Glue
kiwifarms.net
- Registrado
- 17 de Ene, 2026
Noticed there wasn't a thread about this, at least from what I could tell.
WARNING: This is a WIP and I'm retarded.
Okay so if you want to talk screamo and emoviolence you have to accept two things. First, the music is some of the most emotionally honest, raw, and influential stuff underground ever produced. Second, a lot of people in the scene were messed up as hell and the community protected them way too long. That is just a fact.
Orchid is the obvious starting point. Chaos Is Me is basically a mental breakdown in album form. They pushed speed, panic, and intensity to the edge but they burned out fast and didn’t leave a trail of drama beyond the music. They basically invented emoviolence without trying to be shady or exploit anyone.
Pg. 99 is the same deal. Document #8 sounds like a building collapsing. The band imploded constantly, lineups changing every week, pure emotional chaos. That’s the pattern for screamo. Bands don’t last long because the intensity destroys them from the inside. They never got the chance to become the kind of problematic figures you see later.
Saetia is canon for a reason. Hugely influential, emotional as hell, and later mythologized to ridiculous levels. The problem is the fandom treated vulnerability as untouchable. That idea that being “broken” equals moral virtue ended up helping some very bad actors hide later.
I Hate Myself is where the culture starts getting dark, even if the band itself wasn’t scandalous. Music is miserable, self-lacerating, obsessive. It set the tone for emo as a lifestyle of self-destruction. People heard it and took it as a blueprint. Be as miserable as possible to prove your authenticity. That idea spread and poisoned the scene in some ways.
Antioch Arrow is a completely different flavor. They brought theatricality, confrontation, and pure chaos into hardcore-adjacent spaces. Influenced The Blood Brothers, mathcore, noise punk, and basically everything that tried to shock and destabilize later. They made being abrasive an art form, but that same style was later used as an excuse for people to just act like total assholes and call it scene credibility.
Kodan Armada is tragic and honest. They embodied DIY screamo with zero irony. Chris Hamblin’s death later on makes their story even more haunting. The band feels like it came from real pain, not just performance. They are why I still go back to these old records.
By the early 2000s, screamo and emoviolence had recurring patterns of abuse. Vocalists and “scene leaders” accused publicly of grooming, sexual assault, emotional abuse, or manipulation. In many cases multiple people came forward years later. The response from fans? Denial, minimization, or silence. People built their identities around these musicians and could not process the idea that someone they worshipped could be harmful.
The pattern is obvious. DIY shows, house venues, sleeping on floors, constant drugs and alcohol. Hero worship of emotionally intense people. Lyrics creating parasocial trust. And when accusations surfaced, people would defend the abuser by pointing to their art, their lyrics, or their “importance” to the scene. Emotional honesty became a shield.
This is not just screamo. Emoviolence amplified self-destruction. Sasscore flirted with shock and nihilism. Post-screamo and post-hardcore took emotional language and scaled it up, feeding into metalcore and melodic hardcore with the same patterns. Same cycle, just louder, bigger, more visible.
And still, the genres deserve respect. Screamo let people be vulnerable in a culture that punished it. Emoviolence refused to sanitize that vulnerability.
The problem was never the music. The problem was refusing to look critically at the people making it once they were elevated. Beauty, catharsis, community, but also ego, abuse, and silence.
You can love this music and acknowledge that some of the people behind it were total disasters. Doing both is the only way to talk about these genres honestly.
These genres gets a ton of hate because from the inside and out it just seems like whiny slop, but if you are a fan of hardcore and poetry, these genres captured something that can't be emulated.
Feel free to leave any edit recommendations or to correct any of my mistakes.
WARNING: This is a WIP and I'm retarded.
Okay so if you want to talk screamo and emoviolence you have to accept two things. First, the music is some of the most emotionally honest, raw, and influential stuff underground ever produced. Second, a lot of people in the scene were messed up as hell and the community protected them way too long. That is just a fact.
Orchid is the obvious starting point. Chaos Is Me is basically a mental breakdown in album form. They pushed speed, panic, and intensity to the edge but they burned out fast and didn’t leave a trail of drama beyond the music. They basically invented emoviolence without trying to be shady or exploit anyone.
Pg. 99 is the same deal. Document #8 sounds like a building collapsing. The band imploded constantly, lineups changing every week, pure emotional chaos. That’s the pattern for screamo. Bands don’t last long because the intensity destroys them from the inside. They never got the chance to become the kind of problematic figures you see later.
Saetia is canon for a reason. Hugely influential, emotional as hell, and later mythologized to ridiculous levels. The problem is the fandom treated vulnerability as untouchable. That idea that being “broken” equals moral virtue ended up helping some very bad actors hide later.
I Hate Myself is where the culture starts getting dark, even if the band itself wasn’t scandalous. Music is miserable, self-lacerating, obsessive. It set the tone for emo as a lifestyle of self-destruction. People heard it and took it as a blueprint. Be as miserable as possible to prove your authenticity. That idea spread and poisoned the scene in some ways.
Antioch Arrow is a completely different flavor. They brought theatricality, confrontation, and pure chaos into hardcore-adjacent spaces. Influenced The Blood Brothers, mathcore, noise punk, and basically everything that tried to shock and destabilize later. They made being abrasive an art form, but that same style was later used as an excuse for people to just act like total assholes and call it scene credibility.
Kodan Armada is tragic and honest. They embodied DIY screamo with zero irony. Chris Hamblin’s death later on makes their story even more haunting. The band feels like it came from real pain, not just performance. They are why I still go back to these old records.
By the early 2000s, screamo and emoviolence had recurring patterns of abuse. Vocalists and “scene leaders” accused publicly of grooming, sexual assault, emotional abuse, or manipulation. In many cases multiple people came forward years later. The response from fans? Denial, minimization, or silence. People built their identities around these musicians and could not process the idea that someone they worshipped could be harmful.
The pattern is obvious. DIY shows, house venues, sleeping on floors, constant drugs and alcohol. Hero worship of emotionally intense people. Lyrics creating parasocial trust. And when accusations surfaced, people would defend the abuser by pointing to their art, their lyrics, or their “importance” to the scene. Emotional honesty became a shield.
This is not just screamo. Emoviolence amplified self-destruction. Sasscore flirted with shock and nihilism. Post-screamo and post-hardcore took emotional language and scaled it up, feeding into metalcore and melodic hardcore with the same patterns. Same cycle, just louder, bigger, more visible.
And still, the genres deserve respect. Screamo let people be vulnerable in a culture that punished it. Emoviolence refused to sanitize that vulnerability.
The problem was never the music. The problem was refusing to look critically at the people making it once they were elevated. Beauty, catharsis, community, but also ego, abuse, and silence.
You can love this music and acknowledge that some of the people behind it were total disasters. Doing both is the only way to talk about these genres honestly.
These genres gets a ton of hate because from the inside and out it just seems like whiny slop, but if you are a fan of hardcore and poetry, these genres captured something that can't be emulated.
Feel free to leave any edit recommendations or to correct any of my mistakes.
