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* Music/{{Fightstar}}
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* Hum

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* HumMusic/{{Hum}}
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* Music/SimplePlan (one of the more hated examples)

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* Music/SimplePlan (one of the more hated infamous examples)
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* Music/{{Paramore}} (probably one of the most respected bands on this list. It helps that they were more in touch with the genre's earlier days than many other mainstream emo acts)

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* Music/{{Paramore}} (probably one of the most respected bands on this list. It helps that they were more in touch with faithful to the genre's earlier days sound than many other mainstream emo acts)of their contemporaries in the Warped Tour scene)

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It was in the later part of TheNineties when emo began to capitalize on its increased appeal. In 1996, Music/{{Weezer}} released their sophomore album ''Music/{{Pinkerton}}''; despite being initially bashed by critics and listeners alike, [[VindicatedByHistory it is now regarded]] as one of the greatest albums of the decade, and is viewed as having introduced emo to the mainstream and influenced the genre, as emo bands that had gotten famous before were, at the time, mostly associated with HardcorePunk. Emo firmly broke into the mainstream in 2001, when Music/JimmyEatWorld released their fourth album ''Bleed American'', which was a great success and spawned the #1 hit single "The Middle". Thanks to the album's success, a whole new subculture evolved. The emo scene, once associated with underground music, developed and evolved as a result of mainstream exposure, and out of it grew the {{Emo Teen}}s. For the exact definition of an emo, go see the article. We're describing the music, not the person who listens to it, and emo music is listened to by people of all ages, genders, cultures and ethnicities.

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It was in the later part of TheNineties when emo began to capitalize on its increased appeal. In 1996, Music/{{Weezer}} released their sophomore album ''Music/{{Pinkerton}}''; despite being initially bashed by critics and listeners alike, [[VindicatedByHistory it is now regarded]] as one of the greatest albums of the decade, and is viewed as having introduced emo started emo's introduction to the mainstream and influenced the genre, as emo bands that had gotten famous before were, at the time, mostly associated with HardcorePunk.it's greater emphasis on pop-songwriting and very little hardcore influences. Emo firmly broke into the mainstream in 2001, when Music/JimmyEatWorld released their fourth album ''Bleed American'', which was a great success and spawned the #1 hit single "The Middle". Thanks to the album's success, a whole new subculture evolved. The emo scene, once associated with underground music, developed and evolved as a result of mainstream exposure, and out of it grew the {{Emo Teen}}s. For the exact definition of an emo, go see the article. We're describing the music, not the person who listens to it, and emo music is listened to by people of all ages, genders, cultures and ethnicities.

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'''Classic emo''' started out as essentially HardcorePunk with an artsy and emotional twist, later evolving into the much more AlternativeRock-leaning 'midwest emo' sound in the mid-1990s, with some of it even predicting PostRock. This is the form both sides of the fence will agree has mettle. Despite this, many bands from this genre never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound, with examples including Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'', The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" songwriting, and Mineral's pure, raw emotion.

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'''Classic emo''' started out as essentially HardcorePunk with an artsy and emotional twist, later evolving into the much more AlternativeRock-leaning 'midwest emo' sound in the mid-1990s, with some of it even predicting PostRock.mid 1990s. This is the form both sides of the fence will agree has mettle. Despite this, many bands from this genre never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound, with examples including Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'', The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" songwriting, and Mineral's pure, raw emotion.

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'''Emo-pop''' is a subgenre that was born in the late-1990s with artists such as the aforementioned Music/TheGetUpKids and Music/JimmyEatWorld, combining standard emo introspection with pop punk/pop rock. This would become the dominant form of emo when the genre hit the mainstream in the early-to-mid 2000s, helped by one of the subgenres' biggest artists Music/FallOutBoy taking it in an overt mainstream pop direction. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption and whining about one's parents/girlfriend/life, they're likely referring to a lot of emo-pop, as these tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD.

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'''Emo-pop''' is a subgenre that was born in the late-1990s with artists such as the aforementioned Music/TheGetUpKids and Music/JimmyEatWorld, combining standard emo introspection with pop punk/pop rock. This would become the dominant form of emo when the genre hit the mainstream in the early-to-mid 2000s, helped by one of the subgenres' biggest artists Music/FallOutBoy taking crossing it in an overt over with mainstream pop direction.pop. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption and whining about one's parents/girlfriend/life, they're likely referring to a lot of emo-pop, as these tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD.
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** 2002 - ''Music/ThreeCheersForSweetRevenge''

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** 2002 2004 - ''Music/ThreeCheersForSweetRevenge''
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** 2002 - ''Music/IBroughtYouMyBulletsYourBroughtMeYourLove''

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** 2002 - ''Music/IBroughtYouMyBulletsYourBroughtMeYourLove''''Music/IBroughtYouMyBulletsYouBroughtMeYourLove''
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** 2002 - ''IBroughtYouMyBulletsYourBroughtMeYourLove''

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** 2002 - ''IBroughtYouMyBulletsYourBroughtMeYourLove''''Music/IBroughtYouMyBulletsYourBroughtMeYourLove''
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** 2002 - ''IBroughtYouMyBulletsYourBroughtMeYourLove''
** 2002 - ''Music/ThreeCheersForSweetRevenge''
*** "Music/{{Helena}}"
** 2006 - ''Music/TheBlackParade''
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+HardcorePunk, AlternativeRock, Indie Rock, PostHardcore

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+HardcorePunk, AlternativeRock, Indie Rock, PostHardcorePostHardcore, PunkRock
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* Music/SaveFace
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* Music/RedHook
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The history can be separated into three different eras (or four if you count [[ScreamoMusic screamo]], a more HardcorePunk-influenced offshoot of emo mostly defined by the use of HarshVocals). We'll name the three types "classic emo", "2000s PostHardcore", and "emo-pop".

'''Classic emo''' is essentially HardcorePunk with an artsy and emotional twist, with some of it even predicating PostRock. This is the form both sides of the fence will agree has mettle. Despite this, many bands from this genre never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound, with examples including Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'', The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" songwriting, and Mineral's pure, raw emotion.

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The history can be separated into three different eras (or four if you count [[ScreamoMusic screamo]], a more HardcorePunk-influenced offshoot of emo mostly defined by the use of HarshVocals). We'll name the three types "classic emo", "2000s PostHardcore", and "emo-pop".

"2000s emo-pop".

'''Classic emo''' is started out as essentially HardcorePunk with an artsy and emotional twist, later evolving into the much more AlternativeRock-leaning 'midwest emo' sound in the mid-1990s, with some of it even predicating predicting PostRock. This is the form both sides of the fence will agree has mettle. Despite this, many bands from this genre never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound, with examples including Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'', The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" songwriting, and Mineral's pure, raw emotion.
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* Music/{{Lostprophets}} (a Welsh emo band ended by a highly publicized court case)

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* Music/{{Lostprophets}} (a Welsh emo band ended by a highly publicized court case)case. Look it up at your own risk)



* Music/MyChemicalRomance (Their first three albums were emotive hardcore and hardcore punk.Their fourth album is standard pop punk. Also served as the TropeCodifier for the Gothic, AFI-influenced emo look that came into vogue by 2004)

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* Music/MyChemicalRomance (Their first three albums were emotive hardcore and hardcore punk.hardcore, taking it in a poppier direction by the time of Sweet Cheers. Their fourth album is standard pop punk. Also served as the TropeCodifier for the Gothic, AFI-influenced emo look that came into vogue by 2004)



* Music/TheAllAmericanRejects (Their first few albums, before switching to PowerPop)

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* Music/TheAllAmericanRejects (Their first few albums, before switching to straight PowerPop)



* Music/FallOutBoy (2001-2008-- a critically acclaimed emo-pop band)

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* Music/FallOutBoy (2001-2008-- a critically acclaimed emo-pop band)(2001-2008)



* Music/PanicAtTheDisco (Another critically acclaimed emo-pop band, mainly because they added elements of vaudeville, {{Psychedelic Rock}} and DancePunk to their sound instead of the usual formula, along with interesting lyrics.)

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* Music/PanicAtTheDisco (Another critically acclaimed emo-pop band, mainly because they added elements of vaudeville, {{Psychedelic Rock}} and DancePunk to their sound instead of the usual formula, along with interesting lyrics.)Music/PanicAtTheDisco



* Music/{{Paramore}} (Along with Panic! and Fall Out Boy, they are one of the acclaimed emo-pop bands, especially because they are clearly influenced by old school emo such as Sunny Day Real Estate.)

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* Music/{{Paramore}} (Along with Panic! and Fall Out Boy, they are (probably one of the acclaimed emo-pop bands, especially because most respected bands on this list. It helps that they are clearly influenced by old school were more in touch with the genre's earlier days than many other mainstream emo such as Sunny Day Real Estate.)acts)



* Music/SimplePlan

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* Music/SimplePlanMusic/SimplePlan (one of the more hated examples)
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!! "Emo-Pop" bands (the controversial bit):

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!! 2000s "Emo-Pop" bands (the controversial bit):

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'''Emo-pop''' was born in the mid-[=2000s=] and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who are often more than a bit formulaic, and lack the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption and whining about one's parents/girlfriend/life, they're likely referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continued to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow making the sound more popular than ever. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD.

to:

'''Emo-pop''' is a subgenre that was born in the mid-[=2000s=] late-1990s with artists such as the aforementioned Music/TheGetUpKids and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was combining standard emo introspection with pop punk/pop rock. This would become the first to take dominant form of emo into when the genre hit the mainstream in the early-to-mid 2000s, helped by one of the subgenres' biggest artists Music/FallOutBoy taking it in an overtly overt mainstream pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who are often more than a bit formulaic, and lack the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption and whining about one's parents/girlfriend/life, they're likely referring to emo-pop. These a lot of emo-pop, as these tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continued to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow making the sound more popular than ever. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD.

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Emo (short for "emotive[=/=]emotional hardcore") has a long and varied history that touches the early 2000s and extends all the way back to the 1980s. Despite the fact that emo has become a polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.

Emo music is typically characterized by melodic musicianship and bluntly expressive, often confessional lyrics. It grew out of the HardcorePunk and PostHardcore scenes in UsefulNotes/WashingtonDC in the mid-eighties, with bands like Music/RitesOfSpring, Music/{{Fugazi}}, and Embrace rising in popularity as a response to the perceived violence in the punk movement. While the DC scene would fade out by the end of TheEighties, by then it had spread across the country, with bands like UsefulNotes/{{Seattle}}'s Sunny Day Real Estate and UsefulNotes/SanFrancisco's Music/{{Jawbreaker}} carrying the torch of emo through TheNineties. Thanks to the rise of {{grunge}} and the boom in underground music in the early part of the decade, bands later labelled "emo" first got mainstream exposure during this period.

It was in the later part of TheNineties when emo began to capitalize on its increased appeal. In 1996, Music/{{Weezer}} released their sophomore album ''Music/{{Pinkerton}}'' which, despite being initially bashed by critics and listeners alike, [[VindicatedByHistory is now regarded]] as one of the greatest albums of the decade, and is viewed as having introduced emo to the mainstream (emo bands that had gotten famous before were, at the time, mostly associated with HardcorePunk) and influenced the genre. Emo firmly broke into the mainstream in 2001, when Music/JimmyEatWorld released their hit album ''Bleed American'', with its hit single "The Middle". Thanks to Jimmy, a whole new subculture evolved. The emo scene, once associated with underground music, developed and evolved as a result of mainstream exposure, and out of it grew the {{Emo Teen}}s. For the exact definition of an emo, go see the article. We're describing the music, not the person who listens to it, and emo music is listened to by people of all ages, genders, cultures and ethnicities.

The history can be separated into three different eras (or four if you count [[ScreamoMusic screamo]], a more HardcorePunk-influenced offshoot of emo mostly defined by the use of HarshVocals). We'll name the three types "classic emo", "2000s post-hardcore", and "emo-pop".

'''Classic emo''' is essentially HardcorePunk with an artsy and emotional twist, with some of it even predicating PostRock. This is the form both sides of the fence will agree has mettle. Despite this, the bands never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound: from Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'' and The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" song writing, and Mineral's pure, raw emotion.

Of the emotive hardcore bands only The Get Up Kids, and Jimmy Eat World had real commercial success due to their greater reliance on conventional pop song structure.

After Jimmy Eat World hit multi-platinum, it also popularized a new darker variation of the sound. This early 2000s movement, known as the '''2000s post-hardcore''' emo movement, managed to balance a dark hardcore punch with introspective indie craft and profound musical artistry to create a powerful and moving variation of the emo sound that was edgier than the first, but was also more accessible. Many bands of this genre are additionally influenced by PostPunk and oftentimes GothRock. The bands in this genre became widely popular with many groups and are sometimes confused with emo-pop by people who haven't actually listened to them despite their innovative songwriting, extremely skilled musicianship and eloquent, profound lyrics, as well as their intense, raw hardcore punk-derived sound. The most well known members of this genre are: the suburban art rockers that make up Music/BrandNew, the quiet, introverted Music/DeathCabForCutie, intellectual and expressive countertenor Anthony Green's bands Music/CircaSurvive and Music/{{Saosin}}, the Gothic, theatrical, and delightfully over-the-top PostHardcore meets GlamRock act Music/MyChemicalRomance, eclectic screamers Music/TheUsed, melancholy music philosophers Music/{{Thursday}}, literary experimenters Music/{{Thrice}} and Music/TakingBackSunday who pretty much personified the whole movements combination of darkly romantic hardcore punk and catchy, melodic indie rock. Other bands frequently dabbled with emo musical style in this period, such as in ProgressiveRock bands Music/ThirtySecondsToMars and Music/CoheedAndCambria's respective albums ''A Beautiful Lie'' and ''In Keeping Secrets of Silent Earth: 3''. In addition, the UK has provided the genre with bands such as the Music/{{Lostprophets}} and Music/FuneralForAFriend, as has Canada with Music/BillyTalent and Music/{{Alexisonfire}}.

'''Emo-pop''' was born in the mid-[=2000s=] and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who often are more than a bit formulaic, and lacks the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, whining about one's parents/girlfriend/life, they're actually referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continued to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow more popular than ever. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD -- all of whom died young.

In addition to the constant output of new, acclaimed music from Music/{{AFI}}, Music/TheUsed and Music/TakingBackSunday, and the recent resurgence of Music/{{Thrice}}, Music/AtTheDriveIn, Music/{{Thursday}}, Music/{{Glassjaw}}, Music/AmericanFootball, and Music/{{Saosin}}, there's been a recent influx of Indie Emo bands reinvigorating the Classic Emo and Post-Hardcore sound, many notably on the ''Count Your Lucky Stars'' label. Empire! Empire! I Was a Lonely Estate, Music/TheWorldIsABeautifulPlaceAndIAmNoLongerAfraidToDie, Get Scared and Snowing are just a few of them. These particular bands also seem to be mixing in elements of PostRock, NoiseRock and Shoegazing music to great acclaim from fans of indie rock, as well as the related and parallel DefendPopPunk movement. Bands from ''The Wave'' (Music/LaDispute, Pianos Become the Teeth) have also taken cues from this particular genre.


So, there you have it. The basic history of Emo. A genre that captures and defines a point in time just like what PsychedelicRock, {{Disco}}, {{New Wave|Music}}, HairMetal and {{Grunge}} did for past decades.

to:

Emo (short for "emotive[=/=]emotional hardcore") has a long and varied history that touches the early 2000s [[TurnOfTheMillennium 2000s]] and extends all the way back to the 1980s. [[TheEighties 1980s]]. Despite the fact that emo "emo" has become a polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) multi-Platinum-selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.

Emo music is typically characterized by melodic musicianship and bluntly expressive, often confessional lyrics. It grew out of the HardcorePunk and PostHardcore scenes in UsefulNotes/WashingtonDC in the mid-eighties, mid-'80s, with bands like Music/RitesOfSpring, Music/{{Fugazi}}, and Embrace rising in popularity as a response to the perceived violence in the punk movement. While the DC scene would fade out by the end of TheEighties, the decade, by then it had spread across the country, with bands like UsefulNotes/{{Seattle}}'s Sunny Day Real Estate and UsefulNotes/SanFrancisco's Music/{{Jawbreaker}} carrying the torch of emo through TheNineties. Thanks to the rise of {{grunge}} and the boom in underground music in the early part of the decade, bands later labelled "emo" first got mainstream exposure during this period.

It was in the later part of TheNineties when emo began to capitalize on its increased appeal. In 1996, Music/{{Weezer}} released their sophomore album ''Music/{{Pinkerton}}'' which, ''Music/{{Pinkerton}}''; despite being initially bashed by critics and listeners alike, [[VindicatedByHistory it is now regarded]] as one of the greatest albums of the decade, and is viewed as having introduced emo to the mainstream (emo and influenced the genre, as emo bands that had gotten famous before were, at the time, mostly associated with HardcorePunk) and influenced the genre. HardcorePunk. Emo firmly broke into the mainstream in 2001, when Music/JimmyEatWorld released their hit fourth album ''Bleed American'', with its which was a great success and spawned the #1 hit single "The Middle". Thanks to Jimmy, the album's success, a whole new subculture evolved. The emo scene, once associated with underground music, developed and evolved as a result of mainstream exposure, and out of it grew the {{Emo Teen}}s. For the exact definition of an emo, go see the article. We're describing the music, not the person who listens to it, and emo music is listened to by people of all ages, genders, cultures and ethnicities.

The history can be separated into three different eras (or four if you count [[ScreamoMusic screamo]], a more HardcorePunk-influenced offshoot of emo mostly defined by the use of HarshVocals). We'll name the three types "classic emo", "2000s post-hardcore", PostHardcore", and "emo-pop".

'''Classic emo''' is essentially HardcorePunk with an artsy and emotional twist, with some of it even predicating PostRock. This is the form both sides of the fence will agree has mettle. Despite this, the many bands from this genre never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound: from sound, with examples including Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'' and ''Music/{{Pinkerton}}'', The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" song writing, songwriting, and Mineral's pure, raw emotion.

Of the emotive hardcore bands bands, only The Get Up Kids, Kids and Jimmy Eat World had real commercial success due to their greater reliance on conventional pop song structure.

After Jimmy Eat World hit multi-platinum, it also popularized a new darker variation of the sound. This early 2000s movement, known as the '''2000s post-hardcore''' emo movement, managed to balance a dark hardcore punch with introspective indie craft and profound musical artistry to create a powerful and moving variation of the emo sound that was edgier than the first, but was also more accessible. Many bands of this genre are were additionally influenced by PostPunk and oftentimes GothRock. The bands in this genre became widely popular with many groups and are sometimes confused with emo-pop by people who haven't actually listened to them despite their innovative songwriting, extremely skilled musicianship and eloquent, profound lyrics, as well as their intense, raw hardcore punk-derived sound. The most well known well-known members of this genre are: the suburban art rockers that make up Music/BrandNew, the quiet, introverted Music/DeathCabForCutie, intellectual and expressive countertenor Anthony Green's bands Music/CircaSurvive and Music/{{Saosin}}, the Gothic, theatrical, and delightfully over-the-top PostHardcore meets GlamRock act Music/MyChemicalRomance, eclectic screamers Music/TheUsed, melancholy music philosophers Music/{{Thursday}}, literary experimenters Music/{{Thrice}} and Music/TakingBackSunday who pretty much personified the whole movements combination of darkly romantic hardcore punk and catchy, melodic indie rock. Other bands frequently dabbled with emo musical style in this period, such as in ProgressiveRock bands Music/ThirtySecondsToMars and Music/CoheedAndCambria's respective albums ''A Beautiful Lie'' and ''In Keeping Secrets of Silent Earth: 3''. In addition, the UK has provided the genre with bands such as the Music/{{Lostprophets}} and Music/FuneralForAFriend, as has Canada with Music/BillyTalent and Music/{{Alexisonfire}}.

'''Emo-pop''' was born in the mid-[=2000s=] and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who are often are more than a bit formulaic, and lacks lack the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, self-absorption and whining about one's parents/girlfriend/life, they're actually likely referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continued to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow making the sound more popular than ever. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD -- all of whom died young.

Music/JuiceWRLD.

In addition to the constant output of new, acclaimed music from Music/{{AFI}}, Music/TheUsed and Music/TakingBackSunday, and the recent resurgence of Music/{{Thrice}}, Music/AtTheDriveIn, Music/{{Thursday}}, Music/{{Glassjaw}}, Music/AmericanFootball, and Music/{{Saosin}}, there's been a recent influx of Indie Emo indie emo bands reinvigorating the Classic Emo classic emo and Post-Hardcore post-hardcore sound, many notably on the ''Count Your Lucky Stars'' label. Empire! Empire! I Was a Lonely Estate, Music/TheWorldIsABeautifulPlaceAndIAmNoLongerAfraidToDie, Get Scared and Snowing are just a few of them. These particular bands also seem to be mixing in elements of PostRock, NoiseRock and Shoegazing {{Shoegazing}} music to great acclaim from fans of indie rock, as well as the related and parallel DefendPopPunk movement. Bands from ''The Wave'' (Music/LaDispute, Pianos Become the Teeth) have also taken cues from this particular genre.


genre.

So, there you have it. The it -- the basic history of Emo. A emo, a genre that captures and defines a point in time just like what PsychedelicRock, {{Disco}}, {{New Wave|Music}}, HairMetal and {{Grunge}} did for past decades.
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Emo (short for "emotive hardcore") has a long and varied history that touches the early 2000s and extends all the way back to the 1980s. Despite the fact that emo has become a polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.

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Emo (short for "emotive "emotive[=/=]emotional hardcore") has a long and varied history that touches the early 2000s and extends all the way back to the 1980s. Despite the fact that emo has become a polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.
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Emo (short for "emotive hardcore") has a long and varied history that touches the early 2000's and extends all the way back to the 1980's. Despite the fact that emo has become a polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.

to:

Emo (short for "emotive hardcore") has a long and varied history that touches the early 2000's 2000s and extends all the way back to the 1980's.1980s. Despite the fact that emo has become a polarizing term in our current critical establishment, emo music has produced a great deal of highly talented but highly underrated (and often multi-platinum selling) acts who aren't quite given proper critical respect due to the rise of modern hipsterdom.



It was in the later part of TheNineties when emo began to capitalize on its increased appeal. In 1996, Music/{{Weezer}} released their sophomore album ''Music/{{Pinkerton}}'' which, despite being initially bashed by critics and listeners alike, [[VindicatedByHistory is now regarded]] as one of the greatest albums of the decade, and is viewed as having introduced emo to the mainstream (emo bands that had gotten famous before were, at the time, mostly associated with HardcorePunk) and influenced the genre. Emo firmly broke into the mainstream in 2001, when Jimmy Eat World released their hit album ''Bleed American'', with its hit single "The Middle". Thanks to Jimmy, a whole new subculture evolved. The emo scene, once associated with underground music, developed and evolved as a result of mainstream exposure, and out of it grew the {{Emo Teen}}s. For the exact definition of an emo, go see the article. We're describing the music, not the person who listens to it, and emo music is listened to by people of all ages, genders, cultures and ethnicities.

The history can be separated into three different eras (or four if you count [[ScreamoMusic screamo]], a more HardcorePunk-influenced offshoot of emo mostly defined by the use of HarshVocals). We'll name the three types "classic emo", "2000's post-hardcore", and "emo-pop".

Classic emo is essentially HardcorePunk with an artsy and emotional twist, with some of it even predicating PostRock. This is the form both sides of the fence will agree has mettle. Despite this, the bands never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound: from Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'' and The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" song writing, and Mineral's pure, raw emotion.

to:

It was in the later part of TheNineties when emo began to capitalize on its increased appeal. In 1996, Music/{{Weezer}} released their sophomore album ''Music/{{Pinkerton}}'' which, despite being initially bashed by critics and listeners alike, [[VindicatedByHistory is now regarded]] as one of the greatest albums of the decade, and is viewed as having introduced emo to the mainstream (emo bands that had gotten famous before were, at the time, mostly associated with HardcorePunk) and influenced the genre. Emo firmly broke into the mainstream in 2001, when Jimmy Eat World Music/JimmyEatWorld released their hit album ''Bleed American'', with its hit single "The Middle". Thanks to Jimmy, a whole new subculture evolved. The emo scene, once associated with underground music, developed and evolved as a result of mainstream exposure, and out of it grew the {{Emo Teen}}s. For the exact definition of an emo, go see the article. We're describing the music, not the person who listens to it, and emo music is listened to by people of all ages, genders, cultures and ethnicities.

The history can be separated into three different eras (or four if you count [[ScreamoMusic screamo]], a more HardcorePunk-influenced offshoot of emo mostly defined by the use of HarshVocals). We'll name the three types "classic emo", "2000's "2000s post-hardcore", and "emo-pop".

Classic emo '''Classic emo''' is essentially HardcorePunk with an artsy and emotional twist, with some of it even predicating PostRock. This is the form both sides of the fence will agree has mettle. Despite this, the bands never quite touched the mainstream. The key bands from this genre each had a different and unique variation on the sound: from Sunny Day Real Estate's anthemic, artsy blood-lettings, Braid's math pop, Hum's spacey, languid-yet-aggressive post-hardcore, Drive Like Jehu's discordant, technically demanding noise rock, the hardcore punk revivalists (and dabbling post-industrialists) called Music/{{AFI}}, Music/{{Weezer}}'s album ''Music/{{Pinkerton}}'' and The Get Up Kids' emotional power pop filled with crunchy guitars and nerdy sexual frustration, Texas is the Reason's sensitive, hardcore derived punch, Jimmy Eat World's grand ambition and "guy next door" song writing, and Mineral's pure, raw emotion.



After Jimmy Eat World hit multi-platinum it also popularized a new darker variation of the sound. This early 2000's movement known as the 2000's post-hardcore Emo movement managed to balance a dark hardcore punch with introspective indie craft and profound musical artistry to create a powerful and moving variation of the emo sound that was edgier than the first, but was also more accessible. Many bands of this genre are additionally influenced by PostPunk and oftentimes GothRock. The bands in this genre became widely popular with many groups and are sometimes confused with emo-pop by people who haven't actually listened to them despite their innovative songwriting, extremely skilled musicianship and eloquent, profound lyrics, as well as their intense, raw hardcore punk-derived sound. The most well known members of this genre are: the suburban art rockers that make up Music/BrandNew, the quiet, introverted Music/DeathCabForCutie, intellectual and expressive countertenor Anthony Green's bands Music/CircaSurvive and Music/{{Saosin}}, the Gothic, theatrical, and delightfully over-the-top PostHardcore meets GlamRock act Music/MyChemicalRomance, eclectic screamers Music/TheUsed, melancholy music philosophers Music/{{Thursday}}, literary experimenters Music/{{Thrice}} and Music/TakingBackSunday who pretty much personified the whole movements combination of darkly romantic hardcore punk and catchy, melodic indie rock. Other bands frequently dabbled with emo musical style in this period, such as in ProgressiveRock bands Music/ThirtySecondsToMars and Music/CoheedAndCambria's respective albums ''A Beautiful Lie'' and ''In Keeping Secrets of Silent Earth: 3''. In addition, the UK has provided the genre with bands such as the Music/{{Lostprophets}} and Music/FuneralForAFriend, as has Canada with Music/BillyTalent and Music/{{Alexisonfire}}.

Emo-Pop was born in the mid-2000's and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who often are more than a bit formulaic, and lacks the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, whining about one's parents/girlfriend/life, they're actually referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continued to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow more popular than ever. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD -- all of whom died young.

to:

After Jimmy Eat World hit multi-platinum multi-platinum, it also popularized a new darker variation of the sound. This early 2000's movement 2000s movement, known as the 2000's post-hardcore Emo movement '''2000s post-hardcore''' emo movement, managed to balance a dark hardcore punch with introspective indie craft and profound musical artistry to create a powerful and moving variation of the emo sound that was edgier than the first, but was also more accessible. Many bands of this genre are additionally influenced by PostPunk and oftentimes GothRock. The bands in this genre became widely popular with many groups and are sometimes confused with emo-pop by people who haven't actually listened to them despite their innovative songwriting, extremely skilled musicianship and eloquent, profound lyrics, as well as their intense, raw hardcore punk-derived sound. The most well known members of this genre are: the suburban art rockers that make up Music/BrandNew, the quiet, introverted Music/DeathCabForCutie, intellectual and expressive countertenor Anthony Green's bands Music/CircaSurvive and Music/{{Saosin}}, the Gothic, theatrical, and delightfully over-the-top PostHardcore meets GlamRock act Music/MyChemicalRomance, eclectic screamers Music/TheUsed, melancholy music philosophers Music/{{Thursday}}, literary experimenters Music/{{Thrice}} and Music/TakingBackSunday who pretty much personified the whole movements combination of darkly romantic hardcore punk and catchy, melodic indie rock. Other bands frequently dabbled with emo musical style in this period, such as in ProgressiveRock bands Music/ThirtySecondsToMars and Music/CoheedAndCambria's respective albums ''A Beautiful Lie'' and ''In Keeping Secrets of Silent Earth: 3''. In addition, the UK has provided the genre with bands such as the Music/{{Lostprophets}} and Music/FuneralForAFriend, as has Canada with Music/BillyTalent and Music/{{Alexisonfire}}.

Emo-Pop '''Emo-pop''' was born in the mid-2000's mid-[=2000s=] and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who often are more than a bit formulaic, and lacks the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, whining about one's parents/girlfriend/life, they're actually referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continued to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow more popular than ever. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD -- all of whom died young.



* Music/{{AFI}} (mixes this with HardcorePunk and Gothic rock; also TropeMaker for the more dark and Gothic-iinfluenced emo look that would rise to prominence in the mid-2000's)

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* Music/{{AFI}} (mixes this with HardcorePunk and Gothic rock; also TropeMaker for the more dark and Gothic-iinfluenced emo look that would rise to prominence in the mid-2000's)mid-2000s)



Some definitive 2000's Post-Hardcore Emo tunes

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Some definitive 2000's 2000s Post-Hardcore Emo emo tunes
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-->--'''The Promise Ring,''' "Nothing Feels Good."

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-->--'''The -->-- '''The Promise Ring,''' "Nothing Feels Good."
Good"



{{Emo}} isn't just a subculture, you know. It's a form of music - and woefully misunderstood, if that.

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{{Emo}} isn't just a subculture, you know. It's a form of music - -- and woefully misunderstood, if that.
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* Music/{{Jhariah}}

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Emo-Pop was born in the mid-2000's and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who often are more than a bit formulaic, and lacks the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, whining about one's parents/girlfriend/life, they're actually referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continues to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow more popular than ever.

to:

Emo-Pop was born in the mid-2000's and combines elements of pop rock, classic emo introspection, and punk rock. The first and most well known of these is Music/FallOutBoy. Although many earlier emo bands had a poppy sound (i.e. Music/JimmyEatWorld, Music/MotionCitySoundtrack and Music/SavesTheDay, for instance), Fall Out Boy was the first to take emo into an overtly pop direction. Now that's not necessarily a bad thing, since Fall Out Boy was generally treated more favorably by the critical spectrum by often going against the stock formula used by their emo-pop followers: adding elements of {{Soul}}, R&B, orchestral flourishes, and even Hardcore Punk, before abandoning all semblances of emo-ness in 2013. This is much less common among their emo-pop contemporaries, who often are more than a bit formulaic, and lacks the emotion, depth and sensitivity of the previous emo scenes. When people who don't like emo despite minimal exposure to the genre say that it's all about teenage self-absorption, whining about one's parents/girlfriend/life, they're actually referring to emo-pop. These tropes are almost never found in the other two types. Along with {{Metalcore}} and post-grunge, emo-pop is a divisive genre -- it is insanely popular with some groups, while the rest... well, you know. Emo-pop continues continued to be hugely successful into TheNewTens, with Fall Out Boy, Music/PanicAtTheDisco, Music/{{Paramore}}, Music/TwentyOnePilots and Music/AllTimeLow more popular than ever.
ever. In the late 2010s, rappers influenced by emo began to appear, resulting in the "EmoRap" subgenre associated with artists like Music/XXXTentacion, Music/LilPeep and Music/JuiceWRLD -- all of whom died young.
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note here


* Music/LosCampesinos

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* Music/LosCampesinosMusic/LosCampesinos (Not often thought of as an emo band, but they beg to differ, proudly declaring themselves "The UK’s first and only emo band" in their Twitter bio)
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* Music/SincereEngineer (straddles the line between this and PopPunk)

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