The point is to be a facilitator,” he added. Robbins explained his relatively hands-off approach to production: “I never ever, ever wanted to impose my vision on somebody else. They heard that I had done some studio work, so they asked me along.” The most emo game of telephone ever brought him further into the emo fold: “The Promise Ring were ’s friends, and one thing led to another,” he explained. He picked up studio skills from obsessing over his own band’s production process: “Anytime any of my bands would record, I would be the annoying guy looking over the engineer’s shoulder asking, ‘Why did you do that that way? How do you do that?’ I was soaking up knowledge from the experience.” His move to the soundboard came because other bands admired his work in Jawbox: “Texas Is the Reason were Jawbox fans. And other people will say, ‘No, it’s defiant and ironic and inscrutable.’ That division was there.” “It was saying, ‘OK, well, if we’re so dissatisfied, what are we? What is it that we’re objecting to? What do we think would be better?’” He confirmed that the genre wars had been raging ever since emo’s inception: “Some people will say it’s this totally honest heart-on-your-sleeve, throw-everything-you-got-at-it kind of energy. Robbins described the earliest days of the scene as a distinct move toward politics and against rebellion for rebellion’s sake: “ Revolution Summer was about trying to engage with activism more,” he told The Ringer. He’s been involved in the genre since its earliest days, even designing the album art for Ian MacKaye’s pioneering emo project Embrace. It’s hard to know where emo would be today without Jawbox frontman J. RobbinsĮssential production credits: Texas Is the Reason, Do You Know Who You Are? The Promise Ring, Nothing Feels Good Braid, Frame and Canvas Jets to Brazil, Orange Rhyming Dictionary Hey Mercedes, Everynight Fire Works These ten producers helped shape the sounds of emo’s past, present, and future almost as much as the bands on the other side of the studio glass. But producers, who often work on multiple albums in one year, can also shape the sound of a generation of artists: It’s almost a challenge to find a seminal Second Wave emo band who hasn’t spent studio time with J. Sometimes, a variety of producers can help change the sound of one group over the course of their career-Nothing recruited sludge specialist John Agnello to build out a denser palette for 2018’s Dance on the Blacktop, but returned to previous collaborator Will Yip on 2020’s The Great Dismal to add a layer of reverb and spaciousness. Grab your Telecasters and Manic Panic and join us in the Black Parade.Ī good producer can transform three chords and a broken heart into an indelible mark on the sound of emo. Welcome to Emo Week, where we’ll explore the scene’s roots, its evolution to the modern-day Fifth Wave, and some of the ephemera around the genre. In case you haven’t heard, emo is back, baby! In honor of its return to prominence-plus the 20th anniversary of the first MCR album-The Ringer is following Emo Wendy’s lead and tapping into that nostalgia. My Chemical Romance is touring again, Paramore and Jimmy Eat World are headlining a major festival this fall, and there’s a skinny, tattooed white dude with a guitar dominating the charts.
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