas is the Reason, Do You Know Who You Are?

Weezer, Pinkerton

The Promise Ring, Nothing Feels Good

The Get Up Kids, Something To Write Home About

Jimmy Eat World, Clarity

So far, so good. Lifetime is almost never talked about these days, but Hello Bastards is still a solid record. Mineral, American Football and Cap'n Jazz are all absent, although American Football and Cap'n Jazz weren't very popular until a long time after they split, so it's not that strange I suppose. They would be impossible to not include had the list been written today though. All the bands are accompanied by some text. For the first two albums they snarkily remark that they're not so much good as important historically. I believe that this comes from viewing the history of as stepping stones to what it was when this book was written and not with an attempt to see emo as it was at the time which I think is disappointing although not very surprising.

Saves the Day, Through Being Cool

Glassjaw, Everything You Ever Wanted

At the Drive-in, Relationship of Command

Bright Eyes, Fever and Mirrors

Thursday, Full Collapse

Dashboard Confessional, The Places You Have Come To Fear the Most

Taking Back Sunday, Tell All Your Friends

The Used, S/T

The All-American Rejects, S/T

Brand New, Deja Entendu

Coheed and Cambria, In Keeping Secrets of Silent Earth: 3

Yellowcard, Ocean Avenue

Hawthorne Heights, The Silence in Black and White

My Chemical Romance, Three Cheers for Sweet Revenge

Fall Out Boy, From Under the Cork Tree

Panic! At the Disco, A Fever You Can't Sweat Out

There are a couple of albums that I personally don't really think qualify as emo even from a third wave point of view (although, maybe I'm just too poisoned by 4th wave elitism) namely Fevers and Mirrors, In Keeping Secrets of Silent Earth: 3 and A Fever You Can't Sweat Out. I do still think that at least the first two at least are quite good so it's more of a matter of being overly loose with the genre. Although, maybe it's worth interpreting this list as more "music that emo people like" rather than "emo music" in line with the rest of the book. I did honestly think that it would be a bit worse in terms of including "non-emo" music so I'm honestly positively surprised. The authors do in my opinion manage to escape with a good amount of emo cred.

One thing that I'm disappointed in is the complete absence of screamo music, although this is once again more disappointing than surprising really.

Final verdict

One helpful question to ask when reviewing any piece of media is "who is this for?". My impression is that it's mostly for people who are already immersed in Emo culture who are interested in laughing at themselves. It is a very silly subculture in many ways (particularly in 2007) and the authors poke fun of this many times. If you can take it in stride, this book might be a pleasant read. You might also learn some things that you have missed.

For people such as me who are trying to puzzle together what emo culture actually was like at the time I find that the snark gets in the way of actually learning things, and I wish that they had taken a slightly more serious approach. The book could also have done with a lot more interviews.

Ultimately I think this leaves the book with a quite narrow audience in the present day, but that's fine maybe. At the time it came out it was actually commenting on something culturally relevant and might have served as a decent primer to the subculture.

Today however, I think that I can only really recommend it to the unhealthily obsessed (like me) and the nostalgic.

#emo

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theandyjimenez · 5 years ago

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GREAT SOUTH BAY MUSIC FESTIVAL 2019 FEAT. TAKING BACK SUNDAY, GLASSJAW, A FAREWELL FIRE, THE MENZINGERS & FRANK IERO AND THE FUTURE VIOLENTS

Thursday, July 18, 2019

Shorefront Park - Patchogue, NY

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overcoding · 7 years ago

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What are some of your favorite musicians/bands?

Nice, this is the first real anon question I’ve gotten that wasn’t some weird twitter wannabe in like a year and a half so I’m gonna be really extra in answering it.

Music was a really important part of my growing up, I played the piano for many years, but I never really figured out how to talk about it in technical terms, only emotional ones. I can only say I like a song for how it feels to me and what kind of visuals I get in my head while listening to it, but really nothing about the use of particular musical elements. I’d say most of my favourite music is the stuff that I think of as pretty timeless and which has stuck with me for whatever reason. R&B and women in hip-hop were my first musical interests, so I made a lot of tapes of Eve, Missy Elliott, Aaliyah, Erykah Badu, Sade, when their songs came on the radio and I listen to all of it still (not on tapes obvi).

When I got a little older and I spent a lot of time watching MuchMusic (RIP) I started gravitating towards punk, metal, some emo stuff, and when we got the Internet a couple of years later I would spend all my time on forums trying to find new music. (Fun fact: the first song I ever downloaded on Limewire was Every Time I Die “I Been Gone a Long Time”.) The stuff like Crass, Crisis, Misfits/Danzig, Subhumans, it stayed with me for a while but I probably haven’t listened to most of it in at least 4-5 years. Some of it stayed, though, particularly I still get a lot out of listening to many Converge albums, even if I haven’t followed them much since All We Love We Leave Behind (2012? Jeez….), but I don’t think I’m alone there. Jane Doe is possibly one of my favourite albums forever, certain parts of Caring and Killing, Petitioning the Empty Sky, Unloved and Weeded Out. I care about those very much.

All of Björk’s music has been really important to me for a long time, because it’s always felt like a sort of mirror, like she’s able to word certain feelings in ways I wish I could. If I’m going through something, i can find a Björk song for it. Also her videos often evoke the same sort of imageries I have in my head (the best example being Jóga). The same goes for Sigur Rós.

This question is actually really hard to answer other than that, though, since I’ve noticed my attitude toward music changing significantly in the last 5 years or so, but especially in the last 3. Nothing I could ever write here would fully encompass my many relationships to music. I’ve become less of a genre purist. I’m no longer embarrassed to admit listening to certain kinds of music like when I was a teenager. I’ve mentioned it on here before, but in my metal forum days, I was really roped into the boys club and into believing that acts with women were not as good. I just didn’t listen to any music by women for a long time and I’m really sad about that internalised misogyny period of my life now. So, I’ve let a lot of that shit go. But I’m def not at the forefront of anything and I really never know what’s going on in music. I have a lot of 1-2+ hour mixes saved on SoundCloud that I like but I don’t even know what the tracks are (but source obscuring is a whole other issue altogether, so).

Right now I listen to a lot of Alva Noto, Cremation Lily, Andy Stott. I love what I’ve heard from Diane Valence a lot and I hope there’s more sometime. I go on Lana Del Rey kicks all the time. I have a collection of Chinese orchestras that I listen to a lot. I still enjoy the piano pieces I learned how to play when I was a kid. I live for Cirque de Soleil soundtracks. Portishead, The Knife, Siouxsie and the Banshees, Swans, Tschaikovsky, Mr. Oizo, Einstürzende Neubauten, The Cure, Mogwai, J Dilla, Biggie, Fever Ray, Glassjaw, GY!BE, Radiohead, and everything else I mentioned, are all long-standing staples of my music listening habits.

#ask

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bthenoise · 6 years ago

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REJOICE: The Lineups For The Vans Warped Tour 25th Anniversary Shows Are Here

Look, we won’t keep you very long because punk rock Christmas is here -- THE VANS WARPED TOUR 25TH ANNIVERSARY SHOWS HAVE BEEN REVEALED.

To check out who will be playing June 8th at the Rock & Roll Hall Of Fame in Cleveland, OH, June 29th and 30th at the Atlantic City Beach in New Jersey and July 20th and 21st at the Shoreline Amphitheater in Mountain View, CA, be sure to look below. Afterward, make sure to grab tickets before it’s too late!

CLEVELAND:

Chali 2NA & Cut Chemist Emery Hawthorne Heights Simple Plan We The Kings Peter McPoland And The Haps (2019 Tri-C HS Rock Off Winner)

ATLANTIC CITY:

311 A Day To Remember Andrew W.K. Andy Black Anti-Flag The Aquabats! Atmosphere Atreyu Bad Religion Big D and The Kids Table blink-182 Bowling For Soup Chill 2NA & Cut Chemist Circa Survive CKY Dem Atlas Dirty Heads The Doped Up Dollies Eyes Set To Kill Four Year Strong Frank Iero & Future Violents Glassjaw Good Charlotte Gym Class Heroes H2O Hidden In Plain View I The Mighty Juliet Simms Kaleido Less Than Jake Man Overboard Memphis May Fire The Menzingers Not Ur Girlfrienz The Offspring Plague Vendor Quicksand Reel Big Fish Save Ferris Set It Off Set Your Goals Simple Plan The Skatalites Sleeping With Sirens Stacked Like Pancakes The Starting Line Taking Back Sunday Thrice Trophy Eyes Valencia Wage War We The Kings

MOUNTAIN VIEW:

The All-American Rejects Andrew W.K. Andy Black Anti-Flag The Aquabats Ariana And The Rose Atreyu August Burns Red Bad Cop/Bad Cop Bad Religion Chali 2NA & Cut Chemist Circa Survive Confide Dance Gavin Dance The Dollyrots Elder Brother Face To Face Fea Fishbone Four Year Strong Frank Iero & The Future Violents Go Betty Go Good Charlotte Gym Class Heroes I The Mighty Jawbreaker Juliet Simms Lagwagon Less Than Jake Man Overboard Memphis May Fire NOFX Off! The Offspring Ozomatli Plague Vendor Quicksand Save Ferris Set It Off Set Your Goals Shiragirl Silent Planet Silverstein Simple Plan Skating Polly Sleeping With Sirens The Starting Line The Story So Far Street Drum Corps Sum 41 Thrice Tsunami Bomb The Used The Vandals Vigil Of War Wage War We The Kings Whitney Peyton

#Vans Warped Tour

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jdrespling · 5 years ago

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Every Time I Die holiday show to include Against Me!, Glassjaw, more

It’s August, and while we’re already dreaming of haunted houses and horror films, Every Time I Die just unleashed their holiday show lineup.

With their annual ’Tid The Season show entering its 15th year, the band went big with its lineup, which will stretch across two days. The festivities kick off Dec. 13 through Dec 14 at Buffalo Riverworks.

Read more: Atreyu announce 20-year anniversary tour…

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#Against Me #andy williams #etid #Every Time I Die #glassjaw #News #spotlight #the damned things

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wendyhermansongeller · 7 years ago

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New this week: U2, Chris Stapleton, Miguel, and more

Searching for something to listen to this weekend? Yahoo Music has you covered with a rundown of some of this week’s biggest and buzzing releases, from artists including U2, Chris Stapleton, Miguel, and more. Check back every Friday for a fresh list of albums to help fuel your weekend playlists.

U2: Songs of Experience (Island/Interscope). The veteran Irish rockers seemingly got their mojo back after 2014’s controversial iTunes intrusion Songs of Innocence by revisiting their landmark Joshua Tree album on a stadium tour. Now they’re ready to unveil …Experience , the sequel to …Innocence, which, judging from the preview track “The Blackout,” finds them back in fine form.

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Chris Stapleton: From a Room: Volume 2 (Mercury Nashville). The newly minted country superstar delivers the second installment of From a Room, which skillfully blends a unmistakably Southern mix of rock, country, folk, blues, and soul.

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Miguel: War & Leisure (ByStorm Entertainment/RCA). The artist provides yet another set full of highly imaginative pop, utilizing surprising elements such as distorted, ambient noises, set off by stellar production.

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Neil Young + Promise of the Real: The Visitor (Reprise). The famously political Young teams up with rock band Promise of the Real (featuring Willie Nelson’s son Lukas) for a musical journey that, as usual, is totally of his own vision.

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Van Morrison: Versatile (Legacy Recordings). The legendary musician has been especially prolific this year — this is his second studio album in less than three months, and is a mixture of jazz standards and new originals.

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Andy Grammer: The Good Parts (S-Curve). Grammer’s third album is his most authentic, expanding the singer-songwriter’s range to a degree that moves the needle on his career. LunchMoney Lewis makes an appearance on one single.

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Cindy Wilson: Change (Kill Rock Stars). The B-52’s chanteuse approaches a solo record with help from friends and fellow Athens, Ga., musicians, experimenting with an electro-pop and synth-based approach.

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Glassjaw: Material Control (Glassjaw/Century Media). This set marks the Long Island-based post-hardcore outfit’s first album in 15 years, and its sound is just as fans might expect, which is a good thing.

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Danielle Bradbery: I Don’t Believe We’ve Met (Big Machine). The Season 4 winner of The Voice has established a multifaceted approach to her country roots, successfully mixing doses of pop, R&B, and soul into her core sound.

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Wisin: Victory (Sony Music Latin). Here’s half of the reggaeton duo Wisin & Yandel with a release boasting a massive guest list, including: Timbaland, Daddy Yankee, Yandel, Nicky Jam, Don Omar, Ozuna, Zion, Lennonx, Mario Domm, Tito El Bambino, Bad Bunny, De La Ghetto, Arcángel, and Noriel & Almighty.

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Operation: Mindcrime: A New Reality (Frontiers Music s.r.l.). This is the latest project fronted by former Queensrÿche vocalist Geoff Tate, which shows off an assured command of progressive rock.

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Tav Falco: A Tav Falco Christmas (ORG Music/FRENZI Music & Films). Yet another entry into 2017’s extremely large and diverse holiday album collection, but this one is a little different. The avant-garde Falco tackles Christmas standards, recorded at Sam Phillips Recording Service studios in Memphis.

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#_uuid:630bc899-a3c4-3f17-bd0c-67aea3ec6a5e #_author:Wendy Geller #_revsp:wp.yahoo.music.us #_lmsid:a0Vd000000AE7lXEAT

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