[Western Music] A classic of 90s emocore. One album I want you to listen to first.
Even without knowing its etymology, the expression “emoi” has now become thoroughly widespread among the general public, hasn’t it?
If you’re a Western-music fan in your 30s as of 2022, many of you likely first encountered the word “emo” during the emo boom of the 2000s.
Emo’s origins go back to the 1980s, but it originally emerged from the punk-to-hardcore scene and was called “emotional core” or “emocore.”
In this article, we’ve gathered classic albums released in the 1990s, when the emocore genre spread widely!
Chosen by the author, who experienced ’90s emocore in real time, here’s a beginner-friendly, must-hear first pick—be sure to check it out!
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- Japanese metalcore bands. A roundup of J-metalcore bands that have undergone unique evolution.
- Great Western rock classics and hit songs of the ’90s
[Western Music] A classic of ’90s emocore. One must-listen album to start with (1–10)
PickpocketAt The Drive-In
Born in El Paso, Texas, along the U.S.–Mexico border, At the Drive-In may now be known less as a ’90s emo-to-post-hardcore legend and more as the legendary band that gave rise to The Mars Volta, led by frontman Cedric Bixler and maverick guitarist Omar Rodríguez.
When they reunited in 2011, I remember that for people who didn’t know them back in the day, that angle was a major talking point.
The album that first brought them widespread attention was the 2000 release Relationship of Command—their first and only major-label record before they broke up—a third album and towering masterpiece produced by Ross Robinson, known for his work with Korn and Limp Bizkit.
Its ferocious intensity was even cited as a forerunner of screamo.
In this piece, however, I’ll highlight In/Casino/Out from 1998, looking at it through the lens of ’90s emocore and post-hardcore.
It even had a domestic Japanese release at the time, and among a subset of enthusiasts it drew considerable buzz.
The dueling, off-kilter, twisted guitar phrases; the breathless, hurried rhythms; and a sound that blends strange pop sensibilities with melodicism—all of it epitomizes the feel of ’90s emocore.
Omar’s guitar originality had already blossomed by this point, and Cedric’s vocals still retained a youthful, earnest edge—which is a big part of the appeal.
If you’ve only ever heard Relationship of Command, definitely give this one a listen!
Lucky Denver MintJimmy Eat World
Hailing from Arizona, Jimmy Eat World were pioneers of ’90s emo and post-hardcore, yet from the 2000s onward they broke beyond the “emo” label to achieve major success as one of America’s representative rock bands.
Thanks in part to their signature anthem “Sweetness” being used in commercials, they’re quite well known here in Japan too.
Originally, their sound leaned toward straightforward, heart-on-sleeve punk rock, but with each release they evolved musically.
Clarity, their first album with frontman Jim Adkins taking on the role of primary lead vocalist, remains a masterpiece packed with many songs that still feature prominently in their live shows.
Released in 1999, it was the band’s third album overall, and a domestic Japanese edition was issued at the time.
Like their second album, this record was produced by Mark Trombino—the legendary drummer of post-hardcore trailblazers Drive Like Jehu, who later produced many emo and indie rock bands.
The result is a phenomenal album that captures the band’s experimental spirit, innate pop sensibilities, and delicate, sensitive guitar work, poised right on the verge of the dynamic rock sound they would fully embrace on their breakout follow-up, Bleed American.
From the unhurried, quintessentially ’90s emo opener “Table for Glasses” to the final track, the sprawling 16-minute epic “Goodbye Sky Harbor,” pay attention to the cohesive “mood” that runs consistently throughout the album.
HolidayThe Get Up kids
Alongside Jimmy Eat World, they might be the most popular ’90s emo band here in Japan.
Hailing from Kansas City, Missouri, The Get Up Kids formed in 1995 when the members were still in high school, stayed active until 2005 before breaking up once, then reunited in 2008 and have continued to work energetically with Japan tours and new releases.
There are likely plenty of Japanese bands who were influenced by them even more than by Nirvana or Weezer.
Their greatest masterpiece—one that won them many fans in Japan as well—is their second album, the classic Something to Write Home About, released in 1999.
Many music fans have surely seen that famous album cover with the charming robot illustration at least once.
From the opener Holiday to the final track I’ll Catch You, there isn’t a single throwaway; the melodies and emotional guitar sound feel like the very embodiment of “emo,” as if youth itself had taken sonic form.
Of course, there’s Matt Pryor’s rich, wonderful vocals and a band ensemble strong enough to handle ballads like the classic Valentine—but pay attention as well to keyboardist James Dewees, whose playing adds even greater variety to The Get Up Kids’ sound.
Why Did Ever We MeetThe Promise Ring
Even young people who use the term “emo” without knowing its origins would find themselves blurting out “so emo!” at this guitar sound that pours out all the sparkle, radiance, and bittersweet ache of youth—it’s just that good! The Promise Ring are a band from Milwaukee, USA, known as one of the emo legends of the ’90s.
Centered around Davey von Bohlen—who served as guitarist and vocalist in the legendary band Cap’n Jazz, a group whose members later became involved in many celebrated emo, post-hardcore, and US indie acts—they formed in 1995 and released four albums before disbanding in 2002.
Their Nothing Feels Good, released in 1997 on the prestigious Jade Tree label, is their second album.
Produced by J.
Robbins, a master who worked on many classic ’90s emocore records, it’s a highly regarded masterpiece praised for its fresh, youthfully vibrant guitar sound and straight-to-the-heart, tear-jerking melodies.
The album title itself radiates that sense of helplessness—the very essence of ’90s emocore—that brings a knowing smile.
While the fast-paced tracks in the first half tend to get most of the attention, it’s really the mid-tempo songs in the latter half where you can feel the true strength of their songwriting.
RiseRainer Maria
1990s emocore is often thought of as a naïve, male-centered genre, but there were a fair number of bands with mixed male-female vocals—like Jejune, who left behind the masterpiece album This Afternoon’s Malady—and bands with women at the front.
Among them, the best-known, and a top-tier three-piece with Japan tour experience, is Rainer Maria.
With the intellectual touch of taking their name from the renowned poet Rainer Maria Rilke, a band ensemble that highlights the intricate interplay unique to a trio, and gorgeous melodic lines as their weapon, they’re a group beloved even among emocore fans here in Japan.
All of their releases on the venerable Polyvinyl Records—a label famed for key US indie and emocore titles—have been highly acclaimed, but let’s focus on their classic second album from 1999, Look Now Look Again.
The raw sound of their debut suddenly became refined; Caitlin De Marrais’s elegant vocals push beautiful melodies to the forefront; and every track—woven from delicate yet aggressive guitar work, singing bass lines, and supple drumming—is absolutely superb.
As a pioneering example of female-fronted emocore, I confidently recommend starting with this one!