Emo revival

Last updated

Emo revival
Branch Emo
Years activeLate 2000s–late 2010s
LocationUnited States (Philadelphia, Chicago), United Kingdom (South Wales)
Major figures
Influences
Influenced

The emo revival, or fourth wave emo, [2] was an underground emo movement which began in the late 2000s and flourished until the mid-to-late 2010s. The movement began towards the end of the 2000s third-wave emo, with Pennsylvania-based groups such as Tigers Jaw, Algernon Cadwallader and Snowing eschewing that era's mainstream sensibilities in favor of influence from 1990s Midwest emo (i.e., second wave emo). At the same time, acts including Touché Amoré, La Dispute and Defeater drew from 1990s emo and especially its heavier counterparts, such as screamo and post-hardcore, as a part of the movement the Wave.

Contents

The movement had become prominent in underground music by the mid-2010s, with influential releases from era-defining groups like Modern Baseball, the Hotelier and Joyce Manor. It also expanded in scope and sonic diversity during this period. Soft grunge was pioneered by such groups as Title Fight, Basement, Citizen and Turnover, while State Faults, Birds in Row and Portrayal of Guilt pushed the boundaries of screamo. Fourth-wave emo entered a decline toward the decade's end, as influential bands disbanded or entered periods of hiatus. A fifth-wave of bands began pushing the genre into more experimental territory, often embracing post-rock; examples include Pool Kids, Glass Beach and Awakebutstillinbed.

Characteristics

Bands of the emo revival are predominately influenced by acts from the Midwest emo scene of the 1990s and early 2000s; according to Ultimate Guitar staff writer Maria Pro, the terms second-wave emo and Midwest emo are used interchangeably to describe that time period's scene. [2] Revival bands often display a "DIY sound" and lyrical themes ranging from nostalgia to adulthood. [3] Pro, however, further writes that the revival only borrowed from the second wave in terms of aesthetics; sonically, it featured a distinct fusion of math rock, post-hardcore and pop punk. [2]

History

Midwest emo revival

Philadelphia's Modern Baseball were one of the bigger players in the emo revival. Modern Baseball band.JPG
Philadelphia's Modern Baseball were one of the bigger players in the emo revival.

While third wave emo was reaching its commercial peak in the mid-to late 2000s by embracing the sounds of mainstream radio music, fourth-wave emo's forerunners began taking influence from the second-wave Midwest emo scene. [4] The fourth wave was spearheaded by the Pennsylvania-based groups Tigers Jaw, [4] Glocca Morra, [5] Snowing and Algernon Cadwallader and the English band TTNG. [6] A 2018 Stereogum article cited Algernon Cadwallader's 2008 LP Some Kind Of Cadwallader as the emo revival's watershed release, [7] while a 2020 article by Junkee called Tigers Jaw's 2008 self-titled second album "a true landmark release for the era". [4] These bands embraced a DIY ethos and reintroduced basement shows to the emo scene. Under their influence, underground emo scenes formed across the United States in such localities as West Virginia, Willimantic, Connecticut, and Chicago. [5] Notable fourth-wave acts from the Chicago scene included Into It. Over It., CSTVT, Pet Symmetry, Joie de Vivre, Their / They're / There, Lifted Bells, [8] and Dowsing. [9] Fourth-wave emo had become a fully-realised movement by 2011. [4] Philadelphia's scene remained prominent throughout the wave, contributing bands such as Everyone Everywhere, Modern Baseball, [2] Hop Along, [5] Jank, [10] Balance and Composure, and mewithoutYou. [11]

By 2013, the emo revival had become a dominant force in underground music. The year saw high profile by Balance and Composure, Brave Bird, Crash of Rhinos, Foxing, the Front Bottoms, Little Big League and the World Is a Beautiful Place & I Am No Longer Afraid to Die. [12] The same year, Huntsville-based Camping in Alaska released their debut album, please be nice, which became a cult classic with the success of "c u in da ballpit" online. [13] [14] Spin named the Hotelier's second album Home, Like Noplace Is There (2014) as the best album of fourth wave emo, opining that it "made it undeniably clear that the most thoughtful, the most progressive and the most exciting thing in indie right now was happening right here". [5]

During the movement, various emo bands from the 1990s and early 2000s have reunited for reunion tours or permanent reunions American Football and the Get-Up Kids. [15] Furthermore, through this era, contemporary emo bands maintained a close associated with the hardcore scene and pop punk's ongoing Defend Pop Punk Era, which bore the influence of both hardcore and Midwest emo. [16] In particular, the Wonder Years, Jeff Rosenstock, Charly Bliss and PUP were prominent acts during emo's fourth wave, who sonically were closer to pop punk. [5]

The Wave

Touche Amore were one of the most prominent acts in the Wave. Jeremy Bolm 2012.jpg
Touché Amoré were one of the most prominent acts in the Wave.

Beginning to form in the late 2000s, "the Wave" was a movement of bands reviving 1990s emo, screamo and post-hardcore sounds. [17] [18] The name was originally coined to refer to only Touché Amoré, La Dispute, Defeater, Pianos Become the Teeth and Make Do and Mend, however by 2014 had expanded to also include groups Balance and Composure, Into It. Over It. and Title Fight. [19] In 2011 Alternative Press noted that La Dispute is "at the forefront of a traditional-screamo revival" for their critically acclaimed release Wildlife, [20] while a 2014 article by Treble called Touché Amoré "the one band carrying the sound forward in the most interesting ways". [21] By 2015, many of the original acts in the movement had either gone on hiatus or entered periods of inactivity. [19]

During the 2010s, the Wave style was influential upon many groups in Australia and the United Kingdom, especially Wales. [22] [23] At this time, the YouTube channel Dreambound was one of the most prominent sources for finding bands, uploading music videos for many prominent bands, [24] with this era of the genre being named "dreamcore". [23] Groups in this scene, often embraced elements of post-rock, and used cleaner and more commercially accessible production styles than had previously been uncommon in the genre. The most prominent act in dreamcore was Casey from South Wales, [23] with Australian bands Vacant Home and Ambleside too gaining international success. [25] [26] In the later years of this scene, bands began decreasing the influence they took from hardcore, when Crooks UK, Holding Absence and Endless Height were instead leaning further into post-rock and shoegaze. This, in addition to Hundredth's switch to shoegaze on Rare (2017) and the 2019 disbandment of Casey led to the end of this era. [23]

Soft grunge

Title Fight were one of the forefront acts in soft grunge. Title Fight during their set as Amnesia Rockfest in 2014 (Montebello, QC, Canada).jpg
Title Fight were one of the forefront acts in soft grunge.

One notable segment within fourth wave emo was the sound of soft grunge. [27] [4] Originally coined as the "grunge revival", [28] soft grunge merges elements of 1990s-style emo and grunge. [29] Acts in the genre often embrace elements from a diverse array of styles including pop punk, alternative rock, [30] shoegaze, indie rock and post-hardcore. [31] Lyrics in the genre are often emotional, accompanied by a "brooding" vocal style, [32] often mixed quietly and using slow, "droning" melodies. [33] Guitar tones are modified using effects units, such as the atmospheric effects reverb and delay, [33] as well as the fuzz effect. [34] Many bands filmed their music videos using 8 mm film. [34] Uproxx writer Ian Cohen called the genre "the midpoint" between Stone Temple Pilots's song "Sex Type Thing" (1993) and Sunny Day Real Estate's song "In Circles" (1994). [35]

Soft grunge began when bands from the late 2000s hardcore punk scene began making music inspired by 1990s emo and post-hardcore groups like Rival Schools and the Promise Ring as well as early 1990s alternative rock groups like the Smashing Pumpkins, Soundgarden and Alice in Chains. [34] In the early 2010s, the first wave of bands in the genre emerged, largley based around Run for Cover Records, including Adventures, Balance and Composure, Basement, Citizen, Pity Sex, Superheaven and Turnover. [34] Title Fight stood at the forefront of the genre with the success of their 2012 album Floral Green . [36] The album was widely influential, inspiring many bands to persue a similar sound and reshaping Run for Cover into a label renowned for its grunge influence. [37] Often, albums were produced by Will Yip. [38] Some groups in this early era of the genre were made up of former easycore musicians, who shifted their sound into soft grunge. This included Citizen, In This for Fun who became Basement [29] and Bangerang who became Superheaven. [39]

Turnover's second album Peripheral Vision merged the genre with elements of dream pop [32] and shoegaze. [40] The album was widely influential, Movements vocalist Patrick Miranda stated in a 2025 interview that "Every band wanted to sound like Title Fight Floral Green. Every local band... until Turnover put out Peripheral Vision and then it was like the whole scene flipped". [41] That year, many North American Defend Pop Punk Era acts shifted their sound in favor of soft grunge, [42] becoming one of the most prominent sounds in the pop punk scene during the mid-2010s. [29] Stereogum writer Ian Cohen described "the sound of popular punk" in the mid-2010s as being a "Warped Tour traditionalism, soft-grunge, emo revival, and indie-leaning pop-punk", particularly citing pop-punk band the Wonder Years's tour in support of their album The Greatest Generation as being "a time capsule" of the time, due to its openers being the soft grunge band Citizen, emo revival band Modern Baseball and pop-punk band Real Friends. [43] In 2016, some prominent pioneers of the genre began to shift their sound closer to pop rock, particularly Balance and Composure on Light We Made and Basement on Promise Everything , [40] with Citizen also taking a more commericial sound on As You Please (2017). [44] Other acts in the genre from this time included Major League, [45] Movements [46] and Teenage Wrist. [47]

Screamo revival

In the early 2010s, bands furthering the sound of screamo included Caravels, Comadre and State Faults. [12] In August 2018, Noisey writer Dan Ozzi declared that it was the "Summer of Screamo" in a month-long series documenting screamo acts pushing the genre forward as well as the reunions of seminal bands such as Pg. 99, Majority Rule, City of Caterpillar, [48] and Jeromes Dream. [49] Groups highlighted in this coverage, including Respire, [50] [51] Ostraca, [52] Portrayal of Guilt, [53] [54] [55] Soul Glo, [56] I Hate Sex, [57] and Infant Island, [58] [59] [60] had generally received positive press from large publications, but were not as widely successful as their predecessors. Noisey also documented that, despite its loss of mainstream popularity and continued hold in North American scenes, particularly Richmond, Virginia, [61] screamo had become a more international movement; notably spreading to Japan, France, and Sweden with groups including Heaven in Her Arms, Birds in Row and Suis La Lune, respectively. [62] Also in 2018, Vein released their debut album Errorzone to critical acclaim and commercial success, bringing together elements of screamo, hardcore and nu metal. [63] [64] [65]

Decline

By the middle of the decade many bands had begun experimenting considerably with their sound, creating music less indebted to the 1990s emo bands that defined the fourth wave's early years and instead morphing the style towards what many critics began to call post-emo. As early as 2015, Vice writer Ian Cohen referenced the end of the emo revival and the beginning of the post-emo era with the release of the World Is a Beautiful Place & I Am No Longer Afraid to Die's second album Harmlessness , while BrooklynVegan writer Andrew Sacher recalled the same sentiment retrospectively in 2021 about Foxing's 2018 third album Nearer My God . [66] [67]

By the end of the decade many of the most influential bands in fourth wave emo had disbanded: Modern Baseball in 2017, Title Fight in 2018 and Balance and Composure in 2019. [11] [68] mewithoutYou originally announced their break in 2019, after a final 2020 tour, however this tour was postponed due to COVID-19 pandemic and the band eventually broke up in 2022. [69] Meanwhile other bands who had previously been prolific, such as Defeater and La Dispute, entered periods of inactivity. [11]

Influence

Fourth wave emo band Foxing's album Nearer My God (2018) helped pioneer the sound of fifth wave emo. Foxing Band Member.jpg
Fourth wave emo band Foxing's album Nearer My God (2018) helped pioneer the sound of fifth wave emo.

The underground success of fourth wave emo influenced the rise of the emo rap genre, which received significant mainstream success in the late 2010s with artists like Lil Peep, Lil Uzi Vert and Juice Wrld. [15] One of the earliest pioneers of this sound was former Tigers Jaw guitarist and vocalist Adam McIlwee, who began the solo project Wicca Phase Springs Eternal and formed the influential emo rap collective GothBoiClique. [70]

Following the revival era in the early 2010s, a number of new bands emerged in the emo genre which have often been grouped into a distinct wave starting from the late 2010s to the early 2020s. [71] The Ringer writer Ian Cohen states fifth wave emo began as early as 2017 and that these emo groups were influenced by bands such as Crying and the Brave Little Abacus. [72] This fifth wave of emo maintained many of the stylistic elements of the revival era, but also began to incorporate sounds from other genres such as jazz and electronic music. [71] The fifth wave of emo has also been noted for its focus on inclusivity of bands with transgender, queer, female and black artists as well as other artists of color. [73] Notable fifth-wave artists include Home Is Where, Dogleg, Glass Beach, Origami Angel, Pool Kids and Awakebutstillinbed. [71]

In a 2017 article, Spin discussed a wave of "newer darlings" who were reviving the emo revival sound, calling this the "emo revival revival". [74] By 2024, this title was being attributed to See Through Person and Ben Quad on their album I'm Scared That's All There Is (2022), [75] and was being used as a self-identifer by Kerosene Heights, to reference their revival of the very early emo revival sound Algernon Cadwallader and Glocca Morra. [76]

By 2023, remaining fourth waves emo bands like Citizen, the Hotelier, Foxing and the Wonder Years began touring for the tenth anniversaries of their most influential records and receiving renewed critical acclaim. [77]

Soft grunge bands Basement and Superheaven experienced a surge in popularity in the 2020s through viral songs on TikTok. During the emo revival, Superheaven had not been one of the more commercially successful in the genre, however following their TikTok success, their song "Youngest Daughter" (2013) reached number three on the Billboard Hot Hard Rock Songs chart. They, as well as some other soft grunge bands of the era, influenced a new wave of shoegaze made by Gen Z musician, including Quannnic. [78] By the early 2020s, a second wave of soft grunge had emerged, including Fleshwater and Narrow Head. [34]

Criticism

The term "emo revival" has been the cause of controversy. Numerous artists and journalists have stated that it is not a revival at all and that, as a result of increasing usage of the Internet to discover music, people have stopped paying attention to locale-based underground emo. [79] [80] In 2013, Evan Weiss stated, "It's funny that people are only noticing it now because I feel like that revival has been happening for the last six years [...] It doesn't seem new to me, but if it's new to them, let them enjoy it." [81]

During the emo revival, music scholars began to consider emo music's relationship to misogyny and sexism. [82] The emo revival was also notable for revelations of sexual harassment and assault committed by members of emo bands, such as Brand New, [83] leading to a wider conversation about sexism within emo scenes. [84]

References

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  2. 1 2 3 4 5 Pro, Maria. "Is Emo Revival Really a Thing?". Ultimate Guitar . Retrieved October 24, 2023.
  3. ↑ "12 Bands To Know From The Emo Revival". Stereogum.com. October 1, 2013.
  4. 1 2 3 4 5 Davino, Bianca (February 18, 2020). "From 'Three Cheers' To 'Bleed American': The 10 Most Important Emo Albums". Junkee . Retrieved October 24, 2023.
  5. 1 2 3 4 5 "30 Best Emo Revival Albums, Ranked". Spin . Retrieved October 24, 2023.
  6. ↑ "TTNG : Disappointment Island". Treblezine.co. July 18, 2016. Retrieved January 6, 2018.
  7. ↑ "Emo Revival Heroes Algernon Cadwallader Are Back (In Print)". Stereogum.com. November 13, 2018.
  8. ↑ Osmon, Erin (October 24, 2013). "Chicago Has a New Emo Rock Scene (Again)" . Retrieved January 19, 2024.
  9. ↑ "Dowsing - I Don't Even Care Anymore". Alternative Press. August 14, 2013. Retrieved January 20, 2024.
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  11. 1 2 3 Jay, Melannie. "What the Break–ups of Philly's Biggest Emo Bands Means for the Scene". 34th Street Magazine . Retrieved October 24, 2023.
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  28. ↑ Kempf, Brandon Gregory (April 12, 2019). Through the Lens of Grunge: Distortion of Subcultures in Gentrified Seattle. College Station, Texas: Texas A&M University. pp. 19–20. This dichotomy suggests both a refreshment and rebirth, in the form of the newly branded "soft grunge," as well as an induction to a preexisting classics/classic rock category...Perhaps the biggest proponents of the creative resurgence of grunge were music journalists who identified new tendencies towards certain sonic trends in the early 2010s as '"grunge-y," even as "grunge throwback" or "grunge revival." Whether this was premeditated or a concerted effort by the creators of the music was variable; some artists, such as east coast bands Title Fight, Citizen, Nothing, U.K. band Basement, and Australian band Violent Soho, embodied the likening to the 1990s grunge style, citing the music as highly influential to the development of their own artistic sound and style, and embraced the claim to leadership of the grunge revival. Other artists, such as east coast bands Superheaven, Creepoid, and U.K. band Yuck, are less tolerant of the comparison, rejecting any claims of imitation, and prefer their music not be pigeonholed or pinned down to one specific genre, style, or revivalist moment/movement.
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