Wednesday, October 31, 2007

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!

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Friday, October 26, 2007

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.

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Tuesday, October 23, 2007

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:

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Sunday, October 21, 2007

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.

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Thursday, October 18, 2007

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.

Posted by Screamo at 9:25:00 PM 1 comments

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Tuesday, October 16, 2007

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!

Posted by Screamo at 3:07:00 PM 1 comments

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Monday, October 15, 2007

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.

Posted by Screamo at 4:37:00 PM 0 comments

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Sunday, October 14, 2007

Emo Fashion

› Emo Clothing

By almost all current definitions, emo clothing is characterized by tight jeans on males and females alike, long fringe (bangs) often brushed to one side of the face, dyed black, straightened hair, tight t-shirts which often bear the names of rock bands, studded belts, belt buckles, Chuck Taylor All-Stars, skate shoes, or other black shoes often old and beaten up and thick, black horn-rimmed glasses.

› Emo Fashion

Emo fashion has changed with time; early trends included haircuts similar to those worn by the Romulans and Vulcans in Star Trek, tightly fitting sweaters, button-down shirts, and work jackets (often called gas station jackets).

› Emo Hairstyles & Haircuts

Here is guide of how you can get emo hair. This goes for girls and also for boys! Let your hair grow in the fron and side parts so they cover your face. In the back you can let it short and spike it up with gel! Some do that, some don't! If you have short hair, the first months are going to be a pain, because you won't be able to make your hair look "emo". As it grows, comb it towards an eye in the direction that you want. After 3 or 4 months, When the fringe reaches 3/4 of the way down your forehead, go to a hair dresser that looks professional, and get it thinned out and have it trimmed so that it will grow in the right shape. Either if you're a boy or girl, you'll need to straighten your hair, with either an iron or gel. If your hair is wavy, just use hairspray/gel to weigh it down. I suggest buying an hair straightening iron and use a a good moisturizing shampoo to prevent your hair from getting damaged. Tip: If you wash your hair too much, this can dry it out; that doesn't mean you don't have to wash it at all, bleah. If you consider dyeing your hair, dye it black. The other colors are not so cool and you'll look like a clown, in my opinion.

After 3 or 4 months, your hair should look like you want. From that point, you should go to the hair stylist monthly for your hair to be thinned and stuff.

Article Source:
ArticlesMaker.com

Posted by Screamo at 4:34:00 AM 0 comments

Friday, October 12, 2007

From Funk 49 to Emo Screamo

Credit: Steve Radford @searchwarp.com

I stopped listening to new music around 1979 when I graduated from college. I hated disco in the 80s and the hair bands seemed more interested in spandex than music. I was stuck in the 70s listening to artists like The Allman Brothers, Led Zeppelin and Joe Walsh.

The development of Napster was great for me. I was able to burn classic rock tunes onto CD's and listen to my old music on new technology. I never felt guilty about downloading old songs, figuring that if Id already purchased the music on LP, 8-Track and Cassette, I shouldn't have to buy the CD too.

After missing almost two decades of music, it was my son that pulled me out of my musical rut. He inherited his mother's musical ability and developed a serious passion for most styles of music. When he was 14 or so, I remember coming home from work to hear him wailing away on the guitar. He was playing Voodoo Child, a Jimi Hendrix tune from the 60s, wah pedal and all.

When we were kids, parents said things like "Turn that noise down". But when I heard my son playing, even though the windows were rattling, all I could come up with was, when I was your age I listened to music like, well, that! Go do your homework.

My son worked his way through my music quickly and began to branch out. I tried, in vain, to follow along with all the bands and artists that he listened to. He introduced me to some great groups that I had missed like Incubus and Switchfoot. There were also the screamer bands like Underoath or The Bled.

It took me a while to grasp the screamer thing. The concept never made sense to me and I couldn't understand the lyrics. Then one day, driving in the car, an old Carly Simon tune came on the radio. It was her 70s hit You Belong to Me. The song tells the story of a woman who has discovered that her lover has turned his attention to another. The lyrics are emotionally charged: Tell her that I love you. Tell her she don't even know you. The song builds, the emotion builds and then the sax solo! Bobby Keys screaming sax solo. Without a word it says everything. I thought wow, todays screaming is yesterdays passionate sax or high-flying guitar solo.

As my son started performing in bands, I would go to see them. The bands that played were generally rock bands but they would never just call the music rock. I was hearing unfamiliar descriptions like Punk, Ska, Metal, Emo, Hardcore and Post-Hardcore. I kept asking questions, trying to understand what made one band Metal and another band Punk. Finally, impatient with all my questions, my son just said "Don't try to figure it out, its all rock". I wasn't satisfied with my sons answer. So I took a stab at defining some of the newer styles. If you have any interest in getting caught up on post 1980 music, maybe the following will help. Consider it a kind of Idiots Guide to rock music:

• Punk is fast-paced and not too complex. The fans have spiked Mohawks and their wallets are chained to their baggy pants.
• If you hear brass and hollow-body, electric guitars and you want to tap your toes, its probably Ska.
• Metal is dark and intense. Look for bikers and lots of tattoos. Vocals sometimes sound similar to WWF wrestling interviews.
• I'm still not sure how Hardcore is different from Metal. Vocals are mostly screamed in both. Maybe its the shoes. Sneakers are Hardcore, Combat boots are Metal.
• Post-Hardcore seems to have more movement and transition in the songs, while maintaining the hardcore intensity. Screaming is used for impact but you hear melodic vocals too. Fans seem more interested in the music and less concerned about the image than the Punk or Metal followers.
• Emo, short for emotional, usually features dramatic, sometimes ragged vocals. Fans wear tight girl jeans regardless of gender.

If you care to listen to samples of new and progressive music, you might enjoy Purevolume, a music website where you can find hundreds of bands in each of the categories mentioned plus other genres like Powerpop and Ambient.

Thanks to my son, I decided that I liked some of the new music. I even tried to scream along with a song the other day in the car but started coughing and had to pull over. I guess I forgot that I'm forty nine years old. Forty nine. That reminds me of an old Joe Walsh tune! I think I'll go pop in the cassette.

Posted by Screamo at 9:42:00 PM 1 comments

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Wednesday, October 10, 2007

Christian Music Artists Of The 1980’s: By the Numbers

Credit by: Nate Ohman @articlecity.com

Times have sure changed in the Christian music scene. With new artists like Brandon Heath, Rush of Fools, and Lincoln Brewster topping the Christian Adult Contemporary charts recently, it may be easy to forget artists like 2nd Chapter of Acts, White Heart, and Leslie Phillips. In an effort to keep the past alive, here is an objective look back at the Christian music artists of the 1980’s. Using CCM magazine’s Adult Contemporary Airplay charts, data was collected for every song charted by every artist during the decade. The following formula was used:

1. Points were earned for each song’s peak position (#1 = 40 points, #2 = 39 etc.).
2. One point was awarded for each week a song was on the chart.
3. Finally, one point was given for each week a song was at #1.

To get the artist rankings, the total points that each song earned were added together.

Of the 254 artists whose songs made the charts in the 1980’s, Amy Grant came out on top. Fueled by 21 top tens (5 of which went to #1), Grant ended the decade with 1488 points. The Imperials charted 25 songs during the 80’s and finished in second place. Sandi Patty’s five #1 songs helped position her in third. Twila Paris reached the top spot 6 times during the decade, placing her fourth. To the surprise of some, Wayne Watson came in fifth place. Michael Card edged out Michael W. Smith by a point for the #6 spot. Dallas Holm came in eighth. Steve Camp, whose song “He Covers Me” was the top song of 1987, finished the decade in ninth. Petra, with their five #1’s, rounded out the top ten.

Go to http://www.topchristianhits.org to view the top 100 artists of the 1980’s and the top songs of each year.

Posted by Screamo at 2:57:00 PM 1 comments

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Saturday, October 6, 2007

~ 3nd|ess Scream ~

Screaming (music)
From Wikipedia, the free encyclopedia

Screaming is a form of vocalization common in certain genres of heavy metal, hardcore punk, post-hardcore and emo. Screaming in music is most often intended to convey an emotion, such as anger, angst or rage. Screamo is often mistaken as a generic term for screaming in music, though it actually refers to a specific emo subgenre.

Types of screaming

Modern art music
Some composers have employed screaming in avant garde works in the twentieth century, typically in the post-World War II era, as composers began to explore more experimental compositional techniques and nonstandard use of musical instruments (including the voice). Composers who have used shouting or screaming in their works include Luciano Berio, George Crumb, and Karlheinz Stockhausen. While this usage precedes the more common use of screaming in some genres of rock music, there is little to no historical relationship between the usage of the technique in art music and in rock. The use of screaming and hoarse vocals in choral and orchestral works continues today in some productions such as film scores; mainstream examples include some works by Don Davis and Wojciech Kilar.

Punk rock
Yelling vocals are common in punk rock and hardcore. Early punk was distinguished by a general tendency to eschew traditional singing techniques in favor of a more direct, harsh style which accentuated meaning rather than beauty.[1] The logical extension of this aesthetic is shouting or screaming, and in hardcore, vocals are usually shouted in a frenetic manner similar to rapping or football chants, often accompanied by "gang shouts"[2][3] in which a group of people shout along with the vocalist (this style is very common in punk rock, most prominently Oi! and streetpunk).[4] Punk songs often include gang shouts of "hey-hey-hey!".

Heavy metal
Main article: death growl
While occasional screaming has been used for effect in heavy metal since at least Led Zeppelin, screaming as a normal method of lyrical delivery first came to prominence in heavy metal as part of the thrash metal explosion of the 1980s.[5] Thrash metal was influenced both by heavy metal and by hardcore punk, the latter of which often incorporated shouted or screamed vocals. Musicologist Robert Walser notes, "The punk influence shows up in the music's fast tempos and frenetic aggressiveness and in critical or sarcastic lyrics delivered in a menacing growl."[5]
Screaming in some subgenres of heavy metal music is typically demanding and guttural. The Cookie Monster-like[6][7] death growl is common in extreme metal. Separate forms of extreme metal vocalization can be found in black metal with a higher-pitched shriek and grindcore with either a "pig squeal" vocalization or a high pitched shriek similar to, but less throat-oriented than, black metal vocals.
Death metal, in particular, is associated with growled vocals. Death metal, which tends to be darker and more morbid than thrash metal (such as Slayer), features vocals that attempt to evoke chaos and misery by being "usually very deep, guttural, and unintelligible."[8] Natalie Purcell notes, "Although the vast majority of death metal bands use very low, beast-like, almost indiscernible growls as vocals, many also have high and screechy or operatic vocals, or simply deep and forcefully sung vocals."[9] Musicologist Deena Weinstein has noted of death metal, "Vocalists in this style have a distinctive sound, growling and snarling rather than singing the words. Making ample use of the voice distortion box, they sound as if they had gargled with hydrochloric acid."[10] Death metal vocalists, such as Nathan Gearhart of Vehemence, use "pig squeals" or "bree vocals," squeals imitating that of a pig.[11] Others, whether intentionally or not, can bring to mind a dog's bark.
The progressively more forceful enunciation of metal vocals has been noted, from heavy metal to thrash metal to grindcore.

“To appreciate the music, fans first had to accept a merciless sonic signature: guttural vocals that were little more than a menacing, sub-audible growl. James Hetfield's thrash metal rasp was harsh in contrast to Rob Halford's heavy metal high notes, but creatures like Glen Benton of Deicide tore out their larynxes to summon images of decaying corpses and giant catastrophic horrors.[12]”

Post-hardcore
Post-hardcore and screamo screaming is sometimes similar to that of metal, although many screams are imbued with a more vulnerable, emotional tone. Early emo vocals (such as in Rites of Spring and Embrace) featured screamed vocals that were more or less similar to that of '80s hardcore punk and anarcho-punk. In contemporary genres, screams are more accessible; one very common technique is that of metalcore and later hardcore punk subgenres, shouting in a distressed, raspy manner. (Howard Jones of Killswitch Engage and George Pettit of Alexisonfire are examples of this; the former screaming in a husky tone and the latter using a higher yell.)
As emo/screamo moved into the mainstream in the late 1990s and early 2000s, the amount of screaming in any given song or album could vary widely from band to band, with some bands eschewing the technique altogether or using it very infrequently, often at climaxes of songs. Emery, Matchbook Romance, Fall Out Boy, and Story of the Year are examples of bands achieving widespread success who only occasionally made use of screaming.
Although, there are bands who play screamo in the vein of bands that were around in the early to mid nineties, such as Funeral Diner, Saetia, Orchid, City of Caterpillar, etc. These bands are also known as screamo bands, but use a more intense, high-pitched scream, and usually have screaming for a whole song.

Nu Metal
Nu metal sometimes employs screaming. It also includes shouting and rapping as well as various other styles of vocals. In the bands Slipknot, KoRn and some Disturbed songs one can clearly hear the singer scream very high pitched screams akin to death metal growls when the singer is not rapping. Linkin Park's singer, Chester Bennington screams in some of the songs on their early records, and the rapcore band (Hed) P.E African-American / Brazilian-American singer MC Jahred Shane screams in a very growlish style, and the singer in the nu-metal band Spineshank both screams and sings in their songs.

Training
Voice teacher Melissa Cross has trained vocalists of metal and hardcore bands like Lamb of God, Shadows Fall, All That Remains (band), and Unearth. She has also released the instructional DVD series Zen of Screaming.Screaming and growling can damage the vocal folds if not done properly.

Posted by Screamo at 12:25:00 PM 0 comments

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