Alesana

Emo/Screamo/Post-Hardcore

Punk Music and Fashion

Music is definitely something that most people incline towards for relaxation and unreeling periods from their fast and disciplined life. But unfortunately these expressive styles of music are not in season every time. Different type of music has their own musical era that completely depends on the each type of musical preference by the listeners.

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Punk Music and Fashion

By: Bivan Jhon

Music is definitely something that most people incline towards for relaxation and unreeling periods from their fast and disciplined life. But unfortunately these expressive styles of music are not in season every time. Different type of music has their own musical era that completely depends on the each type of musical preference by the listeners. The listeners are the main and the active participants that play a significant role in pushing the particular type of music in a season. Along with the musical influences the type of clothes and appearances also come into play. Though appearances are totally secondary and only become identified once live performances or the better-known medium of spreading the punk music get recognition in various parts of the world.

Music preference also depends a lot on individual behaviors. Some go for the soft and some would prefer loud ones. Those who consider themselves loyal towards any particular type of music will always try to follow the certain musical genres and generally they are the followers of soft and melodious music whereas the party goers would usually go with what people are verbalizing about and often it is something that would entirely depend on which music or artist has been actively performed.

Musical artists now believe that ‘Identity’ is very important to get oneself recognized among the crowd at a glance in a same profession. Punk fashion would go along well with their musical masterpieces. Hairstyles, hip clothing, brass or chain linings and jewelry, awkward-looking make-ups, body piercing, tattooing and facial designs are only some of the characteristics that are thought to have some intimate relationship with punk rock artists and performers and the combination of tunes delivered in a unique and different way different from that of other artists prove to be the touchstone for most solid performances.

Common people following different fashion becomes an item of criticism anywhere and are look down upon as weird creature but when a hit song comes out and the same fashion is followed by the performer it has a totally different insight. Even the criticizers start following the same suit and also consider getting a similar suit of their own. There are a number of notable sensational artists who are easily identified with punk and rock music that are not only making waves in the music industry but also raising storms in the world of fashion. Especially teenagers like to take inspirations from these rock stars and pamper them with such ideology.

How to Connect Guitar to Computer ?

So many players want to record guitar playing on their computer. Digital recording is more popular than ever for pros and amateurs alike. But there are some things to be considered when you connect a guitar to a computer; mostly how you want to connect the instrument, and the quality of the recording you hope to capture.

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How To Connect A Guitar To A Computer

By Brad Finley

So many players want to record guitar playing on their computer. Digital recording is more popular than ever for pros and amateurs alike. But there are some things to be considered when you connect a guitar to a computer; mostly how you want to connect the instrument, and the quality of the recording you hope to capture. The type of guitar computer interface you choose will greatly affect the sound of the electric guitar through the computer and the overall recording you can expect.

While it is possible to play guitar through a PC just by plugging it in, this basic approach is likely to be fine for most though many players don't like sacrificing a good sound for the ease of quick setup. Electric players need a ‘high impedance' input to get their electric guitar to connect to a computer, and though most computer soundcards come with high impedance inputs, these inputs are usually not strong enough to get a good guitar signal or in the long run, for recording guitar effects for PC. This lower ‘impedance' can cause noise problems too. A player can avoid all this of course by plugging the guitar into a ‘line-in' jack, instead of the ‘mic-in', but then the all-important preamp is needed.

Almost any one attempting to connect a guitar through their computer or familiar with recording a guitar into a mixing consol should be familiar with a preamp. The preamp does exactly what its name implies, it "amps" the signal before it goes into the plug-in. Therefore your guitar's signal will get that extra boost it needs when you record guitar on a pc...or into any other device that is not an amp. There are plenty of external interfaces that combine computer soundcards with a preamp. Or if you like more components to you set-up you can always buy a preamp separate from your sound card. There are a lot of stand-alone vintage preamps out there that will not only boost your signal, but warm your sound before it goes into the ‘cooler' digital domain of your pc.

It's not only the pristine quality of digital that makes recording guitar on a pc so much fun, it is also portability. With very little equipment you can put down a riff (or an entire song actually) into a laptop! And added to all this wonderful technology is the fact that there are so many recording guitar effects for pc now on the market, a player can access different amp sounds and settings, effects. Well after you have wrestled with how to connect a guitar to your pc and have recorded a strong signal, you can call record guitar effects with pc during recording or in post-production.

Of course information about how to connect your guitar to a pc and the wonderful wide world of effects is available through an on-line pc guitar tutor and websites devoted to digital recording. You can even purchase a computer guitar tuner (some programs include a free computer guitar tuner) so everything you will ever need is self-contained in your rockin' pc! Some players are even recording parts, then downloading and sending these pieces of tunes to musician's half-way across the world.

The possibilities really are unlimited for the guitar player who says: "I want to connect a guitar to my pc"; he or she will be amazed at the varied and easy results they can achieve when they simply start recording guitar on a pc.

MUSIC MATTERS: ROCK 'N' ROLL ITEMS BIG HIT AT AUCTION

By Rosemary McKittrick

"Calling out, around the world, Are you ready for a brand new beat?"

Remember that song from Martha and the Vandellas?

A snare drum from the Grateful Dead, costume pieces from Madonna’s Blonde Ambition Tour, John Lennon’s handwritten lyrics for “Lucy in the Sky With Diamonds,” Frank Zappa concert posters.

Sounds more like a nostalgic stopover in rock ‘n’ roll utopia than an auction. Hocus pocus maybe from the burial grounds of rock legends?

Just like on stage, these rock, pop, and soul legends command big dollars in the auction room. Nearly $280,000 of rock ‘n’ roll memorabilia went to the highest bidders in Butterfield and Butterfield’s Sept. 9, 1996, sale in Los Angeles.

It was all there, from gold records and played instruments to Elvis childhood photographs and Elton John belt buckles.

What’s the fascination here? Things, or something more intangible?

“People are passionate about rock music,” said Michael Schwartz, director of entertainment memorabilia at Butterfield’s. “An opportunity to own a handwritten lyric from Lennon or a stage costume from Elvis brings you closer to that person. People are collecting artists that were important to them growing up.”

Rock ‘n’ roll is also purely American, the first music voicing the notes of a smoldering youth culture. “From black America came the rhythm, from white America the musical form,” said Richard Carlin in his book “Rock and Roll 1955-1970.” “It’s also a unique tribute to the power of integration.” A power that covers every emotion from ecstasy to desperation.

A scan of the auction room in Los Angeles revealed mostly baby boomers, people who grew listening to the keyboard sounds of Stevie Wonder and the voices of ‘60s recording artists like The Who and The Stones.

There was a buzz in the room and the energy shifted as John Lennon items came on the block, Schwartz said. Lennon turned out to be the top-selling recording artist. His handwritten lyric for “Lucy in the Sky With Diamonds,” 1967, expected to bring $15,000-$20,000 sold for $48,300 to an overseas collector.

Paul McCartney’s handwritten (partial) lyrics to “Hey Jude,” released as a single in 1968 realized $20,700.

“Lennon rises above the other three Beatles in desirability because he’s dead,” said Schwartz. “Lennon items are hot right now.”

How much do you think a dress worn by Madonna in the music video “Like A Prayer” brought? Brown with a lace bodice and spaghetti straps, the outfit came in a hard plastic case with a color photograph of Madonna and realized $8,625.

“There are different types of collectors in this field,” Schwartz said. “Some look for classic rock items from The Beatles and The Who. Others look for older groups like Buddy Holly and Elvis.”

His advice to beginning collectors: “Buy what you really love. Don’t buy something just because someone tells you to. Use your gut experience to guide you.”

“In this type of auction,” Schwartz added, “Everyone goes home happy.”

Q. I’m enclosing two pictures of items left to us by my husband’s aunt. They’ve been in the family for generations and I don’t know anything about them and would appreciate any information you can provide. Mrs. Richard Moore, Pittsburgh.

A. Your first item is a bride’s basket. Victorian ladies received these baskets as wedding gifts and they were popular. The glass inserts, made by both European and American glassmakers came in a variety of soft colors. Your peach-blow basket with enameled floral decoration is a classic example.

The glass inserts usually rested in silver plated holders. Some were plain; others featured cherubs, flowers and animals. Pairpoint and Wilcox were two notable makers.

Tastes change and after the turn-of-the-century bride’s baskets fell from favor. Schroeder’s Antiques Price Guide lists baskets like yours at $150-$250.

Your second piece is a Mary Gregory pitcher. Gregory worked for the Boston and Sandwich Glass Company for two years in the mid-1800s. Whenever you see these fine colored or crystal decorated pieces with figures of children in white enamel they’re called Mary Gregory.

They were popular from the mid-1800s until the turn-of-the-century. Mary Gregory glass originated in Europe and was copied by American glassmakers. Pieces with all-white figures are generally considered to be the American examples. Schroeder’s lists similar pitchers at $150-$200.

Guitar Playing In Punk Rock Style

Introduction.

Punk Rock is really easy to play. And if you want start play guitar I think you should start with this type of music. You dont have to be maestro to make a good music. This lesson is very short but you can learn much. When I start listen to Blink 182 I buy American Strat (Blink was reason why I started play guitar). My favourite bands are Blink 182, Taking Back Sunday, Finch, Box Car Racer New Found Glory, Sum 41, Good Charllote. After some time practicing you can start band if you wanna play punk rock. Only thing that you have to do is practice. Have fun!
Practice.For practice you should do things like this (try to make this faster and faster).

E0-1-2-3-4-5-6-7-8-9-10-11-12-13---------------------------------
B----------------------------------------------------------------
G----------------------------------------------------------------
D----------------------------------------------------------------
A----------------------------------------------------------------
E----------------------------------------------------------------

Then do this backward and on every string. Practice this for couple of days and then go for chords.
Chords.Here are all chords that you need for punk rock music.

C C# D D# E B Eii F F# G G# A A#
E--------------------------------------------------------------------
B--------------------------------------------------------------------
G---5---6--7--8--2-4-9-----------------------------------------------
D---5---6--7--8--0-4-9---3--4-5-6--7-8-------------------------------
A---3---4--5--6--0-2-7---3--4-5-6--7-8-------------------------------
E------------------------1--2-3-4--5-6-------------------------------

You need to learn those chords if you want to play. Make sure that you can play practice thingy and all of this chords. And if you can, Riffs won't be problems. All you have to do is practice.
Riffs.Here are some riffs for practice and playing!

Blink 182
Dammit - cool song and cool intro riff:
----------------------------------------------------------------------
----------------------------------------------------------------------
----------------------------------------------------------------------
---------0---2-------------0---2------------0---2-----------2---0-----
--3-3-----------------------------------0-0---------------------------
-------------------3-3-----------------------------------1-1----------

Blink 182
What's My Age Again (intro)
(it's hard to play but don't give up! The good one for practice).
E--------------------------------------------------------------
B-------11-----------11-----------11------------11-------------
G----11----11-----11----11-----11----11------11----11----------
D--9-----------------------------------------------------------
A---------------9----------------------------------------------
E----------------------------9------------11-------------------Try this one.
E------------------------------------------------------------------
B---------------------------1-0------------------------------------
G-----------------------0-2-----2-0--------------------------------
D---------0-2----0-2-3----------------0-2---0-2-3-2-0--------------
A-------3------3--------------------3------3----------3------------
E------------------------------------------------------------------

Blink 182
Dumpweed intro
Riff 1
E----------------------------------------------------------------------
B----------------------------------------------------------------------
G----1-1h2r1------------1-1h2h1-------2-1-1h2r1--------22-1-1h2r1-4----
D--2-------------4---22-------------4-2------------4---22-------------4
A--2---------2-0---2-22---------2-0---0--------2-0---2-00-----------2--
E--0-----------------00------------------------------------------------

Riff 2
E-4r0---4r0---2r0---2r0---4r0---4r0---5r0---5r0------------------------
B-----0-----0-----0-----0-----0-----0-----0-----0----------------------
G----------------------------------------------------------------------
D----------------------------------------------------------------------
A----------------------------------------------------------------------
E----------------------------------------------------------------------

This riffs are easy but they sound good. After you done with Riffs. Go for the last content.
Palm Muting.Palm Muted is technique that you need in most of Punk Rock songs. When you play palm muted notes they really sounds good. You will need some practice to play palm muted notes. Here are some examples:

Blink 182 - All The Small Things
Verse:
C G F G
All the small things, True care, truth brings
C G F G
I'll take, one lift, Your ride, best trip
C G F G
Always, I know, You'll be at at my show
C G F G
Watching, waiting, Commiserating
Sum 41-Fat lip
intro riff:

Guitar 1
E----------------------------------------------------------------
B----------------------------------------------------------------
G----------------------------------------------------------------
D--------6---------4---------6-------4h2-------------------------
A--0-0-2-----0-0-2----0-0-2----0-0-2-----------------------------
E----------------------------------------------------------------
- - - - - - - - - - - -
PM PM PM PM

Finishing.First off all this lesson is for begginners that want play guitar and want play in bends. I hope this text was helpful for someone. After you put it all together, don't start off in a band, wait couple of months cause you need more practice. And when you finished this lesson download some punk rock guitar tab amd jam it. Have fun! Any comment, question, requests, please e-mail me tomislav@brusac.os.htnet.hr. Can't wait 'till new Blink record come out!

Post-hardcore descends on the river city

Tooth and Nail, Victory and Equal Vision Records showcase their acts at Emo's tonight

By Tito Belis

Nowadays, hardcore is the recipient of various labels that might have the tendency to confuse those who simply feel the genre should be lumped into its own designated category. Since post-hardcore came onto the scene, it appears that most outfits wanting in on the action are finding unique ways to texturize their music in an attempt to knock down the walls previous styles have built up. As part of a way to keep preserving the spirit of post-hardcore, labels Tooth and Nail, Victory and Equal Vision have assembled a massive summer tour in order to give diehard fans something to look forward to during these extremely humid times.

Influenced by the work of the playful children's author Shel Silverstein, the boys of Silverstein continue to carry on the tradition that the province of Ontario, Canada, has been know for over the years such as Grade, Jersey, and Moneen. With the work of their predecessors and present musical peers, Silverstein is taking its finely crafted hybrid of emo, hardcore and punk to break into American markets that just can't seem to get enough of this sound.

After releasing its second EP, Silverstein was lucky enough to have it make its way over to the offices of hardcore imprint Victory Records. Now on their latest offering for Victory, "When Broken Is Easily Fixed" finds the band using its various influences, molding them into something completely their own. With vocals heard from the depths of the deepest confines, and a melodic instrumental edginess different than what's currently being flaunted on the West Coast, Silverstein's brand of post-hardcore carries with it a refreshing punch absent in most other outfits trying to attempt this sound today. Having had the chance to tour with acts such as A Static Lullaby, Armor for Sleep and From Autumn to Ashes, Silverstein is now set to take center stage with this tour that features other notable acts such as fellow labelmates Hawthorne Heights.

As one of Victory's latest signings, Hawthorne Heights is the definition of an outfit that is able to spark one's forgotten love for sensitively sung lyrics and abrasive hardcore all over again. Equal parts melody with dueling screaming/soft vocals juxtapose the emo and punk-rock foundation Hawthorne Heights has decided to base its music on.

"The Silence in Black and White" is the band's new record, and it reveals a maturing band figuring out different musical methods in order to give fans something more than the all-too-predictable breakdown. Recorded at the infamous Smart Studios with Sean O'Keefe (Spitalfield, Fall Out Boy), the new record has a polished feel, yet presents a vehemence rare in the music, especially in the scene that has adopted Hawthorne Heights as a group to be on the lookout for.

"The recording process this time around was an experience within itself," said drummer Eron Bucciarelli. "We got to take our time and experiment a lot more than we've been used to in the past. Sonically, this record is such a step up from anything else we've done. We are very proud of the finished product.

" Released on Tuesday, "The Silence in Black and White" is the perfect album for someone who adores engaging melodic punk/biting hardcore with frustrated subject matter and intensity fraught from the first track to the last.

Switching gears, the last time Emery came through Austin was for a short performance during the Tooth and Nail showcase at South By Southwest. Through The Backroom's darkness, Emery took the stage and began its set with the track "Walls" from its latest Tooth and Nail A-bomb, "The Weak's End." From the start, the band took on an unlikely personality that contradicted their dress and mannerisms on the microphone when the time came to address fans between songs. Damaging everything in their path and crisscrossing each other in the most chaotic of fashions, Emery performed a brutal yet emotionally charged set before a crowd of kids awaiting the sweet serenade from labelmates Mae.

As part of Tooth and Nail's growing post-hardcore roster, Emery is coming to be known as one of those bands whose poplarity is mainly realized through massive word-of-mouth. But when actually seen live, Emery is able to ignite passionate devotion from fans due to their unbelievable stage presence and thunderous "heartcore" stylings.

With an assemblage of sing/scream cuts outlining their album, "The Weak's End," the user-friendliness of the record is apparent and can be accessible to the fan interested more in the heavier side of hardcore, those who prefer a more angular and challenging technique or even to the sensitive emo fanatic who clings onto every word a vocalist is muttering through their microphone.

Easily, this showcase is destined to deliver some of the most pulse-pounding music to be heard all summer long. Whether you like a variety within the hardcore you choose to listen to or prefer a much more straightforward style, Tooth and Nail, Victory, and Equal Vision will certainly have you leaving the show with a smile on your face.

Hawthorne Heights, Silverstein, Emery and Alexisonfire play the early show at Emo's tonight.

List of Rock Genres

Today i will present you all about list of rock genres.Thank Wikipedia, the free encyclopedia for this list.

This is a list of music genres derived from rock and roll, including major rock, metal and punk genres:

• Acid punk
  Acid rock
  Action rock
  Afro-punk
  Alternative metal
  Alternative rock
  Anatolian rock
  Arena rock
  Artcore
  Art rock
  Avant-garde metal
  Avant-rock
  Avant-progressive rock
  Baroque pop
  Beat
  Bisrock
  Black metal
  Blackened death metal
  Blues-rock
  Brazilian rock
  British Invasion
  Britpop
  Bubblegum pop
  Boogaloo
  C86
  Canterbury sound
  Cello rock
  Celtic metal
  Celtic punk
  Celtic rock
  Chicano rock
  Chimp rock
  Christcore
  Christian rock
  Christian metal
  Classic rock
  Classic metal
  Cock rock
  Coldwave (France)
  Coldwave (USA)
  Comedy rock
  Compressive Rock
  Country rock
  Cowpunk
  Cuddlecore
  Dance-punk
  Dance-rock
  Dark cabaret
  Dark metal
  Darkwave
  Deathcore
  Deathgrind
  Death metal
  Death rock
  Detroit rock
  Doom metal
  Dream Pop
  Electro Punk
  Electronic rock
  Emo
  Experimental rock
  Fastcore
  Folkcore
  Folk-rock
  Folk metal
  Freakbeat
  Funkcore
  Funk rock
  Funk metal
  Gamecore
  Garage rock
  German rock
  Ghetto Rock
  Glam metal
  Glam rock
  Goregrind
  Gothabilly
  Gothic metal
  Gothic rock
  Grindcore
  Groove metal
  Group Sounds
  Grunge
  Grunge metal
  Hatecore
  Hard rock
  Hardcore punk
  Heartland rock
  Heavy metal
  Horror punk
  Indie pop
  Indie rock
  Industrial rock
  Industrial metal
  Instrumental rock
  Iranian rock
  Japanese rock
  J-ska
  Jam rock
  Jangle pop
  Kaizerrock
  Krautrock
  Latin rock
  Lovers rock
  Manila sound
  Mathcore
  Math rock
  Melodic black metal
  Melodic death metal
  Metalcore
  Mod
  Mod revival
  Moshcore
  Mesh
  Neo-classical metal
  Neo-folk
  Neo-prog
  Neo-psychedelia
  New wave
  NWOBHM
  Noise pop
  Noise rock
  No wave
  Nu metal
  Oi!
  Ostrock
  Pagan rock
  Piano rock
  Pinoy rock
  Pop rock
  Porn rock
  Post punk
  Post-hardcore
  Post-grunge
  Post-metal
  Post-rock
  Power pop
  Power metal
  Power violence
  Progressive metal
  Progressive rock
  Psychedelic rock
  Psych-Folk
  Psychobilly
  Punk rock
  Punkabilly
  Punta rock
  Queercore
  Riot grrrl
  Rockabilly
  Rock en Español
  Rock in Opposition (RIO)
  Rock Opera
  Rockoson
  Rocksteady
  Raga rock
  Rapcore
  Reggae rock
  Russian rock
  Sadcore
  Samba-rock
  Screamo
  Shoegazing
  Shock rock
  Shred metal
  Ska punk
  Skate punk
  Skate rock
  Sleaze rock
  Sludge metal
  Soft rock
  Soul rock
  Southern rock
  Space rock
  Spazzcore
  Speed metal
  Speedrock
  Stoner metal
  Stoner rock
  Sunshine pop
  Surf rock
  Swamp rock
  Symphonic metal
  Symphonic rock
  Synth rock
  Thrash metal
  Thrashcore
  Trash rock
  Trip rock
  Twee pop
  Viking metal
  Wagnerian rock
  Wizard rock
  Yacht rock
  Zeuhl

Post-hardcore

From Wikipedia, the free encyclopedia

Post-hardcore is a musical genre that evolved from hardcore punk, itself an offshoot of the broader punk rock movement.
The earliest appearances of post-hardcore were in Washington, D.C. in the mid to late 1980s[1] (see the era's releases on Dischord Records, for example), though it was not widely known until the early 1990s.

Post-hardcore is typically characterized by its precise rhythms and loud guitar-based instrumentation accompanied by vocal performances that are often executed as whispers or screams. Allmusic states, 'These newer bands, termed post-hardcore, often found complex and dynamic ways of blowing off steam that generally went outside the strict hardcore realm of "loud fast rules." ... Additionally, many of these bands' vocalists were just as likely to deliver their lyrics with a whispered croon as they were a maniacal yelp.'[1] The genre has developed a unique balance of dissonance and melody, in part channeling the loud and fast hardcore ethos into more measured, subtle forms of tension and release. Jeff Terich of Treblezine states, "[I]nstead of sticking to [hardcore's] rigid constraints, these artists expanded beyond power chords and gang vocals, incorporating more creative outlets for punk rock energy."[2]

History
Post-hardcore is rooted in hardcore punk, [1] which had typically featured very fast tempos, loud volume and heavy bass levels.[3]
By the mid-1980s, groups classified as hardcore, or with strong roots in the genre, were experimenting with the basic template. Groups such as Fugazi and Quicksand which had members of older hardcore bands were creating music that, while still rooted in punk rock, was often increasingly diverse, sophisticated and subtle.[1] Early emo bands like Rites of Spring were pivotal in the development of post-hardcore. [2] It should also be noted that bands such as Farside and Gameface helped bring the genre into a more approachable and accessible form that referenced many aspects of the then budding Southern California pop-punk scene.[citation needed]

Post-hardcore also includes bands with decidedly art rock leanings such as Fugazi[1][2], Drive Like Jehu[2], Bear vs. Shark, Rapeman, Shellac, Big Black[2], Quicksand[1][2], Hot Water Music, Helmet, Glassjaw, Far, At the Drive-In[2], and Thrice.

Emo (Music)

From Wikipedia, the free encyclopedia

Emo is a style of rock music which describes several independent variations of music with common stylistic roots. As such, use of the term has been the subject of much debate. In the mid-1980s, the term emo described a subgenre of hardcore punk which originated in the Washington, DC music scene of the mid-1980s. In later years, the term emocore, short for "emotive hardcore"[1][2] or sometimes "emotional hardcore", was also used to describe the emotional performances of bands in the Washington DC scene and some of the offshoot regional scenes such as Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and later, Moss Icon.[citation needed]

Starting in the mid-1990s, the term emo began to refer to the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate and Texas Is the Reason had a more indie rock style of emo, more melodic and less chaotic. The so-called "indie emo" scene survived until the late 1990s, as many of the bands either disbanded or shifted to mainstream styles. As the remaining indie emo bands entered the mainstream, newer bands began to emulate the mainstream style. As a result, the term "emo" became a vaguely defined identifier rather than a specific genre of music.

History

First wave (1985-1994)
In 1985 in Washington, D.C., Ian MacKaye and Guy Picciotto, veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye's Embrace and Picciotto's Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (Hüsker Dü's 1984 album Zen Arcade is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as "Revolution Summer".[3]

Where the term emo actually originated is uncertain, but members of Rites of Spring mentioned in a 1985 interview in Flipside Magazine that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as emo-core, though it's unclear when the term shifted.

Within a short time, the D.C. emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Soulside, Shudder To Think, Fire Party, Marginal Man, and Gray Matter, many of which were released on MacKaye's Dischord Records. The original wave of DC emo finally ended in late 1994 with the collapse of Hoover.

As the D.C. scene expanded, other scenes began to develop with a similar sound and DIY ethic. In San Diego in the early 1990s, Gravity Records released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Drive Like Jehu, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common.

At the same time, in the New York/New Jersey area, bands such as Native Nod, Merel, 1.6 Band, Policy of 3, Rye Coalition, Iconoclast and Quicksand[4] were feeling the same impulse. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed screamo.

By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as Four Hundred Years and Yaphet Kotto. Also, a handful of modern bands continue to reflect emo's hardcore origins, including Circle Takes the Square, Hot Cross, City of Caterpillar, Funeral Diner, and A Day in Black and White.

Following the disbanding of Embrace in 1986, MacKaye established the influential group Fugazi, and was soon joined by Picciotto. While Fugazi itself is not typically categorized as emo, the band's music is cited as an influence by popular second-wave bands such as Sunny Day Real Estate,[5] Braid,[6] and Jimmy Eat World.[7]

Early influence
In California - particularly in the Bay Area - bands such as Jawbreaker and Samiam began to incorporate influences from the "D.C. sound" into a poppier framework; The former's music was described by Andy Greenwald as "a sonic shot-gun marriage between the bristly heft of hardcore, the song-writing sensibility of Cali pop-punk, and the tortured artistry of D.C. emo".[8] Other bands soon reflected the same sense of rough melody, including Still Life and Long Island's Garden Variety.

Also in the early 90s, bands like Lifetime reacted in their own way to the demise of youth crew styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be melodic hardcore. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime's sound, lyrics, and style were a virtual blueprint for later bands, including Saves the Day, Taking Back Sunday, and The Movielife.

Second wave (1994–2000)
As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the post-punk influences of Mission of Burma and Hüsker Dü, a new genre of emo emerged.
Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop's then-recent success with Nirvana and Soundgarden, the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in Rolling Stone. The heavier label support allowed the band to secure performances on TV shows, including The Jon Stewart Show. As a result, the album received widespread national attention.

As more and more people learned about the band, particularly via the fledgling World Wide Web, the band was given the tag emo. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more indie rock style of emo. It was not uncommon for Sunny Day and its peers to be labeled with the full "emo-core". However, when pressed to explain "emo", many fans split the genre into two brands: the "hardcore emo" practiced in the early days and the newer "indie emo".

In the years that followed, several major regions of "indie emo" emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as "Midwestern emo" given the geographic location of the bands, with several of the best-known bands hailing from the areas around Chicago, Kansas City, Omaha and Milwaukee. The initial bands in this category included Boy's Life and Cap'n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, Cursive, and The Get Up Kids emerged from the same scene and gained national attention.

The area around Phoenix, Arizona became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers Jimmy Eat World began stirring emo influences into their music, eventually releasing the album Static Prevails in 1996. The album was arguably the first emo record released by a major label, as the band had signed with Capitol Records in 1995.

Other bands that followed the "indie emo" model included Colorado's Christie Front Drive, New York's Texas Is the Reason and Rainer Maria, California's Knapsack and Sense Field, Baltimore's Cross My Heart, Austin's Mineral, and Boston's Piebald and Jejune.
As "indie emo" became more widespread, a number of acts who otherwise would not have been considered part of the "indie emo" scene began to be referred to as emo because of their similarity to the sound. The hallmark example was Weezer's 1996 album Pinkerton, which, years later, was considered one of the defining "emo" records of the 90s.[9]

As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including Jade Tree Records, Saddle Creek, and Big Wheel Recreation. In 1997, California's Crank! Records released a compilation titled (Don't Forget to) Breathe, which featured tracks by notable indie emo bands such as The Promise Ring, Christie Front Drive, Mineral, Knapsack, and Arizona's Seven Storey Mountain. In 1998, Deep Elm Records released the first installment in a series of compilations called Emo Diaries, featuring tracks from Jimmy Eat World, Samiam, and Jejune. In 1999, famed 70s compilation label K-tel released an emo compilation titled Nowcore: The Punk Rock Evolution, which included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, Braid, At the Drive-In, and Jawbox, among others.

With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre's popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral.
By the end of the decade, the word emo cropped up in mainstream circles. In the summer of 1998, Teen People magazine ran an article declaring "emo" the newest "hip" style of music, with The Promise Ring a band worth watching. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums.

While "indie emo" almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hüsker Dü model, including Thursday, The Juliana Theory, and Sparta.

Third wave (2000-present)
At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World.

However, towards the end of the 1990s, Jimmy Eat World had begun to shift in a more mainstream direction. Where Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had downplayed its emo influences, releasing more pop-oriented singles such as "The Middle" and "Sweetness". As the public had become aware of the word emo and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an "emo" band, despite their objections. Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.[10]

2003 saw the success of Chris Carrabba, the former singer of emo band Further Seems Forever, and his project Dashboard Confessional. Despite musically being more aligned to the singer songwriter school, Carraba found himself part of the emerging "popular" emo scene. Carrabba's music featured lyrics founded in deep diary-like outpourings of emotion. While certainly emotional, the new "emo" had a far greater appeal amongst adolescents than its earlier incarnations. [11]

With Dashboard Confessional and Jimmy Eat World's success, major labels began seeking out similar sounding bands. Just as many bands of the early-to-mid 1990s were unwillingly lumped under the umbrella of "grunge", some record labels wanted to be able to market a new sound under the word emo.

At the same time, use of the term "emo" expanded beyond the musical genre, which added to the confusion surrounding the term. The word "emo" became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar "emo" bands also began to be referred to as "emo". As a result, bands that were loosely associated with "emo" trends or simply demonstrated emotion began to be referred to as emo.[12]

In an even more expanded way than in the 90s, emo has come to encompass an extremely wide variety of bands, many of whom have very little in common. The term has become so broad that it has become nearly impossible to describe what exactly qualifies as "emo".

Appropriately or not, emo has been used to describe such bands as AFI, Alexisonfire, Brand New, Coheed and Cambria, Fall Out Boy, From First to Last, Funeral for a Friend, Hawthorne Heights, My Chemical Romance, Panic! at the Disco, Senses Fail, Something Corporate, The Starting Line, Story of the Year, Taking Back Sunday, Thursday, The Used, and Underoath.[13] The classification of bands as "emo" is often controversial. Fans of several of the listed bands have recoiled at the use of the "emo" tag, and have gone to great lengths to explain why they don't qualify as "emo". In many cases, the term has simply been attached to them because of musical similarities, a common fashion sense, or because of the band's popularity within the "emo" scene, not because the band adheres to emo as a music genre.

As a result of the continuing shift of "emo" over the years, a serious schism has emerged between those who relate to particular eras of "emo". Those who were closely attached to the hardcore origins recoil when another type of music is called "emo". Many involved in the independent nature of both 80s and 90s emo are upset at the perceived hijacking of the word emo to sell a new generation of major label music. Regardless, popular culture appears to have embraced the terms of "emo" far beyond its original intentions.

In a strange twist, screamo, a sub-genre of the new emo, has found greater popularity in recent years through bands such as Thrice and Glassjaw.[14] The term screamo, however, was used to describe an entirely different genre in the early 1990s, and the new screamo bands more resemble the emo of the early 1990s. Complicating matters further is that several small scenes devoted to original screamo still exist in the underground. However, the new use of "screamo" demonstrates how the shift in terms connected to "emo" has made the varying genres difficult to categorize.

The difficulty in defining "emo" as a genre may have started at the very beginning. In a 2003 interview by Mark Prindle,[15] Guy Picciotto of Fugazi and Rites of Spring was asked how he felt about "being the creator of the emo genre". He responded: "I don't recognize that attribution. I've never recognized 'emo' as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it's so stupid is that - what, like the Bad Brains weren't emotional? What - they were robots or something? It just doesn't make any sense to me."

Fashion
Emo is also sometimes associated with a certain fashion. Emo clothing is characterized by tight jeans on males and females alike, long fringe (bangs) brushed to one side of the face or over one or both eyes, dyed black, straightened hair, tight t-shirts which often bear the names of rock bands (or other designed shirts), studded belts, belt buckles, canvas sneakers or skate shoes or other black shoes (often old and beaten up) and thick, black horn-rimmed glasses.[16][17][18] Emo fashion has changed with time; early trends included straightend unparted hair, tightly fitting sweaters, button-down shirts, and work jackets (often called gas station jackets).[citation needed] This fashion has at times been characterized as a fad.[19]

Criticism
As certain fashion trends and attitudes began to be associated with "emo", stereotypes emerged that created a specific target for criticism. In the early years of the "third wave", the criticism was relatively light-hearted and self-effacing. In ensuing years, the derision increased dramatically. Male fans of emo found themselves hit with homosexual slurs, largely a reflection of the style of dress popular within the "emo scene" and the purported displays of emotion common in the scene. Complaints pointed to the histrionic manner in which the emotions were expressed.[20]

In October of 2003, Punk Planet contributor Jessica Hopper leveled the charge that the "third wave" era of emo was sexist. Hopper argued that where bands such as Jawbox, Jawbreaker and Sunny Day Real Estate had characterized women in such a way that they were not "exclusively defined by their absence or lensed through romantic-specter",[21] contemporary bands approached relationship issues by "damning the girl on the other side ... its woman-induced misery has gone from being descriptive to being prescriptive". Regarding the position of women listening to emo, Hopper went on to note that the music had become "just another forum where women were locked in a stasis of outside observation, observing ourselves through the eyes of others".

Critics of modern emo have argued that there is a tendency toward increasingly generic and homogenized style.[22] Many popular bands have attempted to disassociate themselves with the "emo" tag; some have adopted the genre designation post-hardcore. Despite the criticism, the modern version of emo has maintained mainstream popularity. However, given the disfavor of the term "emo", the future of the genre remains unclear.

Parents Guide to “Emo” Music – Understanding Your Teen’s Music

by: Ezra Ryan Roa @http://searchwarp.com

Some parents claim to not understand their teenager or the loud racket that blares from their stereo. For those parents who want to understand where your teens are coming from and why, just why, their son feels he should wear girl’s jeans and eyeliner, this list of “emo" albums is for you.

Emo music, also know as “Emotional" music, has been around for years but only in the last decade has it really made a dent in the popular music culture. In the last ten years, Emo music has branched out from its post-hardcore roots into the wide variety of genres it has to offer today.

Emo music mostly consist of bands who sing, or scream, about relationships, breakups and other tragic events in every young adult’s life. These vocal styling’s are usually backed by aggressive rock guitars and heavy drum beats, reminiscent of its post-hardcore background.
Emo music, since its beginning, has always spoken to the “younger crowd" of teenaged angst but has now evolved into a more expectable style of music for the “older crowd" to enjoy.
Thus, for someone who has no earthly clue about emo music, this list is for them. This is “The 10 Essential Emo CD Collection from 1996-2006."

10. The Postal Service - Give Up (2002)
The title alone screams “EMO!" The Postal Service is the side-project of Death Cab for Cutie front man, Ben Gibbard. Gibbard steps away from his indie roots to deliver a beautiful techno-emo album unlike anything people have ever heard. Most notable songs: “Such Great Heights," “Nothing Better," and “Clark Gable."

9. Taking Back Sunday - Tell All Your Friends (2002)
TBS took the idea of “dueling vocals" to a new level as they delivered a masterpiece of aggressive heartbreak songs to the masses. Their lyrics are witty and devilishly sinister as both Adam Lazzara and John Nolan sing about love, and love loss. Most notable songs: “The Blue Channel," “There’s no ‘I’ in Team," “You Know How I Do," and “Cute without the E (Cut from the Team)."

8. Ozma - Rock ‘n Roll Part 3 (2001)
Ozma took a step to the side of typical emo music by getting in touch with their younger side. Their music lets you know that it’s ok to reminisce about the good ‘ole days staying up late and playing Nintendo. Geeks unite in this classic! Most notable songs: “Natalie Portman," “Baseball," “Battlescars," and “In Search of 1988."

7. Jimmy Eat World - Clarity (2001)
This band from Arizona has hit the charts on many occasions with songs from the self titled album, but it was “Clarity" that rocketed these “Emo Heroes" to the top of young people’s hearts. “Clarity" is the perfect balance of love, loss, and hope. Most notable songs: “Lucky Denver Mint," “Your New Aesthetic," “Blister," and “Clarity."

6. Northstar - Pollyanna (2004)
Inventive, new, creative! These are all words that can describe all the songs from this Alabama based band’s second album. Nick Torres is, by far, the closest thing emo has to modern day poet. His lyrics and melodies crawl under your skin so you can’t ever get them out of your body. Face it, “Pollyanna" will become a part of you and your everyday life. Most notable songs: “For Members Only," “The Pornographer’s Daughter," “Two Zero Two," and “Rocket City."

5. The Get Up Kids - Four Minuet Mile (1997)
Though it is the rawest material these “Emo Kings" ever released, it’s also their best. Poorly recorded in ’97, these (at the time) young lads poured out their hearts to the world. They gave everything they had on this record as if all of them were going to die the next day and never record anything else. Their frustration and excitement about leaving their loved ones behind for the chance at success can be heard on all the tracks. By far, the best garage style emo record ever! Most notable songs: “Coming Clean," “Don’t Hate Me," “Better Half," and “Shorty."

4.Brand New - Deja Entendu (2003)
This album broke all the rule of music in general. It stared critics in the eyes and said, “We don’t care what you think!" These talented New Jersey boys left their pop-punk roots behind to record the most daring, sophisticated, and egotistical album the “Emo World" has ever seen. A must have for anyone who is tired of music following rules and guidelines. Most notable songs: “Sic Transit Gloria…Glory Fades," “Okay I Believe You, but My Tommy Gun Don’t," “The Quiet Things that No One Ever Knows," and “The Boy Who Blocked His Own Shot."

3. Saves The Day - I’m Sorry I’m Leaving (1998)
This acoustic E.P. is a small collection of some of emo music’s greatest songs ever written and recorded. It laid the foundation for future acts to see what real heartfelt acoustic should sound like. Songs about desire and romance; love loss and understanding; and songs about missing those who are closest to you. Beautifully written and extremely catchy, this album will be enjoyed by both girls and boys alike for years to come. Most notable songs: “I’m Sorry I’m Leaving," “Hold," “The Way His Collar Falls," and “Jesse and my Whetstone."

2. Dashboard Confessional - The Places You Have Come to Fear the Most (2001)
We have all heard Chris Carrabba’s “Vindicated" off the Spiderman 2 Soundtrack, but have you heard anything else from this brilliant man? If not, then please, please, pick up this album. No one can match the sounds of want and desire that pours form his vocals, even to the point of passionate screams cracking on the recording. What he brings to the table is real, pure emotion. Honestly, after hearing one of his records, you personally will want to go find who hurt this man (and inspired his music) and then hurt them for torturing him so bad. Most notable songs: “The Brilliant Dance," “Again I Go Unnoticed," “This Bitter Pill," “The Best Deceptions," and “Screaming Infidelities."

1. Weezer - Pinkerton (1996)
This is the record that brought emo music to where it is today. Without this masterpiece of carefully crafted greatness, emo music would not exist today. Weezer, the Godfathers of emo, stepped out of their “major label" box to craft a rollercoaster of emotions from love, regret, wanting, hating, thriving and any other powerful emotional word you can fit on this page. Let’s just say if it wasn’t for Weezer, your kids would be listening to show tunes on a constant basis. Weezer gave everyone in the music industry the understanding that you can be on a major label and still record music you truly believe in, not just what the record executives want you to hear. Most notable songs: “Tired of Sex," “Getchoo," “Across the Sea," “Pink Triangle," and “Butterfly."

Hopefully this can help you make a step towards understating the music your teen listens to. Showing an interest in their music will bring you closer together. And who knows, maybe one day they will invite you to a show!

The land of screamo : An earnest shout-out to Thursday, Thrice, and Coheed and Cambria

BY SEAN RICHARDSON @thephoenix.com

This fall’s highest-profile alterna-rock package tour, a five-week US jaunt starring Thursday, Thrice, and Coheed and Cambria, comes to a close this weekend with two sold-out New England shows: Saturday at Avalon and Sunday at the Webster Theatre in Hartford. It’s something of a victory lap for the three bands, who all recently released new albums that debuted in the upper half of the Billboard 200 albums chart. But the trek is more symbolic than that — it’s further proof that so-called "screamo" is posing a serious challenge to new metal as the sound of youth in the American suburbs. It doesn’t even take a trip to the mall in any of the three acts’ home towns — New Brunswick, New Jersey (Thursday); Irvine, California (Thrice); or Kingston, New York (Coheed and Cambria) — to realize that.

Thursday joined Dashboard Confessional and AFI as this year’s biggest commercial-punk hitmakers when their major-label debut, War All the Time (Island), hit #7 on the charts in September. On the disc’s first single, "Signals over the Air," frontman Geoff Rickly delivers the kind of twisted love poem that’s made emo a household word: "When you say my name/I want to stop it in your lungs and collect all of your blood/To put in the radio." As soon as he sings the word "radio," the band give program directors everywhere what they want: a dreamy guitar hook and a lush synth backdrop. That’s the most exciting part of the song, but it’s not the only one — the angular guitar intro gets things started on the right note, and the way the rest of the group yell behind Rickly’s piercing wail on the chorus will satisfy fans of their early stuff.

The main thing that separates the screamo generation from their new-metal forebears is integrity, and Thursday are famous for theirs. They made War All the Time with hardcore producer Sal Villanueva at his Jersey studio — the same way they did their previous two indie albums. The first, Waiting, came out in 1999 on the NYC label Eyeball, which recently graduated a second band, My Chemical Romance, to the majors. Two years ago, Thursday released the underground classic Full Collapse (Victory), and they eventually scored some airplay with that disc’s "Understanding in a Car Crash." They hooked up with Island after an ugly split with Victory, the legendary hardcore label that has gone soft in recent years.

In most cases, screamo is a catchy new name for what used to be called post-hardcore: it’s what happens when hardcore kids grow up, slow down, and discover melody. Nineteen-nineties post-hardcore bands like Quicksand and Into Another anticipated new metal even as they faltered on the charts, but Thursday and company are doing them one better — they’re fostering a new breed of heavy rock and shifting units at the same time. The first cut on War All the Time, "For the Workforce, Drowning," starts off with a violent lurch, and it blends Rickly’s earnestness with a host of turbulent soundscapes. His outrage is directed at the ultimate middle-class punk target, cubicle work: "Please take these hands, throw me in the river/But don’t let me drown before the workday ends."

For all the melodic thrust of their songs, Thursday occasionally suffer from the same mid-tempo blues that afflict new metal. But most of their songs rise above. "Division St." is by turns elegant and dissonant; the closing "Tomorrow I’ll Be You" balances Rickly’s full-bore rage with a placid keyboard interlude. On the lacerating "Steps Ascending," the frontman watches in horror as a friend gets shot; then members of kindred spirits Cursive and Far stop by to commiserate. Rickly’s songs have always been littered with tragedy: "Understanding in a Car Crash" told the true story of a friend who died in an accident. "War all the time/In the shadow of the New York skyline," he sings on the shimmering title track, which runs through a litany of misfortune before finding solace in a basement hardcore show. Any way you define it, that’s what screamo is all about.

ISLAND LABELMATES THURSDAY AND THRICE may have grown up on opposite sides of the country, but their competing punk-metal hybrids have a lot in common. The new Thrice album, The Artist in the Ambulance, landed just outside the Top 10 when it dropped in July, and it immediately left its mark with the hit "All That’s Left." "A ghost is all that’s left/Of everything we swore we never would forget," sings frontman Dustin Kensrue as guitarist Teppei Teranishi noodles tastefully behind him. There are hints of pop-punk jubilation in the band’s attack, but Kensrue is agonizing over selling out: "We are the dead, can we be saved?" Teranishi asks no such questions — he’s having too much fun aping pre-Pyromania Def Leppard.

Thrice don’t have quite as much Iron Maiden in them as Killswitch Engage or Avenged Sevenfold, but they know their power metal better than your average Warped Tour punks. The band came to Island from Sub City, the SoCal label that organizes the annual Take Action Tour and donates a percentage of all its profits to charity. They recorded their second album, last year’s The Illusion of Safety, with producer Brian McTernan, the East Coast hardcore veteran who also worked on recent high-profile releases by the Movielife and Hot Water Music, at his studio in DC. Like Thursday, Thrice stuck with their producer when they got signed, and they’re also sticking with the charity work: a portion of the sales from their new album will go to the Syrentha J. Savio Endowment for cancer patients.

Healing is one of Kensrue’s favorite subjects: "They’ve given me a second chance/The artist in the ambulance," he sings on the title track after being rescued from a car wreck. He doesn’t shy away from punk-rock politics, either, as the album’s opening and closing tracks attest. "Yeah we’re doing just fine/Here at the top of the world," he sneers on "Cold Cash and Colder Hearts," which works a string section into the mix as it mourns American apathy. Teranishi saves some of his most chilling guitar melodies for the military-brainwashing finale, "Don’t Tell and We Won’t Ask."

The new Thrice single, "Stare at the Sun," might be the most personal song on The Artist in the Ambulance. It goes without saying that the music doesn’t sound much like the 1990s U2 hit "Staring at the Sun," but the lyrics do sound like something the young Bono could have written. "I’ll stare straight into the sun/And I won’t close my eyes/Until I understand or go blind," sings Kensrue, replacing the bitterness of his sociopolitical rants with a deep spiritual longing. Pop-punk activists who dig heavy-metal flash: why didn’t someone think of this earlier?

THURSDAY, THRICE, AND COHEED AND CAMBRIA are all favorites on MTV2 and Fuse, the two best places to find rock videos on television. Right now, Coheed and Cambria have the coolest video of the three: "Devil in Jersey City," the catchiest tune from their already-classic debut, last year’s The Second Stage Turbine Blade (Equal Vision). With his frizzed-out hair and helium voice, frontman Claudio Sanchez is one of the most lovable freaks in today’s commercial-punk circus. "Let’s fire it up/Ha-ha/Now," he pleads over the band’s insistent pop-metal crunch as random images of babies, planets, and space-age furniture flood the screen. If you like your Warped Tour bands with a broad pretentious streak, these guys are for you.

With "Devil in Jersey City" still picking up steam on the airwaves, Coheed are also back in stores with a new album, In Keeping Secrets of Silent Earth: 3, that hit #52 on the charts in October. The amazing thing about their breakthrough is that the new disc is out on Equal Vision, the long-running New York indie label that has had plenty of underground success with bands like Saves the Day and Converge but nothing like this. That’s another fortunate consequence of the decline of new metal: these days, rock is such a free-for-all that bands hardly even need major-label backing to sell records.

Coheed have often been described as the screamo Rush, for a couple of reasons: one, Sanchez does sound a little like Rush singer Geddy Lee, and two, their albums follow the ongoing saga of two characters named Coheed and Cambria. Those comparisons won’t go away with the release of their new disc, which clocks in at a hefty 70 minutes and includes a three-part suite called "The Velourium Camper" that makes even less sense than the Pixies classic "Velouria." And guitarist Travis Stever emits enough fleet-fingered squeals to hold his own against Thrice’s Teranishi.

Still, Coheed’s hooks are straightforward enough that if you heard In Keeping Secrets for the first time at a party, you probably wouldn’t think it was a concept album with sci-fi overtones. "Pull the trigger and the nightmare stops," wails Sanchez on the demented pop standout "Three Evils (Embodied in Love and Shadow)," which, as the liner notes warn, is "part of a story and should not be taken literally." Elsewhere, the band come up with their most accessible and fun material to date: "Blood Red Summer" gives emo a new-wave makeover, and "The Velourium Camper Part I: Faint of Heart" grooves like 1980s ZZ Top. In Coheed’s case, post-hardcore means embracing classic rock in all its melodic and conceptual glamor.