Screamo

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Subgenre of emo music

title: "Screamo" type: doc version: 1 created: 2026-02-28 author: "Wikipedia contributors" status: active scope: public tags: ["screamo", "emo", "counterculture-of-the-1990s", "1990s-in-music", "hardcore-punk-genres", "rock-music-genres", "american-styles-of-music", "youth-culture-in-the-united-states"] description: "Subgenre of emo music" topic_path: "philosophy" source: "https://en.wikipedia.org/wiki/Screamo" license: "CC BY-SA 4.0" wikipedia_page_id: 0 wikipedia_revision_id: 0

::summary Subgenre of emo music ::

::data[format=table title="Infobox music genre"]

Field	Value
name	Screamo
other_names	Skramz
image	Orchid - Stierch.jpg
caption	Orchid performing in 2000
stylistic_origins
cultural_origins	Early 1990s, San Diego, California, U.S.
subgenres
fusiongenres
regional_scenes
local_scenes	San Diego
other_topics	* Bands
::

screaming (music)
metalcore
Risecore Screamo (also referred to as skramz) is a subgenre of emo that emerged in the early 1990s and emphasizes "willfully experimental dissonance and dynamics". San Diego–based bands Heroin and Antioch Arrow pioneered the genre in the early 1990s, and it was developed in the late 1990s mainly by bands from the East Coast of the United States such as Pg. 99, Orchid, Saetia, and I Hate Myself. Screamo is strongly influenced by hardcore punk and characterized by the use of screamed vocals. Lyrical themes usually include emotional pain, death, romance, and human rights. The term "screamo" has frequently been mistaken as referring to any music with screaming.

Characteristics

| filename = Bang_Yer_Head.ogg | title = "Bang Yer Head" by Portraits of Past | description = An example of early screamo by Portraits of Past, an influential band which helped define the genre. | filename2 = Thursday_Cross_Out_The_Eyes.ogg | title2 = "Cross Out the Eyes" by Thursday | description2 = An example of screamo's influence on mainstream music, popularized by Thursday in the early 2000s. | filename3 = Loma_Prieta_-_Fly_By_Night.ogg | title3 = "Fly by Night" by Loma Prieta | description3 = An example of contemporary screamo by Loma Prieta, featuring harsh vocals, stylistic transitions, and emotional lyrics.

Screamo is a style of hardcore punk-influenced emo with screaming. Alex Henderson of AllMusic considers screamo a bridge between hardcore punk and emo, and Andrew Sacher of BrooklynVegan states the genre is "built on chaos." Screamo uses typical rock instrumentation, but is notable for its brief compositions, chaotic sounds, harmonized guitars, and screaming vocals. Screamo is characterized "by frequent shifts in tempo and dynamics and by tension-and-release catharses." Many screamo bands also incorporate ballads. According to AllMusic, screamo is "generally based in the aggressive side of the overarching punk-revival scene." Screamed vocals are used "not consistently, but as a kind of crescendo element, a sonic weapon to be trotted out when the music and lyrics reach a particular emotional pitch." Emotional singing and harsh screaming are common vocals in screamo.

::figure[src="https://upload.wikimedia.org/wikipedia/commons/7/7a/Off_Minor_(1).jpg" caption="Screamo band [[Off Minor]] performing, June 2008"] ::

Screamo lyrics often feature topics such as emotional pain, breakups, romantic interest, politics, and human rights. These lyrics are usually introspective, similar to that of softer emo bands. The New York Times noted that "part of the music's appeal is its un-self-conscious acceptance of differences, respect for otherness." Some screamo bands openly demonstrate acceptance of religious, nonreligious, and straight edge lifestyles.

Many screamo bands in the 1990s saw themselves as implicitly political, and as a reaction against the turn to the right embodied by California politicians, such as Roger Hedgecock. Some groups were also unusually theoretical in inspiration: Angel Hair cited surrealist writers Antonin Artaud and Georges Bataille, and Orchid lyrically name-checked French new wave icon Anna Karina, German philosopher Friedrich Nietzsche, French philosopher Michel Foucault, and critical theory originators the Frankfurt School.

Etymology

The term screamo is a portmanteau of the words "scream" and "emo". While the genre was developing in the early 1990s, it was not initially called "screamo." The term began to be used by the mid-1990s, solely amongst the DIY hardcore scene. Chris Taylor, lead vocalist for the band Pg. 99, said "we never liked that whole screamo thing. Even during our existence, we tried to venture away from the fashion and tell people, 'Hey, this is punk. Jonathan Dee of The New York Times wrote that the term "tends to bring a scornful laugh from the bands themselves."

Corruption

Following the late 1990s popularity of screamo-adjacent band the Locust, screamo began to attract the attention of people outside of hardcore, and its name was being used more broadly. During the early 2000s, the term became equally as tied to the original screamo sound, as to the more melodic, but screamo-influenced, pop screamo sound of Alexisonfire, Poison the Well and the Used. In 2003, Derek Miller, guitarist for Poison the Well, noted the term's constant differing usages and jokingly stated that it "describes a thousand different genres." In 2008, Bert McCracken, lead singer of the Used, stated that screamo is merely a term "for record companies to sell records and for record stores to categorize them."

By the mid-2000s, the popularity of pop screamo had led to the word "screamo" being used loosely to describe any use of screamed vocals in music. In 2007, Juan Gabe, vocalist for the screamo band Comadre, alleged that the term "has been kind of tainted in a way, especially in the States." Quinn Villarreal of Sirius XM observed, "If a song had singing AND screaming in it, your grandmother and/or school bully probably called it screamo."

Recodification

To combat the increasingly broad-nature of "screamo", the term "skramz" began to be used to describe the original DIY definition of screamo. This term was coined jokingly by Alex Bigman of San Diego bands Seeing Means More and Fight Fair. This codification also saw the rise of the term "pop screamo", for the more mainstream derivative, as well as its synonyms "MTV screamo" and "mall screamo". Lars Gotrich of NPR Music made the following comment on the matter in 2011: |The screamo scene [has] change[d] a lot in the last 10 years. There used to be more creative bands like Circle Takes the Square and City of Caterpillar. And then it took this route where screamo got really streamlined and unrecognizable to the point where someone hilariously invented the term skramz to distinguish the first wave of screamo bands.}}

History

Origins (early 1990s)

Around 1990 and 1991, a number of bands began pushing the sound of early emo into more extreme and chaotic territory. The earliest of these acts were New Jersey's Iconoclast and Merel, however the most influential acts were those from San Diego and signed to Gravity Records. In particular, Heroin are the band generally cited as either pioneering screamo or being the band that inspired the earliest acts in the genre, with other notable bands from the city, including Angel Hair, Antioch Arrow and Swing Kids. These early San Diego screamo bands were sometimes called "spock rock" by fans due to many of them dyeing their hair black and cutting straight fringes similar to the Star Trek character Spock. This, in combination with their geek-chic style of dressing would prove particularly influential on the development of the subsequent emo and scene subcultures.

In New Jersey, the genre continued to grow, soon expanding into New York City. Native Nod, Rye Coalition, 1.6 Band, and Rorschach all became prominent in this scene, which was centred around ABC No Rio, while the sound expanded to elsewhere in the United States with Universal Order of Armageddon (from Baltimore) and Mohinder (from Cupertino, California).

Diversification (mid–to late 1990s)

::figure[src="https://upload.wikimedia.org/wikipedia/commons/3/3f/Live-pg.99.jpg" caption="Screamo band [[Pg. 99]] performing in Reading, Pennsylvania"] ::

Many bands in the southern United States began pushing the early screamo sound even further sonically. Columbia, South Carolina band In/Humanity coined the term "emoviolence" to describe this sound, played by them, as well as Florida bands Palatka and the End of the Century Party. When coined, the term was a tongue in cheek portmanteau of "emo" and "powerviolence", two genre descriptions the members of In/Humanity maligned, as well as a reference to the album Emotional Violence by funk band Cameo, however as subsequent bands took influence from the sound of these groups, the term became increasingly widespread.

In San Francisco, Portraits of Past were one of the earliest groups to merge the primitive screamo sound with post-rock, a combination that Funeral Diner would then continue, while also embracing the influence of black metal.

During the mid–1990s, Southern Ontario, Canada developed a populace and diverse hardcore scene. One element of this scene was bands who played music inspired by screamo, the most prominent of which were Grade, New Day Rising and Shotmaker, and based around the annual S.C.E.N.E. Music Festival. Grade had begun their career playing a style indebted to Chokehold. However, by the time of their debut album And Such Is Progress (1995), they had departed into a style more informed by Indian Summer, Rye Coalition and Lincoln. With this change, vocalist Kyle Bishop began contrasting his screams with sung vocals inspired by James Brown, Black Francis and Bob Mould. This fusion was widely influential. Writers, including David Marchese of Spin and Michael Barclay, have credited Grade with creating screamo. While journalist Sam Southerland credited them as the first band to "seamlessly" merge screaming and singing, also stating "They occupy the same space as Refused: they did something incredibly innovative... they either get no credit because their progeny is hideous, or they’re dismissed because serious music journalists don’t pontificate about bands Alternative Press covered."

Towards the end of the 1990s and into the 2000s, Virginia developed a large and influential screamo scene: Pg. 99, who continued in the extreme and chaotic screamo sound; City of Caterpillar, who were one of the most influential early bands to merge screamo with post-rock; Majority Rule who merged the genre with metalcore; and Malady who merged post-inflected screamo with indie rock. All of which released albums which BrooklynVegan writer Andrew Sacher called essential albums in the genre. One of the most influential bands to come from the New York City screamo scene was Saetia, who formed in 1997 and created a sound influenced by math rock, jazz and Midwest emo. Following Saetia's 1999 disbandment, its members formed the similarly influential bands Off Minor and Hot Cross. Other impactful groups in the genre at this time included Jeromes Dream, Neil Perry, I Hate Myself, Reversal of Man, Yaphet Kotto and Orchid.

Mainstream crossover (2000s)

Following the release of their 2001 album Full Collapse, New Jersey's Thursday were the first screamo–influenced band to gain significant media attention. The following year, saw the release of Canada's Alexisonfire's self-titled album, which Metal Hammer writer Matt Mills called "key in legitimising the screamo sound". In the following years, the Used, Thrice, Finch and Silverstein all gained significant attention for furthering this sound. In contrast to the do-it-yourself screamo bands of the 1990s, screamo bands such as Thursday and the Used signed multi-album contracts with labels such as Island Def Jam and Reprise Records. However, this style's connection to the genre has been disputed, with some referring to it as "MTV screamo" or "pop-screamo".

In the underground screamo scene, post-rock became an increasingly prominent influence amongst bands. The most prominent and influential of these acts was Richmond, Virginia's City of Caterpillar, who Vice writer Jason Heller stated "encompass [the] era". Music critics coined the term "post-screamo" to refer to this sound. Other prominent acts making this sound at the time included Circle Takes the Square, Raein, Envy and Daïtro. Fluff Fest, held in Czechia since 2000, was in 2017 described by Bandcamp Daily as a "summer ritual" for many fans of screamo in Europe.

In Spain, bands such as Hongo, Das Plague, Ekkaia, Madame Germen and Blünt merged crust punk with elements of screamo, such as melodic minor key guitar leads, slow segues and acoustic passages. At the time, this fusion was called "emo crust". By 2002, Ekkaia and had toured with the American crust punk band Tragedy, and subsequently adopted elements of each other's styles creating the neo-crust genre.

Revival (2010s)

In the early 2010s the term "screamo" began to be largely reclaimed by a new crop of do-it-yourself bands, with many screamo acts, like Loma Prieta, Pianos Become the Teeth, La Dispute, and Touché Amoré releasing records on fairly large independent labels such as Deathwish Inc. In 2011 Alternative Press noted that La Dispute is "at the forefront of a traditional-screamo revival" for their critically acclaimed release Wildlife. They are a part of a group of stylistically similar screamo-revival bands self-defined as "The Wave," made up of Touché Amoré, La Dispute, Defeater, Pianos Become the Teeth, and Make Do and Mend. As well as, California's Deafheaven, who formed in 2010, having been described as screamo, in a style similar to that of Envy. Alternative Press has cited a "pop screamo revival" along with this, with bands like Before Their Eyes, the Ongoing Concept, Too Close to Touch and I Am Terrified. ::figure[src="https://upload.wikimedia.org/wikipedia/commons/6/62/Ostraca2015.jpg" caption="Screamo band Ostraca performing live in 2015" alt="Ostraca"] ::

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 following the decline in popularity of "The Wave," as well as the reunions of seminal bands such as Pg. 99, Majority Rule, City of Caterpillar, and Jeromes Dream. Groups highlighted in this coverage, including Respire, Ostraca, Portrayal of Guilt, Soul Glo, I Hate Sex, and Infant Island, 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, 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. Also in 2018, Vein released their debut album Errorzone to critical acclaim and commercial success, bringing together elements of screamo, hardcore, and nu metal. This underground cohort of acts was primarily released by independent labels like Middle-Man Records in the United States, Zegema Beach Records in Canada, and Miss The Stars Records in Berlin.

Subgenres and fusion genres

Emoviolence

::figure[src="https://upload.wikimedia.org/wikipedia/commons/2/21/Circle_Takes_the_Square_Leipzig_2012_2.jpg" caption="[[Circle Takes the Square]], whose style borders on [[grindcore]] and [[post-rock]], gained considerable acclaim with the 2004 album ''[[As the Roots Undo]]''."] ::

Some screamo bands borrow the extreme dissonance, speed, and chaos of powerviolence. As a result, the term emoviolence was half-jokingly coined by the band In/Humanity to describe the fusion of the two styles which applied to themselves, as well as other bands including Pg. 99, Orchid, Reversal of Man, Usurp Synapse, and RentAmerica. Additionally, bands such as Orchid, Reversal of Man, and Circle Takes the Square tend to be much closer in style to grindcore than their forebears. In contemporary times, the genre is no longer as prevalent or widespread as it had been in the past, yet it still remains as a notable and prevalent force in underground screamo. A revival of the genre has occurred internationally with regional scenes in Southeast Asia and South America taking prominence.

Post-screamo

Bands including City of Caterpillar, Circle Takes the Square, Envy, Funeral Diner, Pianos Become the Teeth, Respire, and Le Pré Où Je Suis Mort have incorporated post-rock elements into their music. This fusion is characterized by abrupt changes in pace, atmospheric and harmonic instrumentation, and distorted vocals. Similarly, bands such as Heaven in Her Arms and the aforementioned group Envy, use elements of shoegazing.

Sass

Sass (, also known as white belt hardcore, sassy screamo, sasscore or dancey screamo) is a style that emerged from the late-1990s and early-2000s screamo scene. The genre incorporates elements of post-punk, new wave, disco, electronic, dance-punk, grindcore, noise rock, metalcore, mathcore and beatdown hardcore. The genre is characterized by overtly flamboyant mannerisms, homoerotic lyrical content, synthesizers, dance beats and a lisping vocal style. Sass bands include the Blood Brothers, Black Eyes, An Albatross, The Number Twelve Looks Like You, the Plot to Blow Up the Eiffel Tower, early Daughters, later-Orchid and SeeYouSpaceCowboy.

Pop screamo

Pop screamo (also known as MTV screamo and mall screamo) is a genre derived from screamo and post-hardcore that incorporates melodic, sung choruses and metal influenced riffs. It additionally embraces elements of emo pop, and the dissonant metalcore style of Deadguy, Botch, Converge and Coalesce.

Poison the Well were one of the earliest bands to merge post-hardcore, emo and metalcore, shaping the sound that would later become pop screamo. This was particularly prominent on their first three albums The Opposite of December... A Season of Separation (1999), Tear from the Red (2002) and You Come Before You (2003). Maximum Rocknroll called Codeseven's 1999 album Division of Labor "proto-mall screamo" due to its fusion of metalcore and post-hardcore, similarly Alternative Press Magazine cited Beloved, formed in 1999, as "forefathers of the pop-screamo era".

::figure[src="https://upload.wikimedia.org/wikipedia/commons/3/38/MuchMusic_Video_Awards_2007_608.jpg" caption="Screamo band The Used in 2007"] ::

One of the earliest pioneers of pop screamo was Thursday, whose second album Full Collapse (2001), particularly its single "Understanding in a Car Crash", was highly influential within the genre. The first screamo–influenced album to gain significant media attention, it reached number 178 on the Billboard 200 and led to the band signing a multimillion-dollar, multi-album contract with Island Def Jam. Their subsequent album, War All the Time (2003), reached number seven on the Billboard 200. Shortly after, Thrice released their second album The Illusion of Safety (2002) which too was pioneering to the genre. The band released only one more album in the genre, The Artist in the Ambulance (2003) before pursuing a separate sound. Finch's debut album What It Is to Burn (2002) permeated much of the subsequent of the scene. The most commercially successful band for playing pop screamo was the Used, whose self-titled debut (2002) was certified gold by the RIAA on July 21, 2003. self-titled album, as of August 22, 2009, had sold 841,000 copies. Their album In Love and Death (2004) was certified gold by the RIAA on March 21, 2005. In Love and Death, as of January 2, 2007, sold 689,000 copies in the United States, according to Nielsen SoundScan. One of the most influential bands in the scene was Canada's Alexisonfire. Metal Hammer writer Matt Mills called their 2002 self-titled debut album "key in legitimising the screamo sound", while Ultimate Guitar editor Jorge Martins credited multiple of their early songs with "defining the mainstream screamo scene." Four of their albums were certified gold or platinum in Canada.

The 2003 debut album Casually Dressed & Deep in Conversation by Welsh band Funeral for a Friend was a defining part of the genre, peaking at number 12 on the UK albums charts. Its follow up Hours (2005) peaked at the same spot in the UK, and was their first album to appear on the US Billboard 200, reaching number 139. The following years saw the releases of influential albums by Story of the Year, Silverstein, Senses Fail, Saosin, From First to Last, AFI, and He Is Legend. Hawthorne Heights's 2005 single "Ohio Is for Lovers" was an emblematic song of the genre. The genre reached its commercial peak around 2004.

During the early 2000s, metalcore bands including Atreyu, As I Lay Dying and Underoath began to incorporate the influence of pop screamo into their sounds. Underoath's albums They're Only Chasing Safety (2004) and Define the Great Line (2006) both were certified gold by the RIAA. In mid-2000s, many pop screamo bands began to take influence from the prevailing metalcore sound, particularly Alesana, Drop Dead, Gorgeous, Blessthefall, Pierce the Veil, Sleeping with Sirens and From First to Last. In the late 2000s, some metalcore bands, particularly those signed to Rise Records, took influence from pop screamo, including Attack Attack!, the Devil Wears Prada and Of Mice & Men.

The genre had a revival in the 2010s, including such outfits as Before Their Eyes, the Ongoing Concept, Too Close to Touch and I Am Terrified. In the 2020s, a second revival emerged, including SeeYouSpaceCowboy, Static Dress and Wristmeetrazor. Loudwire credited SeeYouSpaceCowboy's third album Coup de Grâce with having "managed to merge both true screamo à la Orchid and Honeywell with the mainstream interpretation à la Alesana and Drop Dead, Gorgeous", and "refin[ing] pop screamo choruses into something simultaneously nostalgic and modern".

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"Static Dress announce debut project & comic book, share "sober exit(s)"".
"The 15 Best Metalcore + Hardcore Albums of 2024".

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