Even with the lack of creative input in pop and the questionable ethics of gangsta rap, “emo” is the dirtiest word in music, a plague upon the ears to those who loathe strained voices and restrained, introverted subject matter. Still, all is not whine and die in the much maligned genre.

When not exploited for narcissistic self-regard, emo is simply emotional music, its intensity drawn from the makers as opposed to rock cliches. Of course, even that aspect has been pillaged - watered down offerings by today’s popular pretenders solidify this - but the following bands, under the wide umbrella term of emo (screamo, emocore, etc.) toe the line between resilient and righteous. These releases could very well be the olive branch between emo kids and their opposition.

Let’s hold hands and sob after the jump.

Rites of Spring - Rites of Spring (1985)

The beating and bleeding heart of emo’s entirety, historically speaking. Endlessly quoted by any artist of merit in the genre, Washington D.C.’s Rites of Spring signified a drastic change of guard in the mid-80s, when the American hardcore scene retreated to the underground, leaving those less concerned with anti-government screes to look elsewhere for influence. Chief lyricist Guy Picciotto ripped a page from the Husker Du school of alternative rock, unafraid to wax poetic with melody, and tracks like “For Want Of” and “End on End” are RoS epitomized: desperate, cathartic and honest.

See also: Embrace - Embrace (1987)

Sunny Day Real Estate - Diary (1994)

Early 90s heartfelt dreamo that surpasses anything done in the style before and after its release. Rightfully considered the official starting point of emo as a movement and sound, Sunny Day Real Estate were the real thing - a blurry, unfocused fist to the throat of despondency, with crushing hiccups and low-key aggressiveness. Funny enough, Diary’s concentrated burn predicted Post-Rock before the term existed. “Seven” is transcendent and emo’s understated peak.

See also: Jawbreaker - Bivouac (1992)

At the Drive-In - In/Casino/Out (1998)

Hell Paso’s blistering open wounds excursion from the Duo Fros, Cedric and Omar, years before they sold their souls for limp, colorless neo-prog with Mars Volta. While it can be debated that the Vaya EP is At the Drive-In’s most concise effort, In/Casino/Out is more rabid and brimming with emocore excess. The muzzle of bees that swarms “Pickpocket” is a dealbreaker in itself, but it’s “Napoleon Solo” that remains untouched, a candle-lit vigil on the roadside of a local town, Cedric on the cusp of losing it…in the studio with little to no overdubs. Emo by identification, punk by nature.

See also: Drive Like Jehu - Yank Crime (1994)

Cap’n Jazz - Analphabetapolothology (1998)

Ostracized quartet of brotherly love (two blood, two kindred) from the Midwest. Not impressed by the gloom of their counterparts, Cap’n Jazz sidestepped the standard for songs of optimism and gleeful abandon, a blueprint now drawn over numerous times by sub-standard bands that skim the surface. Pop at the core, these guys had an odd, heartfelt and distinct vision for their music, and presented it as such. Overtly twee lyrics like “Hey coffee eyes, you’ve got me coughing up my cookie heart” may be too anemic for some, but in context drops you straight into the daze of a lazy Sunday afternoon, dopey and carefree. It’s just music sometimes, and the foolish needn’t be futile.

See also: Braid - Frame & Canvas (1998)

Nation of Ulysses - Plays Pretty for Baby (1992)

The reigning highpoint of emotive hardcore to my ears, by suited-up poetic harDCore kids equipped with free jazz skronk. Records like these come every decade if you’re lucky, but for them to get proper recognition is even rarer. Unfairly lost in the shuffle of Dischord’s depleting roster in the early 90s, NoU destroyed the very foundation of punk, emo, whatever. The intelligent jazz meditation “N.O.U. Future-Vision Hypothesis” has no precursor, as if they caught divine inspiration amongst their wash of politico-punk blasts and wild-eyed words that read like a lost comic book series. Future art-punk luminaries like Refused and Q and Not U owe their career to this one outstanding album.

I couldn’t say it better myself: “The Nation of Ulysses must prevail!”