Emo is a rock music genre characterized by an emphasis on emotional expression, sometimes through confessional lyrics. It emerged as a style of post-hardcore from the mid-1980s hardcore punk movement in Washington, D. C. where it was known as emotional hardcore or emocore and pioneered by bands such as Rites of Spring and Embrace. In the early–mid 1990s, emo was adopted and reinvented by alternative rock, indie rock and pop punk bands such as Sunny Day Real Estate, Jawbreaker and Jimmy Eat World, with Weezer breaking into the mainstream during this time. By the mid-1990s, bands such as Braid, the Promise Ring and the Get Up Kids emerged from the burgeoning Midwest emo scene, several independent record labels began to specialize in the genre. Meanwhile, screamo, a more aggressive style of emo using screamed vocals emerged, pioneered by the San Diego bands Heroin and Antioch Arrow. Seen as a subculture, emo signifies a specific relationship between fans and artists and certain aspects of fashion and behavior.
Emo fashion has been associated with skinny jeans. Fans of emo music who dress like this are referred to as "emo kids" or "emos". Emos are known for listening to emo bands like My Chemical Romance, Hawthorne Heights, The Used, AFI; the emo subculture is stereotypically associated with emotion, misanthropy, shyness and angst, as well as depression, self-harm and suicide. Its quick rise in popularity in the early 2000s inspired a backlash, with bands such as My Chemical Romance and Panic! at the Disco rejecting the emo label because of the social stigma and controversy surrounding it. Emo entered mainstream culture in the early 2000s with the success of Jimmy Eat World and Dashboard Confessional and many artists signed to major record labels. Bands such as My Chemical Romance, AFI, Fall Out Boy and the Red Jumpsuit Apparatus continued the genre's popularity during the rest of the decade. By the mid 2010s, emo's popularity waned, with some groups changing their sound and others disbanding. Meanwhile, however, a underground emo revival emerged, with bands such as The World Is a Beautiful Place & I Am No Longer Afraid to Die and Modern Baseball drawing on the sound and aesthetic of 1990s emo.
Emo is considered a form of post-hardcore. Nonetheless, emo has been considered a form of indie rock and pop punk. Emo uses loudness of punk rock music; some emo leans uses characteristics of progressive music with the genre's use of complex guitar work, unorthodox song structures, extreme dynamic shifts. Lyrics, a focus in emo music, are emotional and personal or confessional, dealing with topics such as failed romance, self-loathing, insecurity, suicidal thoughts and relationships. AllMusic described emo lyrics as "usually either free-associative poetry or intimate confessionals". Early emo bands were hardcore punk bands that used melody and emotional or introspective lyrics and that were less structured than regular hardcore punk, making early emo bands different from the aggression and verse-chorus-verse structures of regular hardcore punk. According to AllMusic, most 1990s emo bands "borrowed from some combination of Fugazi, Sunny Day Real Estate, Weezer"; the New York Times described emo as "emotional punk or pop-punk.
That is, punk that wears its heart on its sleeve and tries a little tenderness to leaven its sonic attack. If it helps, imagine Ricky Nelson singing in the Sex Pistols." Author Matt Diehl called emo a "more sensitive interpolation of punk's mission". According to Merriam-Webster, emo is "a style of rock music influenced by punk rock and featuring introspective and fraught lyrics". Pet Sounds, the Beach Boys' 1966 album, is sometimes considered the first emo album. According to music writer Luke Britton, such assertions are stated "wryly", wrote that "it’s accepted that the genre's pioneers" came in the 1980s. During the decade, many hardcore punk and post-hardcore bands formed in Washington, D. C.. Post-hardcore, an experimental offshoot of hardcore punk, was inspired by post-punk. Hardcore punk bands and post-hardcore bands who influenced early emo bands include Minor Threat, Black Flag and Hüsker Dü. Emo, which began as a post-hardcore subgenre, was part of the 1980s hardcore punk scene in Washington, D.
C. as something different from the violent part of the Washington, D. C. hardcore scene. Minor Threat fan Guy Picciotto formed Rites of Spring in 1984, using the musical style of hardcore punk and combining the musical style with melodic guitars, varied rhythms, personal, emotional lyrics. Many of the band's themes, including nostalgia, romantic bitterness and poetic desperation, became familiar tropes of emo music, its performances were public, emotional purges. Ian MacKaye of Minor Threat became a Rites of Spring fan and formed the emo band Embrace, which explored similar themes of self-searching and emotional release. Similar bands followed in connection with the "Revolution Summer" of 1985, an attempt by members of the Washington scene to break from the usual characteristics of hardcore punk to a hardcore punk style with different characteristics. Bands such as Gray Matter, Fire Party, Dag Nasty, Soulside were associated with the movement. Although the origins of the word "emo" are uncertain, evidence shows that the word "emo" was coined in the mid-1980s 1985.
According to Andy Greenwald, author of Nothing Feels Good: Punk Rock and Emo, "The origins of the term'emo' are shrouded in
The Chicago Tribune is a daily newspaper based in Chicago, United States, owned by Tribune Publishing. Founded in 1847, self-styled as the "World's Greatest Newspaper", it remains the most-read daily newspaper of the Chicago metropolitan area and the Great Lakes region, it is the eighth-largest newspaper in the United States by circulation. Traditionally published as a broadsheet, on January 13, 2009, the Tribune announced it would continue publishing as a broadsheet for home delivery, but would publish in tabloid format for newsstand, news box, commuter station sales; this change, proved to be unpopular with readers and in August 2011, the Tribune discontinued the tabloid edition, returning to its traditional broadsheet edition through all distribution channels. The Tribune's masthead is notable for displaying the American flag, in reference to the paper's motto, "An American Paper for Americans"; the motto is no longer displayed on the masthead. The Tribune was founded by James Kelly, John E. Wheeler, Joseph K. C.
Forrest, publishing the first edition on June 10, 1847. Numerous changes in ownership and editorship took place over the next eight years; the Tribune was not politically affiliated, but tended to support either the Whig or Free Soil parties against the Democrats in elections. By late 1853, it was running xenophobic editorials that criticized foreigners and Roman Catholics. About this time it became a strong proponent of temperance; however nativist its editorials may have been, it was not until February 10, 1855 that the Tribune formally affiliated itself with the nativist American or Know Nothing party, whose candidate Levi Boone was elected Mayor of Chicago the following month. By about 1854, part-owner Capt. J. D. Webster General Webster and chief of staff at the Battle of Shiloh, Dr. Charles H. Ray of Galena, through Horace Greeley, convinced Joseph Medill of Cleveland's Leader to become managing editor. Ray became editor-in-chief, Medill became the managing editor, Alfred Cowles, Sr. brother of Edwin Cowles was the bookkeeper.
Each purchased one third of the Tribune. Under their leadership, the Tribune distanced itself from the Know Nothings, became the main Chicago organ of the Republican Party. However, the paper continued to print anti-Catholic and anti-Irish editorials, in the wake of the massive Famine immigration from Ireland; the Tribune absorbed three other Chicago publications under the new editors: the Free West in 1855, the Democratic Press of William Bross in 1858, the Chicago Democrat in 1861, whose editor, John Wentworth, left his position when elected as Mayor of Chicago. Between 1858 and 1860, the paper was known as the Chicago Tribune. On October 25, 1860, it became the Chicago Daily Tribune. Before and during the American Civil War, the new editors supported Abraham Lincoln, whom Medill helped secure the presidency in 1860, pushed an abolitionist agenda; the paper remained a force in Republican politics for years afterwards. In 1861, the Tribune published new lyrics by William W. Patton for the song "John Brown's Body".
These rivaled the lyrics published two months by Julia Ward Howe. Medill served as mayor of Chicago for one term after the Great Chicago Fire of 1871. Under the 20th-century editorship of Colonel Robert R. McCormick, who took control in the 1920s, the paper was isolationist and aligned with the Old Right in its coverage of political news and social trends, it used the motto "The American Paper for Americans". Through the 1930s to the 1950s, it excoriated the Democrats and the New Deal of Franklin D. Roosevelt, was resolutely disdainful of the British and French, enthusiastic for Chiang Kai-shek and Sen. Joseph McCarthy; when McCormick assumed the position of co-editor in 1910, the Tribune was the third-best-selling paper among Chicago's eight dailies, with a circulation of only 188,000. The young cousins added features such as advice columns and homegrown comic strips such as Little Orphan Annie and Moon Mullins, they promoted political "crusades", with their first success coming with the ouster of the Republican political boss of Illinois, Sen. William Lorimer.
At the same time, the Tribune competed with the Hearst paper, the Chicago Examiner, in a circulation war. By 1914, the cousins succeeded in forcing out Managing Editor William Keeley. By 1918, the Examiner was forced to merge with the Chicago Herald. In 1919, Patterson left the Tribune and moved to New York to launch his own newspaper, the New York Daily News. In a renewed circulation war with Hearst's Herald-Examiner, McCormick and Hearst ran rival lotteries in 1922; the Tribune won the battle. In 1922, the Chicago Tribune hosted an international design competition for its new headquarters, the Tribune Tower; the competition worked brilliantly as a publicity stunt, more than 260 entries were received. The winner was a neo-Gothic design by New York architects John Mead Howells and Raymond Hood; the newspaper sponsored a pioneering attempt at Arctic aviation in 1929, an attempted round-trip to Europe across Greenland and Iceland in a Sikorsky amphibious aircraft. But, the aircraft was destroyed by ice on July 15, 1929, near Ungava Bay at the tip of Labrador, Canada.
The crew were rescued by the Canadian science ship CSS Acadia. The Tribune's reputation for innovation extended to radio—it bought an early station, WDAP, in 1924 and renamed it WGN, the station call letters standing for the paper's self-description as the "Worl
The Weakerthans is a Canadian indie rock band. The band was formed in 1997 in Winnipeg, Manitoba by John K. Samson, after he left the punk band Propagandhi to start a publishing company. Samson joined bassist John P. Sutton and drummer Jason Tait of Red Fisher, another band from Winnipeg's punk scene, created The Weakerthans as a vehicle for a more melodic and introspective brand of songwriting than their previous projects; the origin of the band's name was explained, in 2004 by Samson, as having come from "a few places." The first was a line from the 1992 film The Lover: "Go ahead, I'm weaker than you can imagine." A second was a line from Ralph Chaplin's union anthem "Solidarity Forever": "What force on earth is weaker than the feeble strength of one?" The band includes this line in the song "Pamphleteer" from the album Left and Leaving. The band's debut album, was released in 1997 on G7 Welcoming Committee Records, garnered positive reviews from Canadian music critics. Guitarist Stephen Carroll of Painted Thin, subsequently joined the band, Left and Leaving was released in 2000.
In 2003, the band released Reconstruction Site. The album was met with positive reviews from Canadian and international critics for its ambitious combination of punk, folk and sonnets, it became the band's best-selling record to date, in September appeared on the!earshot National Top 50 Chart as a result of significant airplay on Canadian radio. It was the second Weakerthans album to be produced by Ian Blurton. Sutton, who played on the band's first three albums, left in August 2004 and was replaced by Greg Smith. In 2005, Left and Leaving was named one of the ten best Canadian albums of all time in Chart magazine's reader poll. In the same poll, Samson wrote the capsule review for another top ten finisher, The Lowest of the Low's Shakespeare My Butt, which he cited as a major influence on his own music. Reunion Tour was released on September 25, 2007 in North America by Epitaph and ANTI-; the band released a video for "Civil Twilight", which consisted of a single, unbroken camera shot of the band on a Winnipeg Transit city bus.
Epitaph re-released the Weakerthans' first two albums and Left and Leaving, in Canada on November 6, 2007. In February 2009, the band participated in Barenaked Ladies' annual Ships and Dip cruise. In a subsequent interview with Canwest News Service, Samson clarified that the band would be taking some downtime over the summer of 2009 before deciding when to start working on their next album. Shortly afterward, Samson announced a series of solo 7" releases about Manitoba roads, which he planned to release over the next 18 months; the first, City Route 85, was released on October 30, 2009 through Epitaph and ANTI-. After a second EP, Provincial Road 222, in 2010, the project instead evolved into Samson's first official solo album, Provincial. In January 2010, the band announced that they would release a live album, Live at the Burton Cummings Theatre, on March 23. At the same time, they announced that they were recording material with Jim Bryson for his album The Falcon Lake Incident, released on October 19, 2010.
In an interview conducted during his European tour in November 2014, Samson reported that The Weakerthans were inactive at the time, he was unsure of their future as a band, commenting "I don't know, frankly. I'm not sure... I think the songs will sort of dictate what will happen, but all those guys are doing other things right now for the foreseeable future, I'm doing other things. So, for the foreseeable future, I don't see it, but I would never say never. Yeah, it could happen." In July 2015, media began to report. The band's social media accounts have been updated in accordance to the claims, defining themselves as "cryogenically frozen". Both Tait and Smith collaborated on Samson's 2016 solo album Winter Wheat, which Samson described as feeling in some respects like a new Weakerthans album. Reunion Tour debuted at No. 22 on the Nielsen SoundScan chart for Canada in its first week of release, at No. 4 on the alternative/modern rock chart. The album reached No. 181 on the United States Billboard 200.
The Weakerthans became the first band in the history of CBC Radio 3's R3-30 charts to reach No. 1 with two different songs. The band's cover of Rheostatics' "Bad Time to Be Poor" reached No. 1 the week of June 21, 2007, "Civil Twilight", the lead single from Reunion Tour, hit the top spot the week of November 15, 2007. As of 2009, "Civil Twilight" remains tied with Arcade Fire's "Black Mirror" as the longest-running No. 1 in that chart's history. "Civil Twilight" was the No. 1 song in The R3-30's year-end Top 100 chart for 2007. John K. Samson Jason Tait Stephen Carroll Greg Smith John P. Sutton Jim Bryson. Joined as of September 10, 2007. Christine Fellows Brian Poirier Tyler Greenleaf Rusty Matyas – performed with the band for the 2009 Rolling Tundra RevueMacKinnon and Poirier have their own band, FemBots, were associated with the bands Dig Circus and Hummer. Both Bryson and Fellows are solo artists in addition to touring with The Weakerthans. Matyas is a member of Imaginary Cities. Studio albumsFallow Left and Leaving Reconstruction Site Reunion Tour Samson collaborates with his wife, Christine Fellows.
Tait has recorded and performed with Broken Social Scene and Do Make Say Think. Tait, Fe
Nada Surf is an American alternative rock band which consists of Matthew Caws, Ira Elliot, Doug Gillard and Daniel Lorca. Based in New York City and formed in the 1990s, Nada Surf continues to tour, their eighth album, You Know Who You Are, was a featured release on NPR in February 2016. In 1992, the band was formed by Daniel Lorca; the original band name was Helicopter but changed to Nada Surf, which Caws said is “actually referring to something much more existential, it's just surfing on nothing. Being lost in your head or in your imagination but you know, whenever I listen to music I always find myself off somewhere. Somewhere in space. You know, in mental space and it's a reference to that." They met in the Lycée Français de New York. Their first drummer, was replaced by Aaron Conte, with whom the band recorded its first 7", The Plan/Telescope, as well as the demo tape Tafkans, the raw version of High/Low; those raw versions were released on their second 7", Deeper Well/Pressure Free, on the Karmic EP and on North 6th Street.
In 1995, Conte left the band and was replaced by Ira Elliot, former drummer of the Fuzztones, a active band from the eighties New York scene, of whom both Caws and Lorca were fans. After a show at the Knitting Factory, Nada Surf met former Cars frontman and Weezer producer Ric Ocasek. With little hope, they presented him with a copy of Tafkans. Three weeks Ocasek called back with news of his intention to produce the band's album. Soon after, the band was finalizing a contract with Elektra Records, through an executive, Josh Deutsch. In spring 1996, the band released High/Low, their debut album, recorded and mastered within a 19-day period. Prior to this, the band released the EP on No. 6 Records, a label run by Elektra employee Bobby McCain. That summer, as Nada Surf toured the United States with Superdrag, their song "Popular" became a summer anthem, the band toured overseas. In 1998, the band released their follow-up album, in Europe. Produced by Fred Maher, the album gained little commercial success in the US.
Their record label, thinking the album lacked a hit like "Popular", had the band record several covers, including "Black & White" and "Why Are You So Mean To Me?", to use as singles. Tired of the requirements of the A&R director, the band judged the album was perfect as-is, broke their contract; as a consequence, Elektra did not release the album in the US and dropped the band while they were on a promotional tour in Europe. Despite these events, this album was critically acclaimed in France, where the band made a 30-show tour the following year. In 2000, the band released The Proximity Effect in the United States on their own label, MarDev, after being dropped by Elektra. Following the album's release, the band performed at their record release party at Luna Lounge in New York City and toured intensively for several months to rebuild their North American fan base. From 1999 to 2002, the band took regular day jobs: Caws worked at a Brooklyn record store called Earwax, Lorca worked on some computer projects and Elliot did drum and guitar session work for other artists.
Caws referred to these times as a period of luxury, the record store job as his "favorite job ever."In 2002, the band released Let Go, a critically acclaimed album which included the successful single, "Inside of Love", toured for this album for several months, including many European festivals in the summer of 2003. Recorded the year before, the album was produced by their friends Louie Lino and Chris Fudurich, who had engineered The Proximity Effect. In 2005, the band released The Weight Is a Gift on Barsuk Records, an album produced by Chris Walla, finished touring for this album in October of the following year; the record was made during a month spent at John Vanderslice's Tiny Telephone studio in San Francisco. In 2008, the band released Lucky, an album with producer John Goodmanson in the Robert Lang Studios in Seattle, from material recorded the year before; that same year, the band's song, "No Quick Fix", was featured as the Spinner MP3 of the Day, they were featured on the cover of Beyond Race Magazine for the publication's winter issue.
In 2010, the band released If I Had a Hi-Fi, an album of covers including songs by the likes of Depeche Mode, Kate Bush and The Go-Betweens. Milwaukee noise rock band IfIHadAHiFi reciprocally titled their next album Nada Surf EP+3. In 2012, the band released The Stars Are Indifferent to Astronomy, an album which included the single "Waiting for Something" and introduced former Guided By Voices guitarist Doug Gillard as fourth band member. In 2012, who had moved to England, recorded acoustic versions of five of the songs from The Stars Are Indifferent to Astronomy as B-sides in collaboration with record producer, Lee Russell; the material was released as The Dulcitone Files EP. The group released a compilation of rarities called B-Sides in 2014. Nada Surf's eighth studio album, You Know Who You Are, with an official release date of March 4, 2016, was released for streaming in late February 2016. In 2018, for the 15th anniversary of Let Go, the charity cover album Standing At T
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
The Feelies are an American rock band from Haledon, New Jersey. They disbanded in 1992 having released four albums; the band reunited in 2008, released new albums in 2011 and 2017. Although not commercially successful, the Feelies had an influence on the development of American indie rock, their first album, Crazy Rhythms was cited by R. E. M. as a major influence. The Feelies were influenced by the Velvet Lou Reed. Novelist Rick Moody has cited the band as one of his influences; the Feelies worked with outside producers and created shimmering soundscapes with multiple guitar layers and percussion. They played at Maxwell's, a live music venue and bar restaurant in Hoboken during the 1980s; the band's name is taken from a fictional entertainment device described in Aldous Huxley's Brave New World. Glenn Mercer, Bill Million, Dave Weckerman and vocalist Richard Reilly began playing together in 1976 in Haledon, New Jersey in a band called the Outkids; the Outkids evolved into the Feelies with the addition of Vinny DeNunzio on drums and John Papesca on bass.
In 1978, the Village Voice dubbed the then-unsigned Feelies "The Best Underground Band in New York". With the line-up of Mercer, Vinny DeNunzio's brother Keith DeNunzio on bass and Anton Fier on drums, the Feelies released their first single, "Fa Cé-La", on Rough Trade Records in 1979; the Feelies' debut album, Crazy Rhythms, was released on Stiff Records in 1980, featuring the same line-up as on the "Fa Cé-La" Rough Trade single. After Crazy Rhythms and Keith DeNunzio left the band. With the Feelies in limbo and Million collaborated with other local New Jersey musicians, forming one of a number of Feelies offshoots, The Trypes, featuring some once and future Feelies members, including Brenda Sauter, Dave Weckerman and Stanley Demeski, as well as John Baumgartner, Marc Francia and Toni Paruta; the Trypes and more psychedelic than the Feelies, played regular live gigs around the New York/Hoboken scene at clubs such as Maxwell's and Folk City. In 1984, Coyote Records released a Trypes 12" EP produced by Million and Mercer, The Explorers Hold, featuring three original songs, plus a cover of the George Harrison song, "Love You To", which had appeared on The Beatles' Revolver.
The Trypes contributed a Million/Mercer-produced original song, "A Plan Revised", to the 1985 Coyote anthology of Hoboken acts, Luxury Condos Coming To Your Neighborhood Soon. Some members of the Trypes formed the band Speed The Plough. Million, Sauter and Baumgartner gigged around New York and Hoboken under the name, Yung Wu, fronted by and featured the songs of Feelies' percussionist Dave Weckerman, who sang lead. Yung Wu released one album on Coyote Records in 1986, titled Shore Leave, it featured Weckerman originals, plus covers of "Big Day", "Child of the Moon", "Powderfinger", a staple of their live gigs. The Willies known as The Willies From Haledon, were yet another Feelies offshoot that played around the New York/Hoboken clubs in the early 1980s; the Willies shared a similar lineup as the Feelies, but their live sets consisted of cover songs, extended instrumentals and psychedelic jams, such as "Third Stone From the Sun" and "Sedan Delivery". The Feelies' appearance in Jonathan Demme's Something Wild was credited to the Willies.
The members of the Feelies never stopped playing and collaborating in the 1980s, earning them the distinction of being "the New York area's best-loved underground rockers since the late 1970s", according to Jon Pareles of The New York Times in 1986. The band even performed under the name "The Feelies" on holidays at Maxwell's. At least one such gig featured a reunion of the Crazy Rhythms line-up of Million, Mercer, DeNunzio and Fier. By the late 1980s, the band re-emerged from their self-imposed exile with new members and their first new album in six years. Reformed as a quintet featuring Mercer, Weckerman and Demeski, the Feelies recorded The Good Earth in 1985 with Peter Buck of R. E. M. on board as co-producer with Mercer and Million. The album was featured ten original Mercer/Million compositions; the band toured in support of the album as an opening band for Lou Reed as well as R. E. M. that year. In 1988, the Feelies released the album Only Life on A&M Records; the lineup was the same as The Good Earth, Mercer and Million again handled production duties.
The disc was a critical favorite, coming in at No. 27 on the Village Voice's 1988 Pazz & Jop critics' poll. The album's title track has been used as the introductory music for the Harvard Business Review's HBR Idea CastThe band's final album before a hiatus, Time for a Witness, was released on A&M in 1991; the album still earned the band critical praise. In March 2011 The Feelies released an album entitled Here Before produced by Bill Million and Glenn Mercer, on the Bar/None record label; the band remains "one of the nation's most beloved alternative-rock bands."The Feelies sixth studio album, In Between, was released in February 2017 on the Bar-None label. Reviews were favorable, with Metacritic calculating an average critical rating of 81%; the band played reunion shows in the summer and fall of 2008. A performance at Battery Park in NYC with Sonic Youth followed several warm-up shows at Maxwell's. In June 2009, the band performed an acoustic show at the Whitney Museum, they headlined a show at Millennium Park in Chicago.
In September 2009, they performed Crazy Rhythms live in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series. Bar/None Records reis
Brian McTernan is an American musician and record producer from Baltimore. As a musician, McTernan served as lead vocalist for hardcore outfit Battery, guitar player for Ashes, bass/guitar player for Biology. McTernan operates a studio called Salad Days in Baltimore, titled after the Minor Threat song of the same name and has produced albums for a number of notable artists, including Emarosa, Darkest Hour and Hot Water Music, he was voted to be one of the 50 most influential people in Maryland by The Daily Record. McTernan was born in Maryland. During his youth, he spend some time in a psychiatric hospital due to depression, which he addressed on Battery's 2017 song "My Last Breath", he dropped out of high-school at the age on 17 to tour with Battery. He comes from a family with many hardcore punk music ties, his brother Mike McTernan is the singer for Damnation A. D. and When Tigers Fight. His brother Peter played drums for Good Clean Fun for a short period of time. McTernan joined Ken Olden, Matt Squire, Toshi Yano and Zac Eller to form Battery in 1990.
Called "Fury", the band released their first record in 1991 on Deadlock Records. The band broke up in 1998 but reunited in 2012. In 2017, the band reunited for good, releasing a new compilation, For The Rejected By The Rejected, embarked on a tour of Europe. McTernan was a songwriter and guitar player for the rock band Miltown, signed to Warner Brothers. Miltown broke up in the studio. In 2005, he joined From Autumn To Ashes drummer Francis Mark, Every Time I Die bassist Josh Newton and Cornbread Compton of Engine Down as a bassist to form Biology. Signed to Vagrant Records, the band released one album, Making Moves, produced by McTernan, in 2005 and broke up in 2008. In 1995, McTernan moved to Boston to be near his future wife, he started his recording studio "Salad Days", naming it after a song by Minor Threat from their 1985 EP of the same name, in the basement of the house he shared with six roommates. The first recording produced by McTernan was the eponymous 1995 EP by New York City based post-hardcore band Texas Is the Reason for Revelation Records.
In 2000, McTernan and his wife moved to Beltsville, where the studio was again located in the basement of their house which housed the musicians who lived there during the recording sessions. McTernan specialized in recording up-and-coming unsigned artists who, when signed by major labels, told them about McTernan's work, the word-of-mouth advertising gaining him contracts from major indie labels such as Equal Vision Records, Vagrant Records, Epitaph Records or Fueled by Ramen. At the insistence of his wife, McTernan moved the studio again in 2005 by converting an empty house in the Fells Point neighborhood of Baltimore into a state-of-the-art recording studio with spacious living quarters where the musicians still live in McTernan's studio while recording, a rarity in modern times