Record #918: Crowning – Survival / Sickness (2020)

I have said, often and loudly, that I don’t like screamo. And I don’t mean screamo as a catchall term for any music with screaming in it, like your mom uses it, but as a distinct branch of emo and hardcore heralded by bands like Orchid, pg.99, and Saetia. I’ve proclaimed for years that it’s too abrasive and tuneless for my tastes.

Exceptions were made, of course, for envy. And Boneflower. And Chalk Hands. And Birds in Row. And…actually you know what, maybe I do like screamo. Because recently, I’ve found a few skramz records that I really love. One that was introduced to me recently was Survival / Sickness, the debut record from Crowning out of Chicago, a cathartic fury so explosive that it lasts a mere eighteen minutes before burning out. Still, it packs in more energy in that short runtime than several albums three times its length.

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Record #902: Floorbird – Fall Apart Anywhere (2020)

Getting into music as a kid, my journey was flanked by a chorus of older dudes chanting “they don’t make it like they used to.” I brushed it aside as grumpy old man complaining, because of course there’s still great music being made. But in the last few years, I’ve started to see more and more of my own peers joining that old refrain, assigning it to ’00s emo and pop punk instead of classic rock.

But my reaction remains the same. There’s tons of great music being released now, much of it checking off the same boxes of the music they loved as adolescents.

Take for instance Floorbird. They’re a newer act, but if you were to tell someone that they played Warped Tour in 2003, they’d likely believe you. Fall Apart Anywhere was released in 2020, but it pulls off the same sort of hooky blend of emo and pop punk as Dashboard Confessional, The Ataris, and Jimmy Eat World.

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Record #898: The Gloria Record – The Gloria Record (1998)

I never had a job through high school—my parents said my job was to be a full-time student. Instead, I got a $ 40-a-week allowance to spend on whatever I wanted. So when I graduated high school and got around $2000 between graduation money and cashing out my childhood savings account, I spent like mad.

I blew through most of that sum by the fall, much of it buying up CDs from bands I had tangentially heard of. That included the legendary Mineral of course, but I must have heard of Chris Simpson’s side project The Gloria Record as well, because I listened to this CD all the time. 

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Record #882: Curtail – When the Sway Sets (2022)

Sometimes, a record doesn’t need to have high aspirations to be great. It doesn’t need to redefine the boundaries of genre or have some intricate narrative thread. It doesn’t need to offer up some transcendent experience to the listeners.

Sometimes, it just needs to be really, really catchy.

And that’s about the best way I can think to describe this record from Curtail, an Akron quartet made up of emo veterans that delivers effortlessly infectious tunes that isn’t quite emo, but isn’t quite not emo either.

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Record #875: CATERPILLARS – Frontier for the Fallen (2022)

I spent much of my adult life trying to separate myself from the word “emo.” Sure, part of that was an effort to grow beyond my adolescent self, but the much larger part was a protest to how the word had been stolen by the guylinered mallcore bands of the mid-aughts that I had no interest in at all.

But the truth is, no matter what My Chemical Romance and Panic! At the Disco did with culture’s idea of emo, that doesn’t change my deep love of bands like Sunny Day Real Estate, Mineral, Further Seems Forever, et al.

The last several years, I’ve discovered I’m not alone in that. Much of this is due to an online community called Midwest Emoposting, which introduced me to scores of folks with the same idea of what emo should be, which reignited my deep love of the genre. That also introduced me to a number of bands carrying that flame, such as CATERPILLARS, whose new album Frontier For the Fallen is a masterclass in propulsive, sweeping, emotive songcraft.

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Record #872: idle threat – Blurred Visions (2021)

Across the last several years, it’s been almost impossible to have any presence in the Midwestern DIY scene without running into Idle Threat. The Nashville post-hardcore outfit has been the dictionary definition of workhorses, playing every small festival I’ve been to (or organized), and even organizing their own.

And for years, they’ve done this all as an entirely independent band. Then, fate moved the hands of justice, and they were added to the iconic Tooth & Nail Records (alongside fellow indie workhorses Salt Creek and Valleyheart).

That deal brought about Blurred Visions, the long-awaited debut full-length. While it’s obvious that they had some additional funds, it retains all of the passion and earnestness of their early EPs without ever getting unfocused with the longer running time.

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Record #869: Elliott – False Cathedrals (2000)

It’s no secret that I’ve been known to miss important bands. For example, I missed Louisville emo legends Elliott entirely until I bought a copy of Song in the Air after coming across it in a record store in St. Pete FL in early 2020. Imagine my surprise when I discovered that most people consider that record to be a disappointment. 

The real show, so I was told, was False Cathedrals. So when that record got a repress, I did the same thing I did with Song in the Air: I bought it without listening to it.

And while personally my opinion on its follow up hasn’t been changed, it’s easy to see why this album gets the love it does.

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Record #862: Mineral – The Power of Failing (1997)

I will be the first to admit that sometimes, my opinions about certain bands or albums have absolutely no rational sense behind them. Take for instance The Power of Failing. I have been a huge Mineral fan ever since I bought a CD copy of EndSerenading at my local record shop in high school, even following Chris Simpson on to his wonderful project The Gloria Record.

So what line of thinking led me to not care at all about The Power of Failing until I was well into my thirties?

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Record #842: Chalk Hands – Try Not To Think About Death (2022)

Ever since I’ve discovered that screamo was an actual subgenre and not just what my mom calls any band with screaming (Thrice and Alcest have both bore the term), I’ve found it very difficult to find much screamo that I like. Bands like envy and Boneflower are gorgeous and cathartic in a way that hits me to my core, but most of the pioneers of the genre—Orchid, Saetia, pg.99, et al, have inspired an almost visceral rejection from my ears. As a relatable tweet once said, “scream fans will say, ‘this track is legendary’ then play the absolute worst song you’ve ever heard.”

But every once in a while, something will come out of that scene that blows me away. Don’t Think About Death, the long-awaited debut full length from Brighton UK’s Chalk Hands, definitely uses screamo’s conventions as a sonic center, but it uses that palette to create one of the most moving records I’ve heard yet this year.

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Record #839: Least – Folding My Hands, Accepting Defeat (2021)

Somewhere around 2005, I decided that emo was dead.

I had spent my formative years in devout reverence to bands like Sunny Day Real Estate, Thursday, Appleseed Cast, and Further Seems Forever.  But when the wave shifted to bands like Fall Out Boy, Anberlin, and My Chemical Romance (who, even they will tell you, were not emo), I let my attention stray from the scene and moved on to things like indie, folk, and post rock.

The last decade or so has ushered in an honest-to-goodness emo renaissance so profound it’s not even fair to call it a revival anymore, with bands all over the world resurrecting the best parts of the halcyon emo scene of yore with stunning results.

And while Florida emo outfit least may bear some superficial resemblance to the guy-linered mallcore that put such a bad taste in my mouth in the first place (some have jokingly referred to them as “Transberlin”), if any of that stuff sounded like this, I never would have retired my girl jeans in the mid-oughts.

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