History Main / EmoMusic

A woefully misunderstood form of music, emo has a long and varied history that touches the early 2000's and extends all the way back to the 1980's. Despite the fact that emo has become a... Polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.

The history can be separated into three different eras, four if you count [[ScreamoMusic screamo]][[note]]which is emo with lots of screaming[[/note]], which became popular in TheNewTens and is often considered to be musically closer to {{metalcore}} than to emotive hardcore.

* Music/BoysLikeGirls

And... that's it. Oh, one more thing: if you plan to cause a sizable amount of InternetBackdraft, remember to clean it up afterward, won't you? After all, Internet Backdraft is bad for the environment!

* Music/MooseBlood
* Music/{{Waterparks}}

* Music/RozwellKid
* Music/SororityNoise

* Music/{{Saywecanfly}}

* Brand New - "[[https://www.youtube.com/watch?v=MB6ESvoBwxI The Quiet Things That No One Ever Knows.]]"

+ GothRock, PopPunk, PostPunk, PowerPop, {{Metalcore}}

Emo music is typically characterized by melodic musicianship and bluntly expressive, often confessional lyrics. It grew out of the HardcorePunk and PostHardcore scenes in UsefulNotes/WashingtonDC in the mid-eighties, with bands like Rites of Spring, Fugazi, and Embrace rising in popularity as a response to the perceived violence in the punk movement. While the DC scene would fade out by the end of TheEighties, by then it had spread across the country, with bands like UsefulNotes/{{Seattle}}'s Sunny Day Real Estate and UsefulNotes/SanFrancisco's Music/{{Jawbreaker}} carrying the torch of emo through TheNineties. Thanks to the rise of {{grunge}} and the boom in underground music in the early part of the decade, bands later labelled "emo" first got mainstream exposure during this period.

* Music/SensesFail

Emo-Pop was born in the mid-2000's and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance) and Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who often are more than a bit formulaic, and lacks the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, whining about one's parents/girlfriend/life, they're actually referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a LoveItOrHateIt genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continues to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow more popular than ever.

* Music/{{Embrace}}

* Music/{{Jawbreaker}}

* Music/RitesOfSpring

->''And I don't know God\\
And I don't anyone\\

Emo music is typically characterized by melodic musicianship and bluntly expressive, often confessional lyrics. It grew out of the HardcorePunk and PostHardcore scenes in UsefulNotes/WashingtonDC in the mid-eighties, with bands like Rites of Spring, Fugazi, and Embrace rising in popularity as a response to the perceived violence in the punk movement. While the DC scene would fade out by the end of TheEighties, by then it had spread across the country, with bands like UsefulNotes/{{Seattle}}'s Sunny Day Real Estate and UsefulNotes/SanFrancisco's Jawbreaker carrying the torch of emo through TheNineties. Thanks to the rise of {{grunge}} and the boom in underground music in the early part of the decade, bands later labelled "emo" first got mainstream exposure during this period.

* Music/TheWorldIsABeautifulPlaceAndIAmNoLongerAfraidToDie (with an [[RevolvingDoorBand "ever-changing, ever-evolving lineup"]])

* Music/TheWorldIsABeautifulPlace&IAmNoLongerAfraidToDie (with an [[RevolvingDoorBand "ever-changing, ever-evolving lineup"]])

* Music/TheWorldIsABeautifulPlace&IAmNoLongerAfraidToDie (with an [[RevolvingDoorBand "ever-changing, ever-evolving lineup]])

* Music/Waterparks

* Music/Saywecanfly

A woefully misjudged form of music, actually, emo music has a long and varied history that touches the early 2000's and extends all the way back to the 1980's. Despite the fact that emo has become a... Polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.

The history can be separated into three different eras, four if you count [[ScreamoMusic screamo]], [[ExactlyWhatItSaysOnTheTin which is emo with lots of screaming]], which became popular in TheNewTens and is often considered to be musically closer to {{metalcore}} than to emotive hardcore.

Emo itself (the music) is typically characterized by melodic musicianship and bluntly expressive, often confessional lyrics. It grew out of the HardcorePunk and PostHardcore scenes in UsefulNotes/WashingtonDC in the mid-eighties, with bands like Rites of Spring, Fugazi, and Embrace rising in popularity as a response to the perceived violence in the punk movement. While the DC scene would fade out by the end of TheEighties, by then it had spread across the country, with bands like UsefulNotes/{{Seattle}}'s Sunny Day Real Estate and UsefulNotes/SanFrancisco's Jawbreaker carrying the torch of emo through TheNineties. Thanks to the rise of {{grunge}} and the boom in underground music in the early part of the decade, bands later labelled "emo" first got mainstream exposure during this period.

A very woefully misjudged form of music, actually, emo music has a long and varied history that touches the early 2000's and extends all the way back to the 1980's. Despite the fact that emo has become a... Polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.

* Music/AmericanFootball

As for ScreamoMusic -- emo mixed with metalcore, such as Music/SleepingWithSirens, Music/PierceTheVeil, Music/BlackVeilBrides, Music/EscapeTheFate, and Music/FallingInReverse -- these bands are significantly more controversial, especially since TheNewTens saw many of these bands eschew the typical emotional subject matter in favor of far more hedonistic lyrics and electronic aspects. [[FandomBerserkButton Do not mention most of these to fans of post-hardcore emo, who view them as damaging to the genre and lacking proper emo's artistic merit]].

After Jimmy Eat World hit multi-platinum it also popularized a new darker variation of the sound. This early 2000's movement known as the 2000's post-hardcore Emo movement managed to balance a dark hardcore punch with introspective indie craft and profound musical artistry to create a powerful and moving variation of the emo sound that was edgier than the first, but was also more accessible. Many bands of this genre are additionally influenced by PostPunk and oftentimes GothRock. The bands in this genre became widely popular with many groups and are sometimes confused with emo-pop by people who haven't actually listened to them despite their innovative songwriting, extremely skilled musicianship and eloquent, profound lyrics, as well as their intense, raw hardcore punk-derived sound. The most well known members of this genre are: the suburban art rockers that make up Music/BrandNew, the quiet, introverted Music/DeathCabForCutie, intellectual and expressive countertenor Anthony Green's bands Music/CircaSurvive and Music/{{Saosin}}, the Gothic, theatrical, and delightfully over-the-top PostHardcore meets GlamRock act Music/MyChemicalRomance, eclectic screamers Music/TheUsed, melancholy music philosophers Music/{{Thursday}}, literary experimenters {{Thrice}} and Music/TakingBackSunday who pretty much personified the whole movements combination of darkly romantic hardcore punk and catchy, melodic indie rock. Other bands frequently dabbled with emo musical style in this period, such as in ProgressiveRock bands ThirtySecondsToMars and CoheedAndCambria's respective albums ''A Beautiful Lie'' and ''In Keeping Secrets of Silent Earth: 3''. In addition, the UK has provided the genre with bands such as the {{Lostprophets}} and FuneralForAFriend, as has Canada with BillyTalent and Music/{{Alexisonfire}}.

Emo-Pop was born in the mid-2000's and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, MotionCitySoundtrack and SavesTheDay, for instance) and Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who often are more than a bit formulaic, and lacks the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, whining about one's parents/girlfriend/life, they're actually referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a LoveItOrHateIt genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continues to be hugely successful into TheNewTens, with Fall Out Boy, PanicAtTheDisco, {{Paramore}}, TwentyOnePilots and AllTimeLow more popular than ever.

After Jimmy Eat World hit multi-platinum it also popularized a new darker variation of the sound. This early 2000's movement known as the 2000's post-hardcore Emo movement managed to balance a dark hardcore punch with introspective indie craft and profound musical artistry to create a powerful and moving variation of the emo sound that was edgier than the first, but was also more accessible. Many bands of this genre are additionally influenced by PostPunk and oftentimes GothRock. The bands in this genre became widely popular with many groups and are sometimes confused with emo-pop by people who haven't actually listened to them despite their innovative songwriting, extremely skilled musicianship and eloquent, profound lyrics, as well as their intense, raw hardcore punk-derived sound. The most well known members of this genre are: the suburban art rockers that make up Music/BrandNew, the quiet, introverted Music/DeathCabForCutie, intellectual and expressive countertenor Anthony Green's bands Music/CircaSurvive and Music/{{Saosin}}, the Gothic, theatrical, and delightfully over-the-top PostHardcore meets GlamRock act Music/MyChemicalRomance, eclectic screamers Music/TheUsed, melancholy music philosophers Music/{{Thursday}}, literary experimenters {{Thrice}} and Music/TakingBackSunday who pretty much personified the whole movements combination of darkly romantic hardcore punk and catchy, melodic indie rock. Other bands frequently dabbled with emo musical style in this period, such as in ProgressiveRock bands ThirtySecondsToMars and CoheedAndCambria's respective albums ''A Beautiful Lie'' and ''In Keeping Secrets of Silent Earth: 3''. In addition, the UK has provided the genre with bands such as the {{Lostprophets}} and FuneralForAFriend, as has Canada with BillyTalent and {{Alexisonfire}}.

* Music/{{Silverstein}} (also [[ScreamoMusic Screamo]]

Classic emo is essentially HardcorePunk with an artsy and emotional twist, with some of it even predicating PostRock. This is the form both sides of the fence will agree has mettle. Despite this, the bands never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound: from Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'' and The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" song writing, and Mineral's pure, raw emotion.

* Music/TigersJaw