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11 April 2003 @ 12:07 am
So, does somebody want to explain to me what the hell "emo" is? And let's not make this into as much of a damn shoving match as the previous entry - or I'll pull out the ancient arguments about what "industrial music" is and beat y'all to death with them, as they're large enough to crush several children in one go.

So, neener. Or something. Again, with the emo, and what is it, etc?
atelierlune on April 10th, 2003 10:45 pm (UTC)
Oh, I'll try.....

Ok, getting that out of the way.....

From what I've seen, emo actually dates back to the mid '90s and straddles the line somewhere between Weezer and Sunny Day Real Estate (considered essential emo listening). Geekiness, non-conformity, and the willingness of men to be sensitive (more so than in mainstream music at the time I guess) and cry (but not whine per se) combined with a sort of punk/DIY (think stripped down, not overproduced, but with singers really belting it out) sound are what is important emo.

Incidentally, people complain about bands like Dashboard Confessional being really whiny and depressing, and that having everyone sing along to LITERALLY EVERY SONG ruins the atmosphere of the performance, but I'm like, "Hey, look! He broke the fourth wall! That was easy!" Related bands include The Promise Ring, Rainer Maria, Death Cab for Cutie, and (to some extent) Jimmy Eat World (but they're the token sell-outs).

HLD's roommate freshman year was into emo. That was cool.

Once Again: I am not an expert, nothing I say is at all worth taking seriously. Thank you.
The past is prologuenemoren on April 11th, 2003 12:53 am (UTC)
I'm farming this one out to someone else.
Go here and poke around the kit. Check the other kits to put it into context.

And the description I hear most is something like "punks who'd rather cry."
(Anonymous) on April 11th, 2003 01:12 am (UTC)

That is all.
Hoc Est Qui Sumusdiscoflamingo on April 11th, 2003 04:02 am (UTC)
I don't know who you are, but that was one of the most brilliant things I've seen today.
Do You Wanna Be Free or You Wanna Be Right?malcubed on April 11th, 2003 05:15 am (UTC)
It's been covered as well as I can possibly, other than to say this:

The first referent I have received for emo is the name for the current wave of a poppy approach to punk--typified by more bands in the limelight that I can name. This is not to be confused with the new new wave of people soundling like punk--The Hives, The Strokes, and whatnot. Without really paying attention to them, they seem to be a return to garage aesthetic, at least from the buzz.

The second referent I have received for </i>emo</i> is as a term for nu-metal. I think that's coming from people who are incapable of spelling aggro.

Suffice to say the obvious; whatever emo is, it's probably crap.
la femme stygiangunn on April 11th, 2003 06:14 am (UTC)
Originally an arty outgrowth of hardcore punk, emo became an important force in underground rock by the late '90s, appealing to modern-day punks and indie-rockers alike. Some emo leans toward the progressive side, full of complex guitar work, unorthodox song structures, arty noise, and extreme dynamic shifts; some emo is much closer to punk-pop, though it's a bit more intricate. Emo lyrics are deeply personal, usually either free-associative poetry or intimate confessionals. Though it's far less macho, emo is a direct descendant of hardcore's preoccupations with authenticity and anti-commercialism; it grew out of the conviction that commercially oriented music was too artificial and calculated to express any genuine emotion. Because the emo ideal is authentic, deeply felt emotion that defies rational analysis, the style can be prone to excess in its quest for ever-bigger peaks and releases. But at its best, emo has a sweeping power that manages to be visceral, challenging, and intimate all at once. The groundwork for emo was laid by Hüsker Dü's 1984 landmark Zen Arcade, which made it possible for hardcore bands to tackle more personal subject matter and write more tuneful and technically demanding songs. Emo emerged in Washington, D.C. not long after, amidst the remnants of the hardcore scene that had produced Minor Threat and Bad Brains. The term "emo" (sometimes lengthened to "emocore") was initially used to describe hardcore bands who favored expressive vocals over the typical barking rants; the first true emo band was Rites of Spring, followed by ex-Minor Threat singer Ian MacKaye's short-lived Embrace. MacKaye's Dischord label became the center for D.C.'s growing emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses, and MacKaye's collaboration with members of Rites of Spring, Fugazi. Fugazi became the definitive early emo band, crossing over to alternative rock listeners and getting press for their uncompromisingly anti-commercial attitudes. Aside from the Dischord stable, most early emo was deeply underground, recorded by extremely short-lived bands and released on vinyl in small quantities by small labels; some vocalists literally wept onstage during song climaxes, earning derision from hardcore purists. Fugazi notwithstanding, emo didn't really break out of obscurity until the mid-'90s emergence of Sunny Day Real Estate, whose early work defined the style in the minds of many. Tempering Fugazi's gnarled guitar webs with Seattle grunge, straight-up prog-rock, and crooned vocals, SDRE launched a thousand imitators who connected with their dramatic melodies and introspective mysticism. Some of this new generation connected equally with the wry, geeky introspection and catchy punk-pop of Weezer's Pinkerton album. While several artists continued to build on Fugazi's innovations (including Quicksand and Drive Like Jehu), most '90s emo bands borrowed from some combination of Fugazi, Sunny Day Real Estate, and Weezer. Groups like the Promise Ring, the Get Up Kids, Braid, Texas Is the Reason, Jimmy Eat World, Joan of Arc, and Jets to Brazil earned substantial followings in the indie-rock world, making emo one of the more popular underground rock styles at the turn of the millennium.
la femme stygiangunn on April 11th, 2003 06:16 am (UTC)
Some Important Albums
Sunny Day Real Estate: Diary [1994]
Jimmy Eat World: Singles [2000]
Joshua: Whole New Theory [1999]
Snapcase: Progression Through Unlearning [1997]
Modest Mouse: This Is a Long Drive for Someone With Nothing to Think About [1996]
Joan of Arc: How Memory Works [1998]
Sunny Day Real Estate: LP2 [1995]
la femme stygiangunn on April 11th, 2003 06:17 am (UTC)
Stolen from allmusic.com
Do You Wanna Be Free or You Wanna Be Right?malcubed on April 11th, 2003 12:50 pm (UTC)
All right. That's why it read like ad copy obsessed with authenticity.
stemware on April 12th, 2003 09:54 am (UTC)
I think I went off on a similar rant about emo a couple weeks ago.
This site:


describes emo in such a way as I can understand it. It seems as if there is a type of emo aimed at every demographic.

To me, it sounds like easy listening punk. I like the way the site above (http://www.masterninja.com/rants/?rant=emo) describes it as music for people who disdain goth crap.