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oudere cd's van Jimmy eat world zijn meer emo, de laatste is iets meer rock. luister naar de cd's Clarity en Static Prevails en je hoort allemaal mooie emo nummers.
face tomorrow noemt zichzelf indiecore. ik vind ze vaak wel emocore achtig, heeft weinig meer met indie te maken, vooral omdat ze zo hard zijn. Indie stond eerst gewoon voor dat je op een independant label zat maar staat het meer voor de sound, vaak rustig, soms acoustic, met emo invloeden. maar ja...verder heb ik echt al te vaak op die emo topics gereageerd, kword er wel een beetje moe van...je moet gewoon eens bij een paar bands op de site gaan kijken, emobands ofzo, en dan kijken welke bands er bij de links staan ofzo... of je kijkt op dit zogenaamde emo-handboek. wel lange verhalen, maar de basis van de geschiedenis en inhoud wordt er wel uitgelegd. verder worden er vaak domme dingen gezegd, zoals is nofx dan ook emo want ze zingen ook over emotionele dingen. ![]() |
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Thursday is ook zoiets |
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he knul, emotie, verplaatsing, beleving, intens.... Waar luister jij naar? Full time Erik-de zwart aanhangen en hopen een glimp op te vangen van Faye van Steps?
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Never judge a book by its movie.
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Over Emo:
Tja, de harde kant van de emocore is ook cool, melt banana, rosoarch, geflipte keiharde core. Verder heb ik al te vaak gereageerd, maar goed, ik vind bepaalde emo-bands erg goed, get up kids, thurday, june spirit, face tomorrow, this day forward, at the drive in, one man and his droid, FAR NATUURLIJK, Shun (zover emo) enz.
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Never judge a book by its movie.
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dit zegt allmusic.com erover
Originally an arty outgrowth of hardcore punk, emo became an important force in underground rock by the late '90s, appealing to modern-day punks and indie-rockers alike. Some emo leans toward the progressive side, full of complex guitar work, unorthodox song structures, arty noise, and extreme dynamic shifts; some emo is much closer to punk-pop, though it's a bit more intricate. Emo lyrics are deeply personal, usually either free-associative poetry or intimate confessionals. Though it's far less macho, emo is a direct descendant of hardcore's preoccupations with authenticity and anti-commercialism; it grew out of the conviction that commercially oriented music was too artificial and calculated to express any genuine emotion. Because the emo ideal is authentic, deeply felt emotion that defies rational analysis, the style can be prone to excess in its quest for ever-bigger peaks and releases. But at its best, emo has a sweeping power that manages to be visceral, challenging, and intimate all at once. The groundwork for emo was laid by Hüsker Dü's 1984 landmark Zen Arcade, which made it possible for hardcore bands to tackle more personal subject matter and write more tuneful and technically demanding songs. Emo emerged in Washington, D.C. not long after, amidst the remnants of the hardcore scene that had produced Minor Threat and Bad Brains. The term "emo" (sometimes lengthened to "emocore") was initially used to describe hardcore bands who favored expressive vocals over the typical barking rants; the first true emo band was Rites of Spring, followed by ex-Minor Threat singer Ian MacKaye's short-lived Embrace. MacKaye's Dischord label became the center for D.C.'s growing emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses, and MacKaye's collaboration with members of Rites of Spring, Fugazi. Fugazi became the definitive early emo band, crossing over to alternative rock listeners and getting press for their uncompromisingly anti-commercial attitudes. Aside from the Dischord stable, most early emo was deeply underground, recorded by extremely short-lived bands and released on vinyl in small quantities by small labels; some vocalists literally wept onstage during song climaxes, earning derision from hardcore purists. Fugazi notwithstanding, emo didn't really break out of obscurity until the mid-'90s emergence of Sunny Day Real Estate, whose early work defined the style in the minds of many. Tempering Fugazi's gnarled guitar webs with Seattle grunge, straight-up prog-rock, and crooned vocals, SDRE launched a thousand imitators who connected with their dramatic melodies and introspective mysticism. Some of this new generation connected equally with the wry, geeky introspection and catchy punk-pop of Weezer's Pinkerton album. While several artists continued to build on Fugazi's innovations (including Quicksand and Drive Like Jehu), most '90s emo bands borrowed from some combination of Fugazi, Sunny Day Real Estate, and Weezer. Groups like the Promise Ring, the Get Up Kids, Braid, Texas Is the Reason, Jimmy Eat World, Joan of Arc, and Jets to Brazil earned substantial followings in the indie-rock world, making emo one of the more popular underground rock styles at the turn of the millennium. Maar waarom zou je in hokjes van emo-core, indie-core denken etc.. muziek is muziek.
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vehicleband.net
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www.waterdown.de De nieuwe Thursday? De laatste is Full Collapse. Die is super |
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straight edge heeft meer te maken met levensstijl....emo met muziek toch?
Ja, ik weet wel dat straight-edge in de hardcore-scene zit, maar heeft meer met geen drank en drugs te maken (oa) dan met bepaalde muziek....of hebbik het nu fout
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" watch your eyeballs tuup"
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maarja, emo... ik vind d'r niet zo veel aan, tis wel leuk om af en toe naar te luisteren |
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Wow Friso noemt melt banana en Rorsach
![]() Ach emo/indie word tegenwoordig zoveel genoemt. Ik ben down met Face Tomorrow, ATDI en ook de voorgenoemde bands(hoewel veel mensen het geen emo zullen vinden). Ouwe dc emo is ook geweldig Rites of Spring en Embrace enzo. Ik focus me niet echt op t "genre" voorzover je daar van kunt spreken, maar er zijn zat dingen die ik geweldig vind. En er is natuurlijk ook zat troep(in emo achtige shit wat meer vind ik, maarja da's smaak).
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The death toll is rising
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Forum | Topic | Reacties | Laatste bericht | |
Muziek |
Hundred Reasons + Garrison in 013 IEMOW-KOR | 7 | 15-07-2003 10:38 | |
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