Liste de groupes emo

Un article de Wikipédia, l'encyclopédie libre.
Aller à : navigation, rechercher

Ceci est une liste de groupes notables qui, à un moment de leur carrière, ont emprunté le style emo.

L'emo est un style musical de musique rock caractérisé par des paroles expressives. Le genre émerge durant les années 1980 du mouvement punk hardcore de Washington, ville dans laquelle il est connu sous les termes d'« emotional hardcore » ou d'« emocore », et est développé par des groupes tels que Rites of Spring et Embrace. Lorsque le style est repris par des groupes américains de rock punk, il commence à changer et être mélangé à des éléments sonores extraits du pop punk et du rock indépendant, puis à être joué au début des années 1990 par des groupes comme Jawbreaker et Sunny Day Real Estate. Au milieu des années 1990, un bon nombre de groupes emo émergent du Midwest et du Centre des États-Unis, et de nombreux labels discographiques commencent à se spécialiser dans le style.

L'emo se popularise auprès du grand public au début des années 2000 grâce à des groupes comme Jimmy Eat World et Dashboard Confessional, et à l'apparition du sous-genre musical screamo. Après avoir atteint le succès, certains groupes emo signent avec des labels majors et le style devient un produit de marketing[1]. À la fin des années 2000, la popularité de l'emo s'effondre. Certains groupes changent d'orientation musicale et d'autres se séparent.

0–9[modifier | modifier le code]

A[modifier | modifier le code]

B[modifier | modifier le code]

C[modifier | modifier le code]

D[modifier | modifier le code]

E[modifier | modifier le code]

F[modifier | modifier le code]

G[modifier | modifier le code]

H[modifier | modifier le code]

I[modifier | modifier le code]

J[modifier | modifier le code]

K[modifier | modifier le code]

L[modifier | modifier le code]

M[modifier | modifier le code]

N[modifier | modifier le code]

O[modifier | modifier le code]

P[modifier | modifier le code]

R[modifier | modifier le code]

S[modifier | modifier le code]

T[modifier | modifier le code]

U[modifier | modifier le code]

V[modifier | modifier le code]

W[modifier | modifier le code]

Y[modifier | modifier le code]

Notes et références[modifier | modifier le code]

  1. (en) Greenwald 2003, p. 140–141.
  2. (en) Alex Fletcher, « Singles Review: 30 Seconds to Mars: 'The Kill' », Digital Spy,‎ (consulté le 2 avril 2011).
  3. (en) Jon O'Brien, « 30 Seconds to Mars - 30 Seconds to Mars », Allmusic (consulté le 15 octobre 2012).
  4. (en) Corey Apar, « The Academy Is...: Biography », AllMusic (consulté le 2 avril 2011).
  5. (en) Andrew Leahey, « Review: Fast Times at Barrington High », Allmusic (consulté le 4 août 2011), Fast Times at Barrington High...scores more than enough points to make it a career highlight, not to mention one of the best emo-pop albums of 2008.
  6. (en) McCready, Tim, « Indie Reviews », HM Magazine,‎ (consulté le 4 août 2011).
  7. (en) Wilson, MacKenzie, « Ace Troubleshooter », AllMusic (consulté le 31 août 2011).
  8. (en) Eduardo Rivadavia, « A Day to Remember: Biography », Allmusic (consulté le 20 avril 2009).
  9. (en) James Christopher Monger, « Review: Homesick », AllMusic (consulté le 2 avril 2011).
  10. (en) « AFI Brings Emo Punk to Salt Lake City » (ArchiveWikiwixArchive.isGoogleQue faire ?), The Globe, 2006-07-19, consulté le 27 février 2011.
  11. (en) Gregory Heany, « The Emptiness - Alesana », Allmusic (consulté le 27 février 2011).
  12. (en) Sam Shepherd, « Alexisonfire - Crisis (review) », MusicOMH (consulté le 27 février 2011).
  13. (en) Andrew Leahey, « The All-American Rejects: Biography », Allmusic (consulté le 22 avril 2009).
  14. (en) Apar, Corey, « All Time Low », AllMusic (consulté le 27 février 2011), ...[All Time Low morphed] into a melodic emo-pop act.
  15. (en) Sendra, Tim, « Straight To DVD », AllMusic (consulté le 20 avril 2009), All Time Low’s brand of good-time, loose, and light-hearted emo pop....
  16. (en) Stewart Mason, « The Almost: Biography », AllMusic (consulté le 20 avril 2009).
  17. a et b (en) Heather Phares, « American Football: Biography », Allmusic (consulté le 27 février 2011) : « Kinsella's emo/post-rock pedigree includes stints with bands like Cap'n Jazz and Joan of Arc; American Football shares a similar esthetic, blending jazzy tempos, pop hooks, and earnest vocals into their sound. »
  18. (en) Prato, Greg, « Cities - Anberlin | AllMusic », AllMusic (consulté le 27 février 2011) : « Thankfully, they don't specialize in that annoying frat-boy-esque shtick that some pop-punk bands do; instead, Anberlin can be quite an ambitious bunch that go the emo route. »
  19. (en) Heaney, Gregory, « Dark Is the Way Light Is a Place - Anberlin | AllMusic », AllMusic (consulté le 27 février 2011) : « This new direction goes a long way towards separating Anberlin from the rest of the emo-rock pack... »
  20. (en) Rose, Jen, « Highlighting 2011 -- Looking Ahead To New Music In 2011 », Jesus Freak Hideout (consulté le 19 avril 2011)
  21. (en) Fryberger, Scott, « And Then There Were None, "Who Speaks For Planet Earth?" Review », Jesus Freak Hideout (consulté le 19 avril 2011) : « But aside from the applaudable transition from metal to dancey emo, ATTWN doesn't seem to create too great of an album in this field. »
  22. (en) Prato, Greg, « Who Speaks for Planet Earth? - And Then There Were None | AllMusic », AllMusic (consulté le 27 février 2011)
  23. (en) Vladimir Bogdanov, Chris Woodstra et Stephen Thomas Erlewine, All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul, Milwaukee, 3rd,‎ (ISBN 0-87930-653-X, lire en ligne), p. 27
  24. (en) Ron DePasquale, « The Anniversary: Biography », Allmusic (consulté le 20 avril 2009), The Anniversary brought their own blend of male-female vocals, jangly guitars, and synth keyboards to the emo scene after signing with Heroes and Villains in 1999.
  25. (en) Heather Phares, « Review: Your Majesty », Allmusic (consulté le 27 février 2011).
  26. (en) Tim Sendra, « Review: Devil on Our Side: B-Sides and Rarities », AllMusic (consulté le 27 février 2011) : « Particularly impressive is 2000's 'I Believe That the End of the Reign of Terror Is Soon Near,' an epic-length, deeply felt song that anticipates the emo-prog (progmo?) approach the band later perfected. »
  27. (en) JT Griffith, « Review: The Anniversary / Superdrag », Allmusic (consulté le 27 février 2011), The Anniversary tracks will interest fans of the band, demonstrating how an evolution from emo to a more retro 1960s rock sound may be under way.
  28. (en) John D. Luerssen, « The Possibility and the Promise: Review », Allmusic (consulté le 27 février 2011), [The] emo-punk stalwarts in Amber Pacific return with a heightened presence of rock muscle...
  29. (en) Jason Ankeny, « The Appleseed Cast: Biography », Allmusic (consulté le 27 février 2011).
  30. (en) Morris, Kurt, « Dream to Make Believe - Armor for Sleep | AllMusic », AllMusic (consulté le 27 février 2011) : « They do a capable job of combining Hum-like dark space rock with The Get Up Kids-flavored emo-pop. »
  31. (en) Luerssen, John D., « What to Do When You Are Dead - Armor for Sleep | AllMusic », AllMusic, ...Armor for Sleep's second album ups the punk/emo ante with fabulously crafted songs and a desire to challenge the norms of a movement that has grown increasingly stale.
  32. a, b, c et d (en) Lex, Sean, « Once Nothing, "First Came The Law" Review », Jesus Freak Hideout,‎ (consulté le 27 février 2011), Once Nothing is in between serious-sounding acts like that and more melodic/emo/nu-metal groups like As Cities Burn, Haste the Day or Chasing Victory.
  33. (en) Peter Buckley et Jonathan Buckley, The Rough Guide to Rock, Londres, 3rd,‎ , 44–45 p. (ISBN 1-84353-105-4, lire en ligne).
  34. a, b, c, d, e, f et g (en) Steven Blush, American Hardcore: A Tribal History, New York, Feral House,‎ (ISBN 0-922915-71-7), p. 157
  35. a, b et c (en) Greenwald, p. 14. "Ian Mackaye was such a huge Rites of Spring fan that he not only recorded what was to be the band's only album in 1985 and served as a roadie for them while on tour, but his own new band, Embrace, explored similar themes of self-searching and emotional release. Other peers followed suit, including Grey Matter, the archly political and arty Beefeater, and Fire Party, whom Jenny [Toomey] termed 'the world's first female-fronted emo band."
  36. (en) Hoskins, Kevin, « Untouchable » [album review], Jesus Freak Hideout,‎ (consulté le 5 août 2011), ...the sound of mixing pop/emo/hardcore is still solid.
  37. (en) Garris, Blake, « Beloved, "The Running" Review », Jesus Freak Hideout (consulté le 27 février 2011), "Molding hardcore, emo, and rock into one, the band is now on track to conquer the emocore scene with their debut EP, The Running, on Vindicated From Deep Water Records."
  38. (en) Anderson, Rick, « Failure On - Beloved | AllMusic », AllMusic (consulté le 21 avril 2011) : « "Beloved is obviously a band from the latter camp; it prides itself on fusing emo and melodic indie rock elements with hardcore's emotional bluster and turbulent guitar roar, and it does so successfully on its debut album." »
  39. (en) Patrick Schabe, « Benton Falls: Fighting Starlight (review) », PopMatters (consulté le 27 février 2011) : « ...the songs here are compact slices of emotion that fit right into the indie/emo brand of power rock underpinned by mopey sentimentalism [...] Perhaps with time Benton Falls will write a spring/summer album to compliment it, although being an indie/emo Deep Elm band, it's not likely. »
  40. (en) Greenwald, p. 46. "What Braid did better than any other band of its era was truly live the egalitarian spirit of emo. If emo is, on one level, the ability to move from sympathy for song subjects to outright empathy, then Braid blurred the line even further, engendering empathy for itself."
  41. (en) « Braid Singer Speaks on Roots of Emo » (ArchiveWikiwixArchive.isGoogleQue faire ?), The Eagle, 14 juin 2004, consulté le 27 février 2011
  42. (en) Nanna, Bob (in Zemler). "When we first started it was [that] we kind of said, 'Yeah, we're an emo band' because the bands we liked we thought were emo bands - like Jawbox or Fugazi. Then it kind of took on this negative context and it got used against us. Nowadays it's just a catch-all term and it doesn't really mean anything to me anymore."
  43. (en) « Roadtripping » (ArchiveWikiwixArchive.isGoogleQue faire ?), 29 août 2003, consulté le 27 février 2011
  44. (en) Corey Apar, « Boys Like Girls: Biography », Allmusic (consulté le 27 février 2011) : « Unafraid to wear their heart on their collective sleeve, the Boston-based emo-pop outfit Boys Like Girls features... »
  45. (en) Johnny Loftus, « Boys Night Out: Biography », Allmusic (consulté le 27 février 2011) : « Ontario-based pop-punk/emo/lotsa yelling combo Boys Night Out included... »
  46. (en) Breimeier, Russ, « This Is an Outrage, Christian Music Reviews », The Fish (consulté le 21 avril 2011) : « "The band [Capital Lights] has ditched all traces of screamo in favor of an emo, power pop, and punk rock blend...But while relationship songs like "Out of Control" and "Remember the Day" avoid specific clichés, they still resort to thematic clichés—precisely the kind of stuff you'd expect from other emo and punk bands." »
  47. (en) Steve Huey, « Cap'n Jazz: Biography » (consulté le 27 février 2011) : « Short-lived but highly influential, Cap'n Jazz helped transform emo from a deeply underground punk subgenre into a more widely accepted subset of indie rock...along with Pinkerton-era Weezer, they helped shift emo's always-elusive musical focus from post-hardcore prog-punk to an arty but more accessible punk-pop. »
  48. (en) Taylor, Josh, « Chasing Victory, "A Not So Tragic Cover-Up" Review », Jesus Freak Hideout (consulté le 27 février 2011) : « "[Chasing Victory's] debut EP, A Not So Tragic Cover-Up contains five songs that display their emo-flavored punk/hardcore sound...Chasing Victory is reminiscent of subseven and others in the emo/hardcore business...Nothing especially new, but most definitely worth a listen if the recent barrage of emo/hardcore bands is your thing." »
  49. (en) Deming, Mark, « Chasing Victory | AllMusic », AllMusic (consulté le 27 février 2011) : « "Merging emo, metal, and hard rock, Chasing Victory are a band from Camilla, GA, who have embraced a powerful, no-quarter sound to express a positive message." »
  50. (en) Jason Ankeny, « Christie Front Drive Biography », Allmusic (consulté le 17 avril 2010) : « Denver-based emo band Christie Front Drive was formed in the autumn of 1993 [...] the group quickly earned legendary status in emo circles, and remains a major influence on up-and-coming artists. »
  51. (en) Gregg Pratt, « Mid-‘90s Emo Nostalgia Continues with Christie Front Drive Reissues », Exclaim!,‎ (consulté le 27 février 2011) : « We just wanted to give a bit of credit to one of the best mid-'90s emo bands around. »
  52. (en) Stewart Mason, « Review: Demo and Live Recordings », Allmusic (consulté le 27 février 2011) : « A limited-edition adjunct to New York emo trio City of Caterpillar's debut album, Demo and Live Recordings delivers exactly what the title promises.. »
  53. (en) Breimeier, Russ, « The Silver Cord, Christian Music Reviews », The Fish (consulté le 27 février 2011) : « "Sounds like...anthemic modern rock laced with emo and hardcore, closest in sound to Mae, Fall Out Boy, Anberlin, Taking Back Sunday, The Juliana Theory, and Sanctus Real...The overall sound is bigger and more expansive than the previous album, never settling for the formulaic rut that most emo-laced modern rock settles for." »
  54. (en) Spinelli, Tom, « The Classic Crime - The Silver Cord », (consulté le 27 février 2011) : « "Alternative Emo rockers The Classic Crime have recently emerged from the studio with producer Michael "Elvis" Baskette (Incubus, Story of the Year, Puddle of Mudd) with the release of their sophomore album out next week on Tooth and Nail Records, The Silver Cord and let me be the first to tell you its very promising...The Classic Crime shows us their growth and expansion of their sound out of the ordinary emo rock side." »
  55. (en) Tracey John, « Coheed and Cambria, The 'Emo Rush,' Bring Prog-Rock to the Mosh Pit »,, MTV News,‎ (consulté le 27 février 2011) : « Most bands that fit the 'emo' or 'hardcore' descriptions follow the same scream-sing/ scream-sing formula, but Coheed and Cambria are bringing something different to the scene. That something is an unusual blend of prog-rock, emo and sci-fi fantasy. Consequently, the band has often been described as an 'emo Rush' due to its elaborate concept albums... »
  56. (en) Jonathan Cunningham, « Last Night: We the Kings, the Cab, Metro Station, and Cobra Starship at Culture Room », Miami New Times,‎ (consulté le 27 février 2011) : « Finally, it was time for the ultimate '80s emo dance party of Cobra Starship... »
  57. (en) « Breakers: Cute Is What We Aim For -- Emo Just Got Even More Fun », AOL Music, AOL (consulté le 27 février 2011).
  58. (en) Dashboard Confessional Grows Up, and Emo Gets Its Own Generation Gap
  59. (en) Taylor, Jason D., « Four Wall Blackmail - Dead Poetic | AllMusic », AllMusic (consulté le 27 février 2011) : « Following in the footsteps of labelmates Embodyment, Dead Poetic's debut album is a spectacular emocore release that capitalizes on the emotional boom in a tremendous way...Some of Dead Poetic's largest assets are the vicious screams that supplement the desperation and sorrow that Rike emits from every pore in his body, giving the album enough edge to impress fans of hardcore as well as those more in touch with the tear-jerking emo of Dashboard Confessional. »
  60. (en) Spencer, Josh, Lloyd, Shari and Stewart, James, « Dear Ephesus review by The Phantom Tollbooth », The Phantom Tollbooth (consulté le 27 février 2011) : « "After listening to Dear Ephesus's full length debut many times, I've realized that it is the first emo-core album I have really liked (Spencer)...This album, like most emo, is characterized by more varied or complicated instrumentation than normal hardcore or punk and having emotional lyrics, the themes here are primarily about the relationship between God and man...Fans of other emo-bands, particularly Sunny Day Real Estate, Roadside Monument, Blenderhead, and Damian Jurado should enjoy this release (Lloyd)...We don't have many bands like this in the UK. Alternative rock here is still suffering under the weight of brit-pop and brit-rock sounds, and for anything more "alternative" you have to turn to the upsurge of metal bands in the underground. With this album we get passionate vocals, interesting guitar lines, and lots of distortion -- I'm told they call it emo. (Stewart) »
  61. (en) « HM - Internet Exclusives » (ArchiveWikiwixArchive.isGoogleQue faire ?), consulté le 27 février 2011
  62. (en) Jim Rogatis, « Album review: Death Cab for Cutie, "Codes and Keys" (Atlantic) », Wbez 91.5 (consulté le 27 février 2011) : « As one-sentence rock-critic summations of chart-topping, arena-filling emo giant Death Cab for Cutie go [...] »
  63. (en) Benjy Eisen, « Ben Gibbard Can't Define 'Emo,' Either », (consulté le 27 février 2011) : « Neither embracing nor shrinking away from the elusive term [emo] that's commonly used to define his band, Gibbard described himself as an emotionally-heavy songwriter, having grown up on "music that was very heartfelt and personal." »
  64. (en) Thomas DiChiara, « Death Cab for Cutie's 'New Moon' Music Video Premieres », (consulté le 27 février 2011) : « It's a match made in emo heaven, as emo stalwarts Death Cab for Cutie have debuted their extremely emo new music video for the very emotional teenage vampire flick 'The Twilight Saga: New Moon.' »
  65. (en) Steven Jacobs, « Emo Bands Dismember Middle East Audiences » (consulté le 10 octobre 2011) : « Both Death Cab for Cutie and the Dismemberment Plan are indie rock/emo bands. »
  66. Bogdanov, Woodstra, and Erlewineare, p. 320. "Washington, D.C.-based emo quartet the Dismemberment Plan...", "the Plan [...] are a fairly thrash-crazed example of what the term 'emo' used to mean. There aren't any apologetic weepouts, just calmer moments amidst pretty explosive performances."
  67. (en) Johnson, Jared, « Tension - Dizmas | AllMusic », AllMusic (consulté le 21 avril 2011) : « "[Dizmas] stuck with a production mix that favored the guitar work of Jon T. Howard and Josh Zegan rather than the typical hardcore bass/drums emphasis. The result was a triumphantly intelligent hard rock record that wove together the emo-rock of Taking Back Sunday and Story of the Year with values-based lyricism." »
  68. (en) Langley, Jonathan, « Dizmas - On A Search In America | CROSS RHYTHMS REVIEW », Cross Rhythms (consulté le 27 février 2011) : « "Dizmas are an overtly Christian rock outfit from California who blend, with interesting results, the emo sound of bands like Anberlin, the screaming urgency of an Underoath, with the deep-fried Southern cheese of an Aerosmith." »
  69. (en) Steve Huey, « Drive Like Jehu: Biography », Allmusic (consulté le 1er octobre 2008), Drive Like Jehu had a tremendous impact on the evolution of hardcore punk into emo [...] The term 'emo' hadn't yet come into wider use, and while Drive Like Jehu didn't much resemble the sound that word would later come to signify, they exerted a powerful pull on its development. Moreover, they did fit the earlier definition of emo: challenging, intricate guitar rock rooted in hardcore and performed with blistering intensity, especially the frenzied vocals.
  70. (en) Brendan Reid, « Album Review: Drive Like Jehu - Yank Crime », Pitchfork Media,‎ (consulté le 18 janvier 2010), p. It's often easy to forget that DLJ were considered emo in their day; Froberg's howls of 'Ready, ready to let you in!' on 'Super Unison' seem like a sick parody of stylish vulnerability. Then the song mutates into a gorgeous, snare-drum rolling open sea, and everything you've ever liked (and still like) about this genre in its purest form comes flooding back.
  71. (en) Prato, Greg, « A Burn or a Shiver - Edison Glass », AllMusic (consulté le 27 avril 2011) : « "An emo-sounding band with complex instrumentation -- sounds familiar, eh? If you're a rock fan in the early 21st century, it certainly should, as it seems like just about every up-and-coming melodic rock band owed a thing or two to the aforementioned style/approach. And the Long Island, NY, outfit Edison Glass certainly fits this description on their 2006 debut, A Burn or a Shiver...While there is certainly a familiarity to the proceedings, such standout tracks as "Today Has Wings" and the album-opening "My Fair One" prove that Edison Glass is a cut above your average emo band." »
  72. (en) Cummings, Tony, « Edison Glass - A Burn Or A Shiver | CROSS RHYTHMS REVIEW », Cross Rhythms (consulté le 27 avril 2011) : « "If you thought all American rock emanating from the CCM companies was formulaic riffs-by-numbers, this band from Long Island are going to amaze and excite you. Somehow they've blended '70s prog rock, '80s new wave and alternative pop and '90s emo yet managed to come up with something that is fresh and invigorating." »
  73. a et b (en) Breimeier, Russ, « A Burn or a Shiver, Christian Music Reviews », Christianity Today (consulté le 27 avril 2011) : « "Topped with Joshua Silverberg's strained tenor, it's a shame that Edison Glass hasn't made its mark sooner with other emo-influenced indie rock bands like House of Heroes, Sleeping at Last, and Lovedrug already on the scene." »
  74. (en) Herzog, Kenny, « Eisley: The Valley | Music », The A.V. Club (consulté le 23 mai 2011).
  75. Sculley, Allan, « Disc Break: Eisley », Daily Herald (Utah) (consulté le 27 avril 2011).
  76. Ron DePasquale, « Elliott: Biography », AllMusic (consulté le 27 avril 2011) : « ...Elliott, a Louisville emo band known for its intense stage presence, replete with piano and percussion samples. »
  77. Lauren Gitlin, « Emanuel: Soundtrack to a Headrush (review) », Rolling Stone,‎ (consulté le 27 avril 2011) : « Hard-rocking, loud-screaming Kentucky emo-punks rush blood to your head... »
  78. (en) Ron DePasquale, « Embrace: Biography », Allmusic (consulté le 21 avril 2009) : « Along with Rights of Spring...Embrace is considered to have pioneered the emocore sound. [...] Legend has it the new sound prompted someone in the audience to yell that Embrace was 'emocore.' »
  79. MacNeil, Jason, « The Question - Emery | AllMusic », AllMusic (consulté le 21 avril 2011) : « "Emery try their best to fall just outside the vast domain that is "emo," but for all their efforts, the shimmering guitars, melodic verses, and at times larger-than-life choruses make their attempts fail." »
  80. (en) Lee Glynn, « Escape the Fate: There's No Sympathy for the Dead (review) », Gigwise,‎ (consulté le 27 avril 2011) : « Las Vegas 5 piece emo hardcore outfit known as Escape the Fate, release their debut EP...Shunning the typical fashionably suicidal aesthetic that seems to come part and parcel with most emo bands, Escape the Fate are awesome musicians...These Las Vegas boys will surely break free from the stigma attached to the Emo label as their sound is fresh, violent and full of promise. »
  81. (en) Banister, Christa, « On the Brink of It All, Christian Music Reviews », Christianity Today (consulté le 27 avril 2011).
  82. Leahey, Andrew, « Every Avenue | AllMusic », AllMusic (consulté le 27 avril 2011) : « Every Avenue's energetic combo of emo and pop took root in 2003... »
  83. (en) Sendra, Tim, « Picture Perfect - Every Avenue | AllMusic », AllMusic (consulté le 27 avril 2011) : « Every Avenue was every inch the embodiment of emo pop in late 2009. »
  84. (en) Gregory Heaney, « Eyes Set to Kill - Music Biography, Credits and Discography », AllMusic (consulté le 27 avril 2011).
  85. a et b (en) Kat, Cor Jan, « The Wedding » [album review], (consulté le 27 avril 2011) : « ...Anberlin, Relient K, Falling Up and other emo/modern rock bands... »
  86. (en) Lester, Paul, « New band of the day - Family Force 5 (No 722) | Music », The Guardian, Londres,‎ (consulté le 27 avril 2011) : « "It's as though the Jonas Brothers woke up one morning and decided to forsake all evangelical Christian activity to become an emo band with industrial elements that impersonates a rap-metal band. The missing link between Busted and Limp Bizkit? FF5 have found it." ».
  87. (en) Johnny Loftus et Corey Apar, « Fall Out Boy: Biography », AllMusic (consulté le 21 avril 2009) : « Fall Out Boy rose to the forefront of emo-pop in the mid-2000s...the quartet used the unbridled intensity of hardcore as a foundation for melody-drenched pop-punk, with a heavy debt to the emo scene. »
  88. (en) « Artist Of The Day: Farewell, My Love » : « Farewell, My Love manages to innovate their live shows with various looks, and are able to master the conceptual artistry and theatricality one would only expect from recently deceased alternative-rock band, My Chemical Romance and to a lesser extent emo-punk band, The Used. »
  89. (en) Shore, Tony, « Christian Music Reviews, News, Interviews, Listen to Free Online Radio », (consulté le 27 avril 2011) : « 'The Healing of Harms' is more than just a great album title; it’s a hard-driving blend of emo-core and hard rock. »
  90. (en) Chalmers, Jeremy, « Fireflight - The Healing Of Harms | CROSS RHYTHMS REVIEW », Cross Rhythms (consulté le 27 avril 2011) : « Fireflight have produced a very heavy progressive rock sound mixed with an occasional sense of emo, sounding fairly similar to Evanescence. »
  91. (en) Monger, James Christopher, « Memento Mori - Flyleaf | AllMusic », AllMusic : « "Texas-based Christian rock/emo-metal quintet Flyleaf’s sophomore release jettisons the raw, punk-infused angst of its platinum-selling debut, replacing it with a thick, punchy theatricality that is as progressive as it is radio-ready." »
  92. (en) Prato, Greg, « Flyleaf [CD/DVD] [Bonus Tracks/Ringtone] - Flyleaf | AllMusic », AllMusic (consulté le 27 avril 2011) : « "In the late '90s and early 21st century, there were "nu metal" and "emo," both of which included lots of hardcore-esque screaming combined with the usual metallic elements (heavy guitar riffs, hard-hitting drumming, etc.). While both new genres were the "metal genre of choice" for many an agitated teenager the world over, few of these bands were female-fronted. One of the exceptions are the Belton, Texas quintet, Flyleaf, led by diminutive singer Lacey Mosley." »
  93. (en) Mason, Stewart, « This Too Shall Pass - The Fold | AllMusic », AllMusic (consulté le 27 avril 2011) : « "The Fold are the freshly scrubbed face of emo, a completely mainstream and radio-ready pop/rock band outfitted with just enough of the signifiers of a currently salable subculture to give the quartet a hint of street cred." »
  94. (en) Frias, Sherwin, « Forever Changed, "The Existence EP" Review », Jesus Freak Hideout (consulté le 21 avril 2011) : « "Part of the seemingly endless barrage of emo bands to hit the scene lately, Florida's Forever Changed released their debut EP for Floodgate Records in 2004...The songs on this album follow the emo formula effortlessly, offering no surprises whatsoever. Everything you'd expect from an emo band is here, from the yearning vocals to the passionate, soaring choruses...Make no mistake, Forever Changed does emo well, but perhaps they stick to the formula a bit too closely for their own good...So what separates Forever Changed from the myriad of emo bands out there? Not much, really. As the similarity in band names suggests, Forever Changed comes across as nothing more than a Further Seems Forever clone in an increasingly crowded Christian emo genre...While nothing on this EP will make the listener throw out the CD in disgust, there may be enough ingredients in this release to suit avid emo fans who prefer no frills and a straightforward approach to their favorite genre." »
  95. (en) Taylor, Josh, « Forever Changed, "The Need to Feel Alive" Review », Jesus Freak Hideout (consulté le 14 avril 2011) : « "Forever Changed plays an emotional style of rock that you just don’t see enough of today. But, then again, that is what makes it stand out. It is a sort of Evan Anthem sound with more of an emo-infused-punk twinge." »
  96. (en) Nash, Len, « Forever Changed - a Review of The Phantom Tollbooth », The Phantom Tollbooth (consulté le 27 avril 2011) : « "A band based around the Florida area, Forever Changed has music that can be classified as emo with passion that moves and accented hardcore yells thrown throughout... Lyrically, this is the closest a person is going to get in the pop punk or emo world for having lyrics that worship." »
  97. (en) Jon Caramancia, « Dependent, Independent, Metalcore, Emo: It’s All Punk to Them », The New York Times,‎ (consulté le 27 avril 2011) : « ...a stage-overwhelming turn by the promising young emo band Forever the Sickest Kids... »
  98. (en) Sendra, Tim, « How to Save a Life - The Fray | AllMusic », AllMusic (consulté le 27 avril 2011) : « The Fray was among the first flood of bands that combined the influence of...American emo-pop bands like Something Corporate and Jimmy Eat World. The Denver four-piece has the...over-emoted vocals and confessional nature that are cornerstones of emo. »
  99. (en) Lamb, Bill, « The Fray », (consulté le 27 avril 2011) : « The sound of the Fray's music lies somewhere at a point at which soaring pop-rock from bands like Coldplay, 90's rock like Counting Crows and the Wallflowers, and emo-pop like Something Corporate and Fountains of Wayne all intersect. »
  100. (en) Jenny Eliscu, « From Autumn to Ashes: Abandon Your Friends (review) », Rolling Stone,‎ (consulté le 27 avril 2011) : « From Autumn to Ashes are torn between emo's impulse toward the heartfelt and metalcore's urge to shred. »
  101. (en) « Funeral for a Friend », BBC Wales, (consulté le 27 avril 2011) : « The band members themselves prefer not to be lumped in with emo groups, and opt instead for the simple term 'rock', though that doesn't do justice to their unique pop-tinted fusion of metal, rock and emo. »
  102. (en) Heisel, Scott, « Exclusive: Further Seems Forever reuniting with Chris Carrabba », Alternative Press,‎ (consulté le 27 avril 2011) : « ...pioneering emocore act Further Seems Forever... »
  103. (en) Fischer, Reed, « Further Seems Forever's Original Lineup Performs for the First Time in Six Years at Propaganda » [interview], Broward-Palm Beach New Times,‎ (consulté le 27 avril 2011), ...heralded Pompano Beach emocore act Further Seems Forever...
  104. (en) John Bush, « Garden Variety: Biography », Allmusic (consulté le 27 avril 2011) : « Garden Variety play driving rock over emo-core vocals. »
  105. (en) Nitsuh Abebe, « Review: Knocking the Skill Level », Allmusic (consulté le 27 avril 2011) : « Knocking the Skill Level is a volatile and immediately powerful blend of harder rock styles: musically, there are vague punk and hard rock touches in the angular indie guitar work, while the vocals and overall construction lean toward powerful and explosive emo structures. »
  106. (en) Heather Phares, « The Get Up Kids: Biography », Allmusic (consulté le 27 avril 2011) : « Kansas City's Get Up Kids play melodic, pop-inflected emo similar to the Promise Ring and Braid...[Something to Write Home About] garnered high critical and fan praise and made the Get Up Kids heroes of the emocore scene. »
  107. (en) Sammons, Greg, « Gwen Stacy - The Life I Know | CROSS RHYTHMS REVIEW », Cross Rhythms (consulté le 27 avril 2011) : « They just seem to sound like an amalgam of rather pale imitations of various other "scene" bands that beat them to the emo-meets-metalcore bandwagon. »
  108. (en) Sendra, Tim, « Live Life Loud! - Hawk Nelson | AllMusic », AllMusic (consulté le 21 avril 2011) : « "Hawk Nelson have made a pretty good career out of being nice guys with a penchant for huge hooks and fresh-faced emo pop (with an emphasis on the "pop" side of things)." »
  109. (en) « Hawthorne Heights Cancels Tour After Guitarist's Death », The Seattle Times,‎ (consulté le 27 avril 2011) : « Hawthorne Heights, a popular emo-screamo band, canceled its tour Monday after the death of Casey Calvert, the band's guitarist. »
  110. (en) Taylor, Josh, « He Is Legend, "I Am Hollywood" Review », Jesus Freak Hideout (consulté le 12 juin 2011) : « But further listens to this blend of emocore, metal, and a twinge of punk will prove your first impressions wrong. »
  111. (en) Tom Breihan, « Hellogoodbye: Emo Doesn't Always Suck », The Village Voice,‎ (consulté le 21 avril 2009) : « ["Here (In Your Arms)" is] an emo band's take on uber-cheesy Euro-technopop [...] If more emo sounded like this, I'd spend a lot more time watching Fuse. »
  112. (en) Peter D'Angelo, « Hey Mercedes: Biography » (consulté le 27 avril 2011) : « Hey Mercedes was a more accessible and melodic entity, and it didn't take long for their songs to win the hearts of a new generation of young music fans caught up in the burgeoning emo trend. »
  113. (en) Ned Raggett, « Review: Lurid Traversal of Route 7 », Allmusic (consulté le 27 avril 2011) : « Call Hoover's sole Dischord album emo if one wants — because that would be right, but not in the washed-out whine sense of the late '90s. »
  114. Carino, Paula, « The End Is Not the End », AllMusic (consulté le 27 avril 2011).
  115. (en) I Am Ghost and Those They Leave Behind - Review by firstcoastnews
  116. a, b, c, d et e (en) Greenwald, p. 40. "Bands that were lumped together in the emo camp back then [in the mid-1990s] varied wildly, much more so than today. The dominant sound was the melodic punk of the Promise Ring and Texas Is the Reason, but peers and tourmates like Karate, The Van Pelt, and especially Chicago's Joan of Arc played with elements of post-rock, including odd instrumentation and ample amounts of droning, wordless minor-key dirges. The Shyness clinic adored the Scottish noisemakers Mogwai, and emo mix tapes often included the Ivy League folk of New York city's Ida. At the Boston basement shows it wasn't uncommon to see the fresh-faced boys of Braid sharing the bill with the heavy rawk bombast of the Rye Coalition."
  117. (en) Blake Butler, « Review: Live: Blue Universe », AllMusic (consulté le 27 avril 2011) : « A quite impressive live album from these short-lived (1993-94) emocore pioneers. »
  118. (en) Breimeier, Russ, « There Came a Lion, Christian Music Reviews », Christianity Today (consulté le 27 avril 2011) : « "There Came a Lion is truly an emo-rock album, with the usual themes of love and angst...Relatable as emo may be for some, bands like Ivoryline aren't really known for their songwriting as much as their sound and live performance. Ivoryline does it as well as any...Unfortunately, Ivoryline comes across as the latest in a long line of emo sound-alikes." »
  119. a et b (en) Greenwald, p. 19. "Sunny Day Real Estate was emo's head and Jawbreaker its busted gut—they two overlapped in the heart, then broke up before they made it big. Each had a lasting impact on the world of independent music. The band shared little else but fans, and yet somehow the combination of the two lays down a fairly effective blueprint for everything that was labeled emo for the next decade."
  120. Greenwald, p. 20. "Spanning two coasts, three genres, countless throat polyps, and an entire generation of heartsick boys, Jawbreaker is the Rosetta Stone of contemporary emo."
  121. Rolling Stone - Jimmy Eat World Biography
  122. (en) VH1 - The Juliana Theory
  123. (en) Taylor, Josh, « Kids in the Way, "Apparitions Of Melody" Review », Jesus Freak Hideout (consulté le 27 avril 2011) : « "The melodic emo edge that Kids in the Way’s earlier release possessed has not disappeared, however; but Dave Pelsue takes more chances with his voice and range, screaming on most every track." »
  124. (en) Johnson, Jared, « Apparitions of Melody - Kids in the Way | AllMusic », AllMusic (consulté le 27 avril 2011) : « "The boys from Indiana added two new tracks and a bonus DVD, re-releasing the collection as Apparitions of Melody: The Dead Letters Edition. The album's nuances remained the same -- a base of modern rock, indie, and emo coated with David Paul Pelsue's raging vocals." »
  125. (en) Smith, Brian A., « Reviews of The Phantom Tollbooth », The Phantom Tollbooth (consulté le 27 avril 2011), "Aggro meets emo on A Love Hate Masquerade, the latest from Kids in the Way. The first three songs here ("You Dream," "Better Times," and "The Innocence") are much more melodic than KITW's previous outputs, somewhat in the Good Charlotte/All-American Rejects area. Everything else is the same that we've grown to expect from this band: loud, aggressive in your face emocore that pounds you from beginning to end."
  126. (en) « Canada's Kiros: Canadian pop rockers Kiros picking up interest with second album », Cross Rhythms (consulté le 27 avril 2011) : « "HM magazine described the band's sound as 'melody-driven, emo-infused pop rock.'" ».
  127. (en) Mason, Stewart, « Falling Up | AllMusic », AllMusic (consulté le 27 avril 2011) : « But where Kutless is a fairly standard-issue Christian gloss on metal-tinged emo, Falling Up has a more chart-oriented sound with strong electronica and hip-hop influences (including a full-time programmer and DJ in their early lineup) married to their nu-metal base. »
  128. (en) Moore, C.E., « Vessels / The Christian Manifesto » (ArchiveWikiwixArchive.isGoogleQue faire ?), consulté le 27 avril 2011
  129. (en) Breimeier, Russ, « Letter Kills: The Bridge - Christian Music Today », Christianity Today (consulté le 27 avril 2011) : « "Melodic hard rock tinged with punk and emo...At first listen, it'd be easy to peg Letter Kills as the latest hard rock band of the month, but they actually do a better job than most at subtly blending genres, drawing from classic rock and heavy metal as much they do from punk, hardcore, and emo." »
  130. (en) Taylor, Josh, « Letter Kills, "The Bridge" Review », Jesus Freak Hideout (consulté le 27 avril 2011) : « "You can trace elements from many different emo/rock bands, but the best representation of their sound would be a direct mixture of Kids in the Way and Dead Poetic...Grinding guitars and Shelton’s emotional vocals lead the way through twelve tracks that at first listen may seem a bit repetitious, but after a few more spins, most every fan of emo, rock, alternative, and the like will find a new favorite in Letter Kills." »
  131. (en) Sharpe-Young, Garry (screen name "Taniwha"), « MusicMight :: Artists :: LIFE IN YOUR WAY », MusicMight (consulté le 27 avril 2011)
  132. (en) Greenwald, p. 121-122.
  133. Jason MacNeil, « Lostprophets: Start Something », (consulté le 27 avril 2011).
  134. (en) Wilson, MacKenzie, « Mae | AllMusic », AllMusic (consulté le 21 avril 2011) : « Boasting a sound that straddled the border of alternative rock and emo-pop, Mae (an acronym for Multisensory Aesthetic Experience) was formed in early 2001 by guitarist Matt Beck, drummer Jacob Marshall, bassist Mark Padgett, keyboardist Rob Sweitzer, and vocalist Dave Elkins. »
  135. (en) Matchbook Romance Declare War On Cheesy Music With Voices
  136. (en) Mayday Parade Tales Told By Dead Friends
  137. (en)
  138. (en) Farias, Andree, « Dying For a Heart » [album review], The Fish, Christianity Today (consulté le 27 avril 2011) : « ...[Heart employs] emo and pop-punk influences... »
  139. (en) Greenwald, p. 40-41. "No band embodied [the mid-1990s emo] aesthetic more than Texas's Mineral, a quartet of deathly serious young men...In many ways, "If I Could" is the ultimate expression of mid-nineties emo. The song's short synopsis—she is beautiful, I am weak, dumb, and shy; I am alone but am surprisingly poetic when left alone—sums up everything that emo's adherents admired and its detractors detested."
  140. (en) Jason Ankeny, « Allmusic The Gloria Record Bio » (consulté le 27 avril 2011).
  141. (en) Steve Huey, « Moss Icon: Biography », AllMusic (consulté le 27 avril 2011) : « Even more obscure than they were groundbreaking, Moss Icon was an early emo band whose music remains chiefly the province of hardcore collectors and underground historians. Whether that music directly influenced or simply presaged modern emo, Moss Icon's shifting dynamics, chiming guitar arpeggios, and screaming, crying vocal climaxes helped set the template for much of the emocore that followed in its wake. »
  142. (en) Greenwald, p. 146. "'Absolutely, says [Ben] Holtzman. 'It's the depoliticization. I don't think there's anything not safe about [rising Long Island emo act] The Movielife.".
  143. (en) My Chemical Romance: They're Okay (Promise)
  144. (en) Native Nod - Rhapsody Music
  145. Native Nod reviews, music, news - sputnikmusic.
  146. (en) Greenwald, p. 127-128. "'I'm sick of smiling / and so is my jaw / can't you see my front is crumbling down?' asked the first song on Sticks and Stones, the New Found Glory album that stunned the world when debuted at number four in the summer of 2002. It's an interesting contradiction—the celebration of misery, the simultaneous privileging and subsuming of the self—but one that's pure emo, no matter what the band or its label says."
  147. « New Found Glory », Allmusic (consulté le 16 août 2008)
  148. (en) Jennifer Chancellor, « Dfest headliners eclectic », Tulsa World,‎ (consulté le 27 avril 2011).
  149. (en) « Allmusic - Northstar Biography », Allmusic (consulté le 27 avril 2011).
  150. (en) Maria Sica, « Album Review », ReviewFix,‎ 27 ars 2011 (consulté le 27 avril 2011).
  151. (en) Mason, Stewart, « The North Pole Project - Number One Gun | AllMusic », AllMusic (consulté le 27 février 2011) : « Three albums into a career is a bit early for a band to have settled into a formula, perhaps, but any fans of the first two albums by Christian emo outfit Number One Gun will find album number three, The North Pole Project, more of the same: melodic meat and potatoes alt rock with generally positive lyrics that nonetheless allow for some spiritual doubt...Highlights include the first single "Wake Me Up," which features the album's most immediately catchy chorus, the solo acoustic changeup "The Different Ones," and the atypical "This Holiday," which trades Schneeweis' familiar emo framework for a straight-up pop song. »
  152. (en) Dickey, Megan, « Number One Gun - Promises For The Imperfect | CROSS RHYTHMS REVIEW », Cross Rhythms (consulté le 27 février 2011) : « There is enough creativity to keep you listening, but not enough originality to be separated from other emo/rock style bands. »
  153. (en) Taylor, Josh, « Number One Gun, "Celebrate Mistakes" Review », Jesus Freak Hideout (consulté le 27 février 2011) : « Number One Gun is, by definition, an emo/punk rock band. »
  154. (en) | Jacksonville, St. Augustine and Brunswick | Our Last Night and The Ghosts Among Us
  155. (en) Andrew Leahey, « Owl City> Overview », Allmusic, Rovi Corporation (consulté le 5 novembre 2009) : « He eventually combined those diversions into a blend of electronica and emo-pop, ... »
  156. (en) Fiona McKinlay, « The Academy Is... + Panic! at the Disco @ Cathouse, Glasgow, 20 January 2006 (review) », Music OMH,‎ (consulté le 27 février 2011) : « It's not often that an emo band get tipped in the NME these days, but there's something about Panic! at the Disco that makes them universally acceptable to like [...] Other emo bands would shy away from synthesisers and such twinkly piano, but Panic! at the Disco make it all sound like it was always meant to be together. »
  157. (en) Panic at the disco A Fever You Can't Sweat Out
  158. Familiar With Emo, Intimate With Upbeat
  159. (en) Fisher, Tyler, « document #7 » [album review], Sputnikmusic,‎ (consulté le 22 avril 2011) : « ...the 7th release from the epic emo band Pg. 99. »
  160. (en) Johnson, Jared, « Attention - Philmont | AllMusic », AllMusic (consulté le 22 avril 2011), Attention rounds out what emo-rockers Philmont first started in July 2008 with their digital EP Oh Snap, doubling the amount of material and filling in the gaps thematically.
  161. Pierce The Veil - A Flair For The Dramatics
  162. (en) Breimeier, Russ, « The Reckoning, Christian Music Reviews », Christianity Today (consulté le 22 avril 2011) : « As with 2004's Where Do We Go From Here, Pillar has embraced melodic hardcore with an emo-screamo bent, heard on tracks like "Last Goodbye," "Resolution," and "Chasing Shadows at Midnight." »
  163. (en) Wierzbicki, Kevin, « Pillar - The Reckoning (Special Edition) Review », (consulté le 27 février 2011) : « This Okie quartet has been cranking out Christian emo for about seven years now and they are highly polished. »
  164. (en) Pop Unknown Bio -
  165. (en) Greenwald, p. 44. "[Nothing Feels Good] is the pinnacle of its generation of emo: a convergence of pop and punk, of resignation and celebration, of the lure of girlfriends and the pull of friends, bandmates, and the road."
  166. (en) Steve Huey, « Allmusic The Promise Ring Bio » (consulté le 23 juin 2008).
  167. (en) Catastrophe Helps Rainer Maria Stay Together, Grow Up
  168. (en) The Red Jumpsuit Apparatus - Biography
  169. (en) Greenwald, p. 14. "If Minor Threat was hardcore, then Rites of Spring, with its altered focus, was emotional hardcore or emocore."
  170. (en) allmusic (((Rites of Spring> Biography)))
  171. (en) Corey Apar, « Roses Are Red - Music Biography, Credits and Discography », AllMusic (consulté le 27 février 2011).
  172. (en) « Band brings it home »,,‎ (consulté le 27 février 2011).
  173. (en) Stewart Mason, « Review: A Retrospective », Allmusic (consulté le 27 février 2011) : « Before the term got applied to every Weezer-lite band with guitars and a singer in nerd glasses, emo was an offshoot of hardcore punk (see Rites of Spring, early Fugazi, etc.). The short-lived Saetia, whose demo tape, single, LP, and one compilation track are collected on this 23-track, 73-minute disc, never forgot their history, and A Retrospective is emo at its purest ... a powerful slab of emo, and both an excellent starting point for newcomers to the genre, and an essential document for fans. »
  174. (en) Free Saosin Music Online, Music Downloads, Music Videos and Lyrics - Rhapsody Online
  175. a et b Something Corporate hope for mainstream success
  176. (en) Tom Sinclair, « About a 'Boy' », Entertainment Weekly,‎ (consulté le 27 février 2011), The rescue of emo's Say Anything -- EW's Tom Sinclair talks with the up-and-coming band about their long-delayed new album.
  177. « Say Anything’s Max Bemis Defends Emo », (consulté le 27 février 2011), ‘In Defense’ webisode three features [Say Anything] explaining the reasoning behind the album title of their third album ‘In Defense of the Genre’ for the “emo” tag, and how it’s a love story record.
  178. (en) Jon Pareles, « Say Anything Delivers Emo Confessions With Snappy Showmanship », New York Times,‎ (consulté le 27 février 2011) : « Mr. Bemis is one more self-conscious, self-lacerating narrator from the realm of emo, the style for sensitive guys who love the surge of punk rock. ».
  179. (en) Fryberger, Scott, « Great White Whale » [album review], Jesus Freak Hideout (consulté le 27 février 2011) : « While retaining the pop punk/emo sound throughout most of the album... »
  180. (en) | Senses Fail - From the Depths of Dreams
  181. (en) Sammons, Greg, « Showbread - No Sir, Nihilism Is Not Practical | CROSS RHYTHMS REVIEW », Cross Rhythms (consulté le 27 février 2011) : « There's been a fair bit of mainstream press interest shown in this band (Kerrang, Metal Hammer, et al) and it's easy to see why. They have a recognisable image, an interesting sound but within the popular emo mould, and have both youth and experience on their side. »
  182. (en) Nash, Len, « A Review of The Phantom Tollbooth », The Phantom Tollbooth (consulté le 22 avril 2011) : « Sherwood a five-piece emo band brings together a good work ethic, with all their spare time to help this band grow. Listening to their Self-Titled EP shows a solid emo sound that reinforces this. Passion, a little bit of an umphta, and not whiny emo. Sherwood's emo takes a serious band that meshes Mae with Further Seems Forever. If emo keeps on going, expect to see Sherwood rise. »
  183. (en) The great unknown - Silverstein: the bestselling Canadian rock band you’ve never heard
  184. (en) RollingStone - Simple Plan
  185. (en) The Spill Canvas - No Really, I'm Fine
  186. (en) The Rough Guide to Rock, Rough Guides,‎ , 999 p. (ISBN 978-1-84353-105-0, lire en ligne)
  187. (en) The Starting Line - Biography
  188. (en) Torreano, Bradley, « (stavz'a'ker) - Stavesacre | AllMusic », AllMusic (consulté le 27 février 2011) : « Once mired down in the muck of depressing alternative metal, through time Stavesacre has turned into a tight and dynamic emo group. »
  189. (en) Bush, John, « Stavesacre | AllMusic », AllMusic (consulté le 27 février 2011) : « A collection, aptly titled Collective, summed up their period on Tooth & Nail, chronicling their slow transition from heavy metal to emo rock. By the time of their Nitro Records debut, (stavz'a'ker), the band had fully transitioned into an emo band. »
  190. (en) A tale to cheer up the emo kids: Story of the Year's new release is no sad tale, but no solid effort
  191. (en) Sunny Day Real Estate - Rolling Stone
  192. (en) Collar, Matt, « Oh! Gravity. - Switchfoot | AllMusic », AllMusic (consulté le 22 avril 2011) : « Moving on somewhat from the epic and sincere post-grunge of their last two hit albums, 2003's Beautiful Letdown and 2005's Nothing Is Sound, California Christian-emo rockers Switchfoot deliver a lively and laid-back effort with 2006's Oh! Gravity. »
  193. (en) Hot Emo: Taking Back Sunday
  194. (en) Ten Second Epic - Biography
  195. (en) Greenwald, p. 38-39. "For many, the New York City-based quartet Texas Is the Reason was the perfect bridge from indie-rock to emo."
  196. (en) « Texas Is the Reason Biography », AllMusic (consulté le 27 février 2011).
  197. (en) Goforth, Andrea Dawn, « Perceptions » [album review], The Fish, Christianity Today (consulté le 27 février 2011) : « ...[On their debut album, the band was] able to lock in on their alternative/emo pop/rock style...the emo flavor of the debut album... »
  198. (en) Apar, Corey, « This Providence | AllMusic », AllMusic (consulté le 27 février 2011) : « Emo pop/rock act This Providence came together in the summer of 2003 in Seattle, WA, recording and self-releasing their first EP soon after their formation. »
  199. (en) Roach, Pemberton, « A Little Faster » [album review], AllMusic (consulté le 27 février 2011)
  200. Ham, Robert, « Re:Creations EP » [album review], Alternative Press (consulté le 15 mai 2011) : « ...their floppy-haired emo-pop... »
  201. (en) Emo "Elder" Statesmen Jimmy Eat World and Thrice
  202. (en) Tokio Hotel - Biography
  203. (en) Johnny Loftus et Corey Apar, « Thursday Biography », Allmusic (consulté le 27 février 2011).
  204. (en) Monger, James Christopher, « Lost in the Sound of Separation - Underoath | AllMusic » (consulté le 27 février 2011) : « 2006's Define the Great Line proved to be a turning point for faith-based, post-hardcore/screamo outfit Underoath. While the tendency to dissolve into the abyss of angtsy emo-pop was still there, there was a darkness lurking in the nooks and crannies between the crackling snare hits and heavy "drop-d" riffing that hinted at a little pre-evolution, a notion that comes to fruition with their sixth studio record and fourth for Solid State (the metal subdivision of Tooth & Nail Records). »
  205. (en) Monger, James Christopher, « Define the Great Line - Underoath | AllMusic », AllMusic (consulté le 22 avril 2011) : « On their third full-length release, the Florida-based rockers have found the delicate middle ground between throat-shredding grindcore and My Chemical Romance/From Autumn to Ashes-style emo-punk, utilizing the highly flexible voice of Spencer Chamberlain as a compass for both melody and cacophony. »
  206. (en) Nash, Len, « A Review of The Phantom Tollbooth », The Phantom Tollbooth (consulté le 27 février 2011) : « Underoath does it again! For starters, they've changed genres; although not as drastic a change as in the past. The CD's is called: They're Only Chasing Safety, and now the genre is straight-up Emo Core. »
  207. Jerry Gordinier, « The Used take emo to new levels on 'Death' », The Michigan Daily,‎ .
  208. (en) Frias, Sherwin, « Watashi Wa, "The Love Of Life" Review », Jesus Freak Hideout (consulté le 22 avril 2011) : « Watashi Wa, an alternative pop/emo band on Tooth & Nail, offers one of the best examples that Christian emo can be done - and done well...What distinguishes this album from typical emo fare, however, is the unabashedly optimistic view on love and life that primary singer/songwriter Seth Roberts displays. While secular emo bands such as Saves the Day, Brand New and Fall Out Boy mask their lyrical anguish with likeable melodies, this album is literally as sweet as it sounds. »
  209. (en) Mason, Stewart, « The Wedding | AllMusic », AllMusic (consulté le 22 avril 2011) : « The Wedding are an emo-tinged Christian punk band from Fayetteville, AR. »
  210. (en) Loop, Jessica Vander, « The Wedding, "The Wedding" Review », Jesus Freak Hideout (consulté le 22 avril 2011) : « What do you get when you mix elements from five different genres including punk, indie, emo, modern rock and hardcore? You get the Rambler Records (a division of BHT Entertainment) band, The Wedding...I'd say if you like punk rock/hardcore/emo stuff, you should definitely give The Wedding's debut album a try. »
  211. (en) Jon Caramanica, « Dependent, Independent, Metalcore, Emo: It’s All Punk to Them », New York Times,‎ (lire en ligne).

Bibliographie[modifier | modifier le code]

  • (en) Andy Greenwald, Nothing Feels Good: Punk Rock, Teenagers, and Emo, New York, St. Martin's Griffin,‎ (ISBN 0-312-30863-9)